Giacometti: “¿Qué es el violeta?.

Breton: “Es una mosca doble”.

Giacometti, Henry Moore, George Segal, Duane Hanson, Red Grooms, Native American Indians of the Pacific Northwest, Christo, Mierle Laderman Ukeles, James Turrell, Andy Goldsworthy, Nancy Holt, Michael Heizer… These are some of the artists whose work we have recently added to the RISD Digital Image Database. Login to RDID with your RISD username and password, and then click on the links below to see slide shows of these artists’ work:

• 20th century sculpture and 3D work

• Art of the Americas: The Pacific Northwest

• Environmental Art

Herbert Matter ( 1907 – 1984 )

For over half a century, Herbert Matter pioneered a form of graphic photography that permanently exceeded the narrow limitations of what had been deemed possible in the medium‘s short history. Continually challenging the literal image and its fetishistic desire for pure prints uncorrupted by manipulation or artifice, Matter identified the photographic process as permeable, continually suggestive to experimentation and adaptation. It was by viewing the traditionally subservient relationship of the camera to outward appearance as only one of many routes to original imagery, that Matter liberated photography, permitting ideas, impressions, and inspirations to come from any quarter or realm. ‘Photography’, he once said, ‘stands alone in the world, without family or inheritance, and within its basic rules and essentials the photographer must find his ‘security’ – security that he has the gift of intuition to recognize the aesthetic and pictorial value in his medium…According to his feelings he would be inspired by nature or science, by abstract or dream images, or he would find ways to penetrate into the world and find realities unknown to the human eye. But always his ultimate aim would be to enrich visual sensation, to enrich human knowledge…’ It was this eclectic approach to the sources of creative inspiration that marked Herbert Matter out as one of the earliest proponents of the camera as a valid and important tool in the history of the graphic arts. Forming a bridge between photography and design, Matter’s distinctive imagery meshed perfectly with his sophisticated treatment of line and form to produce works of stunning originality.

Herbert Matter was born in Engelberg, central Switzerland, on the 25 April, 1907. The second child of Robert and Ida Matter (nee Odermatt), his parents ran a small bakery, which, in a relatively short period of time, was witness to major transformations in Engelberg’s fortunes. In the space of just a single decade, this modest alpine village situated on a broad plateau in the shadow of Mount Titlis, had gone from the provincial home of a 700 year old Benedictine monastery, to one of Europe‘s most popular destinations for tourists and winter sports enthusiasts. This intense period of development resulted in a resort which one travel writer of the time described as ‘the crown jewel of the Alps’.

It was in this burgeoning Swiss holiday resort that Herbert Matter spent the majority of his early years. While he must have frequently helped out in his parents’ bakery, Matter once noted that his father had no claims on him to continue in the family business. Rather, with a parental aspiration to see his son take up an artistic career he himself had failed to develop, Robert Matter actively encouraged his son’s creative education.

In a landlocked country that has practically no natural resources, the value of education and solid professional training has for centuries been of paramount importance in Swiss life. Following time at a local Benedictine school, it was such an attitude that informed Matter’s decision to seek additional tuition. Accordingly, it steered him towards continuing his schooling at an institution famed for its methodical and detailed approach to artistic instruction. In the autumn of 1924, upon completion of his studies at the gymnasium, Matter enrolled on a two year course at the only arts school in Switzerland, the cole Municipale des Beaux-Arts in Geneva. Located in the French-speaking region of the country, this school offered Matter the prospect of further honing his creative skills, while also presenting the occasion to learn another language.

Upon completion of his studies, Matter returned to Engelberg and slowly built up a reputation as a reliable and accomplished poster artist. During the years 1926 -1928 he created numerous adverts for companies in both Engelberg and Zurich. Unfortunately, most of these works were destroyed in a fire at Matter‘s parents house in 1957. From what remains, Matter’s designs from this period epitomized a form of poster not much advanced beyond turn-of-the-century Swiss-French artists such as Carloz Schwabe and Theophile Alexandre Steinlen. It was most probably the case, however, that Matter’s painterly style was the only viable response to clients whose conservative tastes led them to be automatically suspicious of any new or novel innovations in poster design. Having to meet his clients needs halfway, Matter’s early work often lacked the freshness and forward-thinking quality of other more fortunate designers – such as Niklaus Stoecklin and his celebrated works ‘Gaba‘ (1927) and ‘Forta‘ (1927) – whose clients were generally receptive to new ideas. With the majority of his work restricted to a handful of Swiss companies, Matter’s opportunities to expand his design language were severely hampered. It soon became clear that the time had arrived to look beyond his native soil for creative nourishment. He had to discover new horizons, ones that offered radically different perspectives.

As a neutral country ideally positioned in the centre of Europe, Switzerland has a long tradition of offering asylum to those fleeing war or oppressive regimes. Numbered amongst these immigrants have been many influential artists who, through a combination of exhibitions, books, and teaching, have had a major effect on the development and growth of the applied arts in Switzerland. Even though his thoughts refer to the specific issue of Swiss book design, the art historian Willy Rotzler once made an observation equally applicable to all forms of Swiss cultural production that ’Foreign elements have always mingled in an agreeable fashion with indigenous ones. Any nationalistic consideration of Swiss book arts would be absurd. Much of the best of them is owed to the fact that the country could absorb, in order to give back.’ It was this openness to outside influence – for Matter, specifically German influence – that led to a radical break in Swiss poster design during the late twenties. As the historian Bruno Margadant noted in his book The Swiss Poster: 1900 -1983, the ”painterly artist-designed poster had scarcely secured its position as an independent art form when the first graphic designers began to supplant the painters as creators of posters. With [Otto] Baumberger, who already had to his name a number of purely graphic works contrasting with his many pictorial posters […] the first signs appeared in the twenties of the future split between the painterly and the graphic poster.’ During the two years that Matter spent establishing his career as a freelance designer, numerous events occurred which served to accelerate this split. In 1927, the Bauhaus designer and photographer Laszlo Moholy-Nagy, published the second edition of his groundbreaking book Painting Photography Film. In this publication Moholy-Nagy outlined his theory that called for the need to move away from hand-produced textures such as painting, towards a system of ’drawing with light‘, i.e. photography; and then by extension, towards film. With the desire to transform our ways of seeing, Moholy-Nagy combined many photographic innovations such as the photogram, x-ray, extreme angles and close-ups, with an expressive use of typography to create what he termed ’typo-photo’: a form that offered ‘the visually most exact rendering of communication.’ One year after the publication of this book, Jan Tschichold published Die neue Typographie (1928). As a follow up to his 1925 pamphlet ‘Elementaire Typographie‘, Die neue Typographie called for an approach to design were the visible form evolves ‘out of the function of the text’. To achieve this, Tschichold stressed the need for the use of a sans-serif typeface, a preference for photographs over illustrations, an emphasis upon asymmetry, a purposeful use of colour, and the constructive use of negative space. Seeking a clarity denied by the ornamental typefaces, symmetrical designs, and distracting illustrations of the day, Tschichold’s manifesto was a clarion call for a new typographic style free from the obsolete patterns of the past. Over the New Year period of 1927-1928, many young Swiss designers had the opportunity to see the kind of work promoted by both Tschichold and Moholy-Nagy in an exhibition at the Gewerbemuseum in Basle. Entitled ‘Ausstellung neue Typographie’ it included examples by Tschichold as well as designs influenced by his ideas from students at the Gewerbeschule in Basle and the Kunstgewerbeschule in Zurich.

Whether Herbert Matter saw this exhibition is unknown. It is certain, however, that he studied these books and they certainly played a decisive role in the development of his own ideas. What is clear is that he was living and working through a period in Swiss art and design history when major transformations were taking place. Individual designers such as Ernst Keller, Hans Handschin, Walter Cyliax, and at a later date, Max Bill, began to produce works that abandoned the accoutrements and embellishments of the artist-designed poster. They neglected what Tschichold labelled the ’‘line’ of the artist’ and chose an ’anonymity in the elements’ of text, image, and space. The outcome were works of great clarity were ‘every part of the text relates to every other part by a definite, logical relationship of emphasis and value, predetermined by content.’ While the impact of these works were significant, it would be disingenuous, however, to say their arrival was unforeseen. In many ways the groundwork had already been laid over the previous two decades. The modern art movements of Cubism and Futurism had already paved the way for a reassessment of the traditional language of artistic expression and the classical representation of the human form. Creating works that questioned the artifice of trompe l’oil perspective, they explored two-dimensional geometric space through fractured objects, figures, and abstractions, combined with an examination of the ability of colour to express pure sensation and emotion. One of the key figures of the modern arts who reached beyond the fine art tradition to affect a seismic shift in the graphic arts was Fernand Leger (1881-1955). According to the design historian Philip B. Meggs, in Lger’s Cubist paintings ‘his almost pictographic simplifications of the human figure and objects were a major inspiration for modernist pictorial graphics that became the major thrust of the revived poster art of the 1920’s. Leger’s flat planes of color, urban motifs, and the hard-edged precision of his machine forms helped define the modern design sensibility after World War 1.’ Leger’s influence on post-war arts and design was further advanced when, in 1924, he began teaching at the Academie Moderne in Paris with Ameedee Ozenfant.

Herbert Matter seemed blessed with an uncanny ability to locate the engines of artistic innovation central to twentieth century visual culture. As such, his unique vision was fashioned by, and became part of, some of the most influential movements in modern art and design. Thus, when just twenty years old Matter left home to seek out the source of the exhilarating array of ideas that were just then beginning to cascade across his native soil. This journey led him to the modernist wellspring of Paris in the late 1920’s. It was here that he discovered a time and place where art had become indistinguishable part of everyday life, where architectural constructions such as Le Corbusier’s ‘Villa La Roche’ (1925), or posters like Cassandre’s ‘toile du Nord’ (1927), conveyed ideals of beauty that had evolved from their intended function, not applied as an ornamental afterthought. It was a climate of radical new visions, where Matter’s involvement with the avant-garde sparked an intense desire for progress and innovation that would never diminish. He enrolled at the Acadmie Moderne in 1928. Here he entered a sphere of influence where artists were transgressing the narrow limits of their established disciplines and in the process generating exciting new forms. Indicative of the times, one of the central tenets of this school was to cultivate this disregard for traditional hierarchies of art history and technique. For Leger, a work’s value lay ‘in its own worth’, where it was ‘not possible to establish a sole criterion’, but rather depended on individual’s ‘emotional capacity’. For Matter this engendered an openness to diverse ways of seeing that would mark his creative life. Over the coming years he would see fit to utilize the forms of sculpture, painting, architecture, and film as acceptable means via which to realise his particular vision. It was a spirit of exploration and invention that also gave birth to Matter’s approach to photography. Witnessing the photograms, solarised imagery, and montages manufactured by such pioneers as Man Ray and Maurice Tabard, Matter foresaw the potential of the liberated camera. No longer solely dependent on subjects external to the lens, Matter transcended the established mechanical processes of the medium to realise what Bauhaus member Laszlo Moholy-Nagy termed the ‘optical truth’ of the photographic eye.

Exposed to the work of many artists – amongst whom numbered several he would later come to know on both a personal and professional level, such as Alexander Calder and Alberto Giacometti – and movements – such as Surrealism and Constructivism – Paris was an intoxicating mixture of radical visions and new ideas. Matter’s time at the Acadmie Moderne and later working at the typographic foundry Deberny and Peignot were crucial in equipping him with the necessary means and expertise through which to realise his own response to these new methods of representation. While also developing his typographic and design skills, it was at the latter institution that Matter eagerly sought opportunities to experiment in the medium of photography. The manner in which he pursued this dictated that he would utilise the camera as a means of expression; as an opportunity to crystallize and develop all the competing ideas and movements of modern art and design he had studied in depth. Shaped by one of the most intensely experimental periods in the history of modernism, Matter would spend a lifetime continually testing and challenging the creative parameters of this, his most favoured of mediums.

Charged with this ’New Vision’, Matter returned to Switzerland in 1932. There in just few short years he produced what are widely regarded as some of the most celebrated posters in the history of design. Commissioned by the Swiss National Tourist Office, his groundbreaking works such as ’Pontresina’ and ’All Roads Lead to Switzerland’ further developed his new found awareness of the formal elements of photography. No longer manufactured as discrete isolated images, he now composed the photograph in such a way that it came to function as a single element in the totality of a graphic design. It was an approach were all the differing components could be integrated across the same plain, achieving an elegant cohesive simplicity. It was a time when Matter abandoned perspective, wishing ‘to work on a flat surface where I have strict control and manipulation at all times.’ Montage met this need. It would serve to inform his life long approach to photography and define a greater part of his creative work over the coming years. It was his ‘security‘.

The creative force that had compelled Matter to journey to Paris was certain to surface again with his return to his homeland. This small landlocked country could never sustain his insatiable yearning to continually ‘renew himself’ and ‘receive other influences’. Subsequently, in 1935 he set out for America. It was a departure that came at the midpoint of an exodus of designers who were abandoning Europe’s troubled shores throughout the thirties for the relative freedoms of the U.S. While Paris and Berlin had occupied the centre of progressive arts and design during the 20’s and 30’s, New York was to become the creative hub of artistic invention during the 40’s and 50’s. For émigré designers like Will Burtin, America provided the ’conditions which made the continuation of studies possible: people less biased by narrow interpretations of tradition; devotion to high productivity; a great industrial apparatus.’ Without catching his breath, during his first few weeks in the city Matter gathered up all his Swiss posters, pamphlets, and magazine cover’s and converged upon the offices of art directors, galleries, and publishers.

Alongside fellow émigrés such as Herbert Bayer, Leo Lionni, and Joseph Binder, Matter would utilise his innovative experiments with image and type to affect a wholesale transformation of American advertising, corporate identity, magazines, and poster art. His was always a wide-ranging vision. Unencumbered by preconceived notions of how the image in design should be treated, his photographs leapt from page to billboard, exhibition to trade fair, mural to film. In a culture ever eager to renew itself, this multifaceted approach became a much sought after commodity.

In the coming years magazines such as Vogue, Harper’s Bazaar, and House & Garden all called on Matter’s versatile treatment of photographic material to associate the fresh ‘look’ of the avant-garde with their publications. Numbering amongst these working relationships were also some of the most celebrated artistic and cultural figures of the modern age, who shared more sincerely the philosophical roots of Matter’s work: Alberto Giacometti, Alexander Calder, Edward Steichen, Jackson Pollock, Charles and Ray Eames, and R. Buckminister Fuller. Working with these individuals Matter continually confirmed a true renaissance spirit, aspiring to equal their lofty achievements by incessantly seeking out new avenues to enrich his own capacity and flair. In just under a single decade, Herbert Matter demonstrated a pioneering attitude to design that served to set his work apart from many of his fellow émigrés. In a short space of time, art directors, editors, and corporations quickly realised how Matter could generate works that would connect their products and layouts with all that was modern and fresh in contemporary art and design. His skill lay in an ability to assimilate corporate logos, slogans, or formats into works that were always uniquely his own. Displaying an acute awareness for the interaction of image and design, ‘Matter‘s responsibility to the photograph is not merely artistic‘, as one commentator noted, ’it is social in some sense, this concern for the “home” in which it will live.’ In his exhaustive attention to detail, Matter would converge on the nucleus of a design problem and in solving it generate an unexpected and original response. It was a unique ability perfectly encapsulated in the words of James Johnson Sweeney when he said:

‘Matter is an artist in his field. But there are several such. A researcher, however, who is both artist and technician is rare. This is Matter’s importance. He respects the achievements of the leaders in ‘straight’ photography. Still his basic aim is to expand the frontiers of pictorial expression. And in this realization of it he combines for us the photographer, artist and explorer.’

‘A tall stoop-shouldered man’, the critic D. J. Ebin noted in 1954, ’Matter is a gymnast among photographers…he nimbly walks astride the two worlds of art and commerce. Rarer still, this modest-mannered Swiss born confectioner’s son has introduced the lessons and vigour of modern art into the camera image. Today seasoned and self-assured he continues to ask of himself: What is a photograph and who is Matter?’ It speaks of the continuing relevance of Matter’s work today, that this proposition remains unresolved. Through inventive and graceful designs orchestrated via a singular vision, the timeless virtuosity of Matter’s groundbreaking works continue to fascinate and absorb decades after their realization.

VIEW EXAMPLES OF HIS WORK

dad likes to go to museums.  i do too.  it’s a thing.  below is what happens when dad and i go to museums together:

(nerdsville, usa– here we come!)

knighted!

nut gatherers

dancer

i'm van gogh-ing

diego rivera

please, mr. postman

what a mao-thful.

giacometti too tall!

three's company

walk it off

lazy bones

back to back

dad!

all photos were taken in the DIA (that’s in detroit, guys.)  please go visit it if you’re ever in the motown area!!!

http://en.wikipedia.org/wiki/Alberto_Giacometti

Yesterday I was talking to Tom Mills who teaches Drawing at RISD, and he offered a statement from someone he knew that seemed to resonate my thoughts at the time:  “When you really see, everything is transparent“. Considering that layering and transparency are two driving forces in my crayon drawings, this statement seemed to perfectly summarize my interest in transparency.

Coincidentally, I happened to be doing a figure/space exercise with my Freshman Drawing class at RISD that day where students are instructed to draw through and layer all of the objects in the space as a means of deconstructing and understanding spacial intervals. For this exercise, we look at pencil drawings by Giacometti where he moves seamlessly, back and forth and through objects in space to create cohesion in the drawing. It’s wonderful when things can synchronize like this in a single day.

Drawing by Alberto Giacometti

I grew up in New York City. My mother went to the high school of
performing arts; my Dad was a scientist/engineer who had a great
appreciation for Jazz and Art. I grew up surrounded by my parent’s
musician and artist friends. My grandmother brought me to museums
often when I was very young and I loved it- Calder, Giacometti,
Matisse, Picasso-pretty heady stuff for a six year old. Art of all forms
has been a huge part of my life so it was natural for me to get
involved. I’ve made films and videos. Went to NYU Film School when
Scorsese was in the grad school. We were all jealous!
In the 70s and 80s I lead a progressive “rock” band called People
Falling and wrote music. The music scene in New York City was
intimately involved with painters and poets at the time and we all hung out together. I think that the late 70s to the early 80s was the last successful, truly grass-roots, art scene. There was Punk, New Wave, the remnants of Pop Art, Minimalist Art, Conceptual Art, Figurative Art and Performance Art all coexisting and feeding off each other. I see glimmers of that kind of cross-pollination now in the art/music scene inhabited by the 20 to early 30-somethings around the edges of the city. The children of the Baby Boomers –Watch out!

[via]

When we look at the sculptures of Giacometti, there is a vantage point where they are no longer subject to the fluctuations of appearance or to the movement of perspective. One sees them absolutely: no longer reduced, but withdrawn from reduction, irreducible, and, in space, masters of space through their power to substitute for space the unmalleable, lifeless profundity of the imaginary. This point, whence we see them irreducible, puts us at the vanishing point ourselves; it is the point at which here coincides with nowhere. To write is to find this point. No one writes who has not enabled language to maintain or provoke contact with this point.

– Blanchot, The Space of Literature (trans. A. Smock)

The South of France is a jewel box, and holds many treasures to explore and discover.  Fondation Maeght museum of modern art is a hidden gem…one of the many treasures in the south of France we’ll be exploring in the next few posts. 

Set in the gorgeous wooded hills of the French Riviera, the museum lies 20 km west of Nice, and just 500 meters beyond the lovely village of St. Paul de Vence. 

The museum was founded in 1964 by Aime and Marguerite Maeght “to present to the public modern and contemporary art in all its forms” and includes over 500 paintings, sculptures and works by 20^th century masters such as Chagall, Miro, Caulder, Leger, Giacometti, and many more. 

I’ll admit, it’s taken me a while to come to appreciate modern art, as I’ve always been a fan of the Impressionists and Post-Impressionists.  But this museum changed me, and helped expand my tastes.  The vivid colors and thought-provoking works are beautiful…sometimes whimsical, sometimes desolate….even if I don’t always understand what the artist is trying to say to me. 



The building was designed by Catalan architect Luis Sert and incorporates important art works into the building and gardens….”the Giacometti courtyard, the Miró labyrinth filled with sculptures and ceramics, mural mosaics by Chagall and Tal-Coat, a pool and stained glass window by Braque, a Bury fountain.”  The sculpture gardens alone are worth the trip.

Getting there:
Check the museum’s website for arrivals by bus, car and train.  The museum is open every day July 1-Sept. 30 from 10:00 am – 7:00 pm, and October 1-June 30 from 10:00 am – 6:00 pm. Admission is currently 11 Euros, and children under 10 are free.  Téléphone: +33 (0)4 93 32 81 63.  Opening hours and prices are current at time of posting, but are of course, subject to change.

From Fondation Maeght website

Allow a minimum of 2 hours for your visit.  Combine your trip to Fondation Maeght with a tour of the charming perched village of St. Paul de Vence and you will have a wonderful day trip from Nice, Cannes or Antibes.

1.

Suppose two monks are searching for a river, for

A certain bridge. Suppose they think this bridge

Is magical, that it will change the water

Into salt—transform the river into salt-like tears—

And thereby let the monks enter the sacred lands

That lie ‘beyond horizons’. Just suppose this.

2.

Of course, they have adventures on the way.

Some stuff right out of Harryhausen—like a fire

Exhaling dragon, two two-headed vipers, and

Arachnids carrying poison spears that spin

Webs out of burning sulfur…Then they cry:

Childe Roland to the dark tower came!

3.

Because they do come to a river, and…

It’s wide and calm and shallow. No big deal.

Why, they could wade across right here,

Be done with it, the quest complete, a piece

Of cake. The monks are puzzled. This is too easy.

Not part of the quest topos. And no bridge.

4.

They stand and wait. A woman all in white

Is wading out. She beckons for the monks

To cross: rainbows and butterflies appear.

One monk thinks: This must be it. Perfecto!

A bounteous land. Don’t complicate. It’s good.

That is one of the virgins greeting us, for sure.

5.

The other thinks, this surely is a trap.

For one, she’s far too pretty—she reminds

The monk of Raquel Welch, that caveman flick,

B. C. something or other—and we’re missing

The point. We have to use the bridge. We need

The salt. The issue is the salt, a world of salt.

6.

Where nothing’s stable. Think of the effort just

To crawl through the white, blizzard-like arcades,

Your skin white, chaffed Giacometti-blue

And bruised. Pure salt supports nothing that lives.

This is an ancient metaphor, one monk

Points out. The pillar of salt. A consciousness.

7.

Of ruin. Of salt tears souring the land.

This quest topos is one of sorrow—both

Our monks are clear as crystal here: selfish

Satisfactions are what caused this.  ‘Mind’

And ‘mine’, you see, the self as shell, a salt

Mine. Turn the world into this? That bridge…

8.

For they do find the bridge. Somewhere there is

A bridge they call the Bridge of Sighs, could this

Be it? One monk starts the Childe Roland thing

Again…but shush, it’s scary here. This bridge,

It seems alive. Remember Heidegger:

The bridge gathers the earth around the stream.

9.

…and mortals keep in mind the vaulting bridge…

Or they forget that they too seek it out,

Are striving always to surmount the unsound

And common in themselves, to bring themselves

Before what the divinities bring: that

The common gathering remains the final one.

10.

Alberto Giacometti painted rivers,

Or would have if he’d lived, or would have if

He’d seen those churning waters with his bronze

Sculptures standing, etiolated and submerged,

In struggle beneath the breath of the bridge,

That vault that gathers rivers into seas.

11.

The salt seas.  All the waters, rain and rivers

Even the ice and snow, lakes, reservoirs

Will change to ‘tears of salt’: the bridge might be

The vault of the heavens, the monks, the stars,

The moon, the planets—and they cross each night—

Why movement is perfected in stasis.

12.

Why the two monks are statues on the bridge;

Why Giacometti sculptures en passant

Can battle rivers; why the mortals keep

The bridge in mind; why the quest topos

Fits a veil of longing over what cannot

Be longed for; why poetry lives in words.

We where sitting at the table, with the red tablecloth, he was using my mothers laptop and I was staring at him for no reason. He was concentrated at what he was doing. You could get the picture of him in the middle of something important, but I just knew he was killing time.

“Do you want to play domino?” I asked, he looked at me at once and said yes, though he didn’t seem very convinced. However, I went for our domino box and brought it to the table, he took the laptop away and gave me a smile. I liked the way the soft light iluminated his winkled face and how his green eyes became brighter.

We talked and laughed through the whole hour we sat there, this made me forget of my dismal prospects and the fact that my parents marriage is falling apart. He told me stories and anecdotes, that he used to work as a guard at a french school and how he loved french as a language. He wanted to study at the local university, but his financial and social situation had been a main obstacle for him, therefore he had to drop out of school at a young age.

I’ve been thinking of him lately, I know he is fine and that we’ll see each other again on a near future. It will be a joyfull reunion, I know. Hopefully we’ll sit together again and play like we did.

Um filme muito interessante está sendo veiculado nos canais Cultura, Sony, AXN e Animax, sobre a “Campanha Não Homofobia” que tem como objetivo conseguir reunir um milhão de assinaturas em favor da aprovação do Projeto de Lei 122/06, tramitando na Câmara dos Deputados. O projeto transforma a homofobia em crime. A adesão à campanha poderá ser feita diretamente no site. O Vídeo foi produzido pela agência de publicidade Giacometti para divulgação da Campanha Não Homofobia, uma iniciativa do Grupo Arco-Íris de Cidadania LGBT (RJ).

 A redação e a Direção de arte em total equilibrio.