Posts tagged with "artists"

ZEITZ MOCAA × GUCCI - WHEN WE SEE US via 360 MAGAZINE.

ZEITZ MOCAA × GUCCI – WHEN WE SEE US

ZEITZ MOCAA ANNOUNCES FULL ARTIST LINE-UP FOR HIGHLY ANTICIPATED EXHIBITION

WHEN WE SEE US: A CENTURY OF BLACK FIGURATION IN PAINTING 

The survey exhibition features nearly 200 artworks from 154 artists 

The exhibition, supported by Gucci, opens on 20 November 2022

This weekend, Zeitz MOCAA will be a flurry of activity as it not only presents its fundraising Gala, sponsored by Gucci, but also unveils a new survey exhibition that has been years in the making. Titled When We See Us: A Century of Black Figuration in Painting, the exhibition places a focus on painting, specifically works produced from the 1920s to the present.

“Over the last decade, figurative painting by Black artists has risen to a new prominence in contemporary art,” says Koyo Kouoh, Executive Director and Chief Curator at Zeitz MOCAA. “There is no better time for an exhibition of this nature, one that connects these practices and reveals the deeper historic contexts and networks of complex and underrepresented artistic genealogies that stem from African and Black modernities; an exhibition that demonstrates how multiple generations of such artists have revelled and critically engaged in projecting various notions of Blackness and Africanity.”

When We See Us: A Century of Black Figuration in Painting comprises an exhibition, publication and discursive programming that explores Black self-representation and celebrates global Black subjectivities and Black consciousness from pan-African and pan-diasporic perspectives. It boldly brings together artworks from the last 100 years, by Black artists working globally, into dialogue with leading Black thinkers, writers and poets who are active today.

The exhibition furthermore celebrates how artists from Africa and its diaspora have imagined, positioned, memorialised and asserted African and African-descent experiences. It contributes to critical discourse on African and Black liberation, intellectual and philosophical movements. The title of the exhibition is inspired by Ava DuVernay’s When They See Us, a 2019 miniseries. Flipping ‘they’ to ‘we’ allows for a dialectical shift that centres the conversation in a differential perspective of self-writing as theorised by Professor Achille Mbembe

The exhibition, designed by Wolff Architects, features nearly 200 works of art by 154 artists from 28 countries, with the artworks loaned from 73 institutional and private lenders located in 26 countries. When We See Us celebrates the resilience, essence and political charge of Black joy. The exhibition is organised around six themes — The Everyday, Joy and Revelry, Repose, Sensuality, Spirituality, and Triumph and Emancipation. It is furthermore accompanied by a sonic translation, compiled by South African composer and sound artist Neo Muyanga.

Tandazani Dhlakama, the exhibition’s co-curator and Assistant Curator at Zeitz MOCAA, says: “This exhibition is a true reflection of the historic contexts of African and Black existence, with the oldest artist in the exhibition born in 1886 and the youngest in 1999. It amplifies a historical continuum of self-representation while highlighting important contributions towards a previously understated canon. Most importantly, it explores a broad range of artistic lineages, art schools and movements — and brings together a myriad of artists and their practice in dialogue for the first time (see full list of artists below).”

Published to coincide with the exhibition is a hardcover poetic catalogue by Thames and Hudson, in collaboration with Zeitz MOCAA, and edited by Koyo Kouoh. Richly illustrated with all the works selected for the exhibition, it includes a contextual essay by Dhlakama and four specially commissioned texts by acclaimed female writers Ken Bugul (Senegal), Maaza Mengiste (Ethiopia), Robin Coste Lewis (United States) and Bill Kouelany (Republic of Congo). In addition to the publication, on sale from 18 November at Zeitz MOCAA Shop and shop.zeitzmocaa.museum, the curatorial team have collaborated with the museum’s retail partner on a limited range of exhibition-related items, including T-shirts, tote bags and more.

Conceived in collaboration with the Institute for Humanities in Africa (HUMA) at the University of Cape Town (UCT), a parallel discursive programme provides theoretical framings of the project and is presented as a year-long, multi-vocal webinar series. The series brings together thought leaders from the continent and its thriving diaspora to address topics around global Black subjectivity and Black representation from the premise of artistic production and into the topical considerations relevant today.

Coordinated by Zeitz MOCAA Assistant Curator Thato Mogotsi, previous discussion topics included The Poetics of Black Figuration, Defining the ‘We’ & the ‘Us’, A Century of Black Figuration as Representation of Self and Black is Beautiful: Pan-Africanism & the Afropolitan Impulse in Contemporary Art, amongst others. Previous participants have included Prof Huey Copeland, Kimberly Drew, Keyna Eleison, Thelma Golden, Dr Felwine Sarr and Athi Mongozeleli Joja. The webinars are archived on the museum’s YouTube channel, with the next one taking place on Tuesday, 29 November. 

The opening of the exhibition is preceded by the 2022 Zeitz MOCAA Gala Dinner + Party, supported by Gucci, acting as a catalyst and inspiration for the Gala’s theme of Art & Opulence. The Gala is Zeitz MOCAA’s largest development event of the year and its proceeds yield approximately 30% of the museum’s annual exhibitions and education budget. The event is essential to the institution’s mission of promoting art education and community engagement, and is further supported by the V&A Waterfront, Radisson Hotel Group, the Mail & Guardian, YourLuxury Africa, Terre Paisable, Pernod Ricard and Hidden Valley Wines, with BMW South Africa as the official vehicle partner. 

The exhibition and accompanying publication have been made possible through the generous support of our presenting sponsor, Gucci.

When We See Us: A Century of Black Figuration in Painting will open to the public on Sunday, 20 November 2022. The Zeitz MOCAA Gala Dinner + Party, supported by Gucci and themed Art + Opulence, takes place on Saturday, 19 November 2022. For more information on the Gala and to purchase tickets, visit zeitzmocaa.museum or click here.

Zeitz MOCAA’s curatorial and exhibition programming is proudly supported by Gucci. All proceeds from the annual fundraising event go towards supporting curatorial research and education programming at Zeitz MOCAA.

Participating artists: 

Nina Chanel Abney

Olusegun Adejumo

Tunji Adeniyi-Jones 

Njideka Akunyili Crosby

Maxwell Alexandre

Tiffany Alfonseca

Benny Andrews

Anjel (BorisAnje) 

Cornelius Annor

Gideon Appah

Michael Armitage

Johnny Arts

Malang Badji

Firelei Báez

Romare Bearden

Tizta Berhanu

Willie Bester

Gerard Bhengu

Wilson Bigaud

John Thomas Biggers 

Amoako Boafo

Kwesi Botchway

Marcus Brutus

Margaret Taylor Burroughs 

Dominic Chambers

Chéri Chérin

Kudzanai Chiurai

Peter Clarke

Eldzier Cortor

Somaya Critchlow

Beauford Delaney

Elladj Lincy Deloumeaux

Aboubacar Diané

Aaron Douglas

Gervais Emmanuel Ducasse

Edouard Duval-Carrié

Ibrahim El-Salahi

Ben Enwonwu

Esiri Erheriene-Essi

Patrick Eugène

Scherezade García

Ablade Glover

Gherdai Hassell

Barkley L. Hendricks

Lubaina Himid

Albert Huie

Clementine Hunter

Kudzanai-Violet Hwami

Gavin Jantjes

William H. Johnson

Charles Kamangwana

Kangudia

Ibrahima Kébé

Amon Kotei

Joy Labinjo

Wifredo Lam

YoYo Lander

Akinola Lasekan

Jacob Lawrence

Petson Lombe

Sahara Longe

Zemba Luzamba

Danielle McKinney

Mustafa Maluka

Marvelous Mangena

Armando Mariño

Arjan Martins

No Martins

Wangari Mathenge

Neo Matloga

Raphael Adjetey Adjei Mayne

George Mbugua

Kivuthi Mbuno

Zachariah Mbutha

Luis Meque

Roméo Mivekannin

Sungi Mlengeya

Sphephelo Mnguni

Moké

Meleko Mokgosi

Archibald J. Motley Jr. 

Richard Mudariki

Geoffrey Mukasa

Cinthia Sifa Mulanga 

Theresa Mungure

Lavar Munroe

Ian Mwesiga

Cassi Namoda

Eric Ndlovu

Chemu Ng’ok

Malangatana Valente Ngwenya

Nicholous Njau 

Thenjiwe Niki Nkosi

Eria Nsubuga ‘Sane’

Nestor Vuza Ntoko

Boris Nzebo

Antonio Obá

Antoine Obin 

Philomé Obin

Télémaque Obin

Abe Odedina

Toyin Ojih Odutola

Fred Oduya

Chris Ofili

Augustin Okoye 

Kambui Olujimi

Eniwaye Oluwaseyi

Bruce Onobrakpeya

Richard Onyango

Marc Padeu

Zéh Palito

Emma Pap’

Karl Parboosingh

George Pemba

Thebe Phetogo

Naudline Pierre

Prosper Pierre-Louis

Horace Pippin

María Magdalena Campos Pons

Otis Kwame Kye Quaicoe

Robert Saidi

Chéri Samba

Kingsley Sambo

Cinga Samson

Mmapula Mmakgabo Helen Sebidi 

Gerard Sekoto

Tschabalala Self

Amy Sherald

Devan Shimoyama

Monsengo Shula

Alexander Shyngle

Sthembiso Sibisi

Ancent Soi

Olivier Souffrant

Moustapha Souley

Pamela Phatsimo Sunstrum

Nirit  Takele

Matundu Tanda 

Henry Taylor

Alfred Thoba

Mickalene Thomas

Bob Thompson

Edward Saidi Tingatinga

Katlego Tlabela

Cyprien Tokoudagba

Mose Tolliver

Zandile Tshabalala

Didier Viodé

Sane Wadu

Charles White

Kehinde Wiley

Richard Witikani

Lynette Yiadom-Boakye

Daniela Yohannes

Issued by Chimera Creative on behalf of Zeitz MOCAA. 

Please find further media materials for When We See Us here and here.

About Zeitz MOCAA

Zeitz Museum of Contemporary Art Africa (Zeitz MOCAA) is a public not-for-profit institution that collects, preserves, researches and exhibits contemporary art from Africa and its diaspora; conceives and hosts international exhibitions; develops supporting educational, discursive and enrichment programmes; encourages intercultural understanding; and strives towards access for all. The museum’s galleries feature rotating temporary exhibitions with a dedicated space for the permanent collection. The institution also includes the Centre for Art Education, the Centre for the Moving Image and The Atelier, a museum residency programme for artists living and working in Cape Town. 

Zeitz MOCAA is situated at the Silo District, South Arm Road, V&A Waterfront in Cape Town, South Africa, and is open Tuesday through Sunday, 10 am to 6 pm. zeitzmocaa.museum

About Gucci

Founded in Florence, Italy, in 1921, Gucci is one of the world’s leading luxury brands, led by President and CEO Marco Bizzarri and Creative Director Alessandro Michele. Following the House’s centenary, Gucci forges ahead into the next hundred years, continuing to redefine luxury while celebrating the creativity, craftsmanship and innovation at the core of its values. 

Gucci is part of the global luxury group, Kering, which manages the development of a series of renowned Houses in fashion, leather goods, jewelry and watches. 

Discover more about Gucci at gucci.com

Stranahan’s Colorado Whiskey & Flying Dog Brewery Release “The Osopher” Exclusive Limited Edition Set and Commemorative NFT Bundle via Dhiti Kapadia by 360 Magazine

“The Osopher”

Stranahan’s Colorado Whiskey & Flying Dog Brewery Release “The Osopher” Exclusive Limited Edition Set and Commemorative NFT Bundle

After selling out their last limited edition product collaboration in a matter of days, Stranahan’s Colorado Whiskey and Flying Dog Brewery have partnered once again to create an exclusive ultra-premium collection set, “The Osopher NFT Bundle.” This limited edition set marks the first time Stranahan’s and Flying Dog will sell their respective “The Osopher” limited edition products as a collection to a national audience. On Thursday, November 10, 2022, whiskey and beer fans alike can purchase the collection exclusively on SpiritsNetwork.com. Ten percent of the proceeds will be donated to the First Responders
Foundation.

Twenty-three collection sets will be available for $230 and include the following:

● One bottle of The Osopher from Stranahan’s Colorado Whiskey
● One bottle of The Osopher from Flying Dog Brewery
● One tote bag with artwork by Ralph Steadman
● A digital NFT artwork by The Osopher’s collaboration bottle designer, internationally renowned artist, and friend of George Stranahan, Ralph Steadman

One additional “The Osopher NFT Bundle” collection set includes:

● A priceless signed limited edition print version of the NFT artwork from Ralph Steadman
● Both The Osopher expressions
● Ralph Steadman tote bag
● Ralph Steadman digital NFT artwork

In August 2022, Stranahan’s Colorado Whiskey and Flying Dog Brewery launched their first joint limited edition product release collaboration, “The Osopher Project,” to celebrate their shared history and commemorate their founder George Stranahan. The limited-edition whiskey sold out in 72 hours, with people lining up outside of the Stranahan’s distillery in Denver, Colorado, beginning at midnight on launch day. The limited-edition Flying Dog beer also immediately sold out at specific Maryland retailers. Both Stranahan’s and Flying Dog are excited to bring their partnership to the next level on a national scale – an expansion truly dedicated to their dedicated fans.

About “The Osopher Project”

Stranahan’s Colorado Whiskey and Flying Dog Brewery have a shared connection, history, and founder; however, The Osopher Project, launched in the summer of 2022, marked the first joint product release for the two companies. This collaboration celebrates the intersection of George Stranahan’s accomplishments as a distiller and brewer. The resulting beer and whiskey is a true testament to the art, science, and creativity on which George built both companies. The Osopher speaks to the idea that you can pursue anything if you’re just crazy enough to try it.

The Osopher Single Malt Whiskey

Stranahan’s “The Osopher” is the oldest whiskey the distillery has ever bottled. It stays true to George Stranahan’s passion for creativity and Stranahan’s commitment to innovating American Single Malt Whiskey. It starts its journey of aging for 11 years at the distillery before being matured for another four months in barrels used to age Flying Dog’s Road Dog Porter. The flavor profile consists of the following:
● Nose: Coffee cake. Roasty malt mingles with toffee and barrel char
● Palate: Dark chocolate caramels, sherried-soaked plums, and a dash of aged hops
● Finish: Bread pudding and barley wine temper to a dry finish

The Osopher Imperial Road Dog Porter

The limited-edition Flying Dog beer created for The Osopher Project is an imperial version of Road Dog Porter, an early creation by the brewery. Road Dog was one of the first beers to be wrapped in original artwork by internationally renowned artist Ralph Steadman; a version of this label was used to create The Osophers for both brands as well as the NFT. Flying Dog’s imperial Road Dog Porter was aged in 10- year-old Stranahan’s Whiskey barrels before being bottled. The results are:

● Aroma: Dark chocolate and caramel dominate the aroma, followed by cocoa butter and maple that finishes with light notes of nutty vanilla.
● Palate: A velvety smooth explosion of chocolate, vanilla cream, toasted pecans, toffee, and maple balanced with hints of caramel, spice, and tobacco from the whiskey.

Stranahan’s The Osopher carries a 47.3% ABV and Flying Dog’s The Osopher carries a 12% ABV. This project is powered by YellowHeart, the Web3 marketplace for ticketing, music, and memberships.

About Stranahan’s Colorado Whiskey

Stranahan’s Colorado Whiskey is a pioneering and award-winning American single malt whiskey comprised of 100% malted barley and Rocky Mountain water, aged in new American white oak barrels. From grain to glass, Stranahan’s whiskey is distilled and bottled at its Colorado distillery, the state’s first legal distillery since Prohibition. Stranahan’s expressions include Original, Blue Peak, Sherry Cask, Diamond Peak, Mountain Angel 10-Year-Old, and the limited-edition yearly release: Snowflake. As one of the first and best-selling American single malts, Stranahan’s is committed to building recognition and
admiration for the category globally.

About Flying Dog Brewery

As the 35th largest craft brewery in the U.S., Flying Dog has a reputation for brewing premium beer that pushes the confines of traditional styles out of our home base in Frederick, MD. From hop-heavy favorites like The Truth Imperial IPA and Double Dog Double IPA to left-of-the-dial best sellers like Kujo Cold Brew Coffee Porter and Dead Rise Old Bay Summer Ale – we take pride in challenging the status quo. Our brand is built on the gospel of Gonzo, drawing inspiration from Hunter S. Thompson’s relentless truth seeking and Ralph Steadman’s provocative drawings. In the true gonzo spirit, when authoritarians have tried to censor our creativity, we’ve gone to Federal court defending our right to free speech and
expression and won. At Flying Dog, we challenge conformity, embrace the weird, and encourage you to Cut The Leash and reclaim your independence. For more information visit flyingdog.com.

About Ralph Steadman
When George Stranahan first founded the Flying Dog Brewery just outside of Aspen, Hunter S Thompson immediately suggested Ralph Steadman produce the labels for their first beer, Road Dog. Flying Dog still uses Ralph’s work on their beer bottles today so it was a natural fit to use that first artwork on the Osopher Whiskey. Steadman is best known for his collaborations with Hunter S Thompson including Fear and Loathing in Las Vegas and The Curse of Lono. He has illustrated literary classics such as Alice in Wonderland and Treasure Island, and written his own books including I Leonardo, Freud and The Big I Am. Other collaborations include Pyschogeography with Will Self and the Gonzovation Trilogy about endangered animals with Ceri Levy. Ever the trailblazer, Ralph has recently begun minting his art as NFTs on objkt.com at steadmanart.tez and is enjoying exploring the new opportunities that Web 3 offer.

About First Responders Foundation

Rooted in 9/11 remembrance and how first responders often are taken for granted until tragedy strikes, the First Responders Foundation is a non-profit organization dedicated to serving and honoring our first responders, veterans and their families, building appreciation and respect for their work, and enhancing public safety. The First Responders Foundation supports all first responders from Law enforcement, Firefighters, Dispatchers, EMTs, Medical Personnel, and Veterans. For over 14 years, the First Responders Foundation has been supporting the overall well-being of first responders, veterans and their families through key areas such as behavioral and mental health programs, physical health services, service dog programs (JALVELAN), and community events.

About YellowHeart

Founded in 2017, YellowHeart is the leading Web3 marketplace for ticketing, music and memberships, which accepts both crypto and credit card payments. Powered by distributed ledger technology, YellowHeart’s platform was designed to help the larger industry graduate to the next phase of ticketing, giving control back to artists and fans. YellowHeart is one of the earliest adopters of blockchain ticketing and music, having released the first-ever NFT tickets and NFT album with Kings of Leon in 2021. Tao Group Hospitality, MGM Resorts, Maroon 5, Julian Lennon, and ZHU are just a few of the globally recognized artists and brands YellowHeart works with.

Swizz Beatz x Timbaland via 360 MAGAZINE

Swizz Beatz × Timbaland

Swizz Beatz, Timbaland and Triller announced the settlement of their legal dispute over the sale of VERZUZ.

“VERZUZ has always been a platform that is by the artists, for the artists and with the people,” says founders Swizz Beatz and Timbaland. “We’re glad to come to an amicable agreement with Triller and continue giving fans the music and community that they’ve come to know and love from the brand.”

The settlement will increase the ownership stake given to the artists that Timbaland & Swizz Beatz brought to Triller as part of the original deal.

“VERZUZ and Triller will always be a safe place and outlet for creators and their art. Nothing will change that,” says Bobby Sarnevesht, Executive Chairman & Co-Founder. “Creators started this and will continue building it. This is a victorious moment in the Triller and VERZUZ relationship as we march together toward the public markets. Stay tuned.”

Swizz Beatz and Timbaland remain proud of the platform that they created with VERZUZ and its acquisition by Triller due to the company’s willingness to celebrate and showcase artists.

ABOUT VERZUZ:

Created by GRAMMY award winning producers and entrepreneurs Swizz Beatz and Timbaland, VERZUZ was launched in March of 2020. What started as a battle between two friendly rivals has grown into a global phenomenon that celebrates some of the greatest artists of our time, highlighting their careers and generating powerful surges in sales and streams. VERZUZ has taken its celebration of culture beyond music with successful collaborations in sports, comedy and more. For more information, visit www.verzuztv.com and follow @verzuztv on Instagram.

ABOUT TRILLER NETWORK: 

Triller Network is a consolidation of companies, apps and technologies and the first of its kind leading the move into Internet 3.0. Triller Network pairs the culture of music with sports, fashion, entertainment and influencers through a 360-degree tech and content-based vertical. The Triller Networkߞwhich includes the globally popular Triller app used by musicians, celebrities, athletes, and overall culture settersߞhas more than 300 million users worldwide. 

Unlike other global short-video apps it is often compared to, Triller encourages and facilitates its users to post the content created on the app across other social media platforms and websites. 

Triller Network owns proprietary ad-tech and ad AI which is uniquely tied to the content rather than more typically to the user. By tracking the content, Triller Network empowers its tastemakers and users to push their content virally to affiliated and un-affiliated sites and networks reaching tens of millions of additional users daily.  

Data from its AI suite, direct influencer and artists relationships is generated from the app and from on- and off-network information and is used to program longer-form content, connect users across the web with the content, and provide monetization opportunities that maximize brand partnership integrations.

Triller Network has launched highly successful campaigns with some of the biggest brands in the world including Pepsi, McDonalds, Weedmaps, DraftKings, and L’Oreal. Campaigns start with the app and continue throughout the entire tech ecosystem, providing a unique branded content and technology integration. Branded content is integrated at the Triller app level, making direct deals with the influencers and celebrities who post the content. Content is then pushed to and through thousands of affiliated and non-affiliated sites, apps, social networks and is ultimately integrated into valuable long-form Triller Network content, such as boxing PPV, live fashion shows, and episodic reality content on TrillerTV. 

Triller TV programming includes more than 50 original half-hour shows, with more added continuously. Shows include The DAmelios Family’s Must Haves, Jennifer Lopez In The Morning, Jake Paul: Staying On Top, 2 Chainz Lets Do It, Hypehouse’s Hanging With The Hype, Ur Lovd: the Noah Beck Show, Fat Joe’s Masterclass, The Perez Hilton Show, and Violet Benson’s Too Tired To Be Crazy, among others. 

Triller Network also includes Triller Fight Club (www.TrillerFightClub.com), which launched last year with the highly successful Tyson-Jones Fight, which shattered digital PPV records and became the 8th highest selling Boxing PPV of all time.

ABOUT THE TRILLER APP:

Triller is an AI-driven music and social media experience bringing together creators, artists, and brands around the world. Powered by the motto “You Do You,” Triller allows users to create and share videos in mere seconds, backing them with custom music tracks using Mashtraxx editing technology. Celebrities like Alicia Keys, Cardi B, Chance the Rapper, Marshmello, Roddy Ricch, and Eminem regularly use the app to create their own original music videos, while Triller has attracted brands such as Pepsi, Chipotle, Manscaped, Boost Mobile, and more. Triller recently was acquired by Proxima Media. For more information, visit www.triller.co and follow @triller on Instagram.

Que Triste by Warner Music Latina via 360 Magazine

“QUE TRISTE” by PISO 21 & CARÍN LEÓN

Piso 21 releases new single ”QUE TRISTE” with Carín León. The Colombian supergroup gears up to perform at the 2022 Latin Billboard Awards on September 29

“QUE TRISTE” Available HERE

One of the Latin music industry’s most prolific and versatile groups, Piso 21, unites with regional Mexican singer and songwriter, Carín León, for the release of their latest song, “Que Triste”. The song and its official music video are available to stream on all digital platforms today.

Intentionally crafted to create the perfect fusion between two very different worlds of music, this newest hit pushes past creative barriers as Piso 21 makes a meticulous decision to produce something that further solidifies their versatility as artists. A play of references, the meaning of “Que Triste” is evident in its ties to its melancholic and wistful melodies over a slower tempo. Molded perfectly to highlight the essence of all of the artists, Piso 21’s dynamic and multifaceted vocals intertwine seamlessly with Carín León’s rhythmic and signature vocalization as they weave a story of the sadness that comes with not being valued by their female protagonists as she walks out of their lives.

In the video, directed by Juan Felipe Zuleta, we find ourselves on an intimate journey as the main protagonist, Manu Fajardo, embodies the raw and heartfelt emotions brought forth by “Que Triste” through an emotional and isolated performance. The video sees Piso 21 and Carín León perform their verses throughout a series of snippets, effortlessly capturing the essence and story behind the song.

The debut of “Que Triste” comes at an exciting time for Piso 21 as they get ready to take the stage at the 2022 Latin Billboard Awards. The supergroup was also nominated at this year’s Latin Billboard Awards under the “Latin Rhythm Artist of the Year, Duo or Group” category. The ceremony will be broadcast live from the Watsco Center in Miami, FL on Thursday, September 29 at 7pm EST on Telemundo.

“Que Triste” follows in the footsteps of their current hit, “Los Cachos,” alongside Manuel Turizo. “Los Cachos” sees Piso 21 and Turizo join forces again for the first time since their 2018 classic, “Dejala Que Vuelva,” which remains a career-defining hit single for both artists. To date, “Los Cachos” has garnered over 60 million combined streams and over 24 million views on YouTube.

Piso 21 has continuously delivered hit after hit this year – after the release of their multi-platinum 2021 album, El Amor En Los Tiempos Del Perreo, they have released a steady stream of singles and features with Blessd, Ovy On The Drums, Santa Fe Klan, Dimelo Flow, Boza, Mau y Ricky, Prince Royce, Gerardo Ortiz, Khea, amongst others. Currently, Piso 21 is on the road touring internationally through LATAM and beyond as they gear up for the highly anticipated release of their album, “777.”

WATCH “QUE TRISTE” HERE

Follow PISO 21 on Instagram I Twitter I Facebook I YouTube


 

luxury hotel illustration for 360 Magazine

HOFSAS HOUSE HOTEL

DISCONNECTING FROM THE WORLD IS EASIER WITH AN ASTONISHING OCEAN VIEW IN HOFSAS HOUSE HOTEL

The charming hamlet of Carmel-by-the-Sea hosts a boutique family-owned inn with 38 uniquely decorated rooms. A thalassophile is able to watch glorious sunsets over the Pacific Ocean from the seclusion of the inn’s decks or rooms. Hofsas offers a warm ambiance with its fireplaces, exclusive balconies and wet bars or kitchens. Comfortability seems to be their primary priority.

Amongst their amenities, you can enjoy a continental breakfast with French roasted coffee, tea, fresh pastries delivered from a local bakery, juice and/or fruit. After satisfying your hunger, you can relax in its heated swimming pool and dry saunas or walk about the area with your pet-friendly. If that is not enough, there is also free wireless internet access.

Hofsas House has a welcoming mural painted by their featured artist Maxine Albro, who also made the headboard spotted in room 47. Albro was commissioned by her friend Donna Hofsas, the hotel’s founder. In the 1940s and 1950s, Maxine was living in Carmel. After the main four-story addition to the Hofsas House was completed in 1957, Donna asked Maxine to create the wall painting and add other highlights to the front of the building to enhance the Bavarian theme. She also painted the three pictures hanging in the lobby. Maxine Albro was an artist who worked between Mexico and San Francisco. She carried out many commissions under programs of the New Deal, such as the Federal Works of Art Project and the Works Progress Administration. Albro was one of the foremost female artists to be hired as a muralist for this national project. The most significant commission Albro executed in her career was a mural at Coit Tower in San Francisco. As a tribute to Maxine, Hofsas House commissioned local artist Christine Sorensen to touch up a headboard and valance, faux paint the walls, enhance the end tables and glaze the crown molding in Room 47.

Hofsas House can be proud of its marvelous localization. Everything, including the beach, is well within walking distance.
In that respect is an iconic 45-year- old restaurant called The Whaling Station Steakhouse, where 360 MAGAZINE had the opportunity to taste its exceptional menu. In this steakhouse, you can find executive Chef David Stember’s very own creations, such as prime rib egg rolls ( shaved prime rib, caramelized onions and a Gruyere – Emmental – Swiss cheese blend stuffed inside a crispy egg roll wrapper ) and an open-faced bourbon BBQ beef sandwich on garlic toast. The Whaling Station was one of the first to cook the $99 prime porterhouse steak for two, USDA PRIME grade prime rib, an accolade –
winning wine list, the now-famous open-faced steak sandwich, Caesar salad tossed tableside, the ability to add a lobser tail to any entrée, and Castroville artichokes. Moreover, The Bar at The Whaling Station has its own menu and its own local following, with drink specials and lively conversation served nightly. The Whaling Station is the perfect choice for a meal during a peaceful stay in Hofsas House.

Article by Ana de Cozar + Vaughn Lowery

Red Bull Culture Clash via 360 magazine

Red Bull Culture Clash

Red Bull Culture Clash, the innovative live music experience where four crews face off to win over the crowd and celebrate Jamaican sound system culture, returned to New York Thursday May 19. 

Crews and their participating artists were given the reins to take over each corner of a venue and faced off for a four-round bout, bringing big sound, heavy tunes, and fierce competition all in an effort to outshine their competition and win over the crowd. The winners were selected based on crowd response. 

The event was hosted by Gitoo  and featured top New York-based collectives APOCALIPSISClub CringeHalf Moon, and CORPUS and special guests including  2 MillyThe Kid MeroKalifaCLIPShow Me the Body, M.O.P (Lil’ Fame and Billy Danze), CapellaRicky Blaze, and Havoc from Mobb Deep

Everything was left on the stage as APOCALIPSIS was crowned the winner of the East Coast showdown.

APOCALIPSIS, featuring Dana Lu, Riobamba, Bembona, LITA, Nino Augustine, Dos Flakos and JFuse,  is a NYC-based record label founded by Ecuadorian-Lithuanian artist Riobamba. APOCALIPSIS amplifies the stories of artists de aquí y de allá (from here and there), doing everything in its power to re-distribute equity in the music industry.

Red Bull Culture Clash event images via Vaughn Lowery for use by 360 MAGAZINE
Red Bull Culture Clash event images via Vaughn Lowery for use by 360 MAGAZINE
Ballet Hispánico School of Dance photo of teacher teaching child students ballet via Michelle Tabnik PR for use by 360 Magazine

Ballet Hispánico Summer Program

Ballet Hispánico School of Dance announces that registration is now open for a week-long summer professional development program for dance teachers, July 11-15, 2022. The program is $525 for in-person attendees and $435 for virtual attendees, with discounts available for School of Dance partner organizations, including NDEO and NASD members. The registration deadline is Friday, June 10, 2022. For more information and to register, visit HERE.

The Ballet Hispánico professional development program is an opportunity for dance teachers to immerse themselves amongst fellow educators, share teaching practices, and further their teaching artistry. With daily class and student observation, theory is seen in practice and discussed. All educators are welcome, from seasoned faculty to new teachers, community dance practitioners, dance education undergraduates/graduates, dance studio owners, and K-12 teachers.

Course Highlights:

  • Observe in-person and/or virtual class offerings at Ballet Hispánico headquarters, led by seasoned School of Dance faculty addressing varied age groups and dance genres.
  • Discuss and reflect on class observations and presentations with an emphasis on application for each teacher’s individual practice.
  • Examine Early Childhood curricular bridging points and other developmental benchmarks for instruction.
  • Engage with Ballet Hispánico pedagogy and curricular design through the lens of culture and repertory.
  • Interact with tools for social-emotional learning and addressing the diverse student-learner.
  • Challenge narratives of collective dance histories and dance archives
  • Identify cultura and other teaching identities, and their implications for pedagogical practices.
  • Receive a Certificate of Completion.

2022 Guest Faculty and Sessions:

Yebel Gallegos – Visiting Assistant Professor of Dance at Bard College, multi-faceted dance artist from El Paso, Texas, played an important role in the founding of Cressida Danza Contemporanea also helped in the creation and implementation of the Festival Yucatan Escenica, an international contemporary dance festival, former dancer, company teacher, rehearsal director, and academic coordinator for the Conservatorio de Danza de Yucate, recently concluded a six-year tenure working full time with the Ririe-Woodbury Dance Company, BFA in dance, both from the University of Texas at Austin and from the Escuela Profesional de Danza de Mazatlen, directed by Delfos Dance Company, MFA from the University of Washington in Seattle.

Elisa de la Rosa – daughter of migrant farmworkers, and granddaughter to Mexican immigrant grandparents; a first generation college graduate is originally from a small border town in Texas, Assistant Professor of Dance at Texas Woman’s University (TWU), choreographer, performer, dance educator, and the founding artistic director of De La Rosa Dance Company, Artistic Director of the TWU Dance International Dance Company, was a dance educator for 14 years in middle and high school Texas dance programs, has designed professional development for dance educators in various school districts and presented to Aldine, Denton, Edinburg, and La Joya Independent School Districts, integrated the Dance and Digital Media Communications Curriculum into her instruction and was awarded a $3,500 grant for technology by The Texas Cultural Trust, BA in Dance with Secondary Teacher Certification from Texas Woman’s University, and an MFA in Dance from Montclair State University.

Gregory Youdan – has performed with the NY Baroque Dance Company, Sokolow Theatre/Dance and Heidi Latsky Dance, where he now serves as a board member, Currently, visiting research scholar at Brown University and adjunct lecturer at Lehman College, Westheimer Fellow through Mark Morris Dance Group’s Dance for PD program and is a teaching artist in their Dance for PD en Espanola, a 2021 National Association for Latino Arts and Cultures Advocacy Fellow and 2021 Latin Impact Honoree, serves on the development committee for the International Association for Dance Medicine and Science (IADMS), the research committee for the National Organization for Arts in Health (NOAH), and the advisory council for Dance Data Project, a member of the Latinx Dance Educators Alliance.

Dr. Afdaniels Mabingo – a Ugandan dance researcher, scholar, performer, educator, Afro-optimist and co-founder of AFRIKA SPEAKS, holds Ph.D. in Dance Studies from the University of Auckland, recipient of the prestigious Fulbright scholarship, Mabingo also holds an MA in Dance Education from New York University, and an MA in Performing Arts and a BA in Dance degree, both from Makerere University in Uganda, has taught at Makerere University in Uganda, New York University, the University of Auckland in New Zealand, and Edna Manley College of the Visual and Performing Arts in Jamaica, has also guest lectured at Columbia University and Princeton University, his research sits at the intersection of decolonization, interculturalism, postcolonialism, dance pedagogy and African philosophy, latest book titled Ubuntu as Dance Pedagogy: Individuality, Community, and Inclusion in Teaching and Learning of Indigenous Dances in Uganda, received scholarships and awards that included: Fulbright Junior Staff Development Scholarship, Fulbright Scholar in Residence (deferred), the University of Auckland Doctoral Scholarship, Makerere University Staff Development Scholarship, George Payne award for outstanding academic leadership and excellence at NYU, and the best overall Humanities student award at the 48thst-49th graduation at Makerere University, has taught dance schools and community settings in the U.S., Australia, South Sudan, Germany, Uganda, and New Zealand, has presented keynotes, delivered paper presentation, and facilitated dance workshops for conference gatherings such as daCi-WDA, NDEO, CORD, WAAE, and WDA,&#a0;has also staged choreographies and performed in New York City, Adelaide in Australia, Rwanda, Auckland in New Zealand, and Uganda;

Testimonials

  • “This is my first Professional Development experience, and I have been blown away!” – Margaret
  • “This week has been a work for the mind.” – Lynette
  • “I can now provide my students with tools that I didn’t have in my own dancing.” – Dandara

About Ballet Hispánico

Ballet Hispánico has been the leading voice intersecting artistic excellence and advocacy and is now the largest Latinx cultural organization in the United States and one of America’s Cultural Treasures. Ballet Hispánico brings communities together to celebrate and explore Latino cultures through innovative dance productions, transformative dance training, and enduring community engagement experiences.

National Medal of Arts recipient Tina Ramirez founded Ballet Hispánico in 1970, at the height of the post-war civil rights movements. From its inception Ballet Hispánico focused on providing a haven for Black and Brown Latinx youth and families seeking artistic place and cultural sanctuary. By providing the space for Latinx dance and dancers to flourish, Ballet Hispánico uplifted marginalized emerging and working artists, which combined with the training, authenticity of voice, and power of representation, fueled the organization’s roots and trajectory. In 2009, Ballet Hispánico welcomed Eduardo Vilaro as its Artistic Director, ushering in a new era by inserting fresh energy to the company’s founding values and leading Ballet Hispánico into an artistically vibrant future. Today, Ballet Hispánico’s New York City headquarters house a School of Dance and state-of-the-art dance studios for its programs and the arts community. From its grassroots origins as a dance school and community-based performing arts troupe, for fifty years Ballet Hispánico has stood as a catalyst for social change.

Ballet Hispánico provides the physical home and cultural heart for Latinx dance in the United States. Ballet Hispánico has developed a robust public presence across its three main programs: its Company, School of Dance, and Community Arts Partnerships.

Through its exemplary artistry, distinguished training program, and deep-rooted community engagement efforts Ballet Hispánico champions and amplifies underrepresented voices in the field. For fifty years Ballet Hispánico has provided a place of honor for the omitted, overlooked, and oppressed. As it looks to the next fifty years and beyond, Ballet Hispánico seeks to empower, and give agency to, the Latinx experience and those individuals within it.

Panel with a Striding Lion, Neo-Babylonian period, 605-562 BC, glazed ceramic. The Metropolitan Museum of Art, Fletcher Fund, 1931 via Cole Calhoun Getty Communications for use by 360 MAGAZINE

Getty’s MESOPOTAMIA

Getty’s online digital experience, MESOPOTAMIA, is now viewable in Arabic, French, Hindi, Mandarin Chinese, Spanish, and English. MESOPOTAMIA offers an intimate look at ancient objects from a recent exhibition at the Getty Villa, some dating up to 5,000 years old.

MESOPOTAMIA reimagines how art collections and archives can be experienced online, taking users on a journey that presents objects in lifelike detail. Visitors can simply scroll to tour the online experience at their own pace, accompanied by a narrative that details the symbolic, religious, and sometimes practical meanings and purposes of these ancient works of art.

Featured objects in MESOPOTAMIA were captured using photogrammetry and in some cases, additional LIDAR and structured light scanning to replicate every detail. This allows users to see nearly every wedge-shaped impression on a 4,000-year-old cuneiform tablet, or the hairline cracks on other ancient tablets. In one instance, users can see the bubbles in the glaze of a lion relief that once lined Babylon’s Ishtar Gate.

To give objects a sense of size, scale, and context, the feature situates the objects within their gallery setting, and strings the experience together using a Steadicam video capture. This creates the sense of floating through the space, from one highlight to another.

As technology continues to advance and audiences anticipate more dynamic visual experiences, Getty is committed to experimenting with innovative ways of visual storytelling,” says Serena Parr, immersive lead at Getty. “MESOPOTAMIA is an example of Getty’s goal to bridge the gap between ancient art history and online learning, and we hope global audiences will enjoy diving into this fascinating time period.

Other recent Getty digital experiences include Return to Palmyra12 Sunsets, and Bauhaus: Building the New Artist.

Kids Spark Video via Reb Czukoski for use by 360 Magazine

Transforming Theatre Kids into Citizen Artists

By: James Wallert

In April of 2018, I brought five high school students to an early morning event sponsored by the New York State Education Department. 200 educational leaders representing 27 school districts from all across the state were there to begin the process of creating integration plans for their districts. New York State has the most racially and socio-economically segregated schools in the nation and New York City Public Schools are more segregated today than they were before the landmark 1954 U. S. Supreme Court case Brown v. Board of Education in which the Justices ruled that “Separate but Equal” schools were unconstitutional. These students were invited to perform their original thirty-minute play, Laundry City, an exploration of the effects of educational segregation. A facilitator from the state squawks a few barely audible words of introduction via a microphone plugged into a portable speaker, “Please welcome Epic Theatre Ensemble”. Jeremiah, a high school senior wearing a T-Shirt with the words, “I am Epic” written across the front, steps into the center of the room, without a mic, and speaks directly to the audience:

JEREMIAH

School segregation,

That systematic placement,

Race and class, don’t make me laugh. 

That shit goes deeper than thin cloudy glass.

Right past society’s foundation, 

Back to America in the making. 

The original sin: Race.

The performers weave through the audience performing scene after scene, transforming from character to character. The show culminates in a town hall. The students had done meticulous research to craft a scene that made room for dozens of nuanced perspectives on this complex issue.

LIV

I’m not really sure what we mean by integration. What I’ve seen when we talk about integration, it is about Black and Latino kids going to white schools to become better. That isn’t integration, that’s, in my view, assimilation.

NASHALI

I consider integration when you do the hard work of valuing what each person brings to that setting. Integration is where we learn to understand each other and appreciate each other and nobody’s story or history is more important than another’s.

JEREMIAH

I think that’s racist. I think it’s classist. I don’t believe in the savior complex- that you need to have folks swoop in and save the poor Black and Latino children. I believe that Black and Latino folks have agency and power that have been untapped.

NAKKIA

For me, it’s not that certain communities are less powerful; it’s that certain communities haven’t been given the floor. How do we give people the floor? Segregation was intentional. Integration has to be intentional. Segregation was forced. Integration has to be forced.

DAVION

If integration made money somehow, America would do it.

The five actors portray 18 different characters throughout the course of this last scene, but the final question of the play is delivered by the students as themselves.

ENSEMBLE

Is separate but equal fair?

The five citizen artists join hands and bow. The crowd rises for a standing ovation. After taking in the love, the students gesture for the audience to retake their seats.

JEREMIAH

At Epic, we have a conversation after every performance and we always ask our audience the same first question: Imagine that two weeks from now, one morning you wake up and find yourself thinking about Laundry City. What is it that will be going through your mind? A line, a character, an idea, a question? What do you think will resonate with you over time?

The post-show discussion runs an hour—twice as long as the play that sparked it. The facilitator jumps back on the mic to thank the students and direct the district teams to return to their work sessions. I gather the cast to take them back to their school (it’s a weekday). A superintendent from Upstate comes over and asks the students if they can come by his table to take a look at his district’s integration plan and share their thoughts. They do. We start to head out again when a superintendent from NYC’s Upper West Side asks for some feedback from the students about her district’s plan. The students go over to her table. After several more invitations are proffered, we are eventually invited to stay through lunch so that the cast could review and respond to each of the 27 district integration plans. I make a quick call to their Principal who agrees to excuse them from the rest of their morning classes.

About an hour into this process of consultation, Jeremiah asked if he could speak to me in the hallway. “Jim, I feel like an activist,” he says, “I mean, I feel like I’m in a room full of people who can actually change things and they’re listening to me.”

Since 2015, the plays of Epic’s youth ensemble have received 225 performances (in-person and online) for 56,000 audience members including government employees, policy researchers, and legislators.

Large-scale cultural change is always led by young people and artists, but funding for in-school and after-school arts programs are often the first casualties of state and local budget cuts. We need to invest in arts education to cultivate the next generation of citizen artists. We need to champion the creation of youth art that is relevant, representative, and affordable for everyone. We need to proudly assert the value of art-making by demanding that young artists from historically marginalized communities get paid a reasonable wage for the work they make. We need to challenge oppressive systems by placing youth and their art in front of people with power. And once everyone has had a chance to experience the art, we need to provide the time and space for people to talk to one another about what it means to them and what actions they want to take next.

About the Author James Wallert is a Founder and Co-Artistic Director of Epic Theatre Ensemble and author of Citizen Artists: A Guide to Helping Young People Make Plays That Change the World.

Bahari group photo via Epic Records Publicity for use by 360 MAGAZINE

BAHARI – “Way of Love” Music Video

Iconic pop duo Bahari released the music video for their coveted single “Ways of Love,” and you’ll want to take a look. The steamy video can be viewed HERE.

The compassionate lyrics captivate all audiences, “You give me these feelings, I don’t understand, Take control of my body, I’m in your hands.”

“‘Ways of Love’ is about that moment and feeling right before you finally give in to falling in love with someone. It’s about that decision to trust someone with your heart and to learn the way that they love,” says Bahari considering the message behind the single.

You can stream “Ways of LoveHERE.

Bahari

A match made in heaven, this alt-pop woman duo consists of singer/keyboarder Ruby Carr and singer/bassist Natalia Panzarella. The two artists came together by random chance one day when they were both at the same songwriting session. They knew they stuck gold from that moment and continued to generate music together.

Their first and perhaps most noteworthy hit came in 2014 with “Wild Ones,” accumulating a total of over 40 million Spotify streams. They continued with their successes in 2016 with the release of their EP Dancing on the Sun and singles “Get Together” and “Fucked Up.” They even hit the stage on tours with Selena Gomez and Birdy and joined forces with Zedd, ILLENIUM and Grey on collabs.

Bahari produced another newsy hit in 2018 with “Savage,” which was later revamped into a remix in 2020 featuring BIA. “Savage” amasses over 100 million streams/views and now serves as promo content for “American Horror Stories.” In 2021, the duo’s “CRASHING” in cooperation with ILLENIUM joined the To All The Boys: P.S. I Still Love You Original Soundtrack. Follow along as Bahari takes on 2022 with more electrifying projects to come.