Sofia Hydman has taken various courses in photography, illustration and graphic design and graduated with a Bachelor’s degree in Visual Communication at Beckmans College of Design, Stockholm in 2014. Today she works with personal projects and freelance work.
Sofia is inspired by empty spaces and has difficulties with drawing straight lines. She works with a number of different techniques, ranging from digital images to graphic design to illustration and drawing. A recurring theme in Sofia’s work is to explore identity and heritage. By working in both digital and analogue mediums she makes pastel-colored tones which creates a narrative and dreamy dreamworld.
Hakanaï is the union of two Japanese characters (one meaning “man” and the other “dream”) used to define the ephemeral and the fragile. In this dreamlike environment, a single dancer moves within a cube, interacting with the images projected on its walls, tracing arcing parabolas and sine waves with hands, arms, and feet.
The dancer takes a visual journey into a 3D space between dreams and reality. The choreographed performance installation combines video projection mapping, CGI, and sensors to dynamically respond to the movements and proximity of its performer. Its visuals and sounds are generated and animated live, offering a uniquely different performance for each and every iteration.
Its appeal lies in the one-on-one exchange that takes place between performer and complex programming. They often mine theoretical and mathematical sources for inspiration for their work and rely on the empirical study of the world around them as their guide.
Conception Adrien Mondot & Claire Bardainne
Danse Akiko Kajihara
Interprétation numérique, en alternance Adrien Mondot, Claire Bardainne
Création sonore Christophe Sartori, Loïs Drouglazet
Régie générale Laurent Lechenault
Dans le cadre du programme FRIMAS (Consulat Général de France à Québec et Institut français)
We think the best part is the just the short introduction that the NY Times writer, Jacob Brown, came up with: When you’re a teenager, you drive in a van from Sheffield to small-town gigs across England, party every night, meet girls: everything moves fast and you like it. Your song about some girl who looks “good on the dance floor,” which rhymes a reference to the Montagues and Capulets with “banging tunes and D.J. sets,” leads to Internet fame, the fastest-selling debut in British history and, in 2006, instant, MySpace-amplified international stardom.
Just a nice recap on a band that has been around for years, but are still just 25 years old, and in our opinion, getting better.
According to the artist: “For the first issue of tarot deck, I wanted to express this duality in the plainest, simplest way possible, by using opera. Everyone knows that Tosca will die, everyone knows that Norma will confess her sins and everyone knows that Salome will dance her dance. what attracts people to Opera is not the unravelling of the plot, but the beauty bursting from every aria. Opera is an enhanced version of the present, where every moment has its own value. Opera has no interest in the future, it only references the past. From this point of view a relationship to fashion obviously comes to mind, as they both are deeply plunged in the constant repetition of archetypes. Every season, new femme fatales, new frivolous maids, and new high priestesses populate the international catwalks, always presenting themselves as new takes on the same stereotypes.”
We don’t who shot this, or where it came from, but a few days ago, this Harmony Korine “Curb Dance” video just popped up onto the Internet. Because we appreciate the vision of Harmony Korine, we really like this.
This is just one of those songs that is so iconic at this point, such an anthem, that we don’t even remember when it became a novelty track for us when we have had a bit too much to drink. But its like “Hey Ya” in a sense where that novelty is still fun, and Blur were having some sort of piss doing this track. At least we assume.
In 1994, the song was named single of the year by NME and Melody Maker, and the cover of the single was taken from a Durex condom ad. Touche.