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The Aesthetic Ground
Exploring the 'Middle' in a Soft Matter through Artistic Manifestations
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anatol knotek’s Makes Art Out Of Words « Beautiful/Decay Artist & Design

anatol knotek’s Makes Art Out Of Words « Beautiful/Decay Artist & Design | The Aesthetic Ground | Scoop.it

Austrian artist Anatlo Knotek is a self described visual poet who creates all his art with the help of the English alphabet. Knotek takes ordinary words and phrases and creates new visual puns and deconstructions. As words fall apart, come together, and reshuffle we see new meanings, poignant ideas, and revealed secret messages.

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Artis Video Series: Oded Hirsch, video art artist

In the mesmerizing video art of Oded Hirsch, who is now having his first solo exhibition in New York, the communal labors of the kibbutz become haunting performances. Under Mr. Hirsch’s direction, workers from Kibbutz Afikim in the Jordan Valley, where he was born and raised, carry out peculiar tasks. They communicate urgency and dedication, but the larger purpose of their actions is often unclear.

In the 10-minute “50 Blue” (2009), a young man struggles to push an older man in a wheelchair through a swampy landscape and down to the water’s edge. There, helpers in yellow slickers hoist the wheelchair up to an elevated platform. No one says a word, leaving us to wonder whether the view is worth the strenuous, muck-filled journey. Learning that the young man is Mr. Hirsch’s brother, and that the older one is his father, and that the site is the Sea of Galilee makes the whole thing seem like a parable.

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HygroScope: Meteorosensitive Morphology « Institute for Computational Design (ICD)

HygroScope: Meteorosensitive Morphology « Institute for Computational Design (ICD) | The Aesthetic Ground | Scoop.it

he project explores a novel mode of responsive architecture based on the combination of material inherent behaviour and computational morphogenesis. The dimensional instability of wood in relation to moisture content is employed to construct a climate responsive architectural morphology. Suspended within a humidity controlled glass case the model opens and closes in response to climate changes with no need for any technical equipment or energy. Mere fluctuations in relative humidity trigger the silent changes of material-innate movement. The material structure itself is the machine.The project was commissioned by the Centre Pompidou Paris for its permanent collection and will be first shown in the exhibition “Multiversités Créatives“ starting on 2nd of May 2012.

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The Creators Project | Zigelbaum + Coelho

The Creators Project | Zigelbaum + Coelho | The Aesthetic Ground | Scoop.it
Zigelbaum + Coelho - Pushing pixels beyond the screen.Technology is increasingly leaking out from our screens and into our physical environment, and nobody is more aware of this phenomena than the people who are helping facilitate this transition: Marcelo Coelho and Jamie Zigelbaum.
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miya ando | P.S.1 Studio Visit

miya ando | P.S.1 Studio Visit | The Aesthetic Ground | Scoop.it

In my work, I create quiet, abstract, meditative environments with metal. Ultimately I am interested in the study of subtraction to the point of purity, simplicity and refinement.
I am Japanese and Russian, a descendant of Bizen swordmaker Ando Yoshiro Masakatsu and was raised among sword smiths-turned Buddhist priests in a Buddhist temple in Okayama, Japan. My spiritual, familial, and academic experiences deeply inform every aspect of my work.

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Ane Graff Works and Installation

Ane Graff Works and Installation | The Aesthetic Ground | Scoop.it

NAME, NO, NOTHING IS NAMABLE, TELL, NO, NOTHING CAN BE TOLD, WHAT THEN, I DON’T KNOW, I SHOULDN’T HAVE BEGUN.’ Ane was born 1974, in Bodø, NOR and lives and works in Oslo and Amsterdam. I just like the work, what more could i say, I shouldn’t have begun.

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W3FI Weaves A Tangled Web Of Santa Fe's Social Media Interactions | The Creators Project

W3FI Weaves A Tangled Web Of Santa Fe's Social Media Interactions | The Creators Project | The Aesthetic Ground | Scoop.it
Animations and data visualizations create an interactive social media experience from designers Laleh Mehran and Christopher Coleman.It’s almost impossible to imagine the amount of data flowing through our cities. The wifi networks, the electric cables, the cell phone bandwidth, the security camera footage, the radio waves, the television signals. The stream of our data networks travels invisibly past us and, sometimes literally, through us, but we only notice it when we tune in via an electronic device.

W3FI, which I recently saw at the Currents New Media Festival in Santa Fe, NM, creates a pathway to see these signals. Combining a stunning series of animations and data visualizations developed with Processing, a physical installation of vinyl and glowing cube seats, and an interactive collage of photos, it’s a deeply immersive experience of the data in our cities.

“It’s a global exhibition, but it’s also local,” noted Laleh Mehran, who developed the installation with
Christopher Coleman. The artists, who first exhibited the installation in Boulder, CO, did extensive research on Santa Fe’s architecture and pulled in silhouettes of major landmarks. While the space resembled much of the first installation, it was adapted significantly to remain local.
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RYOJI IKEDA : THE TRANSFINITE

Footage from Ryoji Ikeda's mind-blowing video installation at the Park Avenue Armory. New York, NY.
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The Arts Catalyst - Novel Forms & New Materialities’

The Arts Catalyst - Novel Forms & New Materialities’ | The Aesthetic Ground | Scoop.it

Novel Forms & New Materialities’ explores the radical transformations to our material world provoked by contemporary science and technology. It asks how engagement with new forms and modes of material performance promises to conjure into existence unseen materialities, narratives and possibilities. An evening of presentations, film extracts and discussion follows an afternoon creative writing workshop. You are invited to book for one or both.As molecular biology and nanotechnology converge, promising a proliferation of new, designed biological entities and smart materials, how is our physical environment and visual culture affected? What is at stake in these manipulations of material at this this scale? How might this reshaped matter in turn shape our visual, tactile world, as well as our dreams?

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The Creators Project | Casey Reas - Processing the relationship between natural and synthetic.

The Creators Project | Casey Reas - Processing the relationship between natural and synthetic. | The Aesthetic Ground | Scoop.it
Casey Reas - Processing the relationship between natural and synthetic.
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The Creators Project | Aaron Koblin

The Creators Project | Aaron Koblin | The Aesthetic Ground | Scoop.it

Creator Aaron Koblin heads up the Data Arts Team at the Google Creative Lab and he’s been behind some of the most exciting and innovative online projects of recent times.

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Tetsumi Kudo: Garden of Metamorphosis

Tetsumi Kudo: Garden of Metamorphosis | The Aesthetic Ground | Scoop.it
The first solo U.S. museum exhibition of Japanese artist Tetsumi Kudo’s work includes more than 100 works of diverse media and scale—objects, sculpture, installation, drawing, and painting—covering the entire trajectory of his career, from the late...
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Urs Fischer

Urs Fischer | The Aesthetic Ground | Scoop.it

In late 2007, Swiss-born artist Urs Fischer took a jackhammer to Gavin Brown's pristine white West Village floors. A gallerist has got to have a lot of faith in an artist to let him rip through the concrete, upend pipes, and fill the space with a huge open trench of dirt and debris. Faith is precisely what Gavin Brown has in the 35-year-old Fischer, who lives and works in New York and Zurich. On the heels of Fischer's extraordinary hole-in-the-floor show, gallerist and artist teamed up again to co-curate "Who's Afraid of Jasper Johns?" at Tony Shafrazi's gallery last May. The event was basically an experiment in outrage and orchestration, where the previous exhibition was minutely photographed and then turned into wallpaper to compete with a new set of paintings and sculptures. The project might sound convoluted, but Fischer's work is overwhelmingly straightforward. He uses everyday materials like wax, fruit, dust, and chairs, and there is always a lingering feeling of loss and decay. Brown caught up with the artist just as he was preparing to build a new kitchen in his studio. Fischer clearly can't stop tearing things up.

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Artist daniele papuli - strips of paper installation

Artist daniele papuli - strips of paper installation | The Aesthetic Ground | Scoop.it

Italian artist Daniele Papuli makes site-specific installations out of thousands of strips of paper, transforming the medium into something soft and inviting. By turning the everyday material into a rippling maze, it resembles flowing satin sheets or slight disturbances on an otherwise peaceful lake.

The Milan-based artist has been working with paper since 1993 when he first became entranced by its fragility and utility. He used the paper to embark on creating complex spacial compositions that look almost organic. In Papuli's words: "I proceed more like an explorer than like a designer, transferring and amplifying some images and suggestions of a design path undertaken on paper."

His installation "Cartoframma" consists of over 10,000 and has a dance component, adding to the spellbinding nature of the piece. The softness of the materials juxtaposed with the fluidity of the choreography create a rippling abstract wonder.

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Behind the scenes, artsit Richard Long at The Hepworth Wakefield

ichard Long (born 2 June 1945) is an English sculptor, photographer and painter, one of the best known British land artists. Long is the only artist to be shortlisted for the Turner Prize four times, and he is reputed to have refused the prize in 1984. He was nominated in 1984, 1987, 1988 and he then won the award in 1989 for White Water Line.[1] He currently lives and works in Bristol

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Byoungho Kim

Byoungho Kim | The Aesthetic Ground | Scoop.it

“My artwork begins with an assumption that “mankind is in continuous pursuit of new desires.” All kinds of desires are exaggerated, minimized, and deleted in order to achieve a pre-established goal. And the more these desires gather together, the larger and more complicated the constructed being becomes. Thus, this is the constructed fantasy, a fantasy of desire, and a fantasy of our time.” – Byoungho Kim

“Human desire sought consistently in a social structure is like non-material sound from material.” according to Kim. His attractive work involves confusion between material and immaterial, product and artwork, ‘cool’ and ‘hot’. His sound product’s functionality and practicality is diluted with his work’s beauty and form. The artist also pays attention to aura, derived from discourse on sound.

The advent of new technologies, especially the computer, brought radial changes in most of art genres. With the emergence of the computer, our ability to capture and adjust sounds has reinforced, and sound creation and compensation has accelerated through its strong, attractive filtering system. Most interesting is all information is interpreted in the common language of computer codes. Kim’s work is characterized by its distinction leading viewers to a sort of hyper-synesthesia through its functionality inherent in thorough standardization and aesthetic beauty of form.

Trying to discover proper sound waves and its suitable space among found sounds and audio information to be deciphered, Kim intends to encourage viewers to pay attention to his work’s aura through these sounds. This attitude seems derived from his experience in a media lab where he studied video engineering as a printmaking major. Based on his understanding of John Cage’s concept of silence implying that silence is not the absence of sound but an atmosphere, he persistently pursues sounds like an engineer, not as an artist. [Text Extract : 'Variations in Synesthesia' By Younjeong Park]

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Ane Graff works

Ane Graff works | The Aesthetic Ground | Scoop.it

At the core of my work is the poetics of scientific research. My drawings show an investigation into the nature of matter. Working in a highly detailed manner, I examine and render the surface and structure of rocks and minerals. Extending the scope of this work, I have widened my range of medias, adding both sculptures and installations to an extended practice.

As the title of this text indicates (Samuel Beckett’s Texts for Nothing, 11,1950-52), my project also reveals an interest in a form of standstill in the process of coming into knowing. I have a recurring interest in how meaning is understood and transmitted through an individual and translated through the help of fragile and frequently failing systems of signs and symbols. In this case the symbols are the self made points and lines of drawing or sculpture.

When closely examined, a material presents numerous possibilities: of adding or subtracting meaning into the work, of information excessively unfolding or folding in. Studying a material, I find myself immersed in its surface. I am lost in a surface that is never a complete and even crust, but instead holds several irreconcilable, contradictory narratives.The documentation of 1:1 reality comes to a holt in a blend of elements. The drawings then fluctuate somewhere in between details and empty space, sealing an uncertain status somewhere in between representation and abstraction. The drawings offer a fractured and restructured reality – a subjective synthesis of information.

The process continues with the sculptural works. The sculptures stem from an investigation of matter done by hand, by constructing and building in the form of perceived structure systems. The branch sculptures are specifically constructed in the form of different crystal systems, and then left to collapse under the effect of gravity. The result is configurations that clearly resemble natural forms, while still eluding a fixed interpretation.

Ane Graff

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18th Biennale of Sydney: all our relations

STUDIO takes an in depth look at the 18th Biennale of Sydney and catches up with the curators and artists. Featuring works by Tiffany Singh, Lee Mingwei and ...
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Favela Cloud Imagines The Slums Of Rio As Futuristic Architecture [Q&A] | The Creators Project

Favela Cloud Imagines The Slums Of Rio As Futuristic Architecture [Q&A] | The Creators Project | The Aesthetic Ground | Scoop.it
Danish architects create a new design for Favela Santa Marta.Concerned with the development of housing in large cities, three architects at Aalborg University in Denmark set out to conceive of a structure that would address the needs of Rio’s Favela Santa Marta, one the city’s many underdeveloped slums. What Johan Kure, Kemo Usto, and Thiru Manickam came up with was Favela Cloud, a concept incorporating Cobogó design, a modular style sometimes seen in Brazilian architecture.
Favela Cloud is divided into two parts, with a recreational and sports plaza at its lower level and a residential area at the upper level. With this design, the team hopes to reorganize the favela and yet retain some of the qualities of urban living that it has come to embody.
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Philip Ball, Novel Forms & New Materialities June 2012

Novel Forms & New Materialities’ explores the radical transformations to our material world provoked by contemporary science and technology. It asks how engagement with new forms and modes of material performance promises to conjure into existence unseen materialities, narratives and possibilities. An evening of presentations, film extracts and discussion follows an afternoon creative writing workshop. You are invited to book for one or both.As molecular biology and nanotechnology converge, promising a proliferation of new, designed biological entities and smart materials, how is our physical environment and visual culture affected? What is at stake in these manipulations of material at this this scale? How might this reshaped matter in turn shape our visual, tactile world, as well as our dreams?

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We Are Nature multiple – Multiple Exposure Portraits by Christoffer Relander

We Are Nature multiple – Multiple Exposure Portraits by Christoffer Relander | The Aesthetic Ground | Scoop.it

All images are done "in-camera" while shooting with a Nikon D700. Afterwards, the files were contrast adjusted, black & white toned and more or less dodged and burned.

The hand portraits are all triple exposed.

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Roy Lichtenstein Retrospective in Chicago

Roy Lichtenstein Retrospective in Chicago | The Aesthetic Ground | Scoop.it

SOME time in the mid 1970s Dorothy Lichtenstein stopped by her husband’s studio on the Bowery one day after lunch, expecting to find him at work on a new painting.But instead of creating, the Pop master Roy Lichtenstein was intent on an act of destruction. Using a matte knife, Lichtenstein — who had long been a household name for his Benday dot paintings of the 1960s — was slashing away at several earlier works, small and colorful abstractions dating to the late ’50s

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"Back to the Nature" - installation views: @ FUMA CONTEMPORARY TOKYO|

"Back to the Nature" - installation views: @ FUMA CONTEMPORARY TOKYO| | The Aesthetic Ground | Scoop.it

"Back to the Nature" Kiichiro Adachi, Akiyuki Ina, Kosei Komatsu, Yuichi Hirako

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Artist david altmejd

Artist david altmejd | The Aesthetic Ground | Scoop.it

When I work, the body is like a universe where I can lose myself. It is a metaphor for the landscape, nature and the mountains”, Altmejd has said. The Healers (2008), another sculpture over two metres high which is formed of wood, foam, plaster and burlap, shows wildly overlapping figures and figurative fragments – hands, wings, kneeling and kissing figures, rendered as if in the midst co-dependent, sexually charged physical agony.
Equally reminiscent of baroque compositions representing the descent of the cross as well as of 19th-century public bronze sculptures commemorating battle massacres, Altmejd’s elaborate tableau, mixing handmade craft with the illusion of a digital freeze-frame palimpsest, evokes a mood of constant alchemical mutation.

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