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Visionare#60

Retrograde marks James Blake return to our airwaves. A taster of what will come from James forthcoming LP ‘Overgrown’ as this incredible second album sees James grow as a singer and songwriter. Returning to the brain melting electronic perfection of his early releases on Hemlock and Hessle, James moves way beyond any post-dubstep pigeonholes to include stunning reinterpretations of both hip-hop and house.

Imágen: Visionare#60

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Self Portrait, curated by Orion Fisher
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UNDO

Whispers_We Are Happy Here Remix

Photo: Small Double Head, 2009 by Rupert Shrive

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BRETT AMORY THE “WAITING” SERIES
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TWO DOOR CINEMA CLUB Sleep Alone Mercury Remix

PAINT: Luis Ricardo Falero (1851 – December 7, 1896)

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Interior design by diegoLADINO
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The sea in black-and-white by Werner Knaupp
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Diseño Website RAMÓN GARCIA JURADO & PACO POCOVI

(Fuente: ramongarciajurado.com)

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SOPHIE ELIZABETH THOMPSON
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Revista: NUEVO ESTILO, “DISEÑOS DE CULTO”
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DNA/WOMAN by diegoLADINO
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FET&MOI

DREAMHOME

(Fuente: kompakt.fm)

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APULIAN RED VASE, VOLUTE KRATER In an Ionic naiskos a nude youth is seated upon his red cloak, holding a spear. His helmet, shield, and sword are in the field; his foot resting upon a casket. On the neck a female head emerges from a flowering plant; on each shoulder are two black swan-heads. Rev: male and female on either side of a stele. Ca. 340-320 BC Apulian vase painting was the leading South Italian vase painting tradition between 430 and 300 BC. Of the circa 20,000 surviving specimens of Italian red-figure vases, about half are from Apulian production, while the rest are from the four other centres of production, Paestum, Campania, Lucania and Sicily. The main production centre for Apulian vases was at Taras, the only large Greek polis in Apulia. Two styles, the “Plain Style” and the “Ornate Style” (sometimes “Rich Style”) are distinguished. The first largely eschews additional colouring and was mostly used for the decoration of bell kraters, colonet kraters and smaller vessels. Their decoration is quite simple, the pictorial compositions usually include one to four figures (e.g., works by Sisyphus Painter, Tarporley Painter). The motifs focus on mythical subjects, but also include women’s heads, warriors in scenes of battle or departure, and dionysiac thiasos imagery. The backs usually have images of cloaked youths. After the middle of the fourth century, the simple style became increasingly similar to the ornate one (see, e.g., the Varrese Painter. The artists of the Ornate Style preferred bigger vessels with space for larger images, such as volute kraters, amphorae, loutrophoroi and hydriai. Compositions contained up to 20 figures, often arranged in two or more registers. The figures frequently appear to be floating. Colouring was used copiously, especially red, gold/yellow and white. While ornamentation had originally been relatively simple, from the mid-fourth century BC onwards, painters increasingly placed rich vegetal ornaments, especially on the necks and sides of vases. At the same time, simple perspective depictions of architecture, especially of “Underworld Palaces” (naiskoi) became common. From about 360 BC, a common motif was grave scenes showing individuals performing offerings at a stylised grave or pillar. Important representatives painters include the Ilioupersis Painter, the Darius Painter and the Baltimore Painter. Krater depicting a gigantomachy by the Underworld Painter, circa 340 BC. Berlin, Antikensammlung. Popular mythological motifs include the Assembly of the Gods, the amazonomachy, Bellerophon, Heracles, and events of the Trojan War. There are also many individual depictions of myths that are not commonly depicted elsewhere. Many scenes have dionysiac or aphrodisiac themes, probably directly connected to funerary traditions and grave cults (many of the vases were made as grave offerings). Ideas of an afterlife are frequently implied or expressed by such paintings. The motif of women’s heads growing out of flowers or between tendrils belongs to the same context. Sometimes, the women’s heads are replaced by that of Pan, Hermes or foreigners. In the second half of the fourth century, depictions of weddings, women and erotic motifs become more common. Apulian vases also occasionally depict theatrical scenes, which are also known from the other South Italian traditions, but absent in Attica. These include motifs from dramatic theatre as well as farce (phlyax play). In contrast, scenes of everyday life and athletic motifs disappear from the repertoire nearly totally after 370 BC. The Apulian vase painters had considerable influence on the painters of the other South Italian traditions. Some of them appear to have moved to cities other than Taras, such as Canosa. Apart from red-figure pottery, black-glazed vases with painted decoration (Gnathia vases) and polychrome vases (Canosa vases) were also produced. The South Italian clays are less rich in iron than the Attic ones. As a result, the clay would not reach the rich red known from Attic red-figure vases. This was compensated by the addition of slips of light ochre clay before firing, which also produced smoother surfaces.
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