Yin Xiuzhen (1963) is one of the most prominent artists of her generation. Especially for this exhibition, Yin made a cityscape of Groningen, called "Portable City", which is composed of clothes worn by citizens of Groningen.
In addition to recent work, the presentation also contains key works such as Collective Subconscious (2007), Thought (2009) and Waves (2009-2010). The Weapon installation (2003-2007) will also be on display. This consists of twenty horizontally suspended spear-shaped objects that seem to fly as darts toward their target. This installation was purchased in 2008 and was exhibited during the Biennial in Venice in 2007.
This week i'm talking with Ollie Palmer is a designer, artist, a tutor at Bartlett but he is also the guy who's so interested in dancing insects that he's embarked on a 6 year project to choreograph and stage an Ant Ballet.
Developed with the support of scientists from University College London and the Institute of Zoology in London, the work uses a robotic arm which sprays synthesized pheromone in artificial trails that the ants will follow in preference to their own natural foraging behaviour. The project will grow over several phases and one of them involves the creation of intercontinental ant telecommunication devices.
During the interview, Ollie talks ants and more precisely Argentine ants, a particularly invasive species that the UK wants nowhere near its shores. We also learn about the best way to collect ants, to synthesize pheromones and end the show with a few words about the Godot Machine, a device built for the sole purpose of preventing a single ant to move around.
A gauzy red staircase floats high up in a gallery at Tate Modern, in this installation by artist Do Ho Suh. Watching as the team pinned the fabric in place, ...
Do-Ho Suh was born in Seoul, Korea, in 1962. After earning his BFA and MFA in Oriental Painting from Seoul National University, and fulfilling his term of mandatory service in the South Korean military, Suh relocated to the United States to continue his studies at the Rhode Island School of Design and Yale University. Best known for his intricate sculptures that defy conventional notions of scale and site-specificity, Suh draws attention to the ways viewers occupy and inhabit public space...
NYC based artist Norman Mooney makes works that are at once physical and metaphysical. His works explore the elemental and cyclical synergies of nature. Materiality, pattern, scale and experience are key concerns within his practice.
Although he works in a wide array of materials his massive burst sculptures are completely jaw dropping. Radiating from every angle these incredible explosions shimmer and shine like a star far off in the galaxy
On the occasion of his retrospectives at the Serpentine Gallery, London and Centre Pompidou, Paris, Jonas Mekas speaks about his life in cinema and writing. Read his answers to the frieze Questionnaire here.
ohn Baldessari was born in National City, California, in 1931. He received a BA (1953) and MA (1957) from San Diego State College, continuing his studies at Otis Art Institute (1957–59) and Chouinard Art Institute. Synthesizing photomontage, painting, and language, Baldessari’s deadpan visual juxtapositions equate images with words and illuminate, confound, and challenge meaning. He upends commonly held expectations of how images function, often by drawing the viewer’s attention to minor details, absences, or the spaces between things
To commemorate Art in America’s 100th anniversary, we reenact a project from the January-February 1967 issue.
we reenact a project from the January-February 1967 issue. Irving Sandler and Barbara Rose sent out question- naires asking artists to describe the sensibility of the ’60s, and A.i.A. published the responses. The critics encountered some resistance, which they detailed in their introduction. Jasper Johns refused to answer because the questions were “illogical and out of the forties.” Robert Morris’s reply: “I didn’t think what was asked amounted to any kind of issue.” Many others, however, replied enthusiastically and at length.
We recently asked artists to characterize a zeitgeist for the turn of the 21st century, using Sandler and Rose’s questions. Our participants did not have to answer all the questions and were encouraged to submit whatever they wished. Mel Bochner sent an image, Mel Chin wrote a poem, and Liz Magic Laser recommended new questions.
The first impression of Andy Denzler’s paintings is a weird optical effect, like staring at a photo with something wrong. What he created is the so called “disturbed screen effect”, a sort of stroke in the middle of the painting.
What he created is the so called “disturbed screen effect”, a sort of stroke in the middle of the painting. Denzler past as photographer and graphic designer has lead him to this elegant balance between reality/figurative and abstraction: from the most traditional media, painting, he started a new and subversive path, destroying the traditional visual representation.
Photographer Annie Leibovitz has produced some of the most memorable and iconic images of the last 30 years, from her work with Rolling Stone magazine through to her Hollywood cover portraits at Vanity Fair. She has also recorded the horrors of war in Rwanda and Sarajevo and taken intimate shots her own friends and family, including Susan Sontag. This documentary, directed by her sister, is a fascinating portrait of a great talent, featuring vintage footage of Leibovitz in action during the 1960s and contributions from Arnold Schwarzenegger, Hillary Clinton, Mick Jagger and George Clooney.
Wang Du is a contemporary Chinese artist who focuses on three-dimensional painted objects. Traditionally trained in Guangzhou, he now lives and has his studio in Paris.Wang Du has been recognised as a master of manipulating images related to the mass media. He is an iconoclast who re-appropriates and deconstructs the spectacular images of our contemporary society, especially those related to the logic of creation, consumption and manipulation of information, both textual and visual. In his often large-scale sculptures and installations, Wang Du turns some of the most spectacular moments propagated by the mass media into ironic and absurd forms. The artist has been quoted as saying “I organize my projects just like the media do with reality”. Wang Du has exhibited at Mori Art Museum in Tokyo 2011; Ullens Center for Contemporary Art in Beijing 2009; BPS22 in Belgium 2008; Kestnergesellschaft in Hannover 2007; Musée National d’Art Moderne in Paris 2007; Vancourvert Art Gallery 2005; Yerba Buena Art Center in San Francisco 2005; Palais de Tokyo in Paris 2004; Kunsthalle Wien 2003 and the Venice Biennial in 1999.
If i were a man i'd want to be either Idris Elba or Garnet Hertz. You know Elba, he was gangster Stringer Bell in The Wire and a detective in Luther. Now Garnet Hertz is neither of that (to my knowledge) but he's the guy everybody wants to talk to at media art, tech or design conferences because his works play with several levels of engagement: from instant entertainment to deep reflection on DIY culture, design processes and technological progress. Hertz makes robots controlled by cockroaches, video game systems that you can literally drive around, he gives talks about Zombie Media and has just crafted a magazine about critical technical practice and critically-engaged maker culture that puts us all (us being media people) to shame.
And now for a more rigorous bio of the artist:
Doctor Garnet Hertz is a Fulbright Scholar and contemporary artist whose work explores themes of technological progress, innovation, do-it-yourself culture and interdisciplinarity. His work often involves building real-world technologies that are designed to take his audience into a speculative future gone humorously astray. In the process, Hertz's work inverts the idea that technology needs to be faster, more efficient or higher resolution: innovation is born out of human emotion, historical tradition, and creative obsession.
Hertz is Co-Director of the Values in Design Lab at UC Irvine, is Artist in Residence / Research Scientist in Informatics at UC Irvine and is Faculty in the Media Design Program at Art Center College of Design.
As an artist, designer, aspiring philosopher, futurist and creative technologist, Jake Stollery appreciates the beauty of transition. His work explores the evolution of self in its interplay between organic and digital identities.
David Altmejd’s work iterates fantastical ideas of spirited bodies. He taps into languages abstracted from architecture, ornament, and naturalistic figuration in the making of sculptures which are, for the artist, whole worlds in which he can lose himself in imaginative fantasises of making and open-ended storytelling.
For this exhibition at Modern Art, Altmejd presents three large sculptures, each solely occupying a room within the gallery. The boxed and vitrine-like clear Perspex structures of these sculptures provide support for complex arrangements of symbolic objects and suggestive forms: arrested flows of liquid, coconut shells, silver chains and coloured threads. Creatures of myth and fantasy inhabit the world of Altmejd’s entire oeuvre, and in his new sculptures these bodies have been entirely abstracted into a representation of biological systems, energy-flows and spirits that inhabit architectural dioramas. Altmejd’s approach to making is intuitive and inquisitive, an application of active sculpting in form and narrative that almost pretends to an idea of creation and intelligent design.
The DareDroid is a biomechanic cocktail making dress that uses medical technology, customized hardware and human temperament to provide you with a freshly made cocktail. The human host and robotic dress work together to provide you with a cocktail in exchange for a game of “Truth or Dare”. The robotic performance playfully transgresses and explores human interaction in public spaces and inverts the normal social experience by asking people to reveal personal information.
Sensors around the model’s neck detect your presence and allows the technological system to dispense non-alcoholic liquid. Your willingness to play a touch screen based game of Truth or Dare, combined with your natural charm triggers the decision to give you more than just juice. LED’s on the robotic dress indicates your proximity to the human host, and if you breach her intimate space the system shuts down. Play the game, and be rewarded.
The Modern Nomads (MoNo) – the team behind DareDroid – is comprised of a hacker, a fashion designer, and a sculptor. Anouk Wipprecht is a Dutch fashion-tech designer who uses electronics in her designs. Marius Kintel is a hacker, tinkerer, and engineer based in Vienna and at the Metalab. Jane Tingley is a Montreal based artist who works with sculpture, responsive installation, and sound.
The initial excitement of hearing a new song fades as it’s replayed to death.
"We are evolutionarily designed so that we focus on new objects and ignore familiar ones," Clune says. "When the mind confronts a new object, our perception is intense and vivid, but it soon dies with familiarity. Every minute, this feeling fades as the mind grasps the object."
Many writers in the Romantic tradition are animated by an impossible ambition to indefinitely extend that intensity. Clune writes about the strategies some literary greats have used to slow the brain's familiarity and create a never-fading image. Vladimir Nabokov's literary images imitate the look of an addictive sexual object. Neuroscience, Clune says, has shown that levels of the neurotransmitter dopamine, which is linked to pleasure, are similar to the first shot of heroin and the first look at artwork.
This weekend, i'd like to send you to Liverpool. There's a good show -as usual- at the Open Eye Gallery and a couple of exhibitions at Tate Liverpool and Bluecoat (i haven't seen those but they sound promising). Plus, some one told me that i had just missed David Hasselhoff the other day. What more would you want? Maybe a few large-scale installations showing the work of artists who use scientific experiments as a raw material?
That's what the exhibition Winter Sparks at the FACT gallery is all about. The figure at the core of the work exhibited is the one of the engineer whose inventions and ingenuity almost single-handedly shaped the 20th century technology: Nikola Tesla. There are only three installations in the show, each of them large-scale, impressive and attempting to make scientific processes visible. I'm going to single out Evolving Spark Network and write about the others in my next post.
The artwork and ideas of Nam June Paik (1932–2006) were a major influence on late 20th-century art and continue to inspire a new generation of artists. Nam June Paik: Global Visionary offers an unprecedented view into the artist’s creative method by featuring key artworks that convey Paik’s extraordinary accomplishments as a major international artist as well as material drawn from the Nam June Paik Archive, which was acquired by the Smithsonian American Art Museum from the artist’s estate in 2009. The archive, along with several significant works by Paik on permanent public view, has established the museum as the international center for the study of Nam June Paik’s achievements.
The term Strata defines a geological formation made of multiple layers of rock. Each one of these layers has its own individual characteristics and history, which combined produce beautiful and unique formations…
The Strata project consist in a series of films, prints and installations investigating improbable relationships between contemporary digital aesthetics and icons of classical art and architecture. Like in geological processes, layers belonging to different ages interact with one another producing new intriguing formations.
Ad Reinhart, (1913-1967) also known as Adolph Frederick Reinhardt, an American Abstract Expressionist / Minimalist painter, describes his signature black paintings, which he focused on exclusively from 1953 until his death in 1967: �A free, unmanipulated, unmanipulatable, useless, unmarketable, irreducible, unphotographable, unreproducible, inexplicable icon.� These canvases�muted black squares containing barely discernable cruciform shapes�challenge the limits of visibility. Reinhardt saw his own dark canvases, with their classic, geometric compositions, monastic repudiation of anything extraneous, and contemplative depth as a fusion of Eastern and Western traditions. Reinhart's paintings are in collections throughout the world.
To these questions I offer a counter-theory to OOO formalism – a theory of à rebours exchanges of figure/ground relationships: a nimble art as monster sacré that emphasizes human and non-human entanglements. This is an art that depends on playing out nihilistic negativity by intensifying its forces into an affirmative nihilism. This nimble nihilist bracketing pushes the audience towards open de-familiarizations, challenging them to think outside of the normal system of human consciousness. In this way it is OOO aesthetically favorable.
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