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Tuesday, March 20, 2018

Incredible #Miami Artist @JMargulis

Meet J. Margulis of J.Margulis Visual Artist - Voyage MIA Magazine | Miami City Guide

Incredible art from Miami artist, the Venezuelan @JMargulis in @VoyageMIAmag 

Meet J. Margulis of J.Margulis Visual Artist

Today we'd like to introduce you to J. Margulis.
So, before we jump into specific questions about the business, why don't you give us some details about you and your story.
I began my career as an artist through photography while studying Management in my native Venezuela. I was working at the time in a family-run business exploring digital printing and later in life, I decided to apply my professional skills to art making, as I progressively became interested in sculpture. Today, my artwork is the result of an intrinsic connection between two and three -dimensional planes, working with sculpture in parallel with photography.
I began producing acrylic 3D sculptures and compositions made from different types of colorful plastic sheets, affixing them onto surfaces, other times as free-standing structures or traditional fixtures on a wall. As a direct consequence of these productions, I began photographing my pieces as a way of documenting them, thereby generating a significant volume of autonomous photographic work which created an intimate connection between the photograph and its related piece, developing a visual yet independent dialogue through language, photography, and sculpture.
At the same time I was supporting myself through custom work I did in my acrylic shop, furniture, displays and any job I could make using my skills and equipment. One day a friend of mine from childhood was in town, he used to be the director of an Art Museum in California and even though I had a long time without talking to him I send him a message and ask him to come over and take a look at my work. I was not even showing my work at that time, I just had this small collection of pieces created by me which I felt where good enough for me to dream of having an Artist career. (something I dream about all my life and honestly felt it was not going to happen in this lifetime of mine).
I needed an opinion from someone I respect and trust given the subjective nature of art critique. I already had a family with two children at that time and could not afford to play the artist, I had a big responsibility but the urge to create, the ability to express myself with a clear voice was so overwhelming that I only need one encouraging word that would unlock my vision to give me license to dream of truly becoming a professional artist. And so it happens that one afternoon my friend swing by and took one look at my small collection of pieces and he could not believe these were the first pieces I ever made…
He took me under his wing and prepare my first show which obviously took many people by surprise, a lot of people did not believe in me and look at me as if I was a bit crazy but the show was a great success and so my artist career began and I never look back. On the contrary, I just spring forward working like a madman, evolving, growing and developing this new sense of myself. It's been several years from that time and I still have this feeling of gratitude, this sense of purpose and obligation to become the very best version of myself. Very few people get to do what the love the most in life, the possibility of realization is not a given and when you are lucky enough to find it specially when you thought it was too late for it then you know you must honor it every day for the rest of your life.
Has it been a smooth road?
As a struggling artist many times you must take another paying job we all have hear this before but the truth is that not being able to work on your Art is one of the most miserable feeling you can have, it just feels like a great waste of time. When you are an artist you know that transcendence, redemption and the ability to deeply communicate with other human beings only can be realize through art.
To sell an art piece more than the money you get to spend is a promise that you can keep making art and maybe if you sell enough you will be able to do it all day and everyday of your life…. that is a dream worth taking risks, exposing yourself and revealing without fear your most intimate essence.
It's a road full of uncertainty and many discouraging moments, disappointments and self doubt. But when you know this is your mission in life, when you know there is anything else that can take you to developing your full potential then you become a survivor and find the way to push forward and have faith in yourself.
So let's switch gears a bit and go into the J.Margulis Visual artist story. Tell us more about the business.
I believe that courage, empathy, and kindness are all ingredients in a powerful and elusive formula, which arms us with a clean and ever-sharpening lens that catches fleeting glimpses of our true nature. Small fractions of divine understanding that reverberate in our essence with the power to shape our deepest beliefs and completely change our perspectives, and so, the way we act in the unfolding of our own existence.
My work is about the physical representation of this belief. I digitally design 3-D objects and compositions, and cut them in slices from different types of plastic sheet materials. These slices are then fixed to a rigid canvas, a pedestal or held together in space. Most of my work is done using acrylic sheets with different levels of translucency in a range of colors, graphic patterns, textures and photographic images directly printed on the sheets' surfaces. The bright and fully saturated color palettes to which I instinctively gravitate to, is heavily influenced by the traditional Mexican arts and crafts which made a great impact on me during the time that I lived there.
I treat my three-dimensional pieces as light traps or secret blueprints, in which by controlling the placement of its components, I'm able to create intriguing 3-D containers. Their designs are then fully revealed by applying or "pouring" light into them. In a sense, light becomes the ink that reveals the design by following a 3-D template. The light source may vary from natural to one or more fixtures, placed on precise locations in relationship to the subject, with specific power, color temperature, angle and proximity.
These exposed patterns and designs are not absolutes or unique because as the viewer changes his point of view, the work expresses a different narrative that is completely new in its own essence. It intrigues and fascinates me how the object mutates in front of me, with no other resource but a simple change of perspective. Going back and forth naturally, I try to synthesize and integrate different perceptions that coexist as different facets of an object.
Every time, I find myself trying to lock that seemingly unreal angle in which we are able to contemplate the amazing connections among complex layers of facts, prejudices, and beliefs; that "sometimes surreal" frame in which we discover how easily we could be absolutely wrong and misjudge everything that surrounds us, while tragicomically posing ourselves as proud holders of truth and owners of higher grounds.
How do you think the industry will change over the next decade?
I think that the future is already here. Social media and online gallery platforms has created this scenario where there is a personal and direct relationship between the artist and the audience.
Right now anyone can truly get to know an artist by following his or her development on a continuous basis through social media images and the artist expressed ideas and thoughts. There is this virtual conversation in which art gets infused into people's daily life. You can talk to the artist, you can tell them what you like, what you don't like, celebrate the success or critique the shortcomings there is this amazing relationship potential not only with the art but with the artist itself.
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Thursday, December 14, 2017

DavidRockefeller #Art Collection and the Largest Art Auction of All Time

The #DavidRockefeller #Art Collection could take in, +/- $650MM, making it the highest-grossing auction in history.

Incredible!  They don't make them like that anymore. 

This spring, following Mr. Rockefeller's wishes, this legacy—some 1,600 lots of it—is going on the block, in a spectacular series of auctions at Christie's in New York, in Rockefeller Center, appropriately. After the last hammer falls, the Collection of Peggy and David Rockefeller could take in, according to estimates, some $650 million, which would make it the highest-grossing auction in history. It's the sale of the century.

Friday, June 9, 2017

Watch: #freediver Guillaume Néry floats through the ocean 285ft under the water as if floating in space

Guillaume Néry is one of the world's most experienced and accomplished free divers and, as this stunning footage shows, he is capable of performing extraordinary feats underwater.

The Frenchman teamed up with his wife Julie Gautier to dive off the coast of French Polynesia in the Pacific Ocean – swimming down to the equivalent depth of nine double-decker buses.

Néry, 32, from Nice, produced the amazing aqua aerobics for the film Ocean Gravity, which he hopes will show the similarities between the marine world and space.
Watch: ocean free diver mimics floating in space:

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Monday, August 1, 2016

The FT does #Ibiza: Five decades of decadence at Ibiza’s @Pacha

Five decades of decadence at Ibiza's Pacha —

Five decades of decadence at Ibiza's Pacha —

It's party time!" a young woman cries as the aeroplane begins its descent over the Mediterranean. My fellow travellers are gearing up for a hectic week of debauchery, applying lipstick, draining plastic glasses of cava, eking out the last drops of Bacardi and Coke. "The problem is that I'm going to be doing daytime drinking," says my neighbour, a Londoner who will turn 30 the next day. His grin suggests the problem is surmountable.

We are arriving at Ibiza in Spain's Balearic Islands. It is 11pm on a Monday in early July, the start of the summer season at Europe's most famous citadel of hedonism. Our budget plane roars over Ibiza Town harbour above nightclubs with superstar DJs and a marina full of superyachts. Newcomers to the bacchanalia stand out like gauche provincials in a Hogarth print of 18th-century London. "First time in Ibiza?" an old hand asks a young woman after the plane lands. "Just do everything you can."

Ibiza's bohemianism runs deep. According to folklore, it was home to the sirens who sang to Odysseus, Homer's lethal disco divas. Artists came in the 1920s, attracted by picturesque vistas and Mediterranean light. Hippies settled there in the 1960s, going back to nature in a place where nature gives a pretty decent account of herself — a 220 sq mile oasis of pine forests, sandy beaches, secluded coves and spectacular sunsets, 90 miles from mainland Spain.

The White Isle's transformation into dance-music Mecca began in the 1980s. "Balearic beat", invented by the island's DJs under the influence of Chicago house and MDMA, aka Ecstasy, helped spark the acid house craze that swept the UK in 1989. Since then "Ibeefa" has loomed large in the imaginative topography of British youth culture, a land of sunshine and permissive attitudes where a binge of pleasure-seeking awaits.

On the way from the airport, billboards advertise nightclubs instead of cars and banks. I pass one for Space, an Ibiza institution. "Explore the darker side of Mondays," it beckons.

My destination is the island's oldest nightspot. Pacha is a 3,500-capacity "super-club" and a global brand that is this year celebrating its 50th summer season. It started out in Barcelona, then opened in Ibiza in 1973 in a converted farmhouse on the outskirts of Ibiza Town. It is still on the same site, and is still run by its founder, Ricardo Urgell.

Pacha's building in 1973

Pacha Ibiza occupies an attractively mazy complex with annexes and outdoor spaces radiating from a central dance floor. Old whitewashed walls and palm trees are relics of the original finca. This year it came fourth in a poll of 500,000 clubbers by DJ Magazine to find the world's best clubs. Space and another local rival, Amnesia, were first and third respectively.

The number of visitors to Ibiza has grown rapidly — up 44 per cent from 2010 to last year — yet uncertainty stalks the super-clubs this season. Several days before my arrival, tax authorities raided a number of venues across the island including Space (Pacha was not one of them). The clampdown, called Operation Chopin — the Spanish Tax Agency and National Police takes its anti-disco responsibilities seriously — followed the discovery of €2m hidden in the walls and floors of the aptly named Amnesia, whose owner was arrested.

Luxury yachts and cars in Ibiza Town © Getty

Other factors are adding to the pressure. A new licensing law passed by Ibiza Council came into effect this summer forcing clubs to stop playing music at 6.30am, a blow to a scene that prides itself on 24-hour revelry. This month a tourist tax was introduced by the Balearics' regional government. The head of Ibiza's tourism department, Vicente Torres, has said that the island's infrastructure cannot "support much more increase" in visitors.

Meanwhile longstanding Ibiza devotees complain that the island is becoming increasingly geared to Europe's super-rich — those eager to spray champagne in the growing number of exclusive beach clubs — rather than the young, alternative and bohemian.

There are no wild scenes of libertinage at Pacha during my visit. During most of the week its state-of-the-art sound system blasts out sets by big-name DJs such as David Guetta. But I am greeted by the sedate sight of clubbers milling around to The Beatles' "All You Need Is Love" amid psychedelic lighting and go-go dancers on podiums.

Clubbers queue outside Pacha

It is Pacha's long-running night "Flower Power", an ersatz celebration of Ibiza's hippy heritage, costing upwards of €58 a ticket. Flouting the all-white dress code, punters wear the Ibizan uniform of shorts and T-shirts (him) and impossibly short hemlines (her). The air of nostalgia is as listless as the two skimpily attired female professional dancers inside a giant champagne glass on the roof terrace.

The following day I explore Ibiza Town, the island's capital, with a population of 50,000. Cafés and restaurants line the harbour promenade, leading to a lighthouse on a sea wall. An Englishman expostulates angrily to himself, either a casualty of drugs or the heat, or, more likely, both. It is 32C and the sun blazes in a cloudless blue sky.

On a hill behind the harbour, the old town is a romantic tangle of whitewashed houses and eruptions of purple bougainvillea. It is surrounded by heavily fortified town walls, a legacy of centuries of invasions. Art galleries look back to the days of painters sketching Balearic landscapes. A café sprays a thin mist of water over customers to keep them cool. The sound of cicadas and traffic rises up from the streets below.

Pacha's Destino resort © Tatiana Chausovsk

At the top of the hill are panoramic views and the town's principal landmark, its 16th-century cathedral. A huge cruise ship hulks outside the harbour, one of 154 forecast to visit this year, up from 120 in 2015. A couple of miles away to the west is the Playa d'en Bossa beach, the longest on the island. A taxi later, I arrive there to encounter a less tranquil scene.

The beach is adjacent to a busy road lined with fast-food restaurants bearing names such as Steak 'n' Shake, and billboard adverts promising "The biggest paint party on the island". Elsewhere there are many quiet beaches and pristine coves, but this mile-long strip of sand is packed with young holidaymakers. Techno thuds from beach lounges and pool parties. As the afternoon sun beats down, a group of English lads casually drink litre bottles of Smirnoff Ice.

But the sea is inviting. Ducking underwater, I see a silvery gilthead bream twisting in front of me, indifferent to the human hordes — at least until the day it is served with chips.

Inside Pacha's El Hotel © Xavier Ferrand

Notions of Ibiza as an idyll in danger of being spoilt recur throughout its tourist history. Hippies complained that the jet set corrupted the island in the 1970s, who in turn scorned the package holiday-makers of the 1980s. Attempts to regulate its nightlife follow the same pattern. Clubbers fear the island's carnival reputation is under threat.

The Pacha Group's response to changing trends is diversification. The company has already franchised eight other Pacha clubs across the globe and also runs hotels, restaurants, a luxury yacht charter and a record label. Turnover was €78m last year. Now it is embarking on an ambitious programme of growth, with plans for 25 more hotels by 2025, alongside 10 more clubs and 50 restaurants.

I stay at its Destino resort, a handsomely designed enclave for richer, older clubbers with swimming pools, sun loungers and a beautiful view over the harbour towards Ibiza Town. Pristine rows of white buildings house the rooms. Mine has a ceiling mirror above the bed, a louche touch amid the style.

The Lío cabaret restaurant in Ibiza Town © Ana Ruiz de Villota

In the evening I dine at its fanciest venture, a cabaret restaurant called Lío. It is sited in Ibiza Town's marina, where luxury shops stand in place of chandleries and superyachts costing €350,000 a week to hire are berthed. Singers and burlesque dancers entertain us as we eat. Occasionally we are encouraged to wave wads of fake money on the table.

It is the most surreal meal of my life. At a certain point I realise that I am eating what must be the world's most expensive chicken and chips while watching a pair of female dancers perform risqué moves to a remix of Hozier's "Take Me to Church" against a stunning backdrop of sea and boats.

Pacha's yacht arrives with more dancers, a shimmying vision of salsa and sequins. It is a watered-down version of Ibizan decadence, but the fun is infectious. By the end, I am on my feet dancing as a bearded drag queen performs a version of Italian disco song "Amore".

Inside Destino

Afterwards, I take a taxi to Space, on the other side of town in every sense. The 5,000-capacity club has been run since 1989 by Pepe Rosello, now 80 years old, but is being taken over next year by a nearby rival, Ushuaïa. To regulars, its closure is akin to the ravens departing the Tower of London, an omen symbolising the victory of the VIPs over countercultural Ibiza. I pay £42 for an online ticket.

"Do you have any pills?" a young woman shouts over the beats as I enter the main room. Presumably she is unable to think of any other reason for a man in his forties to be present, greying hair eerily lit in the ultraviolet light. The music is hard and relentless, the opposite to Lío's cabaret fripperies. The club's longstanding DJ Carl Cox is holding his valedictory residency, titled "Music Is Revolution: The Final Chapter".

"You will understand house music is freedom," a vocalist intones during a track. Revellers raise their hands in response, worshippers at the altar of electronic music. But a question looms in the shadows. How much longer will it remain in its Ibizan cathedral?

Ludovic Hunter-Tilney is the FT's pop critic


Ludovic Hunter-Tilney was a guest of Pacha. Double rooms at Pacha's Destino resort cost from €330 per night; doubles at the company's El Hotel cost from €325, including breakfast

Photographs: Ana Ruiz de Villota; Getty Images; Tatiana Chausovsk; Xavier Ferrand


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