SOMA GLASS WATER BOTTLES

Posted on 2016-08-29

Soma brings a novel borosilicate bottle to the table. Available in white, grey, eggplant and mint, this latest Soma Bottle holds 17 oz. and features a renewed lip design in addition to a soft silicone sleeve. Constructed with a natural bamboo cap, the bottle not only draws from renewable resources but also ensures leak-proof usage.

For every Soma Bottle purchased, a donation is made to charity: water, our nonprofit partner to support safe drinking water projects globally.

www.drinksoma.com

  

ODD NOSDAM – SISTERS REMIX EP

Posted on 2016-08-29

Kindred spirits Boards of Canada and Teebs make an appearance in dreamy collaboration with Odd Nosdam’s Sisters Remix EP. Throughout, the producers split time between cosmic, slow burning beats and reflective soundscapes littered with intriguing textures and mind-bending samples. Analogue sounds are generous and knowingly manipulated. Gorgeous samples are deployed, sturdy yet emotional. Cymbals explode.

leavingrecords.com

  

DJ SUPREME PRESENTS R.I.P REMIX

Posted on 2016-08-29

“R.I.P – Remix” from the Supreme Legacy Series.

Ft. Durrty Goodz, MysDiggi, DJ Stylewarz, Ramson BadBonez, Curoc (Son of Noise) and DJ Devastate (Demon Boyz)
Produced and Mixed by DJ Supreme
Mastered by Gavin Weiss

djsupremeuk.ecwid.com

  

DAN SCHEIN – WHERE DO WE DUMP THE BODIES?

Posted on 2016-08-29

For his first major solo show in New York, the thirty-year-old artist has created a series of darkly humorous paintings in a somber palette and with robust, fervid brushstrokes, as well as drawings scribbled in graphite. Influenced as much by boyish fables, graphic novels, and time spent in densely-wooded areas of Wisconsin, as by the paintings of Pieter Brueghel the Elder and Hieronymus Bosch, Schein’s compositions are intimate at the same time that they are vast. The subject matter is redolent – sometimes vaguely medieval, other times faintly biblical – and because of this, we find ourselves searching from painting to painting for a narrative that may never cohere.

Amongst the aesthetic and narrative obscurity, what we do find in every work is the acute sense that we are viewing a pregnant moment – that if there is a story, each painting depicts a major turning point. But we also get the feeling that Schein is poking fun at precisely that – the long-standing obsession in Art to capture an emotionally-charged, historically significant moment. In Man with Lantern for example, stormy skies and shadowy mountains set an awe-inspiring, Romantically Sublime stage. Front and center is a figure of heroic proportions, as tall as the tree beside him. Yet with his gangly frame, cartoonish eyes, and theatrically agape mouth, the man comes across as an antihero, more like a bearded metropolitan hipster in over his head on a hike, rather than a courageous, self-sufficient explorer. In the rest of Schein’s series, however, it is the apathetic state of the figures that is most disconcertingly comical. The characters, all brutish and indifferent, give the works an apocalyptic energy. All logic is left at the door, allowing for anachronistic amalgamations such as a woman in nature on a couch, in a reclined Hellenistic pose, beside a Grecian urn, completely nude except for a turquoise sneaker on her left foot, with a goat at her feet.

Opposite – Raft (2016)

Exhibition runs through to October 8th, 2016

Mike Weiss Gallery
520 West 24th Street
New York
NY 10011

www.mikeweissgallery.com

  

HARDING MEYER – THE OTHERS

Posted on 2016-08-29

Although he has occasionally painted three-quarter and even full-length figures, the works for which Harding Meyer is best known are por -traits of mass-media “models” whose faces are cropped in such a manner that focus is on the area between hairline and chin. When he left behind an earlier abstract phase by taking family photographs as a source of motifs, Meyer found ways of focalizing human physiognomy. “I didn’t have to look for models,” he recently re- flected. “I realized soon that painting an un- known person permitted me to be free to de- velop my own style.” 1 In deriving much of his
imagery from advertising, fashion magazines and the Internet, along with stills of television talk shows, Meyer demonstrates a certain affinity to Andy Warhol, who monumentalized and memorialized found imagery in his silk-screened paintings. One is perhaps tempted to think of Meyer’s portraits as giving his sub- jects the “fifteen minutes of fame” that Warhol had once promised. One can also view Meyer’s massmedia models from a radically different vantage point: as images rescued through art from the flood of visual information that threatens to engulf our perception of reality.

Opposite – o.T. (15-2016)

Exhibition runs through to November 5th, 2016

Galerie Voss
Mühlengasse 3
D-40213 Düsseldorf
Germany

www.galerievoss.de

  

DETROIT – TECHNO CITY

Posted on 2016-08-29

A studied look at the evolution and subsequent dispersion of Detroit Techno music. This term, coined in the 1980s, reflects the musical and social influences that informed early experiments in merging the sounds of synth-pop and disco with funk to create this distinct music genre.

For the first time in the UK, this exhibition charts a timeline of Detroit Techno music from its 1970s origins, continuing through to the early 1990s. The genre has its origins in the disco parties of Ken Collier with influence from local radio stations and DJs, such as Electrifying Mojo and The Wizard (aka Jeff Mills).

It explores how a generation was inspired to create a new kind of electronic music that was evidenced in the formative UK compilation Techno! The New Dance Sound of Detroit (10 Records, 1988). Using inexpensive analogue technology such as the Roland TR-808 and 909, DJs and producers including Juan Atkins, Blake Baxter, Eddie Fowlkes, Derrick May and Kevin Saunderson formed this seminal music genre.

Exhibition runs through to September 25th, 2016

The Mall
London
SW1Y 5AH

www.ica.org.uk