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'Each Day, Artists are Becoming More Knowledgeable of Their True Worth': An Interview with Jonwayne. Feature: Karen Lynch — NOICE. Roland Topor. Vue de la sépulture. Biographie[modifier | modifier le code] Fils du peintre et sculpteur Abram Topor, le jeune Roland passe ses premières années à Paris, dans le 10e arrondissement, rue Corbeau (aujourd'hui rue Jacques-Louvel-Tessier), puis en Savoie où ses parents, immigrés polonais et juifs, se cachent de l'occupant nazi entre 1941 et 1945[1]. Topor étudie aux Beaux-Arts de Paris à partir de 1955 et réalise en 1958 la couverture de la revue Bizarre, ce qui constitue sa première publication[1]. Il est le frère de l'historienne Hélène d'Almeida-Topor et l'oncle de l'historien Fabrice d'Almeida. Topor et le cinéma[modifier | modifier le code] Il est acteur pour quelques seconds rôles, dans Celles qu'on n'a pas eues de Pascal Thomas, L'Araignée de satin, dans le film de Werner Herzog, Nosferatu, fantôme de la nuit, aux côtés d'Isabelle Adjani et de Klaus Kinski.

Autres collaborations (télévision, théâtre, etc.) Les dernières années[modifier | modifier le code] Prix[modifier | modifier le code]

SCIFI

Présence du Futur - Éditions Denoël - Littérature - Essais - Romans policiers - Science fiction - Romans graphiques. About Me - vigilism. Et si la chaotique Lagos était le terreau idéal pour rêver les villes de demain ? Le fond de l’air est jaune, rouge et vert, les trois couleurs qui symbolisent le continent que l’on dit noir. Il souffle ces derniers temps un vent revigorant qui chasse les mauvais nuages et colporte la bonne nouvelle : l’Afrique est le monde qui vient, elle interroge et séduit tout à la fois.

Après l’emprise de la vieille Europe, la domination du Nouveau Monde, l’ascension des dragons asiatiques, le temps de l’Afrique ne serait-il pas venu ? Nombreux sont les penseurs et les artistes qui jaugent le continent pour ce qu’il est et non ce qu’il devrait être, en référence à des prétendus modèles économiques prônés par d’autres. L’Afrique, on le sait, ne manque pas d’atouts : une population jeune et dynamique, des taux de croissance insolents, des ressources naturelles mirobolantes, un continent vaste, etc.

Audace et transgression Aujourd’hui, il expose ses œuvres tant dans les musées que dans des lieux insolites. Lire aussi : Ces « makers » qui refont le monde en 3D. How Jazz Saved Hip-Hop Again. Nothing more influential than rap musicI merge jazz fusion with the trap musicI mix black soul with some rock and rollThey never box me in. —Kendrick Lamar, “Black Friday” These lines, taken from a freestyle that Compton artist Kendrick Lamar released in late November 2015, land between a riff about what the White House would be like if Kanye West took over and a slick comparison of Lamar’s DNA to the psychedelic drug DMT. As usual, the rapper delivers a blast of quotable lyrics across the track, but it’s the above salvo that sharply sums up Lamar’s To Pimp a Butterfly—the 2015 album that garnered him a historic 11 Grammy nominations—and the small, tight-knit cast of L.A. jazz musicians who helped create it.

Saxophonist Kamasi Washington, producer and saxophonist Terrace Martin and bassist Stephen “Thundercat” Bruner are all second-generation musicians, now in their early to mid-30s, who grew up together in South Los Angeles. Martin met Lamar when the rapper was still in high school. Under the cherry blossom with Parisian artist Oko Ebombo. Oko Ebombo is a multi-disciplinary artist and Dazed 100 graduate. Raised in the 10th arrondissement of Paris, Ebombo’s first creative forays were in the world of dance, but his artistic practise extends to music (with his band 19), photography (he recently held an exhibition titled Okosexuel), and film (his Vizioneer project produces short films using a Super 8 camera). Ebombo was the subject of Spring Comes, a documentary by Samuel Rixon that followed the polymath’s determination to perform with 19 in the aftermath of the November 2015 terror attacks in Paris. 19’s style mixes soul, jazz, R&B, poetry, and movement, with Ebombo’s distinctive voice and unique aesthetic sensibility tying the strands together.

“I use this word to dedicate my love for the street,” Ebombo explains, “‘Iro’ is the street — the colour of the street.” The song and its new music video was written during his first visit to Japan. The 'Afrosupernatural' Art Of Leonardo Benzant Okayafrica. Leonardo Benzant and Paraphernalia Of The Urban Shaman M:5 (2012 – 2016). Courtesy of the artist. New York-based curator Dexter Wimberly is bringing the “afrosupernatural” art of Leonardo Benzant to the world. Born in New York City to Dominican parents, Benzant’s work straddles multiple realms: a Dominican childhood in New York and that of his Afro-Caribbean roots. The underpinnings of his sculptures and paintings are deeply rooted in his spiritual beliefs and ties to his Afro-Caribbean heritage.

For Wimberly, Benzant’s work is steeped in the dialogue surrounding what may be considered “African art.” His practice is driven by his connection to the trans African-Atlantic diaspora. Though his work has been seen in group shows around the country, an upcoming solo exhibition in Newark, New Jersey will mark the first time Benzant’s sculptures and paintings will be shown in one place. Afrosupernatural is the culmination of the curator and artist’s collaborative efforts over the years.

The Moroccans. "The Moroccans" is a series of life-sized photographic portraits shot in a mobile studio transported around Morocco. Tapping into my Moroccan heritage, I spent time staying with different communities to create photographs from the perspective of the participant observer, aiming for a more informed angle than an external documentarian might take. Rather than being objective, the series adopts the subjectivity of my own position as both an insider and native Moroccan, and simultaneously an outsider as the critically informed documentarian.

This hybrid position echoes the postcolonial correction that globally conscious contemporary artists are now mounting worldwide to counterpoint the tired exoticization of North Africa and the Arab region by Euro-American artists through history. Morocco has a specific position in this backstory of photographers using the culture – particularly elements from native costume and architecture – to construct their own fantasies of an exotic “other” world.

The Moroccans. Ai Weiwei sets up studio on Greek island to highlight plight of refugees | Art and design. Chinese artist Ai Weiwei has set up a studio on the Greek island of Lesbos to highlight the plight of refugees. The island has been the main point of entry into the EU for hundreds of thousands of refugees over the past year and the studio would produce several projects with themes related to the refugee crisis from him and his students, Ai told reporters. “As an artist, I have to relate to humanity’s struggles ... I never separate these situations from my art,” he said. The artist is as well-known for his clashes with the Chinese authorities as for his work. Ai praised the people of Lesbos for having a “very good understanding” of the refugees’ plight,their needs and for being “very helpful and very tolerant”, but emphasised they had limited resources to deal with the issue.

He praised the impressive work of several foreign non-governmental organisations, notably in the Netherlands, Norway and Spain. “The border is not in Lesbos, it really [is] in our minds and in our hearts ,” Ai said. J'ai choisi d'être un MC - Sciences Po Paris. The Escape to New Lagos, autumn/winter 2013/2014 collection was the first successful achievement of the Ikiré Jones label, led by Nigerian-born fashion designer Walé Oyédijé. The collection’s lookbook was illustrated by artist Olalekan Jeyfous, alias Vigilism, who transferred the smart, cosmopolitan Ikiré Jones man to a future scenario – Lagos in the year 2081. Titled Our Africa 2081 A.D., this was the label’s founding myth, which was projected into the future and has been developed further ever since.

So far, it has extended to other African metropolises: in six short, fantastically illustrated stories, scenarios unfold from Nairobi, Johannesburg and Lagos at the end of the 21st century. Whether utopian or dystopian, no single setting is completely invented, with a few realistic ties to the present. Each story has its own hero: they appear out of the blue in order to prevent the worst from happening – as in Nairobi, where they fight against omnipresent spying drones. Drake's 'Hotline Bling' Is a Song About Suburban Sprawl. Drake just dropped the video to his new “Hotline Bling” single, a poppy little jingle built around a sample of Timmy Thomas’ 1973 song “Why Can’t We Live Together” (or possibly D.R.A.M.’s “Cha Cha,” or any number of bachata hits).

Many mistakenly believe that the song is about a guy who’s distraught about his ex-girlfriend getting on with her life after a presumably bad breakup. That’s all a ruse. Clearly, Drake’s “Hotline Bling” is a metaphor for suburban sprawl, as evidenced by the fact that every other stanza begins with “Ever since I left the city… .” He’s building on the theme of Thomas’ song, which was about black and white people living together in harmony. Below is a full annotation of all of the “Hotline Bling” lyrics, as interpreted by a kid in the suburbs (hereafter referred to as “Kid Suburb”) who is the purported subject of the song.

You used to call me on my cellphone. Ever since I left the city you/ Got a reputation for yourself now/ Everybody knows and I feel left out. «Realness With a Twist» ou la double vie d'un vogueur. La culture vogue a désormais cinquante ans d’âge. Né dans les années 60, à la prison de Rikers Island, où les détenus passaient le temps en mimant outrageusement les poses des mannequins de papier glacé, le voguing a muté en mouvement chorégraphique au cours des années 80 au sein de la communauté gay et noire de New York. Popularisé par Madonna en 1990, le voguing a désormais d’autres porte-voix parmi la jeune garde musicale, de FKA Twigs à Christine & the Queens. sLe genre a trouvé plus qu’un écho à Paris, où des ballrooms s’organisent saison après saison dans des clubs, des salles de mariage, des gymnases.

Fêtes exubérantes, les balls servent de cadre à des compétitions où les meilleurs vogueurs s’affrontent et assoient leur réputation. Romain Cieutat, réalisateur parisien, documente la scène voguing parisienne depuis six ans. D’où vient le titre Realness With a Twist ? Comment avez-vous découvert la scène voguing ?

Je m’intéresse au mouvement et à la danse. Marie Ottavi.

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Apaache. Lori Nix.