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  • Why a "Matrix"?
  • @ Ground Zero
  • El Aleph
  • If You Can't Stand the Heat
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Imagine the world's creative economy at your fingertips. Imagine 10 doors side-by-side. Beyond each, 10 more, each opening to a "creative" somewhere around the planet. After passing through 8 such doorways you will have followed 1 pathway out of 100 million possible (2 sets of doorways yield 10 x 10 = 100 pathways). This is a simplified version of the metamathematics that makes it possible to reach everybody in the global creative economy in just a few steps It doesn't mean that everybody will be reached by everybody. It does mean that everybody can  be reached by everybody.


Appear below by recommending Kehinde Wiley:

  • 2 New York City
  • 2 Portrait Painter

What's Up

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  • Kehinde Wiley
    Brad Ogbonna → Photographer has been recommended via Kehinde Wiley.
    • January 12, 2020
  • Kehinde Wiley
    Brad Ogbonna → Filmmaker has been recommended via Kehinde Wiley.
    • January 12, 2020
  • Kehinde Wiley
    Brad Ogbonna → Brooklyn, NY has been recommended via Kehinde Wiley.
    • January 12, 2020
  • Kehinde Wiley
    A video was posted re Kehinde Wiley:
    Kehinde Wiley: The art of presidential portraits
    Kehinde Wiley, known for his painting of President Obama against a wall of flora, tells "CBS This Morning" co-host Anthony Mason about the art of creating a ...
    • January 12, 2020
  • Kehinde Wiley
    A video was posted re Kehinde Wiley:
    Kehinde Wiley & Swizz Beatz In Conversation | Creative Minds Talks Miami Art Week Benefit
    Superstar artist Kehinde Wiley (lauded for his portrait of President Barack Obama) and highly acclaimed music producer and art collector Kasseem Dean a.k.a S...
    • January 12, 2020
  • Kehinde Wiley
    A category was added to Kehinde Wiley:
    New York City
    • January 12, 2020
  • Kehinde Wiley
    A category was added to Kehinde Wiley:
    Portrait Painter
    • January 12, 2020
  • Kehinde Wiley
    Kehinde Wiley is matrixed!
    • January 12, 2020
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Why a "Matrix"?

 

I was explaining the ideas behind this nascent network to (João) Teoria (trumpet player above) over cervejas at Xique Xique (a bar named for a town in Bahia) in the Salvador neighborhood of Barris...

 

And João said (in Portuguese), repeating what I'd just told him, with one addition: "A matrix where musicians can recommend other musicians, and you can move from one to another..."

 

A matrix! That was it! The ORIGINAL meaning of matrix is "source", from "mater", Latin for "mother". So the term would help congeal the concept in the minds of people the network was being introduced to, while giving us a motto: "We're a real mother for ya!" (you know, Johnny "Guitar" Watson?)

 

The original idea was that musicians would recommend musicians, the network thus formed being "small world" (commonly called "six degrees of separation"). In the real world, the number of degrees of separation in such a network can vary, but while a given network might have billions of nodes (people, for example), the average number of steps between any two nodes will usually be minuscule.

 

Thus somebody unaware of the magnificent music of Bahia, Brazil will be able to conceivably move from almost any musician in this matrix to Bahia in just a few steps...

 

By the same logic that might move one from Bahia or anywhere else to any musician anywhere.

 

And there's no reason to limit this system to musicians. To the contrary, while there are algorithms written to recommend music (which, although they are limited, can be useful), there are no algorithms capable of recommending journalism, novels & short stories, painting, dance, film, chefery...

 

...a vast chasm that this network — or as Teoria put it, "matrix" — is capable of filling.

 

@ Ground Zero

 

Have you, dear friend, ever noticed how different places scattered across the face of the globe seem almost to exist in different universes? As if they were permeated throughout with something akin to 19th century luminiferous aether, unique, determined by that place's history? It's like a trick of the mind's light (I suppose), but standing on beach or escarpment in Salvador and looking out across the Baía de Todos os Santos to the great Recôncavo, and mindful of what happened there, one must be led to the inevitable conclusion that one is in a place unique to history, and to the present*.

 

 

"Chegou a hora dessa gente bronzeada mostrar seu valor / The time has come for these bronzed people to show their value..."Música: Assis Valente of Santo Amaro, Bahia. Vídeo: Betão Aguiar.

 

*More enslaved human beings entered the Bay of All Saints and the Recôncavo than any other final port-of-call throughout all of mankind's history.

 

These people and their descendants created some of the most uplifting music ever made, the foundation of Brazil's national art. We wanted their music to be accessible to the world (it's not even accessible here in Brazil) so we created a platform by which everybody's creativity is mutually accessible, including theirs.

 

El Aleph

 

The network was built in an obscure record shop (Kareem Abdul-Jabbar found it) in a shimmering Brazilian port city...

 

...inspired in (the kabbalah-inspired fiction of) Borges' (short story) El Aleph, that in the pillar in Cairo's Mosque of Amr, where the universe in its entirety throughout all time is perceivable as an infinite hum from deep within the stone.

 

It "works" by virtue of the "small-world" phenomenon...the same responsible for the fact that most of us 7 billion or so beings are within 6 or fewer degrees of each other.

 

It was described (to some degree) and can be accessed via this article in British journal The Guardian (which named our radio of matrixed artists as one of ten best in the world):

 

www.theguardian.com/travel/2020/apr/17/10-best-music-radio-station-around-world

 

With David Dye for U.S. National Public Radio: www.npr.org/2013/07/16/202634814/roots-of-samba-exploring-historic-pelourinho-in-salvador-brazil

 

All is more connected than we know.

 

Per the "spirit" above, our logo is a cortador de cana, a cane-cutter. It was designed by Walter Mariano, professor of design at the Federal University of Bahia to reflect the origins of the music the shop specialized in. The Brazilian "aleph" doesn't hum... it dances and sings.

 

If You Can't Stand the Heat

 

Image above is from the base of the cross in front of the church of São Francisco do Paraguaçu in the Bahian Recôncavo

 

Sprawled across broad equatorial latitudes, stoked and steamed and sensual in the widest sense of the word, limned in cadenced song, Brazil is a conundrum wrapped in a smile inside an irony...

 

It is not a European nation. It is not a North American nation. It is not an East Asian nation. It straddles — jungle and desert and dense urban centers — both the equator and the Tropic of Capricorn. Brazil absorbed over ten times the number of enslaved Africans taken to the United States of America, and is a repository of African deities (and their music) now largely forgotten in their lands of origin. It was a refuge (of sorts) for Sephardim fleeing an Inquisition which followed them across the Atlantic (that unofficial symbol of Brazil's national music — the pandeiro — was almost certainly brought to Brazil by these people). Across the parched savannas of the interior of Brazil's culturally fecund nordeste/northeast, where wizard Hermeto Pascoal was born in Lagoa da Canoa (Lagoon of the Canoe) and raised in Olho d'Águia (Eye of the Eagle), much of Brazil's aboriginal population was absorbed into a caboclo/quilombola culture punctuated by the Star of David. Three cultures — from three continents — running for their lives, their confluence forming an unprecedented fourth. Pandeirista on the roof. Nowhere else but here.

 

Oligarchy, plutocracy, dictatorships and massive corruption — elements of these are still strongly entrenched — have defined, delineated, and limited Brazil.

 

But strictured & bound as it has been and is, Brazil has buzz...not the shallow buzz of a fashionable moment...but the deep buzz of a population which in spite of — or perhaps because of — the tough slog through life they've been allotted by humanity's dregs-in-fine-linen, have chosen not to simply pull themselves along but to lift their voices in song and their bodies in dance...to eat well and converse well and much and to wring the joy out of the day-to-day happenings and small pleasures of life which are so often set aside or ignored in the European, North American, and East Asian nations.

 

For this Brazil has a genius perhaps unparalleled in all other countries and societies, a genius which thrives alongside peeling paint and holes in the streets and roads, under bad organization by the powers-that-be, both civil and governmental, under a constant rain of societal indignities...

 

Which is all to say that if you don't know Brazil and you're expecting any semblance of order, progress and light, you will certainly find the light! And the buzz of a people who for generations have responded to privation at many different levels by somehow rising above it all.

 

"Onde tem miséria, tem música!"* - Raymundo Sodré

 

And it's not just music. And it's not just Brazil.

 

Welcome to the kitchen!

 

* "Where there is misery, there is music!" Remarked during a conversation arcing from Bahia to Haiti and Cuba to New Orleans and the south side of Chicago and Harlem to the villages of Ireland and the gypsy camps and shtetls of Eastern Europe...

 

From Harlem to Bahia



  • Kehinde Wiley
    I RECOMMEND

CURATION

  • from this node by: Sparrow/Pardal

This is the Universe of

  • Name: Kehinde Wiley
  • City/Place: New York City
  • Country: United States
  • Hometown: Los Angeles, California

Life & Work

  • Bio: Los Angeles native and New York based visual artist, Kehinde Wiley has firmly situated himself within art history’s portrait painting tradition. As a contemporary descendent of a long line of portraitists, including Reynolds, Gainsborough, Titian, Ingres, among others, Wiley, engages the signs and visual rhetoric of the heroic, powerful, majestic and the sublime in his representation of urban, black and brown men found throughout the world.

    By applying the visual vocabulary and conventions of glorification, history, wealth and prestige to the subject matter drawn from the urban fabric, the subjects and stylistic references for his paintings are juxtaposed inversions of each other, forcing ambiguity and provocative perplexity to pervade his imagery. Wiley’s larger than life figures disturb and interrupt tropes of portrait painting, often blurring the boundaries between traditional and contemporary modes of representation and the critical portrayal of masculinity and physicality as it pertains to the view of black and brown young men.

    Initially, Wiley’s portraits were based on photographs taken of young men found on the streets of Harlem. As his practice grew, his eye led him toward an international view, including models found in urban landscapes throughout the world – such as Mumbai, Senegal, Dakar and Rio de Janeiro, among others – accumulating to a vast body of work called, “The World Stage.” The models, dressed in their everyday clothing most of which are based on the notion of far-reaching Western ideals of style, are asked to assume poses found in paintings or sculptures representative of the history of their surroundings.

    This juxtaposition of the “old” inherited by the “new” – who often have no visual inheritance of which to speak – immediately provides a discourse that is at once visceral and cerebral in scope. Without shying away from the complicated socio-political histories relevant to the world, Wiley’s figurative paintings and sculptures “quote historical sources and position young black men within the field of power.” His heroic paintings evoke a modern style instilling a unique and contemporary manner, awakening complex issues that many would prefer remain mute.

Contact Information

  • Management/Booking: ROBERTS PROJECTS
    5801 Washington Boulevard
    Culver City, CA 90232
    (323) 549 0223

    SEAN KELLY GALLERY
    475 Tenth Avenue
    New York NY 10018
    (212) 239 1181

    GALERIE DANIEL TEMPLON
    30 rue Beaubourg
    75003 Paris, France
    33 (0) 1 42 72 14 10

    STEPHEN FRIEDMAN GALLERY
    25-28 Old Burlington St
    London W1S 3AN, United Kingdom
    44 (0) 20 7494 1434

Media | Markets

  • ▶ Twitter: kehindewileyart
  • ▶ Instagram: kehindewiley
  • ▶ Website: http://kehindewiley.com
  • ▶ Website 2: http://www.absolutart.com/se/kehinde-wiley/
  • ▶ Article: http://www.nytimes.com/2019/06/04/arts/design/kehinde-wiley-senegal.html

Clips (more may be added)

  • Kehinde Wiley: The art of presidential portraits
    By Kehinde Wiley
    207 views
  • Kehinde Wiley & Swizz Beatz In Conversation | Creative Minds Talks Miami Art Week Benefit
    By Kehinde Wiley
    225 views
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 'mātriks / "source" / from "mater", Latin for "mother"
We're a real mother for ya!

 

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