#wrap-up #awards #alleyesonhyeres #2014

May 4th, 2014

#alleyesonhyeres indeed.

For its 29th edition, the fashion and photography festival reached new heights. More sunshine, more stars, more exhibitions, more public, more.

Here’s a wrap up of everything The Stimuleye covered in Hyères for those who missed it.

PHOTOGRAPHY

LORENZO VITTURI, GRAND JURY PRIZE

Italian photographer living in London Lorenzo Vitturi is the first to win 15 000 euros donated by Chanel, for his series “Dalston Anatomy.”

ORIANNE LOPES, SCHOOL OF VISUAL ARTS FUND

Orianne wins a scholarship to attend the School of Visual Arts’ “Photo Global” program in NYC.

VIRGINIE REBETEZ, SPECIAL MENTION OF THE JURY

Virginie wins a Leica S2 camera.

MARIE RIME, CITY OF HYERES AWARD

Awarded by the votes of the public of Hyères.

All the photographers in competition:

FASHION

CORALIE MARABELLE, CITY OF HYERES AWARD

Awarded by the votes of the public of Hyères.

YULIA YEFIMTCHUK, SPECIAL MENTION OF THE JURY

Yulia’s collection will be carried by Opening Ceremony for the next 2 seasons.

CHLOE PRIZES

This year 2 Chloe prizes were awarded, each with a 15 000 euros fund:

ROSHI PORKAR

LISALORE FROWIJN

KENTA MATSHUSHIGE, GRAND PRIX DU JURY PREMIERE VISION

Kenta, who is from Japan but living and working in Paris, wins 15 000 euros given by Première Vision,
as well as a collaboration with Chanel Metiers d’Arts worth up to 15 000 euros, and a collaboration with Petit Bateau.

ALL DESIGNERS IN COMPETITION + BONUS

THE FASHION SHOW

EXHIBITIONS – UNTIL MAY 25th

More info:
Villa Noailles, Hyères

BONUS

The film directed by Antoine Asseraf & Julien Pujol about 2013 winner Satu Maaranen’s collaboration with Petit Bateau.


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MATT PYKE AND FRIENDS: that idea of foreverness

April 26th, 2011

The future is back.

That’s the impression you get from Matt Pyke’s new show at Gaîté Lyrique, Paris’ brand new digital creation center. Mutating monsters, illuminated silences, evolving creatures, disintegrating dancers, glowing trees… Pyke and his friends from the studio Universal Everything use every corner of new-old parisian theater to make your head swirl. Literally.


Meet Matt Pyke. Photo by René Habermacher

ANTOINE ASSERAF: I noticed everything is looping, there is no beginning and no end. What as your intention with that?

MATT PYKE: One of the reasons for the looping is we’re really interested in the idea of infinity and how it creates video artworks which don’t really have a narrative story to them.

We’re creating almost a video sculpture, a state of mind or a trance-like situation: for example where dancers that are continually struggling up the wall to get to the sound or the giant walking monster in TRANSFIGURATION which is walking forever and nobody knows where he is going.

It’s that idea of foreverness and how you can use video to do that as an artwork that never stops: everything is almost like a machine that is going and going…

Matt Pyke & Friends : Super-Computer-Romantics

Sometimes you have some very un-digital elements like drawing.

I studied drawing and painting at art school and still find it very important to have a pencil as well as a computer. All of the artworks were based on drawings originally. The archive of the Gaîté Lyrique has a collection with all the working drawings from all the artpieces.

In the exhibition, the one called SEVENTY SIX SEEDS was entirely created through drawing but influenced by the more recent years where i’ve been working with people who use codes. The drawings are very much influenced by digital processes and the shapes that code make.

We’ve made an iPhone application that gave me kind of genetic instructions of what type of seed what type of plant to draw every morning- so it’s a way of using technology to control me, control my pencil.

MATT_PYKE_SEEDS
Works in Progress: left Matt Pykes drawings for SEVENTY SIX SEEDS inspired after an iPhone application.
Images Courtesy of Matt Pyke

Do you code and program yourself or are you trying to bring that kind of “old school” thinking into that?

I intentionally do not code and program myself. I tried to learn and found it did not suit me, so I focus on the conceptual side of things and the visual side of things in terms of art direction and creative direction and come up with the initial seed idea and then work with programmers who are genuinely experts or super talent in their field.

I think one important thing is, by me not understanding code, that my ideas are not restricted to what is possible.

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Not all fun and games : Abdel Bounane

April 18th, 2011

Last month, the Gaïté Lyrique digital creation center opened its doors in Paris, after many years of construction.
A companion shop also opened next to the gorgeous building : the AMUSEMENT creative shop.
We sat down with Abdel Bounane, who is in charge of the store but also the founder and editor-in-chief of AMUSEMENT magazine.

abdel bounane
Abdel Bounane at AMUSEMENT gallery, by René Habermacher.

Antoine Asseraf : So where are we, there’s a store downstairs, but this is something else…

Abdel Bounane: This is the space where soon we will offer services and events linked to the store, and to the magazine.
The service part is probably the most interesting, because this is going to be the most original part.
For the store we try to have some original products, but for services, starting in May, you’ll be able to order a tailor-made video game.

You make an appointment, meet with one of our consultants, and give your craziest ideas regarding what you want from a video game, and we’ll be able to materialize it. It can take a few days, a few weeks, or sometimes a few months, it can cost a few hundred or a few thousand euros.

It’s a world first.
It answers the question “if you want to make a space linked to the digital world, how do you offer something original and human ?”

Something that doesn’t lag behind the virtual world.

Exactly. What is the use of being in the real world when you’re talking about the virtual ?
So for me, it is the meeting with people, the ability to explain face to face your ideas, a human and interactive touch, it’s fundamentally linked to a physical place. It wouldn’t be the same thing by Skype.

That’s one part of the services we will offer.
We will also offer a gallery side.
People have been trying to sell digital art for decades now, and they haven’t really been able to, except for installations which hard to sustain. But now tablets are here, and I feel that tablets are a good media for that art, like a canvas.

gaité lyrique
The ressource center of the Gaïté Lyrique. By René Habermacher.

That makes me think of that bloom application for iPhone, by Brian Eno…

Well, Brian Eno’s been here !
What we’re developing is the sell of pieces on tablets, offline, and also an online store of limited edition digital content, with a certificate of authenticity on our servers.

How do you co-exist with the Gaïté Lyrique proper?

Well with the digital art we’re going to be working a lot with artists from the Gaïté, such as Matt Pyke/Universal Everything,
They do a lot of cool particle effects, very pop, very colorful, and they’re don’t want something that is all over the internet, just something that is visible physically at the Gaïté, because it’s a site-specific installation, and potentially sold digitally.

That’s where the logic of the Gaïté comes in, it’s not a museum, it’s a creation center.
So it’s perfect for us, we become the distributors of content that cannot be found elsewhere, and digital limited edition fits the Gaïté perfectly.

We’re not only the commercial arm of the Gaïté, we’re here to play with new ways of crossing art and digital, video games and one-to-one distribution, or take a mass media like video games and make it personalized, how do me make something pop more haute ?
How to legitimize a physical location, with launches, workshops, etc.

gaité lyrique
Gaïté Lyrique communication.

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