A castle constructed of ice prior for the 25th Harbin International Ice and Snow Festival at a park in Harbin, China on December 23, 2008. (REUTERS/Sheng Li)

Be sure to look at the rest of her work on the Ace Gallery site.

ICA interior photo by Seze Devres

Close up of Tara Donovan’s sculpture by Seze Devres

Close up of Tara Donovan’s sculpture by Seze Devres

ICA Boston site

These are analog images formed directly on to film without the use of a camera lens (in the same way as a photogram), of the refraction patterns of light passing through formed and shaped plastics. Normally a b/w image, colour has been added directly into the plastic. The fine detail of the diffraction patterns can be seen when viewed large.

All by Alan Jaras
http://www.flickr.com/photos/alanjaras ]]> http://www.seze.net/blog/2008/08/19/wavelight/feed/ 0 http://www.seze.net/blog/2008/06/13/the-magical-surface-of-the-soap-bubble/ http://www.seze.net/blog/2008/06/13/the-magical-surface-of-the-soap-bubble/#comments Fri, 13 Jun 2008 16:19:16 +0000 Seze http://www.seze.net/blog/?p=191

Photographer Jason Tozer was asked to take some pictures of bubbles by Creative Review magazine, using the new Sony Alpha camera.
www.creativereview.co.uk/crblog/planet-tozer/

Detail, Photo by Seze

Ilya Bolotowsky Trylon , 1977 (left)
Kenneth Snelson Easter Monday , 1977 (right)
Photo by Seze
more info

photo by Seze Devres

photo by Seze Devres

photo by Seze Devres

photo by Seze Devres

Full gallery at The Bunker Site

Friday May 16 Beyond Booking Presents
Raster-Noton Showcase:
Signal (Raster-Noton | Berlin) live pa
Carsten Nicolai aka Alva Noto (Raster-Noton | Berlin) live pa
Frank Bretschneider aka Komet (Raster-Noton | Berlin) live pa
Olaf Bender aka Byetone (Raster-Noton | Berlin) live pa
with opening a/v set from:
Morgan Packard & Joshue Ott (Anticipate, Microcosm | NYC)

Bryan’s Press Release for his night:
We don’t think it is an understatement to say that Raster-Noton is one of the most important record labels in the world. Formed when Carsten Nikolai’s “noton.archiv für ton und nichtton” record label merged with Frank Bretschneider and Olaf Bender’s Raster Music label in 2000, it quickly gained international acclaim with the ARS Electronica award winning “20′ to 2000″ series of 12 cds released monthly in 1999, featuring 20 minute sound pieces from electronic music heavyweights like Wolfgang Voigt, Ryoji Ikeda, Mika Vainio, and Thomas Brinkmann alongside the core R-N artists. They have gone on to release many dozens of amazing projects since then, building a core group of fans who pretty much buy everything they put out. The sound of the label is decidedly minimal, composed of micro-elements, glitches, bleeps, static, and electronic interference sounds. Their sound is extremely different than most of the music which has been called “minimal techno” (pretty much a completely meaningless term at this point) in the past 5 years or so. It is deep and experimental, but not without humor and funk.

We have been wanting to present a Raster-Noton label night at The Bunker ever since we saw the same line-up we have for this show in Mutek back in 2004, which completely floored us. For various reasons, we were never able to connect with the label and pull it off on their visits to the USA. Then, back in October, we were at a small Raster-Noton show for Bender and Kangding Ray and Bunker photographer Seze found a cell phone on the floor. She got a panicked call on the phone from the German guy who lost the phone and told him to come back to the venue and get it. He was extremely grateful and bought us a few drinks and started talking to us. He was in town for his opening at Pace Wildenstein Gallery (this is a blue chip gallery for those of you not familiar with the visual art world). We were in disbelief when we put 2 and 2 together and realized the cell phone guy was Carsten Nikolai, and quickly invited him and the rest of the crew to the Thomas Fehlmann show at The Bunker that week. Well, he showed up and had a great time, agreed to come back for a Raster-Noton showcase, and everything fell into place.

I watched this gorgeous film yesterday and the best treat was the stunning cinematography. Each scene was crafted like a carefully composed luminous photograph. Many shots were all about the way sunlight fills a room, or the way dust travels through air. I loved the use of blurry lens vignettes, an very Victorian effect that I rarely see anywhere anymore (other than in the timeless photographs of Sally Mann). The story was kind of slow but this beautiful film is well worth watching. The cast was amazing too. Highly recommended.

Sally Mann, Untitled from “The Motherland Series”

Like abstract painting, Mr. Eliasson’s art can be slow to reveal itself. In an installation called “Beauty” a rainbow emerges from a curtain of mist and vanishes. Maybe you see it; maybe you don’t. The illumination in an empty “white” room at P.S. 1 changes color all but imperceptibly as you watch: from white, to faint gray, to pale pollen beige, to lavender, one dissolving into the next like shifts in weather or the readings of a mood ring.