Qompendium is an evolving and ever-changing platform for philosophy, art, culture and science, represented by a series of print publications: magazines, books and monographs. Furthermore, it is enriched by a gallery concept, a work shop and a fast-moving online portal.
Ancient Egyptians described their gods as having gold skin and lapis-lazuli hair, eyebrows, and eyelids. The colorful glass of this eye, which was once part of a human-shaped coffin, imitates the costly blue stone. Its color implies that the deceased passed all the necessary ordeals and is now among the gods and equated with Osiris.
Right Eye from an Anthropoid Coffin, 1539-30 B.C.E. Obsidian, crystalline limestone, blue glass, 13/16 x 2 5/16 x 1 in. (2.1 x 5.8 x 2.6 cm). Brooklyn Museum.
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Bellingcat uses open source and social media investigation to investigate a variety of subjects, from Mexican drug lords to conflicts being fought across the world. Bellingcat brings together contributors who specialise in open source and social media investigation, and creates guides and case studies so others may learn to do the same.
Eliot Higgins is the founder of Bellingcat and the Brown Moses Blog. Eliot focuses on the weapons used in the conflict in Syria, and open source investigation tools and technique.
Find out more here.
This essay situates the work of American painter Felix Pasilis (b. 1922) in the contexts of U.S. artistic and social movements during the latter half of the twentieth century and the beginning of the twenty-first. Three reference points orient the discussion: first, in 1954, the poet Frank O'Hara (1926-1966), quoting Proust, wrote that in a Pasilis painting 'objects can exist, beautiful quite apart from the painter's interpretation of them;' second, in 1956, the poet James Schuyler (1923-1991), uninterested in the referents of mimetic art, wrote that in a Pasilis painting 'the brushmarks themselves make the shapes;' and finally, in 1958, Pasilis’ teacher, the painter Hans Hofmann (1880-1966), instructing his students in the philosophy and technique of their work, wrote that 'the picture must achieve a three-dimensional effect, distinct from illusion, by means of the creative process.' This essay mediates among these perspectives to show how Pasilis’ art heralded a new conception of reality. The question of when and how contacts occurred between the artist and his contemporaries has been carefully analysed, through a detailed examination of published sources as well as unpublished personal correspondence.
Selected from the CCA’s collection and institutional archives and the Phyllis Lambert fonds, the exhibition traces the evolution of her ideas and her architectural, curatorial and editorial work on the occasion of her 90th birthday.
Try to get past the desire to have everyone like you, and more words of advice from 18 female artists such as Shinique Smith, Patricia Cronin, Deborah Kass and others.
More indept on Artnet.
Italian Hours offers visitors an exceptional opportunity to explore the public collections of Italian art housed in the museums and churches of Picardie. The exhibition takes its title from a travel book written by author, Henry James (1843 to 1916), in which he enthusiastically describes Italian monuments and art.
The exhibition takes place in four different locations — Amiens, Chantilly, Beauvais and Compiègne — and presents the main centres of artistic creation, from Turin to Naples, from the 14th to the 18th centuries. Two hundred and thirty one paintings, on loan from thirteen museums and eleven churches, provide the public with an overview of the scope and quality of Picardie's collections. The four exhibitions are organized in a chronological fashion, allowing the public to travel back in both space and time.
Italian Hours — Italian art from Primitivism to Rococo
Amiens, Beauvais, Chantilly, Compiègne and 14 satellite exhibitions in museums throughout the Hauts-de-France Region
From March to December 2017
Art by Alex Katz: White Impatiens, 2016
70 x 56 in. (177.8 x 142.24 cm.)
Estimate: 15,000—20,000 USD
Current Bid: 14,000 USD (reserve not met)
American artist Alex Katz is primarily known for his portraiture that synthesizes a kind of color field abstraction with realism; however, nature is a subject the artist has depicted consistently since the early 1950s. White Impatiens was created after the artist's series of paintings that depict a range of flowers. The brushstrokes of the green leaves that seemingly float amidst the flowers over the black background reveal the print's painterly origins, and is among the artist's recent and large screenprints that have become increasingly popular.
More information on: www.www.artnet.com
Concrete Happenings invites art-lovers and car-lovers, artists and scholars, drivers and pedestrians to confront the power of public art — the strange power of a massive sculpture produced by Fluxus artist Wolf Vostell. In 1970, in Chicago, Vostell encased a Cadillac in concrete. The product of that “happening”, Concrete Traffic, was installed in the University of Chicago Campus North Parking Garage on October 1, 2016. It will serve as the provocation for a comprehensive suite of exhibitions and interactive public programs — performances, screenings, talks, art workshops, happenings — that offer unique opportunities to engage with a crucial art historical moment and movement, and to explore the intensities with which an artwork can form and transform its publics.
More information here: www.arts.uchicago.edu/concrete-happenings
Raf Simons has chosen to share his label, and the design credit, with a fine artist: Robert Mappelthorpe. Last time it was a collaboration with Sterling Ruby. The Mapplethorpe Foundation sent him an email. An excerpt from the Vogue interview… How did the collaboration with the Mapplethorpe Foundation first come about? How did they approach you?
They sent an email to me. It came quite unexpectedly, I have to say. I was thinking about things for the show—I can’t say what they are, because it’s something I will work on—but I had his name on a list in my research. He and some other people were on the list. But immediately by Mapplethorpe, I put, “not possible.” I would not approach them, even if I had a strong interest. I do not have fear to approach people usually, but one way or another, it was—I can’t approach Mapplethorpe! I can’t approach the Foundation. And very close to that—maybe only a week or two weeks in between—I get this email.
I reacted immediately, because at first I didn’t understand exactly what they meant. I know what they have done—they have done a lot of shows with other people, like Cindy Sherman, David Hockney, Hedi Slimane. All these people have curated shows in galleries; they let them in the archive to select work and then they have a show. That was so not in my interest. That is the thing I thought they were reaching out to me about. But it wasn’t at all like that. They were very informed about what I did with Sterling and they were very interested to see if I would do something that strongly relates to my label, to my collections, to my fashion shows. It went really fast. I said, “Let’s start right away.” I think they thought, “Maybe, we need to start communication, and let’s see in a couple of months . . .” I felt, as it was already linked to something I wanted to do anyway, it would be nice to skip the whole thing and just focus on that.
Read full feature here.
Penis envy (German: Penisneid) is a stage theorized by Sigmund Freud regarding female psychosexual development, in which young girls experience anxiety upon realization that they do not have a penis. Freud considered this realization a defining moment in a series of transitions toward a mature female sexuality and gender identity. In Freudian theory, the penis envy stage begins the transition from an attachment to the mother to competition with the mother for the attention, recognition and affection of the father. The parallel reaction of a boy's realization that women do not have a penis is castration anxiety.
The Icelandic Phallological Museum, located in Reykjavík, Iceland, houses the world’s largest display of penises and penile parts. The collection of 280 specimens from 93 species of animals includes 55 penises taken from whales, 36 from seals and 118 from land mammals, allegedly including Huldufólk (Icelandic elves) and trolls. In July 2011, the museum obtained its first human penis, one of four promised by would-be donors. Its detachment from the donor’s body did not go according to plan and it was reduced to a greyish-brown shriveled mass that was pickled in a jar of formalin. The museum continues to search for a younger and a bigger and better one. The fascination for male genitalia, a supreme symbol of masculine power, is widely spread. It is known that Sigmund Freud had a collection of phallus objects. Freud has been dead for nearly 70 years, but Freud’s provocative theories are still a part of psychology, neuroscience, and culture — this despite the fact that many of his ideas were mindboggingly, catastrophically wrong. Indulge into the world of Penisneid and start your own collection.
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Every time Mr. Joachim Baldauf presses his shutter button he has not only a set vision of what he might capture, no, he already has meticulously and yet effortlessly art directed the entire editorial of the magazine or campaign. The German photographer’s work is driven by his knowledge in the fields of graphic design and publishing. His photographic language is timeless and classic never missing the contemporary edge. The final work illustrates deep beauty in an unpretentious manner making light and form merge unapogetically. Currently, he shot a studio series with model Alex Wek. Give Joachim Baldauf a closer look on his website: www.joachimbaldauf.de
A world in which nobody stands up for whistle-blowers and activists is a world where nobody takes risks to defend the public interest or expose government abuses, ... people need to stand together to defend the kind of society they want to live in.
Occupy Museums invites artists across the US to unite in Debtfair, a project that will be shown at the Whitney Biennial in spring 2017. Debtfair is a means of exposing the hidden layer of debt within the art market and its institutions. The 92 artists currently on debtfair.org hold 5.2 million USD of debt. We will expand this community in 2017. All artists who apply through this open call will be featured on a revamped debtfair.org and their work will be shown digitally in the museum; 30 artists who are indebted to the same institutions will exhibit their physical work. Are you an artist? Are you in debt?
Debtfair believes that the practices of painting, sculpture, performance, video, music, and conceptual practice lie at the core of a progressive democratic society. Yet artists and culture workers face evermore extractive economic burdens parallel to the booming wealth and financialization of the art market. Debt often elicits feelings of shame and alienation. It is a hidden tool of economic, social, and racial division. Yet, by showing how everyone is interconnected through it, Debtfair mobilizes around the financial relationships that bind everyone to one another, locating possibilities for solidarity in a global struggle, and leveraging our collective power as debtors.
Read more here.
French artist Daubal knows how to disturb esthetics with a simple and minimalistic manipulation. The clever and witty artist uses advertisements or iconic imagery for his art works by overlaying a new meaning on to them. Buy the self published book here:
Find more about Frederique Daubal here:
Paul McCarthy is recognized for his provocative, some would say tasteless, performances, multi-media installations, and sculptures that irreverently fuse high and low culture in their biting but humorous critique of American mythology and accepted societal norms. Santa Claus porn videos, Hummel figurine parodies, and chocolate butt plugs are among McCarthy’s most well known pieces. For Train, Mechanical (2003-09), McCarthy created a pair of larger-than-life animated sculptures of George W. Bush mounting pigs from behind. “I'm interested in caricatures—from Miss Piggy to Popeye to Santa Claus—that are cultural fabrications,” McCarthy explains. “Santa is one that I've hung on to longer, that I repeat more. There's the whole thing of Christmas and consumption and commodity, and its relationship to capitalism and Western culture and Americana. The character itself is this roly-poly patriarch with a beard—almost a godlike figure.”
More on Artsy.
Born Emmanuel Radnitzky, Man Ray adopted his pseudonym in 1909 and would become one of the key figures of Dada and Surrealism. One of the few American artists associated with these movements, Ray was exposed to European avant-garde artists like Pablo Picasso and Georges Braque at Alfred Stieglitz’s New York gallery and at the 1913 Armory Show. Ray’s photographic works are considered his most profound achievement, particularly his portraits, fashion photographs, and technical experiments with the medium, such as solarization and rayographs (an eponym for his photograms), which were celebrated by the Surrealists. “I do not photograph nature,” he once said. “I photograph my visions.” In 1915 he was introduced to Marcel Duchamp, who would become a lifelong friend and influence; he subsequently moved to Paris, practicing there for over 20 years.
More on Artsy.
NASA’s social media is out of this world. We look at how NASA creates engaging content to take us further and closer to space than ever before.
If social media was the universe, NASA would have been to every planet by now, and set up a base on each one.
Whenever we look at brands, NASA almost always snags a spot in our best examples, and with good reason too. The engagement numbers are consistently extraordinary. So how has NASA made itself a formidable publisher in its own right?
Read more here.
DOM publishers have published a new book on Architecture in Iran, bringing together meticulous information on single cities and sites.
135 × 245 mm, 480 pages
1000 Images and Illustrations, Softcover
ISBN 978-3-86922-392-6 (German)
EUR 48,00 /CHF 58,60
Published in May 2016
More images and information here.
The internet of things revolutionizes the culture.
It’s not about viral.
Virtual reality is the new pain point.
Richard Colman's work is known for blending figurative imagery and bold geometry. Typically using symmetrical compositions, Colman explores themes of human sexuality, societal hierarchies, life and death. His work ranges from small to large scale painting, murals and installations. Colman has been working as a professional artist for over a decade and has exhibited extensively in galleries and museums throughout the world . Colman currently lives and works in San Francisco, California.
Get an overview of interesting and useful science facts with links to unabridged sources. Just great. We wish it was our idea.
Here is what Malcolm Gladwell says: "A group of Canadian grad students have created a website that elegantly summarizes scientific findings. It's genius."
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Manifattura is a digital publication based in New York and Milan, run by Fredrik Gruber, Milena Zuccarelli, Beatriz Lamarca and Cristoffer Övergaard.
The magazine features and works with artists and makers in various fields through collaborative projects and interviews, aiming to inspire others by creating and discovering beautiful work of different formats and origins.
Check out their website: www.manifattura.co
Lengthy interview with 22 year old creative fashion consultant Ian Connor by Mary Tramdack for ssense.com.
Another trend is how social media has opened up so many opportunities that weren’t there previously. But it’s also made the whole fashion and creative industry move at such a fast pace. And you seem like you’re so laid-back. How do you deal with that?
Cause I understand that I’m the first of my kind and the only. So therefore I’m the best. I don’t have to worry about competition and deadlines and shit. So I’m kind of lazy. What’d Rocky call me? “Unreliable sometimes.” [Laughs] Like there are times where he’ll tell me to come into the office and I’ll be like, “Yeah.” But I want to go hang out with the young kids! And I don’t know how to text back sometimes, like it sucks, I have to learn how to grow up with that. But it’s all easy for me. It’s like breathing. Creating for me is like breathing. The emotions that I don’t show for girls or other people, that’s my work right there. That’s my whole existence.
Aside from YEEZY, what are the labels you’re most excited about right now?
I love Palace. I love Bronze. Dime, from Montreal, I love them. So sus and weird. It makes me appreciate the clothes so much more, cause I know how sus [Phil Lavoie] is. And he is like, gone. Supreme still of course. I’m just really a streetwear kid. The high-end shit doesn’t excite me anymore. It’s still my everyday, but… I love J.W. J.W.’s really cool. Vetements. Alyx studios. Alyx is gonna be like… 2016 will be a good year for Matthew. For a fact. Matthew’s been the future. He’s the one that’s like, yo, this thing is the vision! I remember when he used to have like, tattoos, Latin Kings baseball jerseys with loafers, it was just so cool. He’s creative as shit.
Read full interview here.
Cogito ergo sum is a Latin philosophical proposition by René Descartes usually translated into English as "I think, therefore I am". The phrase originally appeared in French as je pense, donc je suis in his Discourse on the Method, so as to reach a wider audience than Latin would have allowed. It appeared in Latin in his later Principles of Philosophy. As Descartes explained, "[W]e cannot doubt of our existence while we doubt … ." A fuller form, dubito, ergo cogito, ergo sum ("I doubt, therefore I think, therefore I am”)[b], aptly captures Descartes’ intent.
This proposition became a fundamental element of Western philosophy, as it purported to form a secure foundation for knowledge in the face of radical doubt. While other knowledge could be a figment of imagination, deception, or mistake, Descartes asserted that the very act of doubting one's own existence served—at minimum—as proof of the reality of one's own mind; there must be a thinking entity—in this case the self—for there to be a thought.
Rob Alderson, former Editor-in-Chief of It is nice that, now columnist for Magculture, run by Jeremy Leslie, ponders about indies and awards.
Dear Rob and dear Jeremy,
As independent publishers, here is what we think: No matter how hoary the relationship between creativity and awards are, we know very well that winning plaques is not a proof for creative effectiveness. Yet, any voice given to an independent magazine is a voice/sign in the right direction. It will be educating those who still need education and to learn about the importance of an independent medium, namely brands, advertisers and investors. And besides the independent market can be cleaned and diversified as well; an award could be a good tool.
Read full Rob Alderson’s article here.
Travelling all the way from the land down under, we bring you the ever classical knitwear label Coogi. Founded in 1969 by Jacky Teranto as Cuggi in Melbourne, Australia, it was renamed in 1987 to Coogi to give it more of an Aussie flair. Featured in a motley of tumultuous hues, the sweater enjoyed it’s first flourish when it became a wardrobe regular on super dad Heathcliff Huxtable from the Bill Cosby Show.
Scottie Cameron’s work is a result of his interests shaped by skateboarding, surfing, surrealist films, and the fashion world; he was once a men’s wear entrepreneur with his brother. His style touches minimalism with a graphic eye predominated by simple shapes, colors, shadows and a slice of humour. No wonder brands have discovered Scottie Cameron and have commissioned him for their advertising and editorial projects.
“Window Seat Please” is a limited edition zine that exposes 10 years of seating next to the window and not the aisle. Usually Karl asks for this seat because he wants to be aware of the outside and to know what’s going outside and what can he capture with his camera.
Check out Karl Hab's Tumblr here.
Harry Slatkin started making napkins at age 16 with his brother. From there his enterpreneurial journey begun spinning the American way.
The New York Times called him the "king" of home fragrance and celebrities like Oprah Winfrey and Elton John defer to him when it comes to home fragrance. Founder and creative force behind Slatkin & Co, a home fragrance brand, Slatkin is regarded as one of the country's fragrance experts. Slatkin acquired Belstaff together with Tommy Hilfiger and revamped the brand to international success. His latest venture is about direct selling: Party Lite.
Listen to him on Monocle 24 as Harry Slatkin shares his secrets on how to manage a global team.