REVOLUTIONART International Magazine - Issue 28

INTERNATIONAL MAGAZINE
ISSUE # 28
presents :
February - March 2011
myths
ISSN 2220-444X
and
legends
Published by:
Publicistas.Org
Contact Revolutionart:
Welcome to the first edition of different parts of the world.
hola@publicistas.org
2011.
Adventures, stories, fantasies,
This time we decided to avoid heroes and symbols of
Created by:
the end of year festivities unknown origin are presented
Nelson Medina
and begin in February with on the following pages,
nelson@publicistas.org
the first of our bimonthly reflecting important aspects of
Thanks to:
editions. After a well-deserved our shared history.
. Paul Matthaeus
rest, Revolutionart 28 arrives
. Jean Jacques André
bursting with talented
As always, we leave you with
. Brian Olsen
people, artists and creative the incredible special guests
. John Szabo
content. New music, short you will find inside, while we
. Benjamin Soehnel
films, gadgets, humor, trends, begin work on an explosive
. Paola Vázquez
interviews and dozens of new edition filed with energy
. Eduardo Mazzeo
contributors make this one that will be released in April:
. and our beloved
of the finest editions we have REVOLUTIONART - NUCLEAR
contributors
presented.
Have fun as you search for
inspiration.
Revolutionart has been

characterized since its earliest
All the contributor’s
days for addressing issues that
artworks are property of
affect humanity and are of
their respective owners and
global concern. In this context,
can’t be reproduced without
“Myths and Legends” is a
permission.
subject that pays homage
to stories of the imagination
All the editorial designs by
and fantasies which at one
RevolutionartStudios.com
time were believed to be
and can be hired.
real; legends that have been
created to frighten, dominate
All the creative ideas by
or inspire people.
Publicistas.org and can’t be
Nelson Medina
stolen.
We have transformed all Creative Director
this into a magazine that Publicistas.org
www.RevolutionartMagazine.com
© 2011 Publicistas.Org
investigates the visions of nelson@publicistas.org
REVOLUTIONART

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REVOLUTIONART
CONTRIBUTORS
Issue 28 - Myths and Legends
Abhijeet Shrivastava
India
David Bonilla
admitcard@gmail.com
Colombia
nrkid@hotmail.com
Ahmed
www.nrkid.tk
Tunisia
ahmed.ktata@laposte.net
DrFranken
Spain
Alejandra Coirini
nastplas@nastplas.com
Argentina
www.nastplas.com
mail@alecoirini.com.ar
Eleanor Leonne Bennett
Aluette Vega Ruiz
England
Cuba
eleanor.ellieonline@gmail.com
inbetweenlines@aluettevega.com
eleanorleonnebennett.zenfolio.com
www.aluettevega.com

Eva Anárion
Ann Morgan
Callum Murphy
France
United States
United Kingdom
eva-anarion@msn.com
a5m5morgan@yahoo.com
59graphics@gmail.com
www.myspace.com/eva_anarion
www.59uk.com
Antonella Antonioni
Crystal Herrera
Fernandez Martin
Italy
Carlos Alberto Castro
United States
Argentina
antonellaantonioni@yahoo.it
Colombia
dedsexygoddess@yahoo.com
ace_fernandez@hotmail.com
donbeto-06@hotmail.com
Brigitte Mercier
Daniel Streidt
Fernando Casas
France
Cristian Maza
Germany
Colombia
brigitte-mercier@wanadoo.fr
Venezuela
danstr@web.de
organicsenses@gmail.com
www.flickr.com/photos/bbpantone
cristian_noth@hotmail.com
www.streidt.com
www.organicgrafik.daportfolio.com

REVOLUTIONART
CONTRIBUTORS
Issue 28 - Myths and Legends
Filipe Chagas
Mario Ramos Mogollón
Brazil
Perú
contato@filipechagas.com
mario_dj7@hotmail.com
www.filipechagas.com
www.wix.com/mariorm7/website
Ghery Oyarce Ortiz
Mauro Drisas
Perú
Argentina
kuyayki@hotmail.com
maurodrisas@hotmail.com
www.ghery.jimdo.com
Mercia Heystek
Giannis Tsaganos
South Africa
Greece
James Cattlett
m.kiyoshii@gmail.com
basementartstudio@yahoo.gr
United States
www.wix.com/xxmercy/portfolio
jcattlett@gmail.com
Giorgio Pastafiglia
Igor Maric
Italy
Serbia
Miguel Villafuerte
Juan Carlos Vargas
ggerardo9@gmail.com
maric.space@gmail.com
Ecuador
Colombia
www.pastafiglia.it
www.collectedjunk.blogspot.com
alonso.miguel@hotmail.com
absolutjuanca@gmail.com
atodosladosaningunaparte.blogspot.com
Giovanni Tagliavini
Istvan Burka
Mario Heyer
Italy
Hungary
Milan Jovanovic JOFKE
Germany
gtagliavini@tiscalinet.it
burka.vanist@gmail.com
Serbia
www.exploding-art.de
www.arsvisiva.com/giovannitagliavini
www.burka77.daportfolio.com
jofke@nadlanu.com
foto@exploding-art.de
www.jofke.in.rs

REVOLUTIONART
CONTRIBUTORS
Issue 28 - Myths and Legends
Nikola Kneževic
Serbia
nikolasvajc@gmail.com
nksdesign.carbonmade.com
Niteesh Yadav
India
niteeshyadav22@gmail.com
Shawn Moore
ni30.blogspot.com
United States
Rhama Wahyu Adi Brata
Robot H3ro
shawnmoore@visualizecreateinspire.
Oscar Rodrigo Fuentes
Indonesia
Brazil
com
Chile
rhamaadibrata@gmail.com
robot-h3ro@hotmail.com
www.facebook.com/bLueprintmedia-
zerin_111@hotmail.com
ramoniturhama.blogspot.com
www.robot-h3ro.deviantart.com
design
Patricia van Dokkum
Ricardo Molina G.
Rodrigo Tapia
Srecko Radivojcevich
Germany
Ecuador
Chile
Serbia
kleckerlabor@googlemail.com
rfmg_diseno@hotmail.es
rodrigo.t82@gmail.com
srecko.radivojcevic_409@yahoo.com
www.kleckerlabor.blogspot.com
zeries.com.ec
www.be.net/sreckoradivojcevic
Scott Cooper
Quebrantahuesos
Rob
United States
Sujaya Lukmana
Uruguay
Australia
casacoopertx@satx.rr.com
Indonesia
mapeedu@hotmail.com
grantinks@netspace.net.au
www.scottdcooper.com
sujayalukman@yahoo.com
YOU CAN PARTICIPATE IN THE NEXT ISSUE !

Your
World

Everyone who sees Brian Olsen’s Art in Action is
affected by the show. Not just because he has a
talent no one else on the planet has. But to see
his show is to be a part of it — a part of something
truly creative.
BRIAN OLSEN’S ‘ART IN ACTION’
between painter and audience. And
BRINGS CREATIVE PROCESS LIVE ON
he never fails.
STAGE
“The reason I take art out of
With classic rock pounding, Brian
the studio and put it on stage
Olsen stands before a wall-size
is to get people to step back
canvas clutching up to six brushes
and capture a moment in time,”
at once, wielding them like a
says the Colorado based artist.
rock ‘n’ roll drummer. As furiously
“What I try to do is ignite a spark
wrought images of icons like Mick
in the audience, to give them a
Jagger and Marilyn Monroe emerge, moment of creativity in its purest
Olsen swivels and jumps, attacking
form.”
the portrait with fistfuls of paint.
The crowd goes wild.
The subjects of Olsen’s portraits
Welcome to Brian Olsen’s Art in
include famous musicians, movie
Action.
stars, sports heroes and legendary
leaders, painted on stage in a
Olsen is like no other painter
matter of minutes. His creations are
today. Contrary to the stereotype
choreographed, set to music, and
of the solitary artist holed up in a
executed with brash showmanship.
studio, Olsen makes art a shared
Through the experience of color,
experience. During an “Art in
music and movement, Olsen brings
Action” performance, Olsen seeks
audiences closer to a shared world
an exchange of creative energy
of art and imagination.

Olsen has taken “Art in Action”
to art festivals, as well as charity
and corporate events across
North America and beyond, from
Spain to China to the Middle East
and Australia. His appeal spans
cultural boundaries because, as
he says, “There are no special
effects. It’s just paint on canvas. I
have a diverse repertoire of over
50 subjects that relate to any
audience.”
Olsen began his career in 1998
as an assistant to the late Denny
Dent, the renowned painter who
pioneered the form. For six years,
he studied under Dent as a tour
Olsen says his art is merely a set up
and studio manager, during which
for his big takeaway: that everyone
time Olsen perfected the techniques
possesses the same creative
of performance painting. “This is
spark he draws on with every
painting with both hands at the
performance.
same time” Olsen says. “I had to
“The magic happens on stage,” he
learn how to develop my left hand.
says. “It’s just me, and it’s just one
Before I picked up the brushes,
shot. There’s a lot of energy and a
Denny had me do exercises. I would
lot of bounce-back between the
put my right hand in my pocket and
audience and me. But in the end it’s
go through the day and only use my
all about art in action!”
left hand.”

ARTIST BIO:
Brian Olsen’s Art In Action is an
Brian began his performance art
encouragement and guidance,
“The show was fabulous and
explosion
career in 1998 as the assistant
Brian Olsen launched his own
feedback was 100% positive. Given
A colorful display of paint, energy,
to renowned artist Denny Dent.
performance career. Brian’s Art in
that we hadn’t announced what the
music and passion.
He studied under Denny as his
Action is modeled after Denny’s,
entertainment was, it was not only
Using fingertips, palms, elbows and
Tour/Studio Manager and Art
but the repertoire is more diverse.
a huge surprise; the shock value of
up to three brushes in each hand,
Representative for over six years.
Brian’s recent work of Jerry Garcia,
Brian’s performance was wonderful.
Brian paints portraits of famous
During this period, Brian learned/
John Lennon, Marilyn Monroe and
The execution and timing were
people including musicians, sports
practiced the painting techniques
John Wayne had audiences “blown
flawless.” Motorola
figures, and top corporate heads
and performance style that Denny
away”.
on a four and a half by six foot
thrilled audiences with worldwide.
There is a simple message in Brian’s
canvas in just a matter of minutes.
Brian Olsen is the one and only
show: Be yourself, be creative, and
His creations are choreographed
protégé of Denny and his art form.
take chances. You never know what
PLAY THE VIDEO !
to music that is powerful and
“I have always been passionate
you might discover. But, whatever it
stimulates the senses. Brian’s
about art and the energy it can
is, do it with all your heart.
Art in Action is described as “an
release. My passion for painting,
emotional experience” taking his
especially the challenge of
audience through an amazing
portraits, grew from varied roots:
Recent Testimonials
journey of excitement, suspense,
photography in Hawaii to landscape
cheer, and surprise. His ability to
design in college (of all things).
“People are still talking about
captivate his audience and share
But it was Denny Dent who put it
Brian’s performance at our January
the experience of color, music, and
all together for me. He showed me
AT&T Sales Kick-off in Atlanta,
action is a way to bring people into
how he used the SHOW part of
he was quite a hit! In fact, I was
the world of art and creativity. It is
the performance to drive home the
meeting with our Sales President,
BRIAN OLSEN
art in action
a new artform that brings people
real message of personal creativity,
who has the Morrison portrait
Media Contact: Lobeline Communications
together to share the explosion
and how to let the music and
hanging in his office and mentioned
310 -271-1551
tony@lobeline.com, phil@lobeline.com,
of art and stir up the personal
audience drive the process to the
he wanted to send Brian a personal
chris@lobeline.com
creativity we all have within.
dramatic conclusion.” With Denny’s
note.” AT&T

REVOLUTIONART MAGAZINE
FIGHTING AGAINST
NS
THE ARTISTI
S C FA
C F S
A CI
S SM

C U R R E N T T H E M E :
MYTHS AND LEGENDS

- issue 28
James Cattlett - United States

- issue 28
James Cattlett - United States
- issue 28
James Cattlett - United States

- issue 28
James Cattlett - United States

INTERVIEW WITH
JEAN JACQUES ANDRÉ
THE MYTHICAL ARTIST
INTERVIEW WITH JEAN JACQUES ANDRÉ
Canada
www. jjandre-ca.com
January 2011
By Nelson Medina
nelson@publicistas.org
© Artworks by Jean Jacques André

Is there an
emotional
connection
between you and
your work?
I strongly believe there is an
emotional connection to my
work otherwise I would be
painting or photographing
apples and oranges.
In your most recent
works one can see
a lovely evolution
in terms of both
style and direction.
What kinds of
experiences have
led you to forge
the personal style
with which you are
identified?
I think there is more than
one thing involved beside
experiences. The first which
has contributed to the
greatest freedom of dark
room manipulation is of
course Photoshop. That

has provided the means to a
major growth in style. As for
the experiences they grow
from three fundamental
factors: First is the idea, the
concept I wish to develop into
a photograph or a painting.
Second is the hunt for the right
prop, location, background
etc., and the third of course is
the model, the right person to
fit the intended mood.

What is interesting to note
is that these factors do not
necessarily follow in the same
sequence. Often the setting
will trigger the idea and at
times it will be the model
herself. I find with the aging
process advancing that I enjoy
implanting touches of humour
here and there. One can get too
serious for too long, so even
myths and legends have fallen
at times to the freedom of my
own interpretation (i.e. Little
Red Riding Hood).

Tell me about the
process through
which you produce
the most complex
scenes in your
work?
The process is in the
planning, which I consider
the most fun and creative
part of the entire sequence
of the work. It usually
begins with a series of quick
sketches to formulate the
idea followed by the search
for the background elements,
which can be numerous, sky
objects, buildings, textures,
etc.… and then the model
to fit the intended mood.
Most montages are done in
several versions until I am
temporarily satisfied. I say
“temporarily” because only
a few montages survive the
test of time.

How are the models
integrated into
your work? Do
they identify with
what you do, or
do they simply pose
following your
instructions?
Models are the soul of the
image. They are the eternal
cliché muse which can adapt
or be adapted to a particular
situation. Virtually all my
models are, or have been
amateurs, but the ones with
stage experience, dancing, or
yoga, outperform the others
because a sitting becomes
an acting role, a stage play
which they enjoy.
Before a sitting the model
and I go carefully through
the notes and sketches I have
prepared well ahead of time.
This establishes mood, poses,
and lighting as the guidelines

to follow with encouragement
to add input and spontaneity
to the basic concept. What
this accomplishes is that if
there is a blank, as “what do
you want me to do next?” as
it happened only once long
ago, we fall back on the “work
plan”. What that does also,
is that it eliminates surprises
or possible difficult poses the
model would be reluctant to
do if directed to do so without
previous warning or consent.
(Not all models are gymnasts!)

I notice the
religion or belief, or even
religious, divine
superstition, including from
and ritual elements Egypt to the gods of Greece
you have included
and Rome, Eve, the Garden
in many of your
of Eden, purgatory or hell….
photomontages. Do
you have some kind
of connection with
these sources of
inspiration?
With what type
I have no religious
of light do
you currently
connections except a
photograph the
“normal” very liberal
models?
upbringing as a young
Catholic in France, which
The simplest, the best
was shattered upon my
— daylight, window or
arrival in Canada as an
skylight, or outdoors.
immigrant. I respect
Sometimes a tungsten kick
and admire all religions
spot, but never, ever the
but abhor fanaticism or
flash on camera!! So many
intolerance. So to answer
photos of potentially superb
your question I have a great
models have been spoiled by
admiration for what has
the indiscriminate use of the
been created in the name of
“flash fill-in!”

If you had to
photograph with
the minimum
amount of
equipment, what
would you choose?
One hand held SLR (digital
now), an enthusiastic model,
and daylight. If at night,
ordinary incandescent light
sources.
What do you
think of the
changing aesthetic
surrounding the
artistic nude in
recent times?
In my view, it is
disappointing, shocking
to see a spiral dive into
pornography where
“artistic” nudity is not
even present. Fortunately
there are some outstanding
new photographers, in
particular from Russia

and Eastern Europe, who
bring sensitivity, humour,
and often technical
perfection into their work.
Also disappointing is the
“mutilation” of the body,
tattoos, body piercing, nose
rings, shaved pubic area.
What next? Where are you
beautiful creatures in your
true selves?
The current theme
of Revolutionart
is “Myths and
Legends”. In what
way have these
elements been
integrated into
your creativity?
Coincidently myths and
legends have been the first
and foremost gallery on
my web site. To go back
to roots, my father was a

symbolist painter and I
grew up surrounded by
“myths” and “legends”
from Siegfried, Tristan and
Isolde, Prometheus, etc.…
The Opera was another
forced source of inspiration
that I was to attend from
age seven to twelve. I hated
it, but it did leave its mark
in a beneficial way. Caving,
diving, exploring castles,
canyons, and ruins all added
fuel to my imagination,
and the challenge of their
interpretation.
Thank you JJ !

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David Bonilla - Colombia

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Callum Murphy - United Kingdom
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Callum Murphy - United Kingdom

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Abhijeet Shrivastava - India

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Daniel Streidt - Germany
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Daniel Streidt - Germany

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Giorgio Pastafiglia - Italy
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Giorgio Pastafiglia - Italy

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Giorgio Pastafiglia - Italy

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Istvan Burka - Hungary

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Antonella Antonioni - Italy

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Mario Heyer - Germany

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Mario Heyer - Germany
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Mario Heyer - Germany

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Mario Heyer - Germany

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Crystal Herrera - United States

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Carlos Alberto Castro - Colombia
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Carlos Alberto Castro - Colombia

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Ahmed - Tunisia
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Alejandra Coirini - Argentina

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Giovanni Tagliavini - Italy

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Igor Maric - Serbia
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Miguel Villafuerte - Ecuador

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Cristian Maza - Venezuela

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Aluette Vega Ruiz - Cuba
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DrFranken - Spain

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Ann Morgan - United States

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Giannis Tsaganos - Greece
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Filipe Chagas - Brazil

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Eleanor Leonne Bennett - England

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Eleanor Leonne Bennett - England
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Eva Anárion - France

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Fernandez Martin - Argentina

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Fernando Casas - Colombia

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Robot H3ro - Brazil

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Niteesh Yadav - India

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Niteesh Yadav - India
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Giannis Tsaganos - Greece

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Juan Carlos Vargas - Colombia

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Mario Ramos Mogollón - Perú

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Nikola Kneževic - Serbia
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Rob - Australia

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Mauro Drisas - Argentina

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Mercia Heystek - South Africa

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Mercier - France

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Jofke - Serbia

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Oscar Rodrigo Fuentes - Chile

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Rhama Wahyu Adi Brata - Indonesia
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Scott Cooper - United States

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Patricia Van Dokkum - Germany

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Quebrantahuesos - Uruguay

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Ricardo Molina - Ecuador

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Ghery Oyarce Ortiz - Perú

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Rodrigo Tapia - Chile

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Rodrigo Tapia - Chile
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Rodrigo Tapia - Chile

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Rodrigo Tapia - Chile

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Shawn Moore - United States

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Srecko Radivojcevich - Serbia

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Sujaya Lukmana - Indonesia

END OF
CONTRIBUTIONS
READ THE LAST PAGE TO SEE HOW TO PARTICIPATE IN THE NEXT EXITION

With a remarkable portfolio of work,
our guest has worked on series such as
House, Six Feet Under, Nip/Tuck, Dexter
and True Blood. His creative output
has garnered 11 Emmy nominations.
Festivals like One Show, Clio, New York
Festivals and dozens of other awards
form part of the career of the talented
creative individual who joins us for this
edition of Revolutionart Magazine. We
present Paul Matthaeus…

INTERVIEW WITH
PAUL MATTHAEUS
AS SEEN ON TV
INTERVIEW WITH PAUL MATTHAEUS
United States
www.paulmatthaeus.com
January 2011
By Nelson Medina
nelson@publicistas.org
© Images used under permission

Hello Paul and thank you for taking
the time to do this interview.
Of all the work you have produced,
which one has had the greatest
impact on your life?
The main titles to Six Feet Under. This marked
my shift into pure visual narratives, rather
than filmmaking for general advertising. It
also marked a shift for the TV industry away
from star-driven “turn-and-look” main titles.
Suddenly broadcast execs saw the potential
in expanding the meaning of their franchise
brands. The main titles for Six Feet Under forced
viewers to enter each episode from a more
reflective, existential point-of-view, rather than
a literal replay of the series.

When you were starting
out, what were your
greatest sources of
training and inspiration?
Fine art photographers. Albeit,
many represented a very staid
approach to the art form like Group
f/64-- treating photography more
as a discipline of craft rather than
expressionist art form. I identified
most with photographers that
were manipulating imagery,
like Jerry Uelsmann and Todd
Walker. In fact, I collaborated
with Uelsmann on Steven King’s
Kingdom Hospital main titles,
and his wife on Ghost Whisperer.

Tell us a little about
your company
DIGITALKITCHEN. What
are its daily operations
and what are the goals
for the future?
DIGITALKITCHEN
is
transforming itself into a full-
blown digital agency, focusing
more heavily on direct-to-client
projects designed to elevate
and expand profile in the
digital age. This means moving
more towards viral films,
environmental installations and
cross-platform campaigns-- and
away from pure entertainment
and standard :30 TV spots for
other ad agencies. A great
expression of this transformation
is in the lobby and branding for
the Cosmopolitan in Las Vegas.

What is a day in the life of Paul Matthaeus like?
I’ve stepped out of the day-to-day management of DK’s
creative product, and am focusing once again, on breaking
some new ground-- this time in transmedia storytelling for
entertainment. It requires a lot of patience: a tidal shift in the
way we tell our stories means a lot of small steps at the pace
of tectonic plates. If it can be cracked, it will mean a lot for
the industry.

Beyond work and projects,
what other things take up
your time and what are you
passionate about?
My family of course. I’d like my
kids to pursue whatever energizes
them. It’s the hardest thing to
accomplish in life. We make a lot
of compromises in an effort to live
a 21st century lifestyle. Sometime
I’d like to explore the Pacific
Northwest’s inside passage-- the
largest archipelago in North
America-- and my backyard.

With the ever-growing
importance of the internet in
our lives, how do you see the
future of interactive publicity?
It’s all about engagement across platforms
(TV, mobile, internet, environmental).

Convergence is a huge shift, and we’ve
just begun to shift the way we produce
content to adapt to this new landscape.
There’s so much more to discover.

Do you see yourself more
as a publicist or a film
maker?
Filmmaker, who can think like a
publicist.

You have had a long career filled
with projects and achievements.
Do you think you might stop at
some point and devote yourself
to something else, or are you
chasing some kind of goal as an
audiovisual communicator?
I do enjoy mentoring the next wave of
professionals. I have yet to find the perfect
outlet for that.

During the first season of House,
the musical introduction included
a flute that lent it a very human
touch. Then the music was
altered for the following seasons.
What lies behind these kinds of
changes and what are creative
negotiations with clients usually
like?
Regarding the music for House-- I have no
clue, I wasn’t part of it. Bryan Singer came
to me with the music initially, and frankly
I loved it. It could lie in the personal taste
of a creator or showrunner, or be a rights
and permissions issue with the composer.
I believe the original piece was a Massive
Attack composition, so the artists might
have played a role.

If you were to embark upon a
final big project in your life, with
a big budget, what would you like
that project to be?
I’d like to contribute to another
fundamental shift in filmmaking for
entertainment. The desktop digital
revolution change the fundamental center
of gravity of filmmaking for short form
content. DK was like a rock band in the
early days with a huge sense of cross-
disciplined invention-- focusing on how
and where picture, graphics, editorial and
music coalesce. I’d like to be a part of this
sensibility permeating serial TV and feature
work.
Thank you Paul !

BELGIUM
ANDERLECHT
BRUXELLES
EVERE
FOREST
LIÉGE
MECHELEN
MOLENBEEK
NANINNE
ROESELARE
SINT-NIKLAAS
ST GILLES
WAREGEM
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MODELS
+

V I C T O R
Photographer: Víctor Arteaga
Country: Perú
Website: www.p4t.com.pe
www.cincouno.com/victor-arteaga
Lighting: Carlos Quiroz
Make-up and hair styling: Osly Pinedo
Costume design: Brenda Vizarreta, Yoselin Morote,
Miluska Guerrero, Any Guibert
Production: P4T

L A U R A
Photographer : Laura Rios Prada
Country : Perú
Models : Adriana Benito / Areliz Benel / Lady Salva /
Jasmin Ruiz Castañón
Website : www.laurarip.com

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I traveled from Laguna
it was not bird shit but “pi-
Beach, California recently to
geon droppings.” She told
the Frieze Art Fair in London,
me to read the statement of
to view what many art crit-
purpose on the wall before
What is
ics and scholars consider the
asking more questions.
finest contemporary art in the
I asked 50 people leaving the
world, by living artists, rep-
Frieze Art Show, attended by

by John Szabo
Art?
resented by over 150 presti-
more than 60,000 over four
gious art galleries.
days: “How would you rate
Soon after entering the fair, I
your overall experience of
literally stumbled upon an in-
the show as far your relat-
stallation piece consisting of
ing to, being engaged by
a pile of dirty socks, to which
and enjoyment of the art you
I returned and discreetly
viewed on a scale of 1-10; 10
What is Art is as Relevant a Question in 2011 as it
added my dirty left sock.
representing the highest level
was in 1896 when Tolstoy Published “What is Art?”
My addition to the piece was
of enjoyment?” The average
still there the next day when
was 4.5. I estimate, based on
In 2011 the question of what
feelings and also experienc-
I returned to give the show
conversations with attendees
is art remains as relevant as it
ing them.”
another chance this time
of other respected art shows,
did in 1896 when Leo Tolstoy
What would Tolstoy think
discovering a real gem; seven
this number would be lower
published his seminal 132
of artists selling perishable
canvases splattered with bird
at these other art venues, as
page essay “What is Art?” on
recreations of stocked medi-
shit.
many art aficionados and
the aesthetics of art in which
cine cabinets for 19.2 million
I was corrected by a woman,
even art insiders, simply can’t
he wrote: “Art consists in one
or giant balloon sculptures
from the gallery that had
relate to and are not emotion-
human consciously convey-
made of stainless steel fin-
brought this masterpiece to
ally or intellectually engaged
ing to others, by certain
ished in mirror-like colors for
Frieze, who barely glanced
by the art.
external signs, the feelings he
25.7 million; all backed by
up from her ipad when I
Leading art critics and histori-
has experienced, and in oth-
international PR, marketing
asked the meaning of the
ans continue to question the
ers being affected by those
and sales campaigns?
work, and was corrected that
value of defining what is art.

“More or less anything can
of experiencing the emotion
pret my art in terms of their
be designated as art” accord-
which moved the man who
unique life experiences.
ing to art historian Thomas
expressed it.”
Later that evening, in a mo-
McEvilley and Arthur Danto,
The attitude from much of
ment of Déjà vu, I returned
professor of philosophy at
the art establishment, includ-
to a previously forgotten visit
Columbia University believes,
ing top art galleries, is that
of Harlem, many years ear-
“You can’t say something’s
if you don’t appreciate the
lier, and the real motivation
art or not art anymore. “
art, you don’t understand it,
behind “Windows II” thanks
I left London convinced that
and you best go home and
to a couple from New York
to ponder what is art is the
educate yourself because
City.
wrong question. It seems al-
they are too busy to explain
most anything and everything
to you the obvious. Great
is considered art today and
business plan to build your
that the more germane ques-
customer base at a time when
tion is what constitutes great
art is viewed as the ultimate
or even good art.
unnecessary indulgence.
Tolstoy concluded in his
At an art opening a few years
“What is Art?” essay: “In
ago I overheard a conversa-
order to define art, it is nec-
tion between a couple from
essary, first of all, to cease
New York City convinced
About the author:
to consider it as a means to
one of my paintings “Win-
John Szabo is a painter and writer living in Southern California. He has had feature length
pleasure and to consider it as
dows II” was an abstract
pieces published in The Los Angeles Times and The San Francisco Chronicle among
one of the conditions of hu-
of a particularly colorful
other publications. He has had art shows at leading galleries including Marion Meyer
man life. “ He expanded,“…
intersection of buildings in
Contemporary Art in Laguna Beach, CA, The Santa Monica Art Studios, at The Santa Monica
the activity of art is based on
Harlem. Instantly the gallery
Airport, CA and Bergamot Station in Santa Monica. His art has been reviewed in ArtNews,
the fact that a man, receiving
saleswoman interrupted and
The Art Scene and The Los Angeles Times. His paintings are included in the permanent
collections of: The Los Angeles County Museum of Modern Art and The Museum of
through his sense of hearing
began lecturing about the
Contemporary Art, Los Angeles along with The Ritz Carlton Hotel, Dana Point, CA. Szabo
or sight another man’s ex-
correct back-story, denying
earned his MA in Journalism, with a concentration in Reporting The Arts, at The Ernie Pyle
pression of feeling, is capable
them to experience and inter-
School of Journalism at Indiana University.

DONDE LOS PUBLICISTAS
HABLAMOS DE PUBLICIDAD
W W W. P U B L I C I S T A S . O R G

MUSIC

INTERVIEW WITH
UNITOPIA
INTERVIEW WITH UNITOPIA
Australia
www.unitopiamusic.com
December 2010
By Eduardo Mazzeo
hola@publicistas.org
© Artworks by Ed Unitsky

Mark Trueack
Sean Timms
Matt Williams
David Hopgood
Tim Irrgang
Craig Kelly
(Lead and backing
(Keyboards, lap
(Electric and
(Drums)
(Tuned and
(bass)
vocals)
steel & acoustic
acoustic guitars,
untuned
guitars, backing
backing vocals)
percussion)
vocals, mandolin)

What the band decided
“Tesla”, in a little over
signatures and various styles this is
more like Progressive Fusion, as you
to write about Tesla and
13 minutes, the band
what we like to do when we are telling
will hear in future projects, we are still
such was the challenge
shows its full potential.
stories.
evolving and want to continue to do
of representing a life
How is the composition
so!
so full of studies and
and arrangement a piece
How would you define
summarize it in a song?
of music so complex, with
musically this song?
You can hear several
notorious changes in
additional instruments,
As part of the Artificial concept we
rhythm and instrumental
Composed of various musical genres
orchestral, extra band,
wanted to write about some of the
multiplicity?
(rock, prog, jazz, rhythmic influences
right? Who else involved
great inventors of the world, and to us
from various countries), but that at
in this execution?
Tesla was the one that needed more
Sean and I wanted to have complex
the same time form a whole and
attention, we wanted to show the
arrangements that would complement
not a summation of different things.
Yes we have access to many musicians,
romance of the man and his work. I
the mans work, the instrumental
Most of what Unitopia does is based
including the Adelaide Arts Orchestra
think the music certainly brings a new
arrangements have many different
on various musical genres, we don’t
(featured on More than a Dream
meaning to what the man was about.
aspects to them by way of time
really see ourselves as progressive rock
album) however with the Garden and

Artificial we used the string section
Ed, between music and
Our Opinion of Ed is quite obvious, he
Anything you want to
from the Adelaide Symphony Orchestra
graphic art?
understands the music and he enjoys
add?
lead by Carolyn lamb and sometimes
what we do, so it makes his job a
we add several other musicians who
Well Ed and I do most of the
lot easier, We have several projects
I would like to thank you and your
are masters of the instruments, like
negotiation, and we do it well
coming up in 2011 and we look
team for this interview, and look
French horns, or Harpists depending
considering he does not speak english
forward to his great input
forward to meeting you someday, in
on the song and arrangement .
very well. Getting him to do the
the meantime watch out for 3new
narration of tesla was easy, (it was
projects next year More than a Dream
meant to be) Everyone who makes
Would you anticipate
Double Deluxe version, Covered Mirror
The band excels in music,
contact with Ed’s work falls in love, he
coming projects or work,
(Concept album) and More than a
and also has a graphic
is a genius !
musically, as a graphic
Garden of Songs Tour 4 disc pack
art class, by Ed Unitsky,
art?
Bluray/DVD
who also does the intro
Cheers Truey (Mark Trueack)
to the story of Tesla.
What is the opinion of
I think Visions of Eds work
How is the feedback
Ed, about their jobs?
complement the music, in a similar
between the Band and
way to Roger Dean and Yes

UNITOPIA
Style: Classic / Progressive / Rock
Country: Australia
Hear: www.unitopiamusic.com

www.myspace.com/unitopiaband

music
PROSECTURA
Style: Punk
Do you have a music project? Send your project’s name, country, style, a
picture and a direct link to hear you music to hola@publicistas.org with the
Country: Hungary
subject “MUSIC”.
Hear: www.myspace.com/prosectura1
Click on the links to hear some cool music from around the world :
TIZIANO MILANI
EFTEKASAT
Style: electroacoustic/experimental
Style: Jazz fusion / World music
Country: Italy
Country: Egypt
Hear: www.myspace.com/milanitiziano
Hear: www.myspace.com/eftekasat
BASSIDA
JORGE RANGEL
Style: Funk / Soul / Hip Hop
Style: Electronic / Experimental
Country : Denmark
Country : México
Hear: www.myspace.com/girlonbass
Hear: www.music.jrangel.net
WINTERHORDE
JAWAIKA
Style: BlackMetal / Metal / Progressive
Style: Reggae
Country: Israel
Country: Indonesia
Hear: www.myspace.com/winterhorde
Hear: www.jawaika.co.nr

music
RASTRELLI CELLO QUARTET
Style: Classical / Jazz / Rock
Country: Germany
Hear: www.myspace.com/rastrelli
RAVEN TIDE
THE RABBLE
Style: Gothic / Metal / Electronica
Style: Alternative / Punk / Rock
Country: Italy
Country: New Zealand
Hear: www.myspace.com/raventide
Hear: www.myspace.com/therabble
MOONLYN
NERVECELL
Style: Alternative / Electronica / Powerpop
Style: Death Metal / Trash
Country : Canada
Country : United Arab Emirates
Hear: www.myspace.com/moonlynmusic
Hear: www.myspace.com/nervecell
GOV’T MULE
MOKUME
Style: Blues / Jam Band / Rock
Style: Blues / Garage / Rock
Country: United States
Country: Japan
Hear: www.myspace.com/govtmule
Hear: www.myspace.com/mokume

Six Feet Under and True Blood,
with rave reviews. Of their first
and thought he might be a good
show, Spin magazine comments,
fit for the project.
“. . . the reconfigured Alice in
Matthaeus had worked with
Chains have proven shockingly vi-
Blank’s Hougham and Daniels
tal.”
on and off for the last 15 years,
About.com described Alice as,
at Digital Kitchen, the company
“. . . one of the few instances when
he founded. Daniels was a staff
a band picks up where it left off
Creative Director at DK, and
and manages to produce an inten-
Hougham, a freelancer with a 10+
sity and focus that rivals its hey-
year history with the company.
day.” Alice in Chains started their
“Needless to say, we were famil-
19-city arena tour on September
iar with how Matthaeus runs his
16 at the Charter One Pavilion in
projects,” remarked Blank’s Bobby
Chicago.
Hougham. “The great thing about
Paul is his ability to collaborate like
Preview uncensored video here:
Emmy-winning Director and Seattle motion design studio team to produce provocative
none other,” commented Sevrin
stop-motion music video for stage, web and broadcast.
Daniels. “Bobby and I had a lot of
latitude to contribute to the direc-
Shot entirely with digital SLR cam-
Blank Design. Using physical lac-
tion of the piece, which was re-
eras in an abandoned Seattle fac-
erations as a metaphor for lessons
freshing.” According to Matthae-
tory, Alice in Chains’ new video is
learned, a young man and woman
us, both Daniels and Hougham
over 6,000 separate still pictures
plummet through a derelict indus-
help shoulder directorial duties.
stitched together, forging a decid-
trial building. Tattered clothes dis-
“I firmly believe in a shared au-
edly intense visual language for
solve off, revealing wounds that
teurship, and this project was
the Seattle grunge icons. Lesson
symbolize emotional learning. The
no exception,” said Matthaeus.
Learned is the eighth cut on Black
video was shot entirely as a stop-
The project required five days of
Credits:
Gives Way to Blue, the first album
frame animation, but with live
shooting, meticulously animating
release since the tragic death of
actors on-set using Canon 5D digi-
dirt and prosthetic scars in-cam-
Paul Matthaeus, concept / director
vocalist Layne Staley. The new Al-
tal SLRs.
era as the foundation for visual ef-
Sevrin Daniels (Blank Design), co-direc-
ice in Chains album was released
“The band wanted something
fects. Then Hougham and Daniels
tor, design, visual effects and animation
by Virgin/EMI, making it the
volatile to launch their first arena
finished the piece with animation,
Bobby Hougham (Blank Design), co-di-
band’s first label change in its 20-
tour—something that reflects the
compositing and digital effects,
rector, design, visual effects and anima-
plus year career.
raw texture unique to the Alice
produced entirely in their Pike
tion
The visual treatment was con-
sound,” commented Matthaeus.
Place studio.
Randy Lafollette, Producer
ceived and directed by Paul Mat-
Some of the band members knew
The band has integrated a signifi-
Blank, Production Company
thaeus, and produced with Bobby
of Matthaeus’ filmmaking from
cant portion of the work into their
Doug Hostetter, Director of Photography
Hougham and Sevrin Daniels of
his groundbreaking main titles for
stage show, which has been met

THE THING IN THE
CRASH! BANG! WALLOW?
DISTANCE
Click to watch the film
Click to watch the film
Crash! Bang! Wallow? is the tale of ex-stuntman
Two friends are disturbed when a shadow
Larry LeTan and his fight to find a place in
appears in front of their home. Paranoia
modern world. At the height of his career Larry
and nightmares begins.
rubbed shoulders with Hollywood superstars
of the 80s. Winner of the 2010 NFB Short Film
Corner Competition.

ORLD
W
OF THE
ADS

DIGITAL SURFACE ART
Benjamin Soehnel - Germany
I disassemble, layer, and partial-multiply algorithmic
patterns. Thereby emerges a complex structural, which
I superpose with artificial or natural textures and turn
this into a sophisticated surface by means of distor-
tion and exposure to light. The entire process is driven
by inner voice, which leads me through.
I call it Digital Surface Art.

Digital Surface Art is an advancement of algorithmic art and
made entirely with software. It is not art of chance, but art of
choice. Digital Surface Art is abstract and non-representational.
That said it is self-governed and does not reproduce definite
and apparitional reality. Digital Surface Art opens space for
imagination of the beforehand unimagined. As a medium I use
aludibond (lamdaprint), which gives Digital Surface Art a stunning
physical appearance. Each print has my personal signature and
remains an unicum.

A composition of mine is not pre-determined, but is developed
during the process. I use the tools at my disposal and just do it.
When you paint a woman sitting on a chair, the painting is then a
representation of the woman sitting on that chair. Digital Surface
Art has no such connection to the real world. It creates another re-
ality, which does not exist beforehand, though Digital Surface Art
can sometimes be compared with microscopic recordings of some
material. Still it is non-representational as this matter does not re-
ally exist. I prefer the non-representational worlds, because in
them much more is possible than in the representational.

I am born in Munich in 1980, Germany. I am
Bachelor of Cognitive Science and am becoming
Master in Advanced Management. Art was always
my passion. When I was young I used to paint
black structurals on white varnished wood. Then I
discovered Video Feedback Art for myself. A video
camera is pointed at its own monitor, so that the
monitor virtually shows itself. This loop causes ab-
stract patterns in motion, which can be enhanced
by mirrowing, inversion and additional interferents.
In 1997 I first started with Digital Surface Art, which
I am the originator of. It`s a long time ago, to be
sure, and I have learned a lot since, but I am still
learning. That said my style is still in development
and search for a perfect Surface.
More info about Benjamin Soehnel at
http://digitalsurfaceart.blogspot.com

D E S I G N C O R N E R
By: Paola Vázquez Graglia
paola@publicistas.org
D E S I G N C O R N E R
ZOMBIE USB
USB CLASSIC JOYSTICK
Another fancy usb design for
zombie lovers.
KITARA
The iconic 80s joystick Works
Seen on
Kitara is the ultimate string-
with classic console and arcade
CHARIOT SKATES
less guitar, built by musicians
emulators,
www.ebay.com
for musicians. Play notes with
just plug it into your PC or Mac
A new way of skating mix of skiing
your fingertips in the poly-
and have fun like the old times.
and cycling.
phonic

The Wheel-skates is currently on
synthesizer.
www.thinkgeek.com
preproduction in China,
but the inventor is Australian.
www.misadigital.com
www.chariotskates.com

By: Paola Vázquez Graglia
paola@publicistas.org
D E S I G N C O R N E R
PLAYBOY HARD DRIVE
An external hard drive for “your
PIRANHA PLANT SCARF
other“ movies. Includes
all Playboy editions since 1953.
Awesome Nintendo characters
JOYSTICK-IT
crafted from yarn.
hwww.playboyarchive.com
This is a very special design for
VIBRAM FIVE FINGERS
Removable and reposition-able, this
a lucky customer.
modern joystick won’t harm your iPad
The shoes that are your second
screen
www.flickr.com/photos/
skin improving balance, agility
and works with thousands of different
enemyairship
and posture.
games. Enjoy the new times.
Play sports and experiment the
benefits of the reflexology.
www.thinkgeek.com
www.vibramfivefingers.it

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