Oct 11 Thu-14 Sun Noon to 5pm Clio Art Fair 335 West 35th St Where Artists Without Galleries Show Individualistic Work of Passion and Quality

<em>Surprisingly original and interesting works are found at the Clio Art Fair, labeled as the “Anti-Fair for Independent Artists”. The event is worth knowing about since, without prominent advertising or publicity fanfare, it is devoted to works by independent artists, and mounted twice a year in Manhattan. Judging from the latest autumn edition it is something which all interested in art generated by individual passion and dedication, and separated off from the commercial engine of gallery and media-generated trends, should visit, with a good chance to notice and acquire works not yet on the publicity treadmill, which appeal to one’s personal taste and acquisitiveness. </em>

<a href=”http://www.attendnyc.com/wp-content/uploads/2019/01/P1100076.jpg”><img src=”http://www.attendnyc.com/wp-content/uploads/2019/01/P1100076-1024×683.jpg” alt=”At the entrance on 335 West 35 Street off Ninth Avenue, high white walls and ceiling surround the generous white partitions on which displays are hung in individual artist booths, stretching in two lanes to the far back wall” width=”640″ height=”427″ class=”size-large wp-image-6543″ /></a> At the entrance on 335 West 35 Street off Ninth Avenue, high white walls and ceiling surround the generous white partitions on which displays are hung in individual artist booths, stretching in two lanes to the far back wall

Among many artists there doing good and interesting work without a commercial gallery boosting their appeal, though not without hope of investment as well as emotional gain if you buy them before they are ‘discovered’, were these:

<a href=”http://www.attendnyc.com/wp-content/uploads/2018/12/P1100112.jpg”><img src=”http://www.attendnyc.com/wp-content/uploads/2018/12/P1100112-1024×683.jpg” alt=”Stanislav “Slawek” Goc explains his selection of four of his thematic and story telling “Reflections” to fellow exhibitor Catherine Lee from faraway Sydney in a show who draws artists of all kinds and regions globally” width=”640″ height=”427″ class=”size-large wp-image-6452″ /></a> Stanislav “Slawek” Goc explains his selection of four of his thematic and story telling “Reflections” to fellow exhibitor Catherine Lee from faraway Sydney in a show who draws artists of all kinds and regions globally

One standout in terms of individual voice and imaginative technical flair was Polish born, Indianapolis resident <strong>Stanislaw Goc</strong>, who signs his photographs simply with his familiar name <strong>Slawek</strong>.

<a href=”http://www.attendnyc.com/wp-content/uploads/2018/10/P1100089-e1547608427396.jpg”><img src=”http://www.attendnyc.com/wp-content/uploads/2018/10/P1100089-e1547608427396-683×1024.jpg” alt=”Slawek, Top, September 11th, Aluminum plate, 24.5&quot; x 33&quot;, $1,700 and Old Jew, Aluminum plate, 24.5&quot; x 33&quot;, $1,800″ width=”640″ height=”960″ class=”size-large wp-image-6546″ /></a> Slawek, Top, September 11th, Aluminum plate, 24.5″ x 33″, $1,700 and Old Jew, Aluminum plate, 24.5″ x 33″, $1,800

In his main very individual initiative, Slawek announces his work as <strong>Reflections: one of a kind photography</strong>. The title marks a novel technique in which he follows his muse by seeking inspiring juxtapositions of sidewalk and automobile window displays with the reflections of passers by and the city that the glass simultaneously presents. He is constantly adventuring with his camera in this way, he laughed, shooting stills and short movies. “I can’t sleep at night wondering where I will go next!”

These dual compositions yield intriguing themes, uncovered by Slawek’s imagination, which are both culturally resonant and as evocative as any intentionally staged. This is true even though his open-minded search uncovers them unexpectedly, he says, in a voyage of discovery which is initially more serendipity than purposeful. Yet in being liberated from narrow expectation, it results in totally original compositions, artfully composed by Slawek’s eye in hand with Destiny, which he prints on aluminum plate with little cropping or alteration.

<a href=”http://www.attendnyc.com/wp-content/uploads/2018/12/P1100114.jpg”><img src=”http://www.attendnyc.com/wp-content/uploads/2018/12/P1100114-1024×683.jpg” alt=”Networking with fellow independent artists is a big benefit of the Clio Fair – Slawek explains his aims to artist exhibitor from Sydney Catherine Lee” width=”640″ height=”427″ class=”size-large wp-image-6455″ /></a> Networking with other independent artists is a big benefit of the Clio Fair – here Slawek explains his aims to fellow artist exhibitor from Sydney Catherine Lee<a href=”http://www.attendnyc.com/wp-content/uploads/2018/12/P1100121.jpg”><img src=”http://www.attendnyc.com/wp-content/uploads/2018/12/P1100121-1024×683.jpg” alt=”Networking with fellow independent artists is a big benefit of the Clio Fair” width=”640″ height=”427″ class=”size-large wp-image-6457″ /></a> The pleasure of explaining one’s aims to a working colleague

<strong>Art market conundrum</strong>

Artists who have to make their own decisions about what to present to the public far from their working studio can be forgiven if they play their hand more cautiously than they would naturally like, since they are faced with the marketing problems which agents and galleries exist to take off their hands, especially in New York which is a dynamic market unlike any other.

Slawek seemed to be an example of this overly cautious approach to marketing his work in New York for when he opened his book portfolio of his past years of work it revealed many images that seemed more striking and complex than the four he brought on this trip from Minneapolis.

<a href=”http://www.attendnyc.com/wp-content/uploads/2018/10/P1100247-e1547766362171.jpg”><img src=”http://www.attendnyc.com/wp-content/uploads/2018/10/P1100247-e1547766362171-683×1024.jpg” alt=”Stanislaw &quot;Slawek&quot; Goc shared his Reflections portfolio book of other examples of his oeuvre which seemed more immediately intriguing that the four he chose to exhibit ” width=”640″ height=”960″ class=”size-large wp-image-6575″ /></a> Stanislaw “Slawek” Goc shared his Reflections portfolio book of other examples of his oeuvre which seemed more immediately intriguing that the four he chose to exhibit<a href=”http://www.attendnyc.com/wp-content/uploads/2018/10/P1100244.jpg”><img src=”http://www.attendnyc.com/wp-content/uploads/2018/10/P1100244-1024×683.jpg” alt=”A closer look at the page opened above” width=”640″ height=”427″ class=”size-large wp-image-6576″ /></a> A closer look at the page opened above<a href=”http://www.attendnyc.com/wp-content/uploads/2018/10/P1100242.jpg”><img src=”http://www.attendnyc.com/wp-content/uploads/2018/10/P1100242-1024×683.jpg” alt=”On the left page, Slawek&#039;s Dilemma, which he included in the Clio Fair, with his comment that the representation of 9/11 combines a face crossed with a stream of blood” width=”640″ height=”427″ class=”size-large wp-image-6580″ /></a> On the left page, Slawek’s Dilemma, which he included in the Clio Fair, with his comment that the representation of 9/11 combines a face crossed with a stream of blood

<strong>Inappropriate restraint</strong>

Another artist who seemed to have held back her most powerful work was Catherine Lee, a painter with studios in Sydney and London, whose printed resume stated her aim was to produce “engaging and thoughtful provoking work .. to amplify socially controversial and provocative topics that are often considered taboo”.

<a href=”http://www.attendnyc.com/wp-content/uploads/2018/12/P1100135-e1545111670354.jpg”><img src=”http://www.attendnyc.com/wp-content/uploads/2018/12/P1100135-e1545111670354-683×1024.jpg” alt=”Catherine Lee from Sydney, Australia presented six works which some might have viewed as less dynamic and engaging than the works in her portfolio which she also had with her, though certainly less likely to be banned by the blue nose administration of her art school. ” width=”640″ height=”960″ class=”size-large wp-image-6461″ /></a> Catherine Lee from Sydney, Australia presented six works which some might have viewed as less dynamic and engaging than the works in her portfolio which she also had with her, though certainly less likely to be banned by the blue nose administration of her art school.

Yet her paintings at Clio were far from provocative. The problem may have been Catherine Lee’s experience in running into a provincial mindset at her art school in Sydney before she graduated. A bluenose administrator literally imposed a censoring curtain on her sexually explicit images in the school’s annual show, and this absurd event seems to have had the unfortunate effect of curbing her unrestrained exploration of feelings aroused by the electricity of sexual contact. Instead of more works in that line, her choice of paintings to display in New York leaned far into the abstract compared with her powerful earlier work, which was nevertheless readily available in her portfolio as above and below.

<a href=”http://www.attendnyc.com/wp-content/uploads/2018/12/P1100147.jpg”><img src=”http://www.attendnyc.com/wp-content/uploads/2018/12/P1100147-1024×683.jpg” alt=”Catherine Lee shows two of her works not shown in her exhibit, including Pressures and their Places (right) in her series on the theme of sexual emotion that was to us far more developed and creative than the abstracts she hung on the wall at the show, a contrast seen in Slawek&#039;s choices as well. ” width=”640″ height=”427″ class=”size-large wp-image-6458″ /></a> Catherine Lee shows two of her works not shown in her exhibit, Pressures and their Places (right) and (illegible) on the left, in a series on the theme of sexual emotions that was to us far more developed and creative than the abstracts she hung on the wall at the show, a contrast seen in Slawek’s showing as well.<a href=”http://www.attendnyc.com/wp-content/uploads/2018/12/P1100146-e1545110224667.jpg”><img src=”http://www.attendnyc.com/wp-content/uploads/2018/12/P1100146-e1545110224667-683×1024.jpg” alt=”A single image of Pressures and their Places, in her portfolio of the dynamic and expressive series, which perhaps clarifies why it won her a provincial minded censoring at her art school exhibition at the start of her international career” width=”640″ height=”960″ class=”size-large wp-image-6459″ /></a> A single image of Pressures and their Places, in her portfolio of the dynamic and expressive series which won her a provincial minded censoring at her art school exhibition at the start of her international career

She was also able to show us on her phone an image of herself standing outside her exhibit in Sydney carrying a notice which expressed the strong exception she took to the untoward repression of her artistic instincts.

<a href=”http://www.attendnyc.com/wp-content/uploads/2018/12/P1100168-e1545110859551.jpg”><img src=”http://www.attendnyc.com/wp-content/uploads/2018/12/P1100168-e1545110859551-683×1024.jpg” alt=”Catherine Lee&#039;s answer to the banning of her strongly themed art from the annual show at her art school was to dress in appealing lingerie and stand outside her curtained exhibit with a notice that reads &quot;The university believes that you are not intelligent enough to decide what level of erotic art you want to see. I have therefore been forced to present a censored piece for this exhibition. This is my way of displaying my work in a free way and to add what they have tried to take away.&quot;” width=”640″ height=”960″ class=”size-large wp-image-6460″ /></a> Catherine Lee’s answer to the banning of her strongly themed art from the annual show at her art school was to dress in appealing lingerie and stand outside her curtained exhibit with a notice that reads “The university believes that you are not intelligent enough to decide what level of erotic art you want to see. I have therefore been forced to present a censored piece for this exhibition. This is my way of displaying my work in a free way and to add what they have tried to take away.”

 

There were other artists of note who did seem to have brought their most dynamic work, however.

<a href=”http://www.attendnyc.com/wp-content/uploads/2018/10/P1100265.jpg”><img src=”http://www.attendnyc.com/wp-content/uploads/2018/10/P1100265-1024×683.jpg” alt=”Bryant Small was exhibiting work with an unusual method to accomplish his canvases” width=”640″ height=”427″ class=”size-large wp-image-6572″ /></a> Bryant Small was exhibiting work with an unusual method to accomplish his canvases<a href=”http://www.attendnyc.com/wp-content/uploads/2018/10/P1100268.jpg”><img src=”http://www.attendnyc.com/wp-content/uploads/2018/10/P1100268-1024×683.jpg” alt=”Detail of the above work by Bryant Small” width=”640″ height=”427″ class=”size-large wp-image-6571″ /></a> Detail of the above work by Bryant Small<a href=”http://www.attendnyc.com/wp-content/uploads/2018/10/P1100278.jpg”><img src=”http://www.attendnyc.com/wp-content/uploads/2018/10/P1100278-1024×683.jpg” alt=”Bryant Small discusses his unusual approach to fashioning his work with an enquirer” width=”640″ height=”427″ class=”size-large wp-image-6570″ /></a> Bryant Small discusses his unusual approach to fashioning his work with an enquirer<a href=”http://www.attendnyc.com/wp-content/uploads/2018/10/P1100224.jpg”><img src=”http://www.attendnyc.com/wp-content/uploads/2018/10/P1100224-1024×683.jpg” alt=”Rachel Goldsmith creates her paintings with an electric pen that extrudes her chosen color in plastic onto a surface formed by an array of wires” width=”640″ height=”427″ class=”size-large wp-image-6581″ /></a> Rachel Goldsmith creates her paintings with an electric pen that extrudes her chosen color in plastic onto a surface formed by an array of wires<a href=”http://www.attendnyc.com/wp-content/uploads/2018/10/P1100204.jpg”><img src=”http://www.attendnyc.com/wp-content/uploads/2018/10/P1100204-1024×683.jpg” alt=”LauraLee Franco beside her Storm Fear (2017) Oil paint charcoal 60″ x 40″ $2500″ width=”640″ height=”427″ class=”size-large wp-image-6582″ /></a> LauraLee Franco beside her Storm Fear (2017) Oil paint charcoal 60″ x 40″ $2500

<strong>Surprise ending</strong>

Perhaps the most remarkable result at the fair was which artworks sold out completely. The whole group of photographs hung on the wall by Denver’s Amanda J. Armstrong emded up with red dot stickers, even though the nature of the images might have led some viewers to feel they were the least likely to find buyers of all the art in the Fair.

<a href=”http://www.attendnyc.com/wp-content/uploads/2018/10/P1100300.jpg”><img src=”http://www.attendnyc.com/wp-content/uploads/2018/10/P1100300-1024×683.jpg” alt=”Is there a lesson in the fact that the entire wall of these grotesqueries by photographer Amanda J. Armstrong of Denver sold out? Was it a signal that New Yorkers seek emotional impact above all in their art purchases, and that above all in their art purchases, and that even the sensationally ugly may fit their requirements very well?” width=”640″ height=”427″ class=”size-large wp-image-6565″ /></a> Is there a lesson in the fact that the entire wall of these grotesqueries by photographer Amanda J. Armstrong of Denver sold out? Was it a signal that New Yorkers seek emotional impact above all in their art purchases, and that even the sensationally ugly may fit their requirements very well?<a href=”http://www.attendnyc.com/wp-content/uploads/2018/10/P1100304.jpg”><img src=”http://www.attendnyc.com/wp-content/uploads/2018/10/P1100304-1024×683.jpg” alt=”A closer look at one of the works by which sold out from Amanda J. Armstrong, The Body Obscura #2, 2018, a photograph, 20&quot; x 16&quot;, framed at $300″ width=”640″ height=”427″ class=”size-large wp-image-6564″ /></a> A closer look at one of the works by which sold out from Amanda J. Armstrong, The Body Obscura #2, 2018, a photograph, 20″ x 16″, framed at $300

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<a href=”http://www.attendnyc.com/wp-content/uploads/2018/10/P1100291-e1547704684520.jpg”><img src=”http://www.attendnyc.com/wp-content/uploads/2018/10/P1100291-e1547704684520-683×1024.jpg” alt=”Although she lives in Paris, art advisor Ylenia Mino runs the Clio Art Fair from the entrance tables during its four days from Thursday to Sunday Oct 11-14″ width=”640″ height=”960″ class=”size-large wp-image-6566″ /></a> Although she lives in Paris, art advisor Ylenia Mino runs the Clio Art Fair from the entrance tables during its four days from Thursday to Sunday Oct 11-14

<strong>Background</strong>
(Publicity) NY CLIO ART FAIR The “anti-fair” focused solely on independent artists, returns for its seventh edition.
“The Anti-Fair for Independent Artists (http://www.clioartfair.com) is waiting for you in its 7th edition, October 11-14, 2018, 335 west 35th street, New York; the NY CLIO ART FAIR is a curated fair created with the idea of discovering independent artists and showcasing the careers and achievements of already affirmed creative minds.”

A showcase for painters and other flat surface artists who are active professionals independent of galleries and institutions, the annual New York Clio Art Fair has for four years showed a variety of art free of group identity or oversight, and with a very wide range of techniques and topics, and offered many opportunities for artists to make contacts and to visitors to find uniquely appealing and innovative work to admire and buy.

 

 

 

 

 

 

 

 

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Harneys Presents Tip Top Teas, Adds Three ‘Athleteas’ With Mara Smith

With the huge array of choice tea blends on the wall, the three globes of AthleTeas are lined up for tasting on the counter of a crowded store

With the huge array of choice tea blends on the wall, the three globes of AthleTeas are lined up for tasting on the counter of a crowded store

Tea lovers gather at Harney’s to taste Athleteas for athletes, latest three of over 250 blends

Harney’s in Soho is a rich resource for tea lovers, presenting for tasting, purchase or sit down enjoyment leaves from sources in India, China and Ceylon and as far flung as Rwanda or even Italy (dried olive leaves from the South) mixed into over two hundred and fifty inventive but rich and always tasteful blends from Sally’s Secret black tea with its notes of Black Pepper and Rosepetal to the distinctly earthy but still delicate Rwanden RuGeri, a tea benefiting from the slow processing possible in Rwanda which escapes the humidity and heat of India, to Osmanthus Oolong, with its tiny flowers from Fujian Province in China turned into a heap of particles which yield such a dense tea that it can be infused more than once as its flavor develops.

Tasting at Harney's demands full attention to the subtleties of expert blending

Tasting at Harney’s demands full attention to the subtleties of expert blending

This afternoon’s event marked the new partnership between Harney’s and Dr Mara Smith, the specialist in tutoring Olympic athletes how to train their bodies with the right mental attitude to reach peak performance, by presenting three different new ‘Athleteas’ for sampling at the tasting counter of Harney’s long and recently efficiently remodeled retail space which is on the south side of Broome Street just East of Broadway. The middle of the extensive wooden counter featured three glowing rosy round globes of AthleTea, one for ‘performance’ with caffeine (orange mango) and one for ‘performance’ without caffeine (Get Your Passion Berry AthleTea) and one for ‘recovery’ without caffeine (the soothing Go to Goji).

Dr. Mara Smith designed her new blends for Harneys to enhance athletes mindfulness of past and future performance

Dr. Mara Smith designed her new blends for Harneys to enhance athletes mindfulness of past and future performance

All this according to Mara, a warm, lively woman in sturdy black spectacles who believes that tea drinking is the way for high performing athletes “to carve out time for reflection on past progress and to focus forward” on future accomplishment, and is working with many athletes who now wish to move from health drinks toward tea. Of course this should appeal as well to all healthy people who are not actually athletes, she says, since as the Nike saying has it “If you have a body you are an athlete!”

Apart from the large canisters of specialty teas that line the wall behind the serving counter in a solid block of 250 teas, Harney’s has a small space at the back for people to sit with tea or even coffee (recently added) and a slew of intriguing extras to buy lining the wall opposite, including “Homesick” candles to remind one of home, tumblers with inscriptions like NEW YORK HOME, decorated mugs especially for “Little Miss Busy”, “Mr Grumpy”, “Little Miss Chatterbox” and other children, attractive leaf motif tote bags, and black baseball caps with legends front and rear (“Hello with “Goodbye”, or “Books” with “Join The Club” , or “This is Tea” and “Harneys”.)

Tea consultant Mila presents the three AthleTeas now available to make you pause and be mindful of past and future considerations in your athletic progress

Tea enthusiast Michele presents the three AthleTeas now available to make you pause and be mindful of past and future considerations in your athletic progress

Mousing the Google map of Harney’s location on Broome just East of Broadway in Soho (take the Lex subway to Spring) and you notice that there is no listing for thousands of Yelp or Google reviews as for other much less notable places. Yet there are often crowds outside the doors when it opens at 10.30am daily (closes 6.30pm)

Evidently Harneys is discreetly British in style in selling itself as well as its tea by relying on word of mouth to advertise its top tea level social and commercial presence, for as the cap says, truly “This is Tea, Harneys”. Yet in only seven years it has established this, still the only offshoot of its home base in Millerton, in upstate New York, as indeed the tea place in New York par excellence.

Emeric Harney has remodeled the store into a beautifully efficient system for selling his top teas, and plans to expand the seating for those who wish to sample them along with crumbly scones with clotted cream right then and there

Emeric Harney has remodeled the store into a beautifully efficient system for selling his top teas, and plans to expand the seating for those who wish to sample them along with crumbly scones with clotted cream right then and there

One can only hope that, as Emeric Harney the third generation owner of this flagship in fashionable Soho now crowded with visitors from foreign countries where tea is often more established than here, says is the plan, Harneys expands the size and comfort of its restricted seating area to a level consonant with its leadership of what one hopes will be a continuing advance of the more enlightened and healthy alternative to coffee in too caffeine addicted New York City.

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PR notification: Attention fun fit New Yorkers!
Harney & Sons is hosting a launch party for their NEW Athletea Saturday before the New York marathon!
…and we want YOU to come
Tea masters Harney & Sons will be filling your cups with fitness-minded tea blends.
Food provided by the grand French Lafayette Café & Bakery
Special guest Dr. Mara Smith, founder of AthleteMinder and mental strength consultant to Olympic and World medal-winning athletes.
When: Saturday, November 4th 3-5pm, the day before the NY marathon
Where: Harney & Sons SoHo house
433 Broome St, New York, NY 10013
Dr. Smith suggests that all athletes should incorporate tea into their daily routine. Come to the party and find out exactly why.
Let us know if you can go!
RSVP Kaitlin@statuslabs
Read more about the benefits of Athletea here
See you there!
Kaitlin Dilworth
Kaitlin@statuslabs.com
Status Labs PR
512-825-4416

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Sparkling Polish Gem at Soho International Film Fest: The Eccentrics (On the Sunny Side of the Street)

Freedom through music
An unobtrusive comedy much better than the simple description in the Soho International Film Festival program at Village East Cinema at 2nd Ave and 12th st, The Eccentrics: On the Sunny Side of the Street is an intelligent Polish mix of amusing social commentary, spy mystery, and political satire which is also a fine philosophical celebration of upbeat, soulful swing as a come together refuge from atrocious politics, in this case the wooden and dangerous absurdities of Communism in the fifties in beleaguered Poland.

This very accomplished film is a delicate, many petaled rose of good humor, satirical intelligence and unexpected takes on what would be in lesser hands a straightforward tale, but after a brief slow start when the underlying deadly seriousness of the Polish war and postwar experience is quickly established, every scene is made interesting by a skilfully provocative script by Wlodzimierz Kowalewski (it’s his original novel) and effortless acting by all.

A wholly interesting and amusing standout shouldn’t be blushing unseen on the festival program at Village East Cinema (189 2nd Avenue), where it will be run once at 8pm-10pm on Tuesday, June 20, and we advise anyone with a taste for worldly wit and emotional teasing of the most sophisticated yet pointed kind, the most achieved in Polish comedy that has been seen in Manhattan for years, should make sure to catch it.

For that will be the only chance here to catch what is the current cap from 2015 to director Janusz Majewski’s body of work which is widely admired in Poland and abroad. The Eccentrics unreels a deadpan saga where every scene is a pleasing turn and interesting surprise, from the unexpected bonding of official and suspect just returned from London exile over a piano which leads to the suspiciously easy recruitment of good players for his big band renditions of American Patrol and many other top tunes, to the romantic denouement where the uphill seduction by our hero of his personally challenging lead singer (“I won’t tell! – the less you know the more you’ll care!” is her reply to his post success inquiry as to her past life) crumbles catastrophically, revealing that it is political machinations behind the scenes which fill the story with intriguing off kilter interruptions.

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Review by Katarzyna Buczkowska (in Polish)

Publicity and Other Web coverage:

SOHO: “THE ECCENTRICS On The Sunny Side of the Street” (Poland)
SOHO International Film Festival
Tuesday, June 20, 2017 from 8:00 PM to 10:00 PM (EDT)
New York, NY

AUDITORIUM # 3

FEATURE: “THE ECCENTRICS. ON THE SUNNY SIDE OF THE STREET” (Poland) 112mins l Drama l World Premiere
Directed by: Janusz Majewski
Written by: Wlodzimierz Kowalewski
Stars: Maciej Stuhr, Natalia Rybicka, Sonia Bohosiewicz, Anna Dymna, Wojciech Pszoniak, Wiktor Zborowski
Synopsis: “The Eccentrics. On The Sunny Side of The Street” is an incredible story of a jazzman Fabian who comes back to Poland from England at the end of the 1950’s. With a group of eccentric musicians he starts a swing big-band. Modesta becomes the star of the band and they become very successful. The musician quickly falls head over hills in love with the femme fatale singer. They soon start an affair. As king and queen of swing they start touring Poland and their life takes a colorful turn. Will their feelings last?

SCREENING FOLLOWED BY Q & A WITH FILMMAKER & CAST IN ATTENDANCE (According to Eventbrite notice but didn’t happen)

SOHO International Film Festival

Mission
By enticing filmmakers, journalists and cineastes from The US and across the globe, SOHO Film Fest expects to draw audiences to New York City, known for its artistic community and cultural sophistication, helping boost the profile, the sense of pride, and the economy of the local community and the city itself.

General Information
Accepting full-length features, short films and documentaries from professionals and amateurs alike, SOHO Film Fest will hold screenings, panels and host social events and other networking opportunities for everyone involved. Leading figures from all disciplines of the film industry including distributors and media will be in attendance.

The Eccentrics: The Sunny Side of the Street – Janusz Majewski

“Excentrycy, czyli po słonecznej stronie ulicy”, reż. Janusz Majewski, fot. M. Makowski, materiały prasowe Next Film
The Eccentrics. The Sunny Side of the Street, directed by: Janusz Majewski, photo: M. Makowski / Next Film
The Eccentrics is Janusz Majewski’s feature film based on a novel written by Włodzimierz Kowalewski. The film received a Silver Lion at the 40th Gdynia Film Festival.
Five years after Rite of Passage 1947 Janusz Majewski came back with a new film which received a Silver Lion for directing. At the same gala, Wojciech Pszoniak was awarded for the best supporting role for his performance in Majewski’s film. In 2016 The Eccentrics received seven nominations for Polish Eagle Film Awards given by Polish film industry.
Fabian, a war emigrant, jazz trombone player, and dancer, returns to Poland from London in the 1950s. Together with a group of local eccentrics and amateur musicians he forms a swing big band. With the first performance the band gathers an unexpected interest. Fabian meets Modest (Natalia Rybicka), an intriguing jazz singer, who joins the band. They become lovers and as the king and queen of swing lead the life of an admired pair against the gloomy reality of the decade. At a certain point of the film a romantic thread is overtaken by a spy one, with Modest being kidnapped.

The Eccentrics by Janusz Majewski – Image GalleryMore photos(11)

Scroll to previous photos from galler: The Eccentrics by Janusz Majewski – Image Gallery Scroll to next photos from gallery: The Eccentrics by Janusz Majewski – Image Gallery
The Eccentrics by Janusz Majewski – Image Gallery
Janusz Majewski draws an effervescent musical tale about life in the 1950s in Poland, simultaneously paying respect to jazz as the music of freedom. When asked by Jacek Szczerba (for an interview in Gazeta Wyborcza) Majewski stated that he is ‘a veteran among jazz fans’, and recollected his first encounter with jazz, the first Jazz All Souls Day (Zaduszki Jazzowe) in 1954 in Kraków and first attempts to work as a compere. This nostalgia emerges in the film. The spy intrigue and the romantic thread are not greatly important, rather the music and the intriguing jazz rhythms are.
Jakub Majmurek (Filmweb) wrote:
The music expresses the desire for freedom and a life more joyful than the one proposed by Gomułka with the militia, ubecja (the Polish secret police), overcrowding, tea in a glass, and unpleasant waiters. However, Majewski draws a balanced picture of the époque, without black and white distinctions, but with various shades of cooperation with the communist Polish authorities.
The director of The Enchanted Stations gathered actors who are musically talented: Maciej Stuhr (who attended a music school for ten years), Wiktor Zborowski, Sonia Bohosiewicz, and Natalia Rybicka. Acting is truly one of the strongest sides of The Eccentrics: especially the supporting roles of Anna Dymna as a vulgar old lady and Wojciech Pszoniak as Mr. Zuppe, an erudite piano tuner and homophobic homosexual who ‘seeks for pederasts in Polish poetry’.
Majewski’s film was welcomed warmly by journalists and audiences. As well as the aforementioned awards, the film received many positive reviews from Polish film critics. Zdzisław Pietrasik wrote in ‘Polityka’:
In The Eccentrics we have everything that characterized the best of Majewski’s previous films: a careful realization, refined scenography and good acting of both primary and secondary roles. (…) We also have a lot of good jazz from the époque, including On the Sunny Side of the Street. The film is a great proposal for those who want to lift their moods.
The Eccentrics. The Sunny Side of the Street, Poland 2015. Dir.: Janusz Majewski. Script: Włodzimierz Kowalewski, Janusz Majewski. Cinematography: Adam Bajerski. Music: Wojciech Karolak. Cast: Maciej Stuhr, Natalia Rybicka, Wiktor Zborowski, Sonia Bohosiewicz, Wojciech Pszoniak, Anna Dymna, and others.
Production: Wytwórnia Filmów Dokumentalnych i Fabularnych. Colour. 112 min.
Source: Press Materials, BS, translated by: Antoni Wiśniewski, February 2016.

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BookExpo – Huge Javits Celebration With Latest Troves of Talk Treasure in Hands On Reality Form

Book Expo 2017 May 31 Wed-Jun 2 Fri: Nothing like this huge, multilayered annual celebration of books, the ultimate in handy briefings of the cutting edge on science and current affairs of every field. A great must-go event, bursting with books and book fans of every kind, booksellers, popular authors, and long lines for signed copies of current and future hits.

But key aspect is that it also contains academic press treasure troves of past, present or forthcoming individually polished gems of scholarship and independent research in science and other solid topics, works which unlike the daily or even weekly or monthly media news and talk shows benefit from authors who take personal responsibility for the accuracy and quality of their work, completed outside the confines of government and corporate walls where censors and pr spokesmen prowl.

So get excited about BookExpo coming up fast in NYC at Javits on May 31 Wed to June 2 Fri, its for all those interested in books on paper between hard or soft covers as the last easily available repository of the latest worthwhile information from independent authors that unlike the fleeting smartphone or desktop screen display does not vanish into virtual reality, but remains stationery on the page ready for reference with precise marking or emendation or query in the margin, inside real physical books placed within manual grasp on a nearby bookshelf, or displayed open on the desk next to the working screen, or on the bedside table to stabilise one’s last waking moment before peaceful slumber induced by the restful quiet of the night broken only by the turn of the page, that’s what we are talking about and looking forward to – Manhattan’s greatest annual showplace of ideas!

In our case, our particular interest is the state of the academic publishing industry as part of it gravitates to competing more significantly with the trade press, which renders a lot of deep data more accessible, and in the state of science publishing, especially in the first days of a new era where the new President of the US is apparently happy to remain in total ignorance of what science reveals about the state of the world and its future, and to contradict it whenever it conflicts with his personal interests and profit motive, or his belief in himself as the most admirable human being in the world.

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Pure luck and get paid $1.4 billion?

James Simons, at $1.6 billion, was the nation’s best-paid hedge fund manager last year, according to Institutional Investor’s Alpha magazine. Credit Fred R. Conrad/The New York Times

James Simons, at $1.6 billion, was the nation’s best-paid hedge fund manager last year, according to Institutional Investor’s Alpha magazine. Credit Fred R. Conrad/The New York Times

No evidence that top hedge fund managers know what they’re doing

Half the most highly paid last year did worse than the market.

One of the most egregious aspects of unrestrained capitalism is the obscene amount of money skimmed by the top club compared with the struggles of those they live off.

Come back Karl Marx all is forgiven!

“Things became so tough last year that big money managers found themselves sitting at the negotiating table with their investors, offering lower fees and better terms for sharing in the returns.

“It’s a moment in time where you’re going to see a cleansing of the hedge fund industry,” said Adam I. Taback, head of global alternative investments at Wells Fargo Investment Institute.”

NYTimes DealBook:

Hedge Fund Managers Don’t Always Beat the Market, but They Still Make Billions
The 25 best-paid managers earned a collective $11 billion in 2016. But some big names, like William A. Ackman and John A. Paulson, did not make the cut.

By ALEXANDRA STEVENSON MAY 16, 2017

Good performance, mediocre results or even downright ugly returns. When it comes to hedge funds, it scarcely matters. Even as some investors begin to sour on these high-priced stock pickers, the top fund managers still haul in enormous paychecks.

The 25 best-paid hedge fund managers earned a collective $11 billion in 2016, according to an annual ranking published on Tuesday by Institutional Investor’s Alpha magazine.

Even managers who had a tough year were able to cash in. Nearly half of the top-25 earners made single-digit returns for their investors, a lackluster sum in a year when the Standard & Poor’s 500-stock index was up 12 percent, accounting for reinvested dividends.

The top earner of 2016 was James Simons, the former code breaker for the National Security Agency and the founder of Renaissance Technologies, who made $1.6 billion. Ray Dalio, the founder of Bridgewater Associates who is best known for his philosophy of “radical transparency,” came in a close second with $1.4 billion. Further down the list was Robert Mercer, the co-chief executive of Renaissance and one of the biggest backers of Donald J. Trump’s presidential campaign, who earned $125 million.

But some of the best-known names in the industry — including William A. Ackman, John A. Paulson and Edward S. Lampert — failed to make the list. Also missing from the list: women.

More

The list is based on estimates drawn from each individual’s share of their firm’s management and performance fees. It also takes into consideration each manager’s own capital invested in the funds.

These outsize paydays come at a turning point for the industry. For eight consecutive years, hedge funds have disappointed, underperforming a roaring stock market. In addition, some managers have lost billions of dollars through wrong-footed bets, marking what one hedge fund billionaire, Daniel S. Loeb, called a “catastrophic period” for the industry.

Some frustrated investors headed for the exits in 2016, taking with them $70 billion from the $3 trillion industry. As a result, managers shut their doors and wound down their funds at the fastest rate since the financial crisis in 2008.

—————————
The Top 10 Hedge Fund Paychecks
The top earning hedge fund managers in 2016, based on estimates of performance fees and each individual’s invested assets.

James Simons
Renaissance Technologies
$1.6 billion

Ray Dalio
Bridgewater Associates
$1.4 billion

John Overdeck
Two Sigma
$750 million

David Siegel
Two Sigma
$750 million

David Tepper
Appaloosa Management
$700 million

Kenneth Griffin
Citadel
$600 million

Paul Singer
Elliott Management Corp.
$590 million

Michael Hintze
CQS
$450 million

David Shaw
D. E. Shaw Group
$415 million

Israel Englander
Millennium Management
$410 million
Source: Institutional Investor’s Alpha magazine
——————————————-

Things became so tough last year that big money managers found themselves sitting at the negotiating table with their investors, offering lower fees and better terms for sharing in the returns.

“It’s a moment in time where you’re going to see a cleansing of the hedge fund industry,” said Adam I. Taback, head of global alternative investments at Wells Fargo Investment Institute.

“The industry had a lot of money and a lot of growth all chasing the same investments,” Mr. Taback said, adding that a culling was much needed for the industry to return to its roots.

Despite hedge fund managers’ struggles to beat the market, their compensation has soared over the past decade. The $11 billion payday for the top-25 managers in 2016 is down from $13 billion the previous year, but still more than double what the top earners made in 2000, the first year that Institutional Investor compiled its list. It also dwarfs the sums earned by executives of public companies.

Even the lowest-ranking manager on Alpha magazine’s expanded top-50 list made more money in 2016 than any big United States bank executive, including Jamie Dimon of J. P. Morgan, Lloyd Blankfein of Goldman Sachs and James Gorman of Morgan Stanley, all of who have been criticized for their big paychecks.

The key to these large paydays is the fee system known as 2-and-20. Hedge funds typically charge investors 2 percent of their investment annually, regardless of performance. So even in a disappointing year, managers still are paid a handsome sum. In the event they make a profit, the funds take 20 percent of that as well.

Not all hedge funds underperformed in 2016. At the $42 billion Renaissance, where a team of cryptographers, physicists and astronomers parse large volumes of data, the firm’s two public funds, Renaissance Institutional Equities Fund and Renaissance Institutional Diversified Alpha Fund, gained 21.5 percent and 11 percent, respectively.

At Bridgewater, Mr. Dalio’s $165 billion firm, the flagship fund, Pure Alpha, gained just 2.4 percent. But its newest fund, Optimal, gained 7 percent, and its All Weather fund, which charges lower fees, gained 11.6 percent.

The original allure of a hedge fund was the promise of smoother returns during market upheavals along with risk-adjusted returns that would stand out. In recent years, investors have complained that some firms failed to uphold this pledge.

“When a manager collects a fee without adding value, it’s just not right,” said Scott M. Stringer, the New York City comptroller. Some of the New York City pension funds have pared back their investments in hedge funds, and the comptroller’s office has requested lower fees and better terms from those it continues to hold.

Mr. Paulson, who is best known for reaping a windfall by betting on a collapse of the housing market in 2008, has made $15.45 billion over the 16 years that Institutional Investor has been compiling its list. But he was bumped off the list after double-digit losses in 2016, a year that he called “the most challenging” since he founded Paulson & Company in 1994.

Mr. Lampert of ESL Investments was once heralded as a hedge fund wunderkind and has made $7.16 billion over the years. But these days his investment in the beleaguered Sears Holdings has left him with few outside investors, and he is not on this year’s list.

And Mr. Ackman of Pershing Square Capital Management has had percentage losses in the double digits for two years in a row. Earlier this year, he conceded to investors that a wager on Valeant Pharmaceuticals International — the biggest in his firm’s history — was a “huge mistake,” and he sold the position, resulting in a remarkable $4 billion loss. Mr. Ackman is not on the list this year but came in fourth in 2014 with $950 million.

Others made the list despite posting subpar returns. Kenneth C. Griffin, the billionaire founder of Citadel and a major Republican donor, took home $600 million despite what he called “a challenging year” in which he made investors in his main flagship funds just over 5 percent. Mr. Loeb of Third Point earned $260 million, after making investors in his offshore fund just over 6 percent.

Two of the most recent high-profile hedge fund closures underscore the pressures managers face, including market swings from surprise events such as Britain’s exit from the European Union and the election of President Trump.

Richard C. Perry, once among the most successful and earliest hedge fund investors, closed his flagship fund last year after steep losses, citing strong “market headwinds” that made “the timing for success in our positions too unpredictable.” He has made Institutional Investor’s top-50 earners list five times.

Earlier this year, Eric Mindich, the founder of Eton Park Capital Management, told investors that he was shutting down his firm because of “a combination of industry headwinds, a difficult market environment and, importantly, our own disappointing 2016 results.” Mr. Mindich made the list in 2007.

While some managers may have taken a pay cut to appease investors, they still earn more each year than the average American could ever dream of earning in a lifetime. During the presidential campaign, Mr. Trump accused hedge funds of “getting away with murder” and pledged that they would be “paying up” if he became president, by closing a loophole that allowed them to pay lower taxes.

But the Trump administration’s outline of a tax plan, released at the end of April, appears to be a boon for the industry. In its current form, Mr. Trump’s plan eliminates the special treatment called carried interest for hedge funds, but he replaces it with a new and lower rate.

Correction: May 16, 2017
Because of an editing error, an earlier version of this article misstated when the top-25 hedge fund managers made $13 billion. It was in 2015, not “last year.”

As usual at the Times, no comments space offered on a fertile topic!

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