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Showing posts with label art. Show all posts
Showing posts with label art. Show all posts
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1/19/2010 | | Tacks: art, music, video
http://wemakeitgood.com/wp-content/uploads/2009/11/We-Make-It-Good-Mix-Series-Vol.-11.mp3
henrik menné ______________________________________
9/17/2009 | | Tacks: art, design, installation
75P 2004
The machine is an iron construction on which a small rotating iron disk is mounted. Onto this rotating disk, small drops of hot wax are poured. The rotating disk swirls the drops creating a shape on the floor. The rotating disk is 15 centimetres in diameter and placed 80 cm above the floor. With these measurements, the drops will create a shape of approximately 1 m in diameter. After a few days, the wax will have created a thin cone-shaped shell.
114L 2006
The installation consists of a machine, which melts glue into thin threads. The threads are blown onto open structures of aluminium and thereby create a number of almost identical objects. The structures are attached to the machine one at a time, and as they are rotated they are entangled with thin strings of fluid yellow glue, which closes the open structures over time. After ca. 5 days of entanglement the object will be placed on the floor next to the machine. The dimensions of the installation vary as more objects are produced.
STONE AND ACID 2004
The device consists of a container for citric acid, which is connected to a jet from where acid drops to the marble rock. As the acid hits the stone a mark slowly corrodes the surface. The mark expands over time.
http://kunstdk.dk/artist/henrik_menne
felice varini _________________________________
5/06/2009 | | Tacks: art, installation
Felice Varini is a Swiss artist who was nominated for the 2000/2001 Marcel Duchamp Prize, known for his geometric perspective-localized paintings of rooms and other spaces, using projector-stencil techniques. According to mathematics professor and art critic Joël Koskas, "A work of Varini is an anti-Mona Lisa."
Felice paints on architectural and urban spaces, such as buildings, walls and streets. The paintings are characterized by one vantage point from which the viewer can see the complete painting (usually a simple geometric shape such as circle, square, line), while from other view points the viewer will see ‘broken’ fragmented shapes. Felice argues that the work exists as a whole - with its complete shape as well as the fragments. “My concern,” he says “is what happens outside the vantage point of view.”
http://www.varini.org
Josef Schulz _______________________________
5/05/2009 | | Tacks: art, photography
In present-day Europe internal borders are losing their political and economic dividing function. Since boom gates disappear more quickly than psychological barriers, the old borders remain in people's consciousness. The long-term consequences of this geographic expansion of Europe into an externally functional unity, albeit culturally and ideologically in conflict, are still unforeseeable.
Joseph Schulz has found convincing images for this complex historic change. In his series übergang [transition], begun in 2005, he focuses on the architecture of abandoned control posts of inner-European borders. Robbed of their function, the checkpoints appear like modern ruins; Schulz consciously shows no cars or people. The anonymous functional architecture presents itself surprisingly varied in this extensive series.
The border posts stand out in sharp contrast in their misty surroundings, and this conjures up their imminent disappearance even more clearly. This fading effect is the result of digital editing which makes the background recede. The border territory becomes indistinct and interchangeable. The veiled context reduces the checkpoints to models - phase-out models. At the same time they appear as memorials for the past division and remind us of what is still unaccomplished. They mark the transition from past to future.
In übergang Joseph Schulz presents a consistently conjugated block of works in the tradition of the Becher school, to which he feels connected as a Ruff-apprentice. Just as in his series Centre Commercial, Sachliches or Formen the artist applies digital means in addition to documentary arrangement in order to produce architectural clarity. The documentary core is intensified. The visible manipulations on the photographs do not diminish the exhibits' reality content. On the contrary: the photographic transition, which Schulz embarks on, serves the discovery of truth. [ArtFacts]
http://www.josefschulz.de
From "Sachliches":
aneta grzeszykowska & jan smaga ______________
| | Tacks: art, photography
"Plan" by Aneta Grzeszykowska and Jan Smaga, consists of 10 photographic compositions which are an extremely detailed representations of 10 private apartments. All of them were photographed as if the ceilings were taken off. Such an unusual effect was achieved through the use of a special technique: the overall picture of a room is an aggregate of dozens fragmentary photographs taken from above, and then merged using a computer. This gives the impression as if a scanner moved over the apartments - there are neither deformations nor blurred fragments, the precision of the image is dazzling and the possibility to enlarge it is practically unlimited. Due to its laborious nature, the project took 2 years to complete.
"Plan" is an attempt to see everything at once in someone's apartment, without selecting or evaluating, an absolute X-ray of privacy. It is a gaze of the Big Brother, who peeps into homes like playhouses, excited with the fact how all the toys are precisely made. At the same time, it is a perfect sociological documentation of how an individual organizes his or her own immediate environment. - http://raster.art.pl
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