Jordana - Push Me Away (feat. Magdalena Bay)

SOFI TUKKER - Hey Homie

Executive Producer: Sheira Rees-Davies @sheirareesdavies Creative Director: Kunna Haan @kunnahaan HOP: James Rothman @jamesrothman Producer: Brian Mcelroy @brianmc_elroy DP: Andrea Gavazzi @andgavazzi 1st AD: Otis Prod Supervisor: Kelly Edwards @kellylag8 Prod Coordinator: Camila Morales @chamimorales Senior Ops Manager: Hudson Payer @hudsonpayer 1st AC: Colton Huyn @coltonhuynh 1st AC: Gianfranco Bello 2nd AC: Kenneth Osborn Location Manager: Elya Ottenberg @elsousio VTR Operator: Steven Carlson & Color Space Digital DIT: Eric Barr @eric__barr Gaffer: John Busch @johnhbusch Key Grip: Vinny Davino @b3nnyblanc0 Prod. Designer: Pili Weeber @piliweeber Art Director: Javier Scalley Set Dresser: Linnea Crabtree Set Dresser: Kabir Kumar-Hardy Set Dresser: Nevena Dzamonja Set Dresser/Truck Driver: Nathaniel Alexander Leadman/Carpenter: Jorge Leguizamon Photography/BTS - Vanessa Vlandis @vvlandis Stylist: Fausti @sofausti & Anissa Silvas @anissasil Sofi Tukker HMU: Amanda Wilson @amandawilsonmakeup Hair and Makeup: Lauren Citera Hair and Makeup Assist: Tommy Tafoya Stunt Coordinator: Drew Leary PAs: Austin Mitrione, Luisa Bryan, Danielle Gibney, Bailey Lica, Haley Smith, Daniil Fetsenets, Alison Uhlenhop Editor: Aerin Moreno @aerinmoreno Colorist: Matt Osborne @matt_osborne_color @company_3 Post Supervisor: James Rothman @jamesrothman Graphics: Jess Severn @j3ssica7 Management: Justina Heckard @justinaflash & Neil Harris @punkdafunk Day to Day Manager: Logan Crizer @loganloland

Magdalena Bay - Image

Production Company: @AntigravityAcademy AGA Producer: @claire.dcp Producer: Katie White @katiewhitetoday 1st AD: Lauren Bates @bloody_lip_productions Production Manager: Matthew John Benton @matthewjohnbenton DP: Patrick Jones @patrick_jones 1st AC: Terra Gutmann-Gonzalez @terragutgonz 2nd AC: Melisse Sporn @mlispo VFX: Kyle Dettman, Igor Eyth, Yura Karikh Additional VFX: Magdalena Bay Colorist: Avery Niles @avery_niles Gaffer: Nate Thomson @natethomson1 BBE: Taylor Balfour @taylor_balfour Key Grip: Carl Stewart @stewartcarl BBG: Riley Prichard @rileyy.coyote Production Designer: Alexah Acuña @cinnamon_hands Art Director: Parhom Jamshidi @dan_lathers Costume Designer: Krissie Torgenson @krissieee Costume Assistant: Taryn Hickey @ttsayswoah Truck PA: Enrique “kiwi” Reyes @kiwi_foo Production Assistant: Sean Jacobson @seanlolwut Production Assistant: Saige Kristian @saigeyk Makeup Artist: Edwin Monzon @edwinmonzon Makeup Artist: Fernanda Machado @pompberry

Chenayder, MAVI - Colors

Producer / Creative Director: Maya Balkaran @mayabalkaran_ Prod Cord: Yohnny Fort @yohnnyfort DP: Violet Smith @viobensmith AC: Evan Miller @evanmillerdp 2nd AC: Felix Bailly @felixbaillyfilm HMUA: Chenayder @chenayders Stylist: Maya Balkaran @mayabalkaran_ Editor: Noah Weisfogel @noahweisfogel Colorist: Jackie Radinsky @jackieradinsky Chenayder Mgmt: Dominique Maldonado, Leigha Healy @sunshinedbaby @leighahealy Mavi Mgmt: Zay Shimkin @zayshimkin Label: Alamo Records

Magic City Hippies - What We Wanna

Edited by Pat Howard Shot & Colored by Otium Filmed at Jobsite Studios - Los Angeles, CA

Dominic Fike - Mama's Boy

Chenayder - For One Last Time

Kim Simonsson: The Year of the Moss Children

The Moss People are gatherers, decked out in readymades, wearing cauliflower shoes and shocks of feathers. They merge figurative sculpture, found objects, and a radical combination of handiwork and industrial fabrication (the hand-sculpted clay figures are covered in epoxy and flocked with nylon after firing) to a mesmerizing effect. “The name Moss People refers to children’s innate camouflage,” explains Simonsson. “The moss green figures blend perfectly into their natural surroundings, just as a soft carpet of moss covers the ground, rocks, and tree trunks and acts as a sort of protection. In the Moss People’s world, lost and disconnected children, evoking different characters… choose leaders and end up creating false idols.” They communicate through their own symbolic, visual language. Like migratory birds, they move from one place to another on a quest for meaning, seeking re-enchantment.

ROMANCEPLANET - FALL FROM THE SKY

Magdalena Bay - Dreamcatching

Camera & Lighting: Josha Eiffel MUA: Georgia Hope

JAVIER MARTIN APPROPRIATION OF FRAGMENTS INSTALLATION ALMA AT ASCASO GALLERY MIAMI

"Fragments" Part extracted or preserved, broken or detached , in this case decontextualized and modified for the adoption of new concepts. A language that Javier Martin has been researching and developing for more than a decade, an extension of his "blindness" concept where he explores through the appropriation of advertising images and icons, apparently perfect symbols of a standard of beauty in contemporary society, deconstructing these images to create a contrast between consumption and technology. In appropriation of fragments, Martin uses the space to create a dialogue between the individual fragments and their collective composition that forms the whole, transforming the gallery into a theater filled with fragments, representing the information overload of our time. A society created of fragments of information driven by advertising, technology and social media, questioning the veracity of what we recognize, through the use of appropriation, cutting, alteration and reflection, accentuating their emptiness; including the viewer in the scene and transforming them into a part of the fragments that invite self-reflection. This exhibition is composed of three different body of works, where we can find a journey that shows the interdisciplinarity of the artist. From the installation Alma, part of the permanent collection of the Seoul Museum, which consists of a cube covered with mirrors where the viewer is reflected through the appropriated images stamped on them and illuminated by neon, a material appropriated by Martin who considered it a form of public writing, unassociated with art, and traditionally associated with popular culture. He invites the viewer to step into a room where he has conceptually removed the walls, replacing them with unlimited light and space. Eliminating the barriers society imposes, which fill our minds with banal and insignificant thoughts, keeping us trapped and unable to realize the potential that exists beyond. In contraposition to the installation, the body of work “CUT” first presented by the artist in Shanghai in 2015, a thought-provoking series that challenges our preconceptions about the power of celebrity and the way we consume media. Creating iconic hand-cut photographs, technique inspired by The Chinese tradition of paper cutting, giving importance to the use of the negative space and the contraposition between wholeness and emptiness.