The XX8 SE is the same as the standard XX8 minus the unique shroud covering the upper. Here, the shoe features a bold pink, grey, green and light blue camouflage motif across the upper with a purple tongue and laces and an equally vibrant outsole. Like the standard XX8, the XX8 SE comes loaded with the latest performance features including Flight Plate technology and a lightweight yet supportive upper.
Tweet
For Fall/Winter 2013, Y-3 has worked up the refined Yohji Hike boot. A refined and dressed up take on a classic hiking boot silhouette, the Yohji Hike boasts a premium leather upper married to a rugged rubber sole. Traditional hiking boots details abound, including the D-ring lace eyelets, the padded tongue and ankle, and the old-school welt construction. The Yohji Hike is available in brown or black leather.
Tweet
“I look west, creature of the horizon, rapt in contemplation at the edge between finite and infinite. Others have invoked magic
or sought religion to bridge this place but as scientific thought evolves such hopes fall away. Alone, I attempt to make myself at
home in the world, inhabiting some middle place between the known and the unknowable, struggling to accept that here and
now is all, never quite able to accept this fate.
In the mid 1970’s I looked out as a teenager across the Bristol Channel. Sections of England: The Sea Horizon was the start of
this wondering. Then it was enough to stand and stare, to minutely observe the flux of weather and seasonal change. I observed
the great tidal shifts of the Severn Estuary synchronised by lunar cycles. I witnessed the sun’s arrival and departure each day. As I
stood still, encircled by this constant pull of energy, somehow the passage of time was absorbed into my thought. In all the years
since, I have sought out the sea and its horizon and over time it has encroached upon my consciousness, so that even when
home and inland, I carry it close.
As I walk on home ground, the eastern shoulder of Dartmoor, the sea and its horizon hold the east, so that in mid-winter I can
watch the sun rise from the sea’s horizon. Looking west from the high ground of Hameldown’s ridge, 1745 feet above sea level, I
feel the pull of the Atlantic ocean, sense its weather systems come sweeping over the open moor. Over these western hills, I
watch the sun return to the sea.
The new series Middle Place and Voyage conclude the internal horizons that I have made in the darkroom. These are imagined
spaces, existing at the margins of vision, places held in the mind, an accumulation of all the seaward searching and projected
thought, its distilled essence. This is an intense world saturated with colour, atmosphere, and emotion. Here everything becomes
possible, yet everything can end. In Voyage the shutters edge in, the sky space begins to darken and close. We sail out and
perhaps will blaze and burn, extinguished as beautiful sparks
Exhibition runs through to October 19th, 2013
HackelBury Fine Art
4 Launceston Place
Royal Borough of Kensington and Chelsea
London
W8 5RL
The photographic series titled Offering was created during the artist’s visit to the Andalusia region of Spain in 2012. The photographs capture a matador’s meticulous spiritual and physical preparation, portray the bull’s holding pen, and finally bear witness to the encounter between man and animal. As in previous works, Gersht considers private and collective histories. The photographs simultaneously inhabit spaces of volatility and harmonious elegance.Spain established their modern bullfighting tradition in the early eighteenth century. A highly ritualized event, an impeccably adorned matador baits a bull with a cape, drawing the animal in and out and around the bullfighting ring.
The event most often culminates in the bull being slain. Bullfighting images are simultaneously seductive and repellent, vital and deadly. As primal as bullfights are, a sense of beauty is captured in its ritual, tradition, and in the continuation of its practice throughout Spain in the same way. However due to recent legislation, bullfighting is on the verge of disappearing and Gersht’s photographs therefore become a form of epitaph, a testimony to the temporal nature of tradition and cultural identity.In this body of work Gersht continues his dialogue with the history of painting. Without taking a moral stand, the images converse with a long artistic tradition of religious iconography. Through contemporary and historical juxtapositions the photographs present a timeless space, a space that cannot be anchored, a space that hangs forever between past and present, between art history and contemporary practice.Unlike the bullfighting images, the series Cells, 2012 depict the holding pens in which bulls are held before they are released into the ring.The pens are considered formally and the three-dimensional aspects of these spaces are virtually erased, as the surface qualities are graphically emphasized.
Exhibition runs through to October 24th, 2013
Noga Gallery
60 Ehad Ha’am st.
Tel-Aviv
65202
Israel
Created over the past eight years, Pieter Hugo’s series Kin confronts complex issues of colonization, racial diversity and economic disparity in Hugo’s homeland of South Africa. These subjects are common to the artist’s past projects in Nigeria, Ghana, Liberia and Botswana; however, this time, Hugo’s attention is focused on his conflicted relationship with the people and environs closest to home.
Kin is the artist’s personal exploration of South Africa through landscapes, portraits and still life photography. Hugo depicts locations and subjects of personal significance, such as cramped townships, contested farmlands, abandoned mining areas and sites of political influence, as well as psychologically charged still lives in people’s homes and portraits of drifters and the homeless. Hugo also presents intimate portraits of his pregnant wife, his daughter moments after her birth and the domestic servant who worked for three generations of Hugo’s family. Alternating between private and public spaces, with a particular emphasis on the growing disparity between rich and poor, Kin is the artist’s effort to locate himself and his young family in a country with a fraught history and an uncertain future.
Hugo describes the Kin project as “an engagement with the failure of the South African colonial experiment and my sense of being ‘colonial driftwood’ … South Africa is such a fractured, schizophrenic, wounded and problematic place. It is a very violent society and the scars of colonialism and Apartheid run deep. Issues of race and cultural custodianship permeate every aspect of society here and the legacy of Apartheid casts a long shadow … How does one live in this society? How does one take responsibility for history, and to what extent does one have to? How do you raise a family in such a conflicted society? Before getting married and having children, these questions did not trouble me; now, they are more confusing. This work attempts to address these questions and to reflect on the nature of conflicting personal and collective narratives. I have deeply mixed feelings about being here. I am interested in the places where these narratives collide. Kin is an attempt at evaluating the gap between society’s ideals and its realities.”
Exhibition runs through to October 19th, 2013
Yossi Milo Gallery
245 Tenth Avenue
(between 24th & 25th St.)
New York
NY
10001
At the age of 21, Tim discovers he can travel in time and change what happens and has happened in his own life. His decision to make his world a better place by getting a girlfriend turns out not to be as easy as you might think.
In theaters September 20th, 2013
Tweet