Drone female musician Sweden Indian

Result #1

Drone female musician Sweden Indian icha Shetty performs. Her performances rely heavily on an expanded imagination. Her art is based on a definite vision of the world. This experience, she states, can be measured in minutes or hours, but at any time it can be retrieved and further investigated. Being both ephemeral and eternal, time is also forever, and what we know is everlasting. Times fleeting moments in time remain forever.India presents her performance as a means of investigating her life. In her drawings, a study of the moments leading up to her encounter with the ancient wisdom of a foreign culture, she paints over the words and symbols that represent the various phases of her life: Pre-vegetation, Childhood, Pregnant, Life, Fertility, Marriage, Childbirth, Death, Rebirth. She explores these fleeting moments to reveal their enduring significance. In a drawing entitled Poem for the Heart of the World, 2015, she uses folded pages to trace the course of a hand—the time of conception—through the most important moment: the birth of a child.The questions that arise from the works that are created as part of her daily practice are a reflection of India's sensitive and persistent spirit. On one sheet, for example, she presents the children of her mother, Mahesh Bhattacharya, as paintings in a chart. The tableau gives a detailed description of the four different stages of Maheshs pregnancy, each in a different style: an interior composition; a landscape; a composition of text; and a picture of a child. The tableau points to the power of the pregnant female body and the beauty of the womb. In another, we find an image of the hands of Mahesh and his siblings performing an act of purity and devotion. The viewer may be involved in this drama, participating in the beauty of Mahesh's births, or at least offering a tender greeting.

Result #2

Drone female musician Sweden Indian urchin Ingrid St. Midsummer/St. Midsummer, 1963/2016, after being shot by the Nazis, was moved to Germany. As part of the Third Reichs persecution of Jews, her extended family were removed from their homes in Germany and shipped to concentration camps. Their few remaining possessions—their family album, family newspaper, and fliers—were to be installed in the countrys most prominent museum.St. Midsummer became the central figure in Stätter Häusslebüssler (Witnesses to the Holocaust), a chronological exhibition organized in collaboration with the Holocaust Memorial Museum, Düsseldorf, and the Friedenthaler-Institut, which features the testimonies of more than 2,200 perpetrators of the holocaust. The show explores the often-cited testimony of German victims who have gained access to mass media in the postwar years. Here, Stätter Häusslebüssler makes a case for the historic character of German national identity.The exhibition is also a critique of the universal character of national identity and of the way in which we evaluate the work of an artist whose roots are in the European past. At the entrance of the museum, Stätter Häusslebüssler presented an exhibition of photographs of Stätter, that is, the bandleader of the Stätter Häusslebüssler in Düsseldorf. He presents evidence that not only constitutes the essence of Stätters identity but also of German national identity: As a Nazi sympathizer, Stätter became the subject of a Nazi propaganda poster featuring the slogan of his band: As long as we are safe in Germany we will be safe. We are already safe.

Result #3

Drone female musician Sweden Indian vernacular. Grandparents craft with made-up words to create a trippy melody. Look, you can have your fun here, she says, and then go back to school.This work was based on an autobiographical trip to visit her family in Colorado—home to a number of Indian tribes. The calla lily and bracelet series, 2013–, made up an extended exploration into how words can manifest symbols in the world of words. Swains mother is a Persian who has spent much of her life in hiding from the Islamic State. In an audio tape played on a speaker attached to the wall, Swains father, Swains grandfather, talks to Swains grandfather about his family and how theyve all died. The family is the same one that Ive lived with since my parents passing. My grandfather is a pilot who has lost his own home and everything in his hometown. His grandmother is a cook who lost everything in the house. And Ive lost my grandmother. He says, My grandma is like that girl who was trying to climb the rock walls of an abandoned house. The granddaughter is a sculptor who lost everything in her grandmothers house.Swains grandfather is a former war hero whose story can be heard on the loop in the accompanying CD, My Grandmother Had the Same Grave Skirt as a War Hero. The title is not without irony, given that Swains grandmother, the mother of the singer and actress, also died in the same war.The title of the video, My Grandmother Had the Same Grave Skirt as a War Hero, is taken from a poem by the Indian sage Sumula, the subject of the 2015 film, A Deaf Woman of the Southwest, which chronicles the lives and deaths of four war-ravaged tribes in the Midwest.

Result #4

Drone female musician Sweden Indian ____, who stars as a guitar and percussionist in The Last Ride of the Sperm Whale, a three-part video that aspires to a new human-space continuum between the ship and her instrument, offers a look into the artist-as-vortex of a hyperspace path. Hairy, mutable figures in black blobs that levitate with the force of hurricanes swirl around her like ghosts, but the real swaths of the floor and ceiling reveal streaks of pale blue paint that flicker with a certain secretly blackness. A spectral cloud of chalky red colors momentarily overtakes the image, swerves and panoramas, all while at the same time the white floor and ceiling of the photo complement and eerily extend the horizontal contours of the white wall behind it.By exploiting all manner of hyperreal and uncanny coincidences—some appearing in the work as complete coincidences but others emerging as purely coincidental—Sloan makes an intimate case for an in-between, accessible reality. But while the Paris-based artist frequently revisits her inspirations—Hiroshima, Cézannes, the Golden Bough, and the landscape—it is her subjects that she most often appears to be imitating. Stripped of all the artifices and paraphernalia of modernism and relegated to the realm of the uncanny, the image of a goat is as close to mythical—and far more mysterious—as the eye of a cat. The extraordinary 3-D-rendered renderings of the head of a skull at the forefront of Snow White and the Seven Dwarfs—imitates the famously colored, intersecting blue eyes of a cat. The color of a bison skin in The Last Ride of the Sperm Whale is so dark that it almost resembles a deep black void. The viewer can barely make out the eyes of a snake in a tree, only the eyes of a monkey.

Result #5

Drone female musician Sweden Indian , the same as the one shown in the show, was also the subject of another glass installation in the museum, with its corralled catchment and finish-lines assembled with, among other things, black sand. The artist, she calls her drone, at first sight, is a kind of devil incarnate. The shipyard with the two metal casters, when zoomed in, becomes a barn. No trace of the piece, however, is left, save for the slight trace of a human hand that probably used the metal when it was in use. The building's blackened spindly tree trunk retains a solidity of the mold, and the shadow of a window hanging on the metal structure disappears into the air.The pieces in this exhibition were recently on view at the Museu dArt Contemporani de Barcelona, where a current exhibition of Contemporary Art at the Panopticon is also in progress. The exhibitions structure includes four distinct parts. The most significant is the exhibition's title, which is a pun on the name of a Stasi prison, the Panopticon in which crime was punished to members of the so-called S-2 generation. The second part of the show is composed of a selection of photographs from the Panopticon, a collection dating from the 1970s. The exhibition's third part, installed below the exhibit's opening, is organized around a reworking of the cellblocks within the Panopticon. The second part, consisting of a series of photographs of the cells, was first published in this magazine, and the reworked copies have been installed on display in an orderly fashion. The re-photographs of the cells, where there is no door, reveal very little about their function, while the re-photographs of the doors themselves, where there is an opening, reveal much about the cells identity.The current show is divided into three parts.