Double Take Full Movie Download In Italian Hd
Kristen Szmalc
With tasting notes of concept keyboards, Brooklyn\u2019s 1980s roller disco scene, slow-paced Italian summers, David Hockney\u2019s LA influences, new Zoom backgrounds from global design studios, bored couples, a blend of ancient wisdom and modern science, the making of a modular sofa and a long-lost avant-garde carnival.
\u263C La Dolce Vita will soon be upon us\u2026 French photographer Claude Nori\u2019s sun-drenched snaps capture the languidly-paced magic of summer holidays in Italy. Also check out a short video of Claude\u2019s photobook
\u201CI like to play on the line where you don\u2019t know what\u2019s real and what isn\u2019t. The goal is to get the viewers to ask themselves: Does this even exist? How was this even made?\u201D \u2014 Gab Bois
Gab Bois is a multidisciplinary artist that has taken the internet by storm through her witty, evocative pictures imbued with double entendres. Originally pursuing a Bachelor\u2019s in primary education, Bois began playing around with physical creations mostly for fun, harking back to her childlike wonder and getting used to entertaining herself as an only child.
After the company she was working at went bankrupt and her work began garnering fervent attention online, she paused her studies and dived head first into freelancing as an artist. With clients like Nike, Balenciaga, Jean Paul Gaultier, Fenty and many more under her belt, she\u2019s already released a book of her prolific work over the last few years.
On creating regularly: \u201CI see creativity and inspiration as a muscle that needs to be trained, so that\u2019s why I like to keep a fast rhythm while also having long-term projects on the back burner. I see it as a creative exercise to create one or two photos per week, just to make sure my brain is still doing what it needs to do.\u201D
On being inspired by her dad: \u201CI owe a lot of that interest to my dad. Growing up, I remember he would carve stuff, like, he would take a bit of cheese and carve it with pocket knife. \u201CWhat do you want me to carve?\u201D And I would say, \u201CI want a cat and a butterfly.\u201D And then he would make that! So I grew up around that kind of energy, and the knowledge that you can play around with stuff, especially food.\u201D
On her creative process: \u201CIt depends on the piece, but it always starts with the idea that I try to keep at the centre of the creative process. The idea can come at any time, anywhere. Sometimes it comes on its own, unannounced, but sometimes I have to sit myself down and brainstorm. I then move into production, sourcing all the elements needed for the picture and shooting the idea. This step varies each time. Sometimes I have to put together intricate pieces, like the jumper made of rainbow candy or place hundreds of dandelions on the grass to make them look like bedsheets. The time it takes doesn't matter much to me. I get very focused while working, and time just flies by. Before I know it, I've spent hours hunched over, but I get a finished image in return and a sore neck as a bonus.\u201D
On comparison and looking forward: \u201CYou know, I also used to compare myself a lot to other people or second guess myself a lot. I still do and it's normal to an extent! But I used to get upset if someone put out an idea similar to mine before I had the chance to do it. Or if a brand did something that was really close to something I did. But at the same time, I realized that most of the time with conceptual work, there are so many overlaps! Two people can think of same thing at a similar time. And it's not an attack on me. I try look forward rather than back. It\u2019s also been a great lesson to kind of have the mentality of: if it's yours, it'll come.\u201D
Exploring ephemerality at her recent Palm Heights residency: \u201CThere\u2019s a beautiful aspect in capturing something that no one\u2019s ever going to be able to see again. You could say that about every photograph, but when the subject itself is temporary, it makes it that much more exciting to capture. Many of these materials are natural, so they come with their own set of challenges. Working with plants, for example, was definitely a challenge. For the flower lobster, we had to assemble it very quickly to ensure that it would photograph well. For the banana leaves beach umbrella, we had to use a lot of adhesive tools to secure them, as they either kept ripping or holding each other down. I enjoy problem solving; it\u2019s a central part of my work, so those extra challenging materials are always great opportunities to exercise that skill.\u201D
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Life has come full circle. I started working in the industry in digital media (ad serving and digital media), and graduated to full service agency when the dot com bubble burst. I went to Ogilvy (full service) and was part of the launch of Neo (Digital and Direct) under WPP. I was moved, was in Sao Paulo at the regional offices, reporting to NYC HQ (which made for interesting internal politics as Miami Regional HQ was not my direct line). When I made the change into Publicis, I had already been working with Latin America in some sort for more than 10 years by then. I had both Starcom and MediaVest duties so I was an SMVG person, a hybrid, - all media agency, all media disciplines.
I was lucky to spend time at Zubi and TVP (The Vidal Partnership) where these two agencies commanded the top billing and fought as the main (and best) multicultural agencies at the time. Latam was an afterthought but the cultural plurality of America was so much clearer, and as the son of an immigrant (My dad came to Washington DC, studied at Georgetown University) I felt strong about my Latin roots. (I hate the use of LatinX btw!)
I spent a good amount of time at UM (Universal McCann). When I first joined, we did have a McCann WorldWide Group strong affiliation. By the time I left, 3 North America presidents later, creation of MediaBrands, and the interesting way IPG manages its regions (they have since changed their ways), UM was a brand on its own, but MediaBrands always loomed large.
The years of startup experience have served me well, I learned all about paid social, FB Manager and the PMD's that work that ecosystem. I learned about DMP cross functional data and the challenges of one platform across multiple digital dependencies. I learned about AI, and what it does, what it can do, and how so many are fooled into thinking they are using it (too many companies tout AI when its really parameter based logic), and then I dabbled with creativity again with Shutterstock, where I started loving the idea of creative agencies once again.
My last learning was maybe one of the best, the future of audiences - the CDP. First Party Data (and I learned a lot about that in my AI days) but now the cookieless environment is upon us (for those that are looking forward) and so I am back at an agency we look at things from a data first view, and yes we do that double take to make sure we are taking every measure to future proof our work.
I personally do a double take as once again, I am at GlueIQ - in a creative environment, and loving it. We are working on pretty amazing things, fun things and yes cutting edge. I am sure you will see more here from me. Stay a while - as I once said to my friends at Shutterstock - I have lived and have quite a few stories to share. Today I am living new ones.
While at the Pitti Immagine Uomo fashion trade show in Florence on January 11, 2017, I discovered an Italian shoe designer named Franceschetti, who displayed a shoe that not only caught my attention causing a double-take, but also represented a style of shoe that appears to be very common in Italy among fashionable men. See the featured image for this post to view the specific pair of shoes I am referring to.
This unreal double appearance is an example of continuous narrative, which is defined by the scholar Lew Andrews as when 'a number of actions occurring at different moments but involving the same characters are presented together in a single unified space'.
We find several instances in Italian art, as early as the fourteenth century in works by the Sienese painters Duccio and Simone Martini, followed by examples from the fifteenth and sixteenth centuries by Giovanni di Paolo, Sandro Botticelli, Jacopo del Sellaio and Pontormo. All the examples illustrated here are in The National Gallery, with the exception of Jacopo del Sellaio's The Story of Cupid and Psyche, which is in The Fitzwilliam Museum in Cambridge.
Continuous narrative takes three distinct forms: it can represent a physical transformation, such as a miracle. Secondly, it is used to suggest movement through space. Lastly, continuous narrative allows for the bringing together of different biographical episodes in a single scene.
Jacopo del Sellaio's The Story of Cupid and Psyche has no fewer than twelve appearances by Psyche (including one as a baby on the far left) and four by Cupid. Despite the ample space available to her, the glamorous figure in a white dress is in danger of bumping into herself, so often does she populate the scene. The panel was made to decorate a marriage chest, and fittingly the narrative depicts Psyche's journey to her betrothal to the god Cupid.
Pontormo's Joseph with Jacob in Egypt glories in the depth of its space to an extravagant degree. In fact, it's hard to work out the lie of the land and the odd adjacency of the sloping hillside and the curving flight of stairs. This picture is a compendium of effects, including the sophisticated rendering of shade and shadow.
Among all these distractions we may struggle to identify the replicated figures of Joseph and his father Jacob. Joseph's orange hat gives him away in three of his four appearances: at bottom right hearing a petition, halfway up the stairs with one of his sons, and top right, with his sons in Jacob's bedchamber. Having taken off his hat and holding it to his chest, he's there in the left foreground, presenting the kneeling Jacob to the Pharoah. Old Jacob is also in the very centre of the picture, leaning against a boulder.
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