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POLANSKY’S SECRET TAPES: A MANREKORDS AND ANDREW ZAHN PODCAST

Posted on 22 November 2009 by Claudia Sandoval

POLANSKY’S SECRET TAPES is the first Podcast Series by Manrekords and Andrew Zahn

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Cheers!

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I JUST WANT YOU 2 GIVE ME YOUR LOVE: A MANREKORDS NEW TRACK

Posted on 21 November 2009 by Claudia Sandoval

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Cheers!
Manrekords and VLN Team

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FALL BEATS BY MANREKORDS: PODCAST SERIES I

Posted on 17 November 2009 by Claudia Sandoval

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Manrekords and VLN Team

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PAREDES QUE HABLAN (TALKING WALLS): STREET ART IN LATIN AMERICA

Posted on 02 November 2009 by Claudia Sandoval


More at ISAT channel in VIMEO

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CHARLY V/S ROGER BY MANREKORDS

Posted on 26 October 2009 by Claudia Sandoval

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CharlyVSRoger

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Manrekords and VLN Team

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MANREKORDS AND HIS OKTOBERFEST AT BREW URBAN CAFE |||| FORT LAUDERDALE, FL

Posted on 26 October 2009 by Claudia Sandoval

LISTEN DJ X MINI PROMO MIX

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RESIDENT DJ ///// MANREKORDS
SPECIAL GUEST ///// ANDREW ZAHN
SPECIAL APPEARANCE ON FRIDAY OCTOBER 30TH
DJ X – MANCHESTER, UK / NYC

Every Friday night in October 9PM – till late

BREW URBAN CAFE
209 SW 2nd Ave Fort Lauderdale, FL
T 954.523.7191

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ABOVE: YOU’LL NEVER KNOW UNLESS YOU ASK

Posted on 12 October 2009 by Claudia Sandoval

Above just updated his website with new work and some great photos from his latest travels.

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DISCOVERING MATT RELKIN ARTWORK

Posted on 30 September 2009 by Claudia Sandoval

I Just run across of some artwork by Matt Relkin and I was captivated by the simplicity and unexpected of his work. Read this interesting interview at Fecal Face and check his Flickr account to support this amazing emerging artist.

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HOT BREAD KITCHEN

Posted on 24 September 2009 by Claudia Sandoval

HotBreadKitchen

Hot Bread Kitchen is more than a bakery. It’s a business that enhances the future for immigrant women and preserves baking traditions. For your munching pleasure, they offer fresh breads baked with traditional recipes from around the world. They make it a priority to use local and organic ingredients.

Hot Bread Kitchen also honors the culinary traditions of peoples from all over the world. Preservation of diverse techniques and ingredients is crucial in the face of corporate globalization that tends to homogenize diversity. (Did you know, for example, that Maseca, a processed corn flour is now used widely in both tortillas in Central American and West African starches like kenkey?  Its too bad, but no one is grinding corn anymore.)

As part of their mandate to “Br-educate” New Yorkers, They’re creating a compelling record of the many diverse breads that are being baked here in the city. Looking for Ghanaian kenkey bread, Punjabi allo parantha, or lahoch flatbread baked by Yemeni Jews–all freshly baked within the five boroughs? Stay tuned and you’ll find out where!

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ERIN MORRISON’S ARTWORK

Posted on 24 September 2009 by Claudia Sandoval

Erin Morrison was born in Little Rock, Arkansas. Attended Memphis College of Art and the California College of Art, San Francisco.
Graduated from MCA with BFA of high distinction.

Currently living in Seattle.

ARTIST STATEMENT

The intention of my work is to approach the differences between what has been identified in our culture as organic and inorganic, and to clarify the impression of empathy between viewer and object through the transforming qualities of photography.

As most of the plant and animal life seen today have evolved to their present state due to continual environmental changes. Lately the primary focus of my work has been to depict the adaptation of our landscape in conjunction with the changes we constantly make to the way we view ourselves. The most recent body of work primarily acts as a record of these continual changes. The scale, in both size and complexity, is intended to capture a diverse range of urban ecosystems, and is used simply as a photographic reference or transcription of seemingly common (although often uncommon) events.

The suggestion of photography has become a constant in my work. Since the pursuit of landscape transformation began by making direct reference to nature publications, I took a new interest in the interpretation of the image (from a second-hand perspective) by the substitution of alternative mediums. Although more apparent in the larger works, the attempt of creating this barrier through the once effective presence of a lens, invokes a feeling of detachment between the viewer and object; creating a contingency between what has been studied to the fullest extent and what we have yet to see.

With the motive of pulling away the extremities to reveal the structure, most of the subjects in these drawings appear to be at their most compromised points of existence. With these new images I hope to recover the empathy lost between viewer and object by developing an alternative way of seeing pictures.

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