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Eirik Helgesen, a 23-year-old student at Bergen National Academy of Arts was this year's winner of the Forsnäs Prize 2006, which is given for the best furniture made using the compressure moulding technique.
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... community is the aim of the Verbier Festival & Academy. Soft, white ski-slopes give way to clear ...... The Festival, organized by the Verbier Academy, has been drawing crowds for 10 years. The ...
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News and Business
Nordic Reach - Vol. 21 Num. 26, Novembre 2008
Steve Hylén Plays with Optics and Changes the Way Movies Are Made
Thirty years later, when [Steve Hyl] was a Director/Cameraman residing in the USA, his interest in image manipulation was rekindled, and subsequently led to the development of the hylén system, a system created for use in film cameras. Patented in 1997, it took nine years to perfect, and now provides filmmakers with an entirely new way to creatively manipulate the image, in camera, in real time.
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1. Madeleine FaIk started at the Ballet Academy of Gothenburg, and thanks to a grant from Prime Minister Ingvar Carlsson, pursued a career in dancing and acting, eventually ending up in Los Angeles. There she met the love of her life, Louis Garcia, "the world's best trick jump-roper". The pair has since traveled the world as "The Rebel Ropers", performing for Nike in Singapore, on the Today show, at several hotels in Las Vegas, and locally at the House of Blues. Always with a smile, the charm...
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News and Business
Nordic Reach - Vol. 19 Num. 19, Novembre 2006
[Thomas Ostermeier] is one of Germany's most talented directors - and in a country where the director, rather than the actor, is the star, that says a lot. A pedantic young man, his Hedda Gabler was a visually minimalist one in a contemporary setting complete with cell phones and laptops. The mise en scène consisted of a rotating Plexiglas bungalow, adorned with a giant pea green sofa, and accompanied by a perpetual rain. The German cast drummed out the story calmly and pitch perfect. It was ...
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How do you work? Well, I am a stonemason, so it's very physical. It's dirty and hard. A bit like war and peace actually! With my work in stone, it's all about taking away material, about reducing and freeing something that's inside the stone. So I used to always have pre-conceived concepts about what I wanted to do, I am beginning to change this, though. With my painting and when I work in clay, I let it just grow. Because that's not there yet, the way something in stone is. It's more about l...
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