LoVe InJecTed

Photographer: Matthew Alatsiatianos

Set Up & Grooming: Christos Theophanous

Model: Lucas Cantao

RICK OWENS exhibition at Triennale di Milano

We visited the Rick Owens exhibition in Milan and we loved every detail of it.

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The Triennale di Milano hosts an involving pathway through two decades of endless creativity: a selection of more than 100 garments, objects, accessories, furniture and runway videos will be displayed and connected through a spectacular site-specific installation created by the designer for the occasion. 

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“The clothes I make are my autobiography. They are the calm elegance I want to get to and the damage I’ve done on the way. They are an expression of tenderness and raging ego. They are an adolescent idealization and its inevitable defeat.”  Rick Owens

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The exhibition 'SUBHUMAN - INHUMAN - SUPERHUMAN' will be at the Triennale di Milano until the 25th of March. 

RAW: The Exhibition by Antonio Eugenio

London-based fashion photographer Antonio Eugenio presents his latest exhibition, RAW, that will be hosted by design-led hotel Leman Locke during London Fashion Week Men’s in January 2018.

In RAW exhibition, the photographer explores how diversity influences the codes of beauty in the male fashion industry. 

Antonio Eugenio uses his volatile lens to capture authentic, unpredictable and vulnerable personalities in artificial surroundings. The photos seem to simultaneously question and confirm this contrast at the same time by a perfect set-up of lights. The portraits showcase the dreaming male and how diversity influences the fashion industry.

RAW Exhibition
Leman Locke Hotel
15 Leman St, London E1 8EN
6th of January to 5th of February 2018

Dan Colen: Sweet Liberty exhibition in London

04 OCT 2017 – 21 JAN 2018

Photography: Karl Slater
 

Newport Street Gallery, London presents an exhibition of work by American artist Dan Colen (b.1979). Colen’s first major London solo show spans over fifteen years and features new works, including large-scale installations.

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Colen emerged onto the New York art scene in the early 2000s alongside artists such as Dash Snow and Ryan McGinley. Brilliantly witty, shocking, poignant and nihilistic, his art presents a portrait of contemporary America and is, in part, an investigation into the act of producing and looking at art.
 

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Alongside significant early works such as Me, Jesus and the Children (2001–2003) – a photorealist painting of the artist’s chest, overlaid with cartoon cherubs and floating speech bubbles – the exhibition features paintings from Colen’s long-running ‘Gum’ and ‘Trash’ series. In the ‘Gum’ paintings, spots of brightly coloured chewing gum – usually only seen in the mouths of others or stuck to the soles of shoes – are layered onto the canvas as paint.
The ‘Trash’ works incorporate rubbish and discarded ephemera, the kind you would often encounter piled up in the street. Referencing Arte Povera, Abstract Expressionism and action painting, the trash is mixed with paint and used as an unwieldy brush to form shapes based on Raphael’s exalted Madonna and Child paintings. With their irreverent borrowing from art history and disruptive combination of abstraction and figuration, they are paintings about painting, paintings about belief.

 

The exhibition features four installations, in which Colen continues to appropriate and subvert imagery from the globalised mass media and American subcultures. In these installations, Colen’s examinations of masculinity and individuality are brought to the fore. The bloated, spent machismo of the American Dream is laid bare to reveal a deep-seated existential unease.

On the occasion of the exhibition, Colen states: “This show is the first time I’ve been able to present the full range of my work and the wide-ranging ideas, crafts, materials, technologies and processes that I engage with. The earliest piece in the exhibition was begun eleven days before 9/11 and the exhibition follows my intuitive trajectory over the last fifteen years, which has allowed me to consider the transforming power of art when it’s experienced in different moments and contexts. It also creates a perfect space for the viewer to settle in on my interests, which are sure but can be meaningless, often formless, striving for the inexplicable; which can be most felt in the negative spaces, the cracks, the holes and barely perceptible lines that are always there connecting all seemingly disparate things.”

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