veronica

varlow’s

horoscope of

the month

king of pop surrealism

Florence + The MachineReturns with How Big How Blue How Beautiful

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Cover image: Rosie’s Tea Party,Mark Ryden, The Meat Show, 2006.

When I was a kid (not too many years ago, like 10 or 13 years, more or less) society used to be very different: if you need an image of a famous painter or one of an animal, you had to cut it off from an old magazine or from a newspaper. Then, in order to add information to the picture, we used to transcribe the information from an Icarito (a scholar magazine that use to come into the newspaper every monday) and finally wrote it into a piece of cardboard. Voilá, after a whole weekend, your presentation was ready (then, of course, the horrible process of learning by heart all the information you wrote in the cardboard was right after because a whole weekend was not enough time to completethis epic taks). not enough time to completethis epic taks). NowNow I’m on the other side. I’m the “adult in charge” who brings the information to my son, but things are very, very different now. What’s more, my son doesn’t need me anymore!: when he needs information, he takes my smartphone and google it. If he’s asked to bring a presentation to the school he doesn’t use cardboards and paper trimmings from Icarito, now he looks up for the images on the in-­ternet and for the information, then he put all together into a PowerPoint presentation and it’s done. All by his own. The technological gap between 80/90’s children and the 00’s ones is huge. Is not that I’m not able to use technological devices (actually I can’t not use them), is that the way they face the world and the level of exposure to information they have is far more immediate than them), is that the way they face the world and the level of exposure to information they have is far more immediate than ten years ago. In the same hand, all social relations have changed, the way we interact is different and technological devices comes from the hand with it. As a product, sharing information and get to know about what is happening on the other side of the world became a basic need. Here on Everything we want to talk about everything, because now we can, because now we have the tools to share this information with the world and, from the comfort of our computer, produce a social revolution. Here we going to talk about a bit o’ this and that because today there is no limits if about sharing we are talking about and there is no place where someone can tell me not to opine. We are going to talk about everything because we can do it and we want to do it. And if you’re not agree, go back to the 80’s!

Mauricio Oyarzo,Inmate W22A,Editor.

the new surrealism comes out of pop culture

intense and fluorescent hindsight

Florence and the machine strikes again

Veronica Varlows horoscope of the month A bit o this and that

On this issue

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Surrealism now comes out ofPOP CULTURE!

Surrealism painting has been re-­defining since Mark Ryden cames to the scenario. Even though he’s not anew boy in the field, Ryden has been increasing his populatiry among the new generations, exposing a

direct message about society, religion and pop icons such as Santa Claus, The Virgin Marie, Barbie, Jesus andmany others.

Let’s take a look into the works of the “Grand-­father of surrealism” acourding to interview magazine on 2009.

article

Ryden was born in Medford, Oregon on January 20, 1963, but soon he moved to Southern California, where he grew up. His first encounteres with painting were with his father, who made a living painting, restoring and customizing cars.During his childhood and with the suppor of his father Mark was developing his ability, inspired by fairytales and icons wich with the years would be the mark of his style.In 1987 he graduated from the Art Center College of Design in Pasadena.Blending themes of pop culture with techniques reminis-­cent of the old masters, Mark Ryden has created a singu-­lar style that blurs the traditional boundaries between high and low art. His work first garnered attention in the 1990s when he ushered in a new genre of painting, "Pop Surrealism", dragging a host of followers in his wake. Ryden has trumped the initial surrealist strategies by choosing subject matter loaded with cultural connota-­tion.Ryden’s vocabulary ranges from cryptic to cute, treading a fine line between nostalgic cliché and disturbing arche-­type. Seduced by his infinitely detailed and meticulously glazed surfaces, the viewer is confronted with the juxtaposition of the childhood innocence and the mysterious recesses of the soul. A subtle disquiet inhabits his paintings;; the work is achingly beautiful as it hints at darker psychic stuff beneath the surface of cultural kitsch. In Ryden's world cherubic girls rub elbows with strange and mysterious figures. Ornately carved frames lend the paintings a baroque exuberance that adds gravity to their enigmatic themes.OnOn October of 1998 Ryden release his first exhibition: The Meat Show. Meat is a reoccurring theme in Ry-­den’s work. Ryden observes the disconnect in our contemporary culture between meat we use for food and the living, breathing creature it comes from. “I suppose it is this contradiction that brings me to return to meat in my art.” According to Ryden, meat is the physical substance that makes all of us alive and through which we exist in this reality. All of us are wearing our bodies, which are like a garment of meat.

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In 2010, "The Gay 90’s: Old Tyme Art Show" debuted at Paul Kasmin Gallery in New York. The central theme the show referenced the idealism and sentimentalism of the 1890s while addressing the role of kitsch and nostalgia in our current culture. Here Ryden explores the line between attraction and repul-­sion to kitsch. According to The New York Times, "Ryden’s pictures hint at the psychic stuff that pullula-­tes beneath the sentimental, nostalgic and naïve surface of modern kitsch."

Ryden's "The Tree of Life" painting was included in the exhibition "The Artist's Museum, Los Angeles Ar-­tists 1980-­2010" at The Museum of Contemporary Art, Los Angeles (MOCA). The exhibition showcased artists who have helped shape the artistic dialogue in Los Angeles since the founding of MOCA over 30 years ago. Ryden hung on the same wall as Robert Williams.

On May 13, 2014, Ryden released an album entitled ‘The Gay Nineties Old Tyme Music: Daisy Bell,’ that features Tyler the Creator, Weird Al, Katy Perry, Stan Ridgway of Wall Of Voodoo, and Danny Elfman, Mark Mothersbaugh of Devo, Nick Cave, Kirk Hammett of Metallica, and Everlast, all giving a different rendition of the same song, Daisy Bell (Bicycle Built for Two). The proceeds from the signed and limited edition record, benefited Little Kids Rock, a nonprofit that supports musical education in disadvantaged elementary schools.

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Yayoi Kusama:

Precursor of pop art, minimalism and feminist art, Yayoi has explored different facets, highlighting in all

of them: painting, sculpture, installations, collage, film, writings, happenings and fashion. Her influence

during the 70’s played until his contemporary Andy Warhol in the times in which he lived in New York.

The work of the most important living artist of the last decades arrives in Santiago with an exposition of

more than 100 pieces that portray her work since 1950 to 2013, including paintings, sculptures, videos, ins-­

tallations and the overwhelming 'Mirror Room'.

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what to see

Yayoi was born in Matsumoto, Japan, on 1929. Since her early years showed interest in art, but her mother forbade him to paint and, in tradition of their culture , she imposed her to marry a wealthy man and become a housewife. Yayoi knew that she wanted something different, and so, she had the courage to face his family and emigrate to America where he knew no one and nowhere.nowhere.Kusama get to America in 1957. She moved to Seattle and stayed there for a year before moving to New York City. In NYC she met renowned artists such as Andy Warhol, Donald Judd and Joseph Cornell, marking a milestone in his career. From painting she pass to sculptures -­known as Accumulations-­ and then to live performances and happenings -­in which she painted nude participants with polka dots of twinkling colors-­, becoming the major figure of the New York avant garde culture. In 1973 she returned to Japan and in 1977 was admitted voluntarily in a psychiatric clinic in Tokyo, where she lives until today. Since then, she has continued producing works in different media, in which she has added the publication of several novels, poetry and an autobiography.

AA sample of how meaningful is her work nowadays, is the invitation she received by Marc Jacobs in 2012 for a collaboration to Louis Vuitton in which she imposed her distinctic style.

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“One day I was looking at the red flower patterns of the tablecloth on a table,

and when I looked up I saw the same pattern covering the ceiling, the windows

and the walls, and finally all over the room, my body and the universe. I felt

as if I had begun to self-­obliterate, to revolve in the infinity of endless

time and the absoluteness of space, and be reduced to nothingness. As I reali-­

zed it was actually happening and not just in my imagination, I was frightened.

I knew I had to run away lest I should be deprived of my life by the spell of

thethe red flowers. I ran desperately up the stairs. The steps below me began to

fall apart and I fell down the stairs straining my ankle.”

-­Yayoi Kusama

when from march 7th to June 7th

where Centro de las Artes 660, 660 Rosario Norte, Level -­2, Las Condes

how muchwhat time Monday to Sunday from 10:00 to 19: 30hrs.

FREE! from monday to sunday between 10:00 to 16:00From 18 to 19 hrs guide visits ($ 5.000 general;; Students and 3rd age: $ 3.000)

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The follow-­up to 2011’s Ceremonials: How Big How Blue How Beautiful is here, Florence Welch and her

Machine have coming back and they’re feeling like new. According Florence, their third album is ‘about

trying to learn how live, and how to love in the world rather than trying to escape from it’, a messag that

we can strongly check up on the latest two singles released “What Kind of Men” adn “St. Jude”, where,

beside pleasing her fans, Florence show us all her acting ability.

review

While previous albums revelled in gothic themes like death, this time, she says, she concentrates on celebrating life. “Ceremonials was so fixated on death and water, and the idea of escape or transcendence through death, but the new album became about trying to learnlearn how live, and how to love in the world rather than trying to escape from it. Which is frightening, because I’m not hiding behind anything, but it felt like something I had to do.”On 10 February, the musician publi-­shed a trailer to the album, featuring a snippet of its title track. “The trumpets at the end of that song – that’s what love feels like to me,” she says. “An endless brass section that goes off into space. And it takes you with it. You’re soso up there. And that’s what music feels like to me. You want it just to pour out endlessly, and it’s the most amazing feeling.”

Florence and the Machine’s debut album Lungs was released in 2009, winning the best British album award at the 2010 Brit awards as well as a nomination for best new artist at the 53rd Grammy awards.

Florence and the Machine will release their third album, How Big How Blue How Beautiful, on 1 June. According to the musician, the follow-­up to 2011’s Ceremonials comes off the back of a period of unrelenting tour dates, and a subsequent few years reacquainting herself with reality.

How Big How Blue How Beautiful was written and recorded over the course of 2014. With arrangements by Will Gregory of Goldfrapp, it was produced by Markus Dravs (Björk, Arcade Fire, Coldplay) and includes contributions from regular Machine collaborators Paul Epworth, Isa Summers, Kid Harpoon as well as John Hill.

“I“I felt he had that balance of organic and electronic capabilities, managing those two worlds,” Florence Welch says of Dravs. “He’s good with big sounds, and l like big sounds. And he’s good with trumpets, and I knew I wanted a brass section on this record.”

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This horoscope was brought to you by Veronica Varlow!.Veronica is a burlesque dancer, pin-­‐up model, actress, producer,

and performance artist based in Brooklyn, New York.VarlowVarlow started to follow her dreams after being attacked in the face by a rottweiler in December 2003. While in eight hours of sur-­‐gery, she sadly realized that the only reason she was not following her true dreams was because she was afraid of what other people would think. Determined to live her dreams no matter what, she left

her cubicle life behind and started performing world wide.

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