Thursday, August 27, 2015

V 30




... a criar bons momentos desde 1985 :)
A Vantag tem actualmente vários departamentos, identificados na barra
de menus.
O primeiro menu, GALERIA, informa-o (a) sobre as exposições e artistas,
a história da Vantag e itinerâncias (organizamos exposições no seu local).

A seguir, EDITORA, com serigrafias, a lithopass e mais obra gráfica
com destaque para a V. Graph - uma nova técnica de múltiplos
desenvolvida pela Vantag - o mini-poster e as colecções de postais

: a Loja define-se como design store & fashion, com marcas próprias.
O menu FOTO , apresenta os nossos serviços de fotografia comercial,
incluindo cursos, estúdio fotográfico, 
Art.Mobile e venda de arte online.

Segue-se + SERVIÇOS, com organização de eventos e filmes (curtas).

Finalmente + INFOS, com informação sobre encomendar, contactos e
ligações amigas.
E não esqueça: a arte tem sido um ótimo investimento a longo prazo.



Diana Vreeland

  • A documentary about the life of influential fashion writer and editor Diana Vreeland, directed by her grandaughter-in-law Lisa Immordino Vreeland, topped the fashion category in this year's Designs of the Year Awards (+ movie).

    Diana Vreeland: The Eye Has To Travel

    The film chronicles her rise from columnist at American fashion magazine Harper's Bazaar to editor-in-chief at Vogue and features interviews with fashion designers including Calvin Klein, Diane von Fürstenberg and Manolo Blahnik. Archive footage shows her reminiscing about key moments in her career and encapsulating highlights: "I wasn't a fashion editor, I was the one and only fashion editor!" she exclaims in one clip.

    Diana Vreeland: The Eye Has To Travel
    Throughout her working life, Vreeland championed an alternative view of beauty by accentuating models' flaws in editorial campaigns. She kick-started the careers of photographers, models and musicians deemed unconventional at the time such as David Bailey, Twiggy and Mick Jagger.
    Diana Vreeland: The Eye Has To Travel
    The cultural shift she instigated is documented through iconic photographs and page spreads from issues of Vogue during her eight years at its helm in the 1960s. Vreeland's celebrity status and famous companions as well as the strained relationships she had with her family are also touched on in the movie.
    Diana Vreeland: The Eye Has To Travel


    see trailer next -»-»-»



    parking sensors and headlights for a 3D-printed fashion collection

    ...will not be forgiven

    "Postmodernism will not be forgiven lightly for what it did to architectural culture"


    Pomo summer: Postmodernism is still shaping contemporary architecture, says Owen Hatherley, but its impact on social housing is an unforgivable legacy.

    Everything gets revived eventually. And when it gets revived, it gets applause from people who originally hated it. The list is long of architects and critics who now praise the "icons" of architects and critics who now praise the "icons" of the 1960s and lament the 'icons' of the 2000s, but would have been doing much the opposite 10 or 20 years ago.
    One thing that Postmodernists were and are most certainly right about is the fact that the culture of architecture is strangely unwilling to admit that what it does is massively determined by fashion. Postmodernists themselves have been hugely unfashionable during the 2000s, but a slow revival is obviously taking place, seen particularly on this site of late.
    It is, by the 20-year rule of revivals that seems to have pertained since the 1970s, obvious that Postmodernism's time has come. It's equally obvious that Postmodernist ideas either explicit (FAT and AOC being unabashed Venturi fans) or implicit (with such disparate firms as Caruso St John and Foreign Office Architects owing it a debt) are still shaping contemporary architecture.
    However, for some of us, Postmodernism will not be forgiven lightly for what it did to architectural culture from the 1970s onwards. So here's the case against forgiveness.
    First, there's several grounds on which it's silly, anachronistic or hypocritical to make Postmodernism into a pejorative. Decoration has been a part of 20th-century architecture even at its most apparently refined – as Postmodernists liked to point out, the I-Beams on Mies' towers had no structural role whatsoever. Already by the 1950s, such an apparent hardliner as Walter Gropius was off doing neo-Islamic domes in Baghdad and mid-century Ionic in Athens. The notion of a truly unmediated conjunction of form and function, if it ever existed, was probably limited by that point to some of the more banal, industrialised mass-housing estates.
    For the same reason, you can't indict Postmodernism for its historicism, when various Modernists, from Basil Spence to Giancarlo de Carlo, were quite happy to design in something approximating to the local "vernacular".
    Finally, commercialism, one of the usual things that Pomo is blamed for, had never really gone away, bar maybe for a few austere years in the second half of the 1940s. It was part of Modern architecture from very early on, in the so-called Reklamarchitektur ("advertising architecture") of Erich Mendelsohn's department stores and cinemas in 1920s Germany, which were major sources for the International Modernism of the 1930s and after. Rather, the problems with Pomo boil down to two linked constructions – historiographical and political.
    The thing that distinguishes Postmodernism from Mendelsohnian Reklamarchitektur, 1950s "local Modernism", 1960s Pop Architecture or the clearly totally anti-functionalist forms of Googie or Expressionism is a partly aesthetic, partly political favouring of leaving things as they are.
    If you read, say, Erich Mendelsohn on Times Square, he loves and talks up the dazzling spectacle of the neon advertisements (hated then, by most right-thinking intellectuals, as Vegas was in the 1970s), but he doesn't accept them. They might look fabulous at night, he points out, but they look awful in the daytime, when you can actually read them – depressing mixtures of adverts that treat you like an idiot and political slogans that aim to enforce that idiocy. He imagines that he'll do something different with neon, smooth it out and design buildings that incorporate it on their own terms. Which he did. When Venturi/Scott Brown looked at neon signs and billboards 50 years later, they were well aware of this precedent, and their way of differentiating themselves was to deliberately disavow critique. This is how it is, and it's "almost all right".

    This may have its virtues as sociology, perhaps, but it was dangerous nonetheless. By refusing to criticise the object world of ads, consumption and spectacle – in somewhere as exploitative as Las Vegas for God's sake! – they created an influential equation. Consumer choice is always authentic and good, and to argue otherwise is to be a snobbish aesthete.
    Defenders of Pomo who combine their liking for it with left-of-centre politics can point to the way that early Pomo was linked to local campaigns and ideas of "community architecture", against the collusion of big business and the state in places like Greenwich Village and Covent Garden. The architectural results of those events are pretty minor, but in the West Berlin IBA of 1987, Postmodernist ideas about streets, complexity, juxtaposition, decoration and context did result in some of the most interesting social housing schemes in a city already full of them.
    But there is a reason why Postmodernism and the Thatcher-Reagan revolution became so closely linked. Charles Jencks's inaugural manifesto-compendium on Postmodernism included within it a staged knife attack in Robin Hood Gardens, one of the social housing schemes written off therein as a social failure largely because of its design. A great way of intensifying the rationale behind a design choice was the old Ruskinian appeal to morality. Modernism meant bad concrete estates full of bad walkways and bad open spaces and a bad lack of ornament and tradition, which produced bad people committing bad crimes. If you think that's a reductio ad absurdum, read practically any book on architecture and planning published between 1975 and 1995. The results, for those in those apparently "bad" buildings, would be drastic. The new "common sense" was that their housing was so awful that it probably needed to be demolished – eventually, as you can see in, say, London's Cressingham Gardens, no matter how much residents insisted they liked their Modernist houses.
    It's not Postmodernist architects' fault that in most of the west, social housing stopped getting built at around the time their ideas came into fashion. However, the fate of Modernist social housing is partly their fault, in that they willingly gave the aesthetic alibi for a political campaign.
    You can try to imagine, if you like, a counterfactual where Pomo didn't mean dockside condos and bumptious HQs for big business but became a better kind of social architecture than Modernism could ever produce. Maybe the IBA came close to that. History, however, deals with what did happen. Overwhelmingly, Pomo ushered in a new wave of architectural determinism – worse than that of Modernism, to a large degree, in that an optimism about human beings, their intelligence and their civilised nature was replaced by an aesthetic which assumed that the most crucial point of intersection between aesthetics and users was the cash nexus. And if the plastic broken pediments and fibreglass Doric columns are gone, that spirit certainly outlives it.

    Owen Hatherley is a critic and author, focusing on architecture, politics and culture. His books include Militant Modernism (2009), A Guide to the New Ruins of Great Britain (2010), and A New Kind of Bleak: Journeys Through urban Britain (2012).

    China Stocks Follow Wall Street Rebound

    The Daily Beast


    China Stocks Follow Wall Street Rebound

    An investor looks at an electronic board showing stock information at a brokerage house in Beijing, August 27, 2015.
    Jason Lee/Reuters
    Asian financial markets were back up Thursday in response to Wall Street’s sharp rebound, allaying fears about a global market rout. China’s Shanghai Composite index, which has been the main source of concern, jumped 5.4 percent in the biggest one-day gain in nearly two months. European shares also surged, rallying on comments Wednesday by New York Fed President William Dudley, who suggested delaying a September interest-rate hike because of the turmoil. In New York early Thursday, futures indexes indicate another strong opening on Wall Street, a day after the Dow Jones Industrial Average bounced 619 points higher...
    Read it at The Wall Street Journal

    More From The Beast


    “Markets have for days been looking for some sort of positive cue and they seemed to get that from Dudley and the data, but it remains to be seen how long that shot in the arm will last,” said Paul Markham, an equity investor at asset manager Newton, which has $75.9 billion under management.
    Also Wednesday, European Central Bank chief economist Peter Praet said the risks of an extended period of very low inflation in Europe have intensified, which analysts said raised the chances of the central bank ramping up its stimulus.
    The central bankers’ comments came after China cut interest rates and flooded its banking system with new liquidity late Tuesday amid the stock rout.
    Investors will be watching for more clues from policy makers later Thursday when a conference of central bankers from around the world begins in Jackson Hole, Wyo.

    However, anyone hoping the event will shed more light on the likely path and timing of a U.S. rate rise could be disappointed, said Luke Bartholomew, a fixed income investor at Aberdeen Asset Management, ADN 2.21 % which has around $483 billion under management.
    “The Fed really doesn’t want to pin itself down to any particular date in the future because it needs to keep an eye on the economic data coming in and movements in financial markets,” he said.
    Emerging-market currencies that had fallen sharply earlier in the week regained some footing Thursday, helped by a rise in the price of oil.
    The Russian ruble, the Turkish lira and the South African rand all rose against the U.S. dollar. The Malaysian ringgit also rose against the buck after hitting fresh 17-year lows for the past five sessions.
    The euro fell 0.4% against the dollar to $1.1293. The dollar was steady against Japan’s yen at around ¥120.16.
    U.S. 10-year Treasury yields fell slightly as investors pulled back from the haven asset. The 10-year yield was recently down around 0.02 percentage point at 2.163%. Yields fall as bond prices rise.
    Brent crude was recently 3.8% higher at $44.92 a barrel. The price of the commodity fell Wednesday after U.S. stockpile data showed a surprise drop in gasoline demand and record supplies of crude oil and petroleum products.

    Write to Josie Cox at

    Blend History and Myth

    Photo Essays

    Atmospheric Photographs that Blend History and Myth

    From the series Petra. 2012
    Paolo Morello, from the series ‘Petra’ (2012)

    Italian photographer and photographic historian Paolo Morello infuses his images with lore. The subjects in his exhibition Upon Light, at St. Petersburg’s ROSPHOTO, include ancient trees and famous ruins that exist across vast planes of time; history is woven into each photograph.

    For example, Morello’s series Petra captures the ancient, rose-colored rock city in black and white. This color-free approach removes any identifiable markers of the modern era, thereby alluding to a history of Western exploration and colonialism. Petra, located in present-day Jordan, was populated as far back as the prehistoric era. It later became the capital city of the Nabatean kingdom, then a Hellenistic and Roman trading nexus. A UNESCO World Heritage Site, the city boasts an advanced water system and temples from traditions as diverse as the breadth of its inhabitants.

    But Morello’s photos, filled with misty light, capture something more elusive than Petra’s carved stone. They subtly contribute to the aura of the place, adding one more romanticized, imprecise visual record. Previously, Petra has been primarily photographed through the lens of exploration, colonialism, or architectural interest; however, Morello does not grapple with this context of documentation. His photos are more in the vein of prose, poetry, painting, and sculpture, capturing the place through a hazy filter of mystery and myth.

    From the series Petra. 2012
    Paolo Morello, from the series ‘Petra’ (2012)
    From the series Blown. 2014
    Paolo Morello, from the series ‘Blown’ (2014)
    From the series The Tale of the Banyan Tree. 2015
    Paolo Morello, from the series ‘The Tale of the Banyan Tree’ (2015)
    From the series Blown. 2014
    Paolo Morello, from the series ‘Blown’ (2014)
    Paolo Morello: Upon Light continues at ROSPHOTO (Bolshaya Morskaya ul., 35, St. Petersburg, Russia) through August 30.

    Get Hyperallergic in your Inbox!


    Upon Light - Paolo Morello 
    10.07.2015 - 30.08.2015 


    Personal exhibition of contemporary Italian photographer

    The State Museum and Exhibition Center ROSPHOTO
    with support from the Ministry of Culture of the Russian Federation
    presents the exhibition
    Paolo Morello. Upon Light

    10.07 – 30.08.2015
    Opening: July 9, 6 p.m.
    The Exhibition Hall of the Main Building, 2nd Floor
    After the exhibition opening at 6:30 p.m. artist talk with Paolo Morello will start in ROSPHOTO's conference hall.
    The State Museum and Exhibition Center ROSPHOTO presents a solo exhibition Upon Light by a contemporary Italian photographer Paolo Morello. The exhibition gathers together works from different series, realized over the past ten years. Greek myths, ancient tales, archaeological sites of the Mediterranean basin and the Middle East, and the never ending work of interpretation are the themes upon which photographic work of Paolo Morello is grounded. Many ancient myths show a great modernity and some seem to allude to present circumstances.

    The author believes that Sicily is still the land inhabited by the ancient Greeks. Series A Journey to Sicily is devoted to famous Mediterranean island, the land of the Cyclops, where Odysseus blinded the giant Polyphemus during his journey back home to Ithaca from the Trojan War. The series entitled Aphrodites Nostalgia takes as well its origins from an ancient myth, that of the goddess of love, and of her symbol, the shell. The shell was neither a symbol of her beauty, nor of her femininity, rather of her birth.

    In the series entitled In the Beginning Morello strove to compare some myths of creation, such as Hesiod’s Theogony and the Book of Genesis. He took from these myths some motifs, among them the ‘chaos’ – the primordial abyss – the Eden – the paradisiacal garden – the life which takes shape from the inchoate mud, the divine breath – the ‘alitus’ – and finally the coming to the surface of the Earth from the depths of the Ocean. Cosmogoniс myths were conceived as metaphors of the progressive widening of the consciousness. Photography too is an exercise of progressive understanding and appropriation within the boundaries of the knowledge. In Sanskrit, the verbs to see and to know have the same root: ‘vidya.’ .sp_ 105.13 06.mc_.sp_  111.04 01.NIT_.SP_  2102.015 02.mc_.alc_ 2342.11 05.def_

    A number of photographs is devoted to Petra, the ancient Nabatean capital, now in Jordan. Despite the worldwide fame of its rose-reddish sandstone, Morello decided to photograph its tombs and monuments in black and white in order to keep off the way it is usually represented in touristic postcards. The uniqueness of that site is primarily due to the relationship between nature, rocks and architecture. Photographer was inspired by the journals and the sketchbooks made by the Europeans who adventurously rediscovered Petra at the beginning of the 19th century, after many centuries of oblivion.

    The Tale of the Banyan Tree is dedicated to inextricable connection between the Sky and the Earth. In Sanskrit, the Banyan tree is called Nyagrodha, which means ‘that which grows downwards’. What makes it so monumental and moving is the framework of aerial roots, which, reaching the ground, become ancillary trunks, and help to support the weight of the foliage. If one considers the symbolical value of its rooting, one will discover in it the will to connect the top with the bottom. Leaves and roots depend on each other: without the latter, the former would die, and vice versa.

    Photographic historian, photographer, publisher, collector, and gallerist, Paolo Morello studied at the University Iuav of Venice, the Scuola Normale in Pisa and St John’s College in Oxford. From 1998 onward, he pursued and developed his career as a photographic historian. He taught Photography and History of Photography at the universities of Palermo, Bologna, Brescia, Verona, at the Università Ca’ Foscari in Venice, and others. Paolo Morello is the author of many seminal works on the history of photography in Italy. From 2001 to 2010 he was contributing editor of the magazine History of Photography, and from 1999 to 2011 he directed the Istituto Superiore per la Storia della Fotografia. In 2011, he founded Glint, a publishing company based in London, and in 2012 he founded Studio, a photographic gallery in Palermo.

    Front building exhibition hall 2nd floor
    Bol. Morskaya, 35



    Tate Gallery: Chocolates, música e cheiros para sentir os quadros

    Chocolates para conseguir sentir o sabor da pintura e música nos ouvidos que reflita o que está a acontecer nas obras de arte. É uma nova forma de experienciar arte na Tate Gallery, em Londres.

    Getty Images

    Ficar parado a olhar para um quadro do museu é coisa do passado. Pelo menos na nova exposição da Tate Gallery, em Londres. Uma nova experiência digital inclui um filme em que os objetos podem ser sentidos, um jogo de vídeo em que se podem tocar as pessoas e um e-mail que pode ser cheirado...

    Interactive art?


    Interactive art: 'dumb stunts' have gone too far

    Why art should not become a fairground attraction
    by Matthew Collings  |  25 August 2015
    Interactive art: 'dumb stunts' have gone too far
    An artist’s impression of how Carsten Höller’s slide will look when it is installed in the ArcelorMittal tower in east London

    Matthew Collings. Photo: mopcap
    Matthew Collings. Photo: mopcap

    Has the big interactive sculpture thing gone too far? From next spring, Anish Kapoor’s Olympic tower (its £22m construction cost was met mostly by Lakshmi Mittal, the billionaire steel magnate) will be converted into a gigantic slide, courtesy of Carsten Höller.

    It’s great to cheer folks up with dumb stunts, but the dumb aspect of spectacular conceptual art isn’t frankly acknowledged enough. It exists but we are not allowed to speak its name: we have to pretend it’s something more important. 

    At Holler’s current show at London’s Hayward Gallery, the only people over 25 are kindly guards and dutiful schoolteachers. First you have an experience of truly unpleasant claustrophobia. Then you trip out. And then you come down—down a slide. 

    There are pills to swallow, druggy giant toadstools to marvel at, goggles that make you see upside down, and you can be hung on a harness over a busy street. The awesomeness of the principle of cosmic unpredictability is symbolised by, wait for it, giant dice. Besides being stunned by literalism, it’s possible to be struck by Höller’s sadism, his contempt for the audience with his relational-aesthetic interactive activities, as if he’s a populist for the sake of seeing how far he can debase the populace.
    There’s a will to be falsely positive about bombastic art entertainment and, while celebrating its appeal to down-to-earth people, grant it powers that are out of this world. An interestingly hasty Artnews online report (which has since been corrected) stated the following about the forthcoming addition to Kapoor’s construction in east London: “For an affordable £5 ($7.80) entry fee, users will circle the tower five times before sliding down a 50-metre toboggan towards the ground. Not fit for the faint-hearted, the ride will take around 40 seconds to complete,
    with users reaching a speed of 15 miles a second.”

    Fifteen miles a second is 54,000 miles an hour. We might be reminded of that 1950s newsreel showing a man’s face distorted by g-force in an experiment in a wind tunnel. The earth’s core is only 4,000 miles away. You’d soon be there. In a little over seven hours, if the earth was at the correct angle—and who knows what conceptual art can’t do nowadays?—you’d go through the entire planet and reach the moon.

    Matthew Collings’s book Painting After Painting: a Violent Guide To Painting Now will be published next year by
    Thames & Hudson

    Interactive art: what's not to love?

    Banksy's former agent explains why experiential shows are so popular
    by Steve Lazarides  |  25.08.2015

    Interactive art: what's not to love?
    Carsten Höller at the Hayward Gallery, London

    Steve Lazarides. Photo: © Ian Cox
    Steve Lazarides. Photo: © Ian Cox

    I live for big, interactive exhibitions such as the slides that Carsten Höller recently installed at the Hayward Gallery. So I welcome the news that the artist is collaborating with Anish Kapoor to add the world’s longest tunnel slide to Britain’s tallest sculpture, Kapoor’s ArcelorMittal Orbit in the Queen Elizabeth Olympic Park.

    I started my career facilitating the insane shows of Banksy and followed this by organising events such as Hell’s Half Acre and the Minotaur in the dark tunnels under Waterloo station in London, in collaboration with Kevin Spacey’s Old Vic Theatre. Part art show, part theatre, part theme park, these were designed to engage the public who came to visit: you did not view them passively but experienced them by making your way through murky spaces to discover spectacular, often site-specific, creations.

    Next year, with the help of the events and festival firm Vision Nine and Knight Dragon, the company that is developing the Greenwich Peninsula, I’ll be staging my most ambitious event yet: Loki’s Playground, a temporary funfair designed by artists, on a ten-acre site next to the O2 arena in south-east London. There will be a wall of death, a carousel, shooting ranges, live music and gourmet street food.

    Artists love these events and they have a much wider appeal to the general public than your average gallery show. In fact, the only people who don’t seem to embrace them are those in the art world, particularly the critics, academics and other so-called intellectuals who are incredibly disparaging about such initiatives.

    One reason more people in the art world don’t facilitate these interactive, pleasurable shows is to do with money. The art world’s only interest nowadays seems to be making lots of it, and if something can’t be monetised, what’s the point?

    Despite this, an increasing number of artists are pushing the boundaries of what constitutes an exhibition. These are artists whose work is embraced by the general public—and this is no bad thing, particularly when museums and galleries are still seen as inherently elitist by many.

    Should we all just subscribe to the notion that something only constitutes a legitimate exhibition if it takes
    place within the confines of a white-walled, polished-concrete-floored gallery? Fuck that.

    Don’t get me wrong: I love museums, and the experience of contemplating Mark Rothko’s sublime paintings in silence at Tate Modern is irreplaceable. But surely there’s room for other, more interactive experiences with music, food, performance and fun thrown into the mix? One does not cancel out the other.

    I want to see more shows and fewer exhibitions; I want to see interesting events in which artists, dealers and gallerists take risks, both financial and conceptual, and push the boundaries. Yes, such events are incredibly challenging to stage, cost a fortune to put on, are hard to monetise and are frowned upon by the art-world hierarchy. But the general public flocks to them. What’s not to love?