av Social Distance Gallery

#avSocialDistanceGallery

We would like to invite you to av social distance gallery.

 During this troubling historical moment we want to use the opportunity to let you behind the science. From paintings , fine art, objects,music to social  movements and history…. everything that shapes av aesthetic and other creatives. 

Because art is escape and freedom and we have to dream, desire and create our future with knowledge about the past.

#avSocialDistanceGallery

av Curated Playlist mix by KONOV


100% of proceeds go to charity 

Our charities: Marsha P Johnson Institute, For the Gworls, The Okra Project

15% for Artist Grants to Black Creatives The fund that will receive the grants will be announced once we know the total amount raised. We are working with some amazing people in the industry to try to create new grants that will benefit young black creatives in our industry

*Learn more at :

Creatives4systemicchange

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Italian Bucellati Style Sterling Silver Crab Salt Dish

Italian Bucellati Style Sterling Silver Crab Salt Dish

Half animal, half man, this faun in the afternoon is neither man nor animal. While commentators in the West have traditionally interpreted the action onstage as a stirring animal instinct in the faun — a response to the call of Nature — it is interesting that Nijinsky’s countrymen in Russia have seen quite the reverse. For the eminent Soviet ballet historian, Vera Krassovska, it is “the human stirring in the animal.” The faun is at one with nature and this peacefulness is disturbed by the unexplained sensations he feels.In 1914, Serge Volkonsky, the former director of the Maryinsky Theater, noted (as quoted by Miss Krassovska) that Nijinsky’s way of bringing the nymph’s scarf to his face — just before he closed the ballet with the autoerotic thrust over the scarf that caused the scandal at its Paris premiere — was so refined that “only such a great artist could show you not the animal in man but the human being awakening in the animal.” To Volkonsky, the unity of the choreographic design, set against Debussy’s lush score, was “a human necklace on a string of rhythm.”.
Rudolph Nureyev : ‘L’apres-midi d’un Faune’
Rudolf Noureev & Lee Radziwill

Two invitations. Two different exhibitions. One opening night. ‘Self Portrait’ (1977) and ‘Self Portrait’ (1977). By Robert Mapplethorpe.

av Fall 20

Styling Ib Kamara, Photographer Pablo Di Prima, Set Design Afra Zamara, Movement Director Ryan Chappelle Make Up Ana Takahashi, Hair Blake Henderson

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Every Credit are available on JPPM.FR

Personal research and work by LG

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