Who is The Crying Boy? Why is it swapped by a Coca-Cola Light? What does all this has to do with ExperimentaDesign 2009?

FDN286-2019

The Crying Boy is the main character of a marketing campaign by Coca-Cola Light revealed a few days ago in advertising panels, TV and on the internet. Coca-Cola is celebrating the 21st anniversary of Coca-Cola Light in Portugal in an original way: promoting a challenge which will finish with the international Biennale for design, architecture and creativity ExperimentaDesign Lisbon 2009 (EXD 09).

What is the creative logic behind the campaign? It’s simple: the last generations grew up surrounded by key objects that are representative of their culture: the painting of The Crying Boy, the doily, the pair of white socks, the Senhor do Bonfim wrist ribbon, the gel nails, the “alternative” tie, the T-shirt with the name of the place you’ve been on holiday, the bibelot, the rubber flip-flops with heels or the rear view mirror decorations. According to Coca-Cola Light, it’s time to swap these objects by a coke can created especially as a decorative item of the modern times.

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Les Voisins

RJ

Les Voisins. That’s what Ricardo Jacinto is bringing to the Hermitage of Nossa Senhora da Conceição, in Lisbon. They’re not exactly his neighbours, they’re the inhabitants of the Marta Pinto Alley where the cultural venue is located. From 18th July until 30th August the Portuguese artist shows the world that surronds him, a world which is strangely familiar to viewers, through fragments, games of visual slopes and sound.

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We all have a date with the planet

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IN A FEW SHORT DECADES, HUMANITY HAS UPSET THE BALANCE OF THE PLANET, ESTABLISHED BY NEARLY FOUR BILLION YEARS OF EVOLUTION. THE PRICE TO PAY IS HIGH, BUT IT’S TOO LATE TO BE A PESSIMIST: HUMANITY HAS BARELY TEN YEARS TO REVERSE THE TREND, BECOME AWARE OF THE FULL EXTENT OF ITS SPOLIATION OF THE EARTH’S RICHES AND CHANGE ITS PATTERNS OF CONSUMPTION. BY BRINGING US UNIQUE FOOTAGE FROM OVER FIFTY COUNTRIES, ALL SEEN FROM THE AIR, BY SHARING WITH US HIS WONDER AND HIS CONCERN, WITH THIS FILM YANN ARTHUS-BERTRAND LAYS A FOUNDATION STONE FOR THE EDIFICE THAT, TOGETHER, WE MUST REBUILD. [+] Continue reading

Gerhard Richter. Paintings, Watercolours and Drawings Opens at The Albertina

The German artist Gerhard Richter is a superstar in the international art world. His extensive and highly influential body of work ranges from quasi-photorealistic paintings to abstract compositions in brilliant colors. Today, through May 10, 2009, the Albertina presents over 80 oil paintings, around 80 watercolors and a selection of drawings in a major retrospective covering the many different phases of Richter’s career between 1963 and 2007.

//////////O artista plástico germânico Gerhard Richter, é actualmente a estrela do palco das artes plásticas a nível mundial. O seu extenso e altamente influenciável corpo de trabalho, intersecta desde a realidade quase fotográfica à intensa composição abstracta de cores brilhantes. A partir de hoje até 10 de Maio de 2009, o museu Albertina – Viena de Áustria – Apresenta mais de 80 pinturas a óleo, cerca de 80 aguarelas, e uma selecção de desenhos numa fascinante retrospectiva que abrange várias fases da carreira artística de Richter, que se compreende entre 1963 a 2007. Continue reading

Exposição [Exhibition] – Vice Versa – Pascal Ferreira – VPF cream art

Assente nas finas estacas, a acentuar a instabilidade da construção, duas estruturas desnudam o processo de camada em camada. É o tempo e as circunstâncias que nos erguem. De arestas angulosas e superfícies planas vamos caminhando numa construção parcial que de nós fazemos.
A individualidade descentra-se, estendendo uma longa linha, como se o nosso percurso fosse sempre definido pela vontade de prolongamento num outro. Algures, no meio dessa vontade, edifica-se um momento. O encontro interrompe a aridez da pele. A cor intensifica a emergência de um não-eu que, simultaneamente, me define e, no gesto, me prolonga. Continue reading

Isabel Baraona

In Isabel Baraona’s work, drawing acquires such importance that it be considered to be related to the process which allows the actual existence of the work of art. This is the first sign of its contemporary element, of its integration in the group of concerns and interpretations that mark today’s Art. Although the artist gives drawing an autonomy which has been denied to the technique for centuries, her work contains elements of intimacy, ephemeral existence and even domesticity that other methods tend to discard. Continue reading