[INTERVIEW] 111013 - B.E.G, "The juniors we want to give our own composed songs to? Infinite"
-Translated parts only about Infinite-
Jea, who personally composes songs, picked the ‘trend-dols’, Infinite, as the juniors that she wants to give a composed song to. “Infinite’s voice color is very charming. If a song request comes in, I have full intentions on writing it with all of my heart. (Laughter)” When asked which idol group Miryo wanted to rap feature for, she picked Infinite as well.
trans. cr; hyejin @ infinite updates | source cr; the star ; take out with full credits
[NEWS] 111102 - A-Pink and Infinite Join 'Birth of a Family' -- Live with Stray Dogs
A-Pink and Infinite joined KBS 2TV ‘Saturday Freedom Part 1- Birth of a Family’ and began to live with stray dogs.
KBS revealed the story behind this program on the 2nd through a KBS TV reorganization meeting at Imperial Palace Hotel in Seoul, Gangnam. Jeon Jingook, the entertainment director, said “‘Birth of a Family’ is a show where we record the relationship between an animal and a person. There are 3 VCR’s in total as number 1 and 2 will show the happenings or emotions exchanged while Infinite and A-Pink personally raise the dogs. The third one is for Kim Byungman and Lee Hwijae to live with animals, that one normally doesn’t see such as a skunk, penguin, and a desert fox, for one day and complete missions.”
‘Birth of a Family’ is an animal relationship variety that will garner interest toward animal companions and will be enjoyable because you can watch stars take care of stray dogs at their dorms and see how they grow as a family.
Lee Hwijae and Kim Byungman will be doing a project where a new rare animal comes every week. The two people will be helping and competing with each other at times.
Also, you can watch how the hurt stray dogs recover their affection towards humans while being taken care of by Infinite and A-Pink at their dorms.
‘Birth of a Family’ will have its first airing on the 12th at 5:15 PM, right after ‘Secret’.
trans. cr; hyejin @ infinite updates | source cr; joy news ; take out with full credits
“In my experience, good storytelling is actually best learned through what not to do. Really learn to criticize—not hate—everything you consume. When something is bad, ask yourself why is it bad, and try to come up with different ways it could’ve been improved, even if it’s just for thought exercises (who knows? You may even inspire yourself a really good idea for a story too). If it’s already good, criticize it anyway, because then it teaches you how to always look more deeply in general and teaches you to think.”
—-from chirart.tumblr.com
THIS. I mean the general philosophy goes for a lot of things as well…like how life in general is kind of “well there’s no one RIGHT way to live it but there’s are lot of obviously wrong ways!” Mostly though it is very, very applicable to what I’m trying to figure out with storytelling— I think you are all seeing how much I’m struggling with CODA and how it’s a lot of “WELL that didn’t work out LET’S TRY THIS INSTEAD!!” And a lot of criticism is…I have learned that I don’t have to agree with the exact detail of criticism but to pay attention because the criticisms are usually dead-on in what I need to work on. As in not the “how to change” necessarily, because that tend to vary too much between people, but “what to change”. Similarly I’m trying to learn look at the stories that I’m reading / watching and trying to figure out why somethings are really good and others are really terrible. It’s an on-going process.
Prison Window by Robert Gober
Robert Gober
Prison Window
box construction—plywood, forged iron, plaster, latex paint, incandescent and fluorescent lights and electrical hardware
window: 23¾ x 23¾ in. (60.3 x 60.3 cm.)
overall: 48 x 53 x 36 in. (121.9 x 134.6 x 91.4 cm.)
Executed in 1992. This work is number five from an edition of five plus one artist’s proof.
“Through his depiction of seemingly mundane objects such as a sink, crib, chair, along with isolated body parts, American artist Robert Gober explores themes of family, religion, sexuality, alienation and memory, both collective and private. With painstaking and meticulous detail he renders these thought-provoking sculptures by hand to build a universe that investigates the psychological and symbolic power of the objects in our everyday lives. In Gober’s 1992 work, Prison Window, the artist creates a space imbued with a deep sense of longing and frustration in order to elicit a strong emotional response from the viewer. One of the most engaging and thought-provoking works of Gober’s oeuvre, the artist uses a deceptively spare two-foot square section of a wall to create an emotional and psychological experience.
Gober uses the imagery of a window in Prison Window, which presents a passage or portal. A gateway from inside to out, from containment to freedom, windows typically serve as a representation of movement. In Gober’s typical fashion, he takes this imagery associated with a window and transmutes it to an experience in which the viewer questions his or her own association and relationship to the object. The viewer is struck with a sense of longing that one often associates with feelings of containment, which are underscored by the use of iron bars to block the accessibility of the window.
A square 24-inch relief cut into a white wall, backlit by fluorescent and incandescent light bulbs, presents the realistic image of a sunlit window. But instead of depicting this window as an opening, Gober places three black forged-iron bars across the relief, translating it into an inaccessible space. Although windows are often viewed as a threshold to the outside world or as a means of escape, Gober renders this work frustratingly and disappointingly impenetrable. By placing the window above the viewer’s reach and encasing it with bars, the usually inviting representation of a window is replaced by a sealed passageway. This obscured window represents Gober’s fascination with creating spaces and art works that serve as an odd simulacrum of their real life counterpart. While realistic, these works are slightly eerie and peculiar. Through such familiar and apparently innocuous objects, Gober creates a physical parallel world that exists alongside the real one, whereby he is able to expose the uncanny in the everyday.”
When I saw this work several weeks ago, it grasped my thoughts for many days. I think, Gober masterfully attacks the lines between comfort and discomfort in our lives. Our idea of self satisfaction is closely connected with necessarity to have absolute freedom in physical Location. Though we insist that inner freedom is the thing that nobody can take away from us, outer containment of Location can easily lead to the stagnation of inner liberty.
George Shaw's "Banal" Landscapes
Artist’s portrait (left) and his painting ‘The Resurface’, oil on canvas, 2010
George Shaw, No Returns, oil on canvas, 2009
George Shaw’s works (shortlisted for Turner prize this year) are constantly connected with the theme Location. His paintings are a retrospective of his early years, the past days he spent in Coventry, when feelings were intense and ordinary places had strong meanings. He explores the most usual places, such as gardens, playgrounds, back yards, garage doors – the banal landscape.
“Shaw is an artist curiously out of step and out of time. Like the references to classic sitcoms that pepper his speech (The Likely Lads, Hancock’s Half Hour, Steptoe and Son) and his sartorial style (brogues, button-down shirt, Crombie, more reformed football hooligan than carefully dishevelled bohemian), his paintings hark back to a time when things seemed simpler. He is a painter of everyday life as it is, or was when he was younger, though there is precious little life in his paintings: no adults, no children, no mongrels or pitbulls or startled wood pigeons, just quiet, deserted places.
“To me, they are teeming with human presences,” he says. “The people I grew up with, family, passers-by, they are all in there somewhere, embedded in the paintings.”
“That something – a memory, an atmosphere, a recalled adolescent experience or encounter, hinted at but never delineated – lurks in all Shaw’s paintings of Tile Hill. It is there not just in the seemingly mundane subject matter, but in the almost realist style, a style that, in lesser hands, could teeter into kitsch or even folk art. It is there, too, in the sheen of the paint on the wooden surface: the now famous Humbrol sheen. In his choice of paint – Humbrol enamel of the kind used by generations of children to coat Airfix model planes, the miniature Spitfires and Hurricanes they had laboured over for hours – Shaw made his own almost imperceptible nod towards conceptualism, towards the supremacy of the idea and the process behind the art.
The Humbrol sheen lifts the paintings out of the realm of the purely representational, the ultra-realist, and takes it somewhere else, somewhere both old-fashioned and timeless, conservative yet contemporary. “It’s that glow that you only see when you’re walking home from the pub alone,” he says. “That solitary glow, the glow of a telly though a window or streetlights reflected on rain on the streets.”
(Taken from The Guardian)
Lift by Maurizio Cattelan
Maurizio Cattelan (b. 1960)
Untitled
Stainless steel, wood, electric motor, electric bell, electronic control device, incandescent and LED lights and plastic elevators: 13¾ x 23 3/8 in. (34.9 x 59.3 cm.) overall: 23 9/16 x 33 5/8 x 18 7/8 in. (59.8 x 85.4 x 47.9 cm.) Executed in 2001
Imagine elevators that no human can fit into. At first glance, it might not seem like the most practical invention ever devised, but that is only because Lift by Maurizio Cattelan is a miniature art exhibit and not a creation designed to serve as functional inter-building transportation. Although the two tiny elevators don’t actually move vertically, they do have doors that open and close as normal. On top of that, they also emit scaled-down versions of the sounds that you would hear from normal elevators.
It came to my mind that Maurizio Cattelan, an artist who possesses a really great sense of humor and irony, mainly created this work (in 10 copies) to amuse people. The lifts, however, go to nowhere and Maurizio’s second thought was may be to suggest us contemplating on the question where are we all going?
I would include these miniature elevators into the Location exhibition as here the elevators do not only represent a physical space unsuitable for us but also question our existential direction.
- Graham Coxon: I don't know what to say really. Cause I think that the Libertines was something that this country had been lacking in for like twenty odd years. Lyrically, musically, everything. Just the depth of it. So to me the Libertines were very important actually...I don't know that there has ever been a group that has actually been so --
- Peter Doherty: Shambolic?
- Graham Coxon: Shambolic, shameless, about troubles--
- Mairead Nash: Personal issues--
- Peter Doherty: Troubles *smiles*
- Graham Coxon: Troubles that all groups have, that they all ignore or lie about to journalists and their public, you know...and I think that was very inspiring really.
- Mairead Nash: The Libertines gave the music scene a kick up the ass. You know they come along, and you go, 'What's this?!' You know, two *lovers* basically, having tiffs on stage. And we got to see it. That connection between two people is amazing to watch.
- (NME Awards, 2005)
111009 - Twitter - Jisun (@LukaJisun)
파~라~다이스!
Pa~ra~dise!
아앗!!! 티비없이살다보니 우리 인피니트청년들 1위한거 이제알았네!!!ㅠㅠ 어쩐지 오늘 파라다이스~를 외치고싶더라니!!!! 인피니트만세~~~~!!!! 축하해~~~~~~!!!!!!
Ack!!! Since I’m living without a television, I just found out that the Infinite boys got 1st place!!! ㅠㅠ No wonder why I wanted to yell Paradise~ for some reason today!!!! Hooray for Infinite~~~~!!!! Congrats~~~~~~~~!!!!!!!!!
trans. cr; hyejin @ infinite updates ; take out with full credits
