Cali Presents the Pictorial Exhibition ‘Ritual Macabro al Daimonismo'

Cali Presents the Pictorial Exhibition ‘Ritual Macabro al Daimonismo’

A handsome man enters to the most famous nightclub in Santiago de Cali. The waiter said, “this is the first time anyone saw this tall, slim man with an angelical face, it was impossible not to see him”. The stranger awoke the curiosity of all dancers at Changó nightclub; all females were attracted to this gentleman.

Festival Rock al Parque Confirms Deicide’s Irreligious Presence

Festival Rock al Parque Confirms Deicide’s Irreligious Presence

Death metal is widely regarded as one of the most aggressive, technical, and visceral forms of music. Characterised by guttural vocals, distorted and down-tuned guitars, rapid double-bass drumming, and complex song structures, death metal emerged in the mid-1980s as an extreme offshoot of the genre of heavy metal.

Contemporary Gothic: The Grotesque and Artificial Corpses

Contemporary Gothic: The Grotesque and Artificial Corpses

In 2002 the biggest sensation to hit London was Body Worlds, Gunther von Hagens’s travelling exhibition of dissected and elaborately displayed corpses. Preserved by his newly developed method of “plastination”, whereby all bodily fluids are pumped out of the body and replaced with plastic, the bodies were positioned in a variety of poses designed to show off the wonder of the human form, from a “swimmer” and a “chess player” to the pièce de résistance, a man astride a full-sized plastinated horse.

Colombia’s Significance of Bands on Festival Rock al Parque

Colombia’s Significance of Bands on Festival Rock al Parque

As mentioned in a previous article, the main objective for the creation of Festival Rock al Parque was to create a safe environment to enjoy and promote rock and all its subgenres. Therefore, besides having a solid group of international bands, Festival Rock al Parque also presents Colombian acts, both old and new, to an audience always thirsty for the experience. Between special guests Masacre and newcomers Apolo 7, this year the festival is bringing both history and innovation to the audience.

John Martin and the Promethean Theatre of Subversion

John Martin and the Promethean Theatre of Subversion

John Martin, born in the week that the Bastille was stormed in July 1789, was an instinctive revolutionary. His generation may have suffered from a misty-eyed envy of new-found liberties in the United States of America and France, but they understood what practical revolution might mean at home and they strove to achieve liberation from repression and tyranny without bloodshed; very largely they succeeded.

Festival Rock al Parque Endurance for Cultural Diversity

Festival Rock al Parque Endurance for Cultural Diversity

This year’s Festival Rock al Parque’s edition comes with a bang, as the line-up is finally complete. After months of planning, selecting and auditioning bands — between guests and locals — there will be a total of fifty-five bands performing during the three days of the festival. No matter the kind of music you do prefer, there will at least a couple of bands that will satisfy your interest. However, the festival thrives to bring every year an entirely different kind of experience to the audience, which translates on bands with a distinctive sonority and style that may catch your attention outside of your comfort zone. Let us begin by introducing the guest bands.

The Madame Tussaud’s Notorious Chamber of Horrors

The Madame Tussaud’s Notorious Chamber of Horrors

In 1802 a prominent collection of Parisian waxworks was transported to London, commencing what was to become a nearly thirty-year tour of the British Isles. The collection had been modelled by Philippe Curtius (1737 – 1794) and his apprentice and heir, Madame Tussaud (1761–1850). Waxworks displays were not uncommon at the time, but Philippe Curtius’ collection stood apart. The typical display, often at a fairground, might represent a scene of allegory or fantasy, or even portray a story from classical literature. Two of the better-known waxworks collections of the eighteenth-century, the Dutch Doolhof collection and Mrs Salmon’s in London, exhibited such scenes as Solomon and the Queen of Sheba, Salome dancing before King Herod, David slaying Goliath, and Queen Thomira with the overthrow of Cyrus the Great. Philippe Curtius distinguished himself from these shows by presenting figures taken from contemporary history that were cast from live subjects. He cultivated personal relationships with men such as Benjamin Franklin, François-Marie Arouet, and Rousseau, all of whom were said to have sat for Philippe Curtius to have their wax portraits made. Philippe Curtius’ collection was in this way unique, claiming direct ties to the notable and notorious figures that were presented to the public.1

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