Alex Schweder

Fleshy bodies leak. They leak when they shit, fuck, eat, give birth, and die. The semantics of architecture rarely include references to such inevitable puddelings. A building that leaks is a bad building. As shelter, a leaky building fails to provide protection from the elements. As architecture, a leaky building fails to provide psychological reassurance that we can overcome our own bodies. Rather than trying to conquer and constipate our fleshy bodies, I am interested in a designed environment that accepts the entropic nature of our existence.
Alex Schweder


youtubevideo
Ward Shelley's "Flatland" at the SCULPTURE CENTER

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Asch's Conformity Experiment

Description
There is a fundamental human need to belong to social groups. Evolution has taught us that survival and prosperity is more likely if we live and work together. However, to live together, we need to agree on common beliefs, values, attitudes and behaviors that reduce in-group threats act for the common good.
We thus learn to conform to rules of other people. And the more we see others behaving in a certain way or making particular decisions, the more we feel obliged to follow suit.
This will happen even when we are in a group of complete strangers. We will go along with the others to avoid looking like a fool.
National culture also has a significant effect, and countries like Japan are far more likely to be influenced by more individualistic cultures such as in the USA (although it is a testament to the power of this effect that it still has a massive impact here).


Asch's Conformity Experiment (04:10)

Research
Solomon Asch showed a group of people a line on a card and asked them to find a matching line from a group of three lines on another card, one of which was pretty obviously the right choice. The catch was that all except one person in the group were collaborators and chose the wrong line. When it came to the ‘victim’s turn, guess what? In a range of experiments, 76% of them followed suit. The presence of just one supporter reduced this to 18%.

wikipedia (Asch_conformity_experiments)

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Inês Amaro

The paintings who appear to have a sequence, have in their individuality a story that every visitor is free to re-tell "I've told my story,but I like when people make up their own story.I don't like to impose, I mearly suggest."
"I paint things to be showed, I'm not embarassed to present myself, of exposing my work".At the age of 30, Inês Amaro work is based on a demanding pursue of her talents but also with the anxiety of seeing the work finished.

paintings
homepage Inês Amaro
saatchi online (your gallery)

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zonelimite

mooie flashsite met werk van o.a. Lokiss
zonelimite.com

met speciale aandacht voor:
trouble/requiem - 1 t/m 4
(geen direct link - via menu: kinema - button 6/7/8/9)

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blu

walking 2 x (02:54)
blublu.org

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Bernd Becher

Fotokünstler Bernd Becher im Alter von 75 Jahren gestorben

DÜSSELDORF - Der Fotokünstler Bernd Becher ist tot. Er starb am Freitag im Alter von 75 Jahren bei einer schwierigen Operation in einem Rostocker Spital, wie dpa aus dem engeren Freundeskreis Bechers erfuhr.
Bernd Becher gehörte mit seiner Frau Hilla (72) zu den herausragenden Industriefotografen der Gegenwart. Für ihren Beitrag zum deutschen Pavillon der 44. Kunstbiennale in Venedig 1990 wurden sie mit dem Goldenen Löwen ausgezeichnet.

germanartbooks.de
Mrs.Deane

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Natalie Jeremijenko

Natalie Jeremijenko barrels through life in a cloud of chaos. The Aussie techno-diva is a product of desultory academic studies in biochemistry, physics, English, computer science, engineering, and neuroscience. Her art projects, many of which explore how humans, technology, and nature can live in harmony, have appeared at the Guggenheim and MoMA. She planted 80 cloned trees around San Francisco, taught kids to reprogram toy robotic dogs to sniff out environmental toxins, and built an "OOZ" (where animals watch people). Jerimijenko commutes weekly from her home in New York City (where her latest installation is a luxury rooftop community for birds) to her job as an assistant professor in visual arts at the University of California at San Diego
bron: psychology today

Natalie Jeremijenko project hub (xdesign)


Seed Presents: Revolutionary Minds: Natalie Jeremijenko (07:46)
The aesthetic activist gives a tour of her pigeon paradise: the Model Urban Development for the Birds.

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office for subversive architecture

the subversive architects (07:09)
office for subversive architecture

The methods and strategies with which ambitious younger and young architects carry out their analyses and experiments have also undergone dramatic change. The proximity of urban planners and architects to artistic approaches on the one hand and the great interest among artists and cultural theoreticians in these subjects on the other hand has led to a great many mainly temporary projects which are playful, symbolic and metaphorical, but also quite concrete, pragmatic or even of a social policy nature. This kind of actionist enjoyment of experimentation and openness is reminiscent of the activities of the sixties and early seventies, but it is completely devoid of the revolutionary Utopian context of that time.
bron: Goethe-institut

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Simone Romanow

esontwerp
Simone Romanow
Her aim is to offer customised and handmade products from Fiber-Reinforced Polyester and other materials. Through manual techniques the products gain a superior quality and there is room for experiments, which makes production an adventure and the product unique.


studiohergebruik.nl

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Process Story II-Benjamin Sabatier

Process Story II-Benjamin Sabatier (09:31)

Portrait Benjamin Sabatier
via: paris-art.com

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visionaries from the New China

chinese contemporary art slideshow (07:02)
july/august "the atlantic monthly"

Art scholar and curator Britta Erickson comments on works by China's most significant contemporary artists.

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Claire Morgan

Claire Morgan
Most of my work to date has taken the form of temporary, aerial installations: sculptural forms made up of hundreds or thousands of similar, often organic objects situated in mid-air.

An important aspect of my work is that it will often involve an element of movement or change, and this can range from something very subtle like swaying threads caused by the presence of the viewer in the space, to the extremely visible destructive effects of mould on fresh strawberries overhead.
bron: saatchi online (your gallery)


blog notes: adventureecology.com

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Hamra Abbas

Through her practice, Hamra Abbas takes a satirical and playful approach towards widely accepted traditions. By appropriating significant imagery and iconography, and transforming them into new works that may be experienced spatially and temporally, Hamra creates a new platform from which to view cultural and traditional phenomena.
bron: gasworks.org.uk

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The (Your Name Here) Story

The (Your Name Here) Story (10:08)

A 1960s production of Calvin Communications, a company that specialized in promotional films, parodying the clichés that are far too common in those same promotional films.

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Wladimiro Bendandi

The art of Wladimiro Bendandi takes advantage of the language of the iconography in order to create new means to you, often ironic, simple, transparent and memorable.

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Miguel Palma

Miguel Palma (Lisbon, 1964), one of the most significant Portuguese artists of his generation. His work is driven by a playful attitude which can be seen in the way he builds machines or recreates the world in miniature, constantly activating and reactivating notions about playing and toys. However, underlying the playfulness, imagination and humour is a dark view of the contemporary world. The world he portrays is often dysfunctional, closed in upon itself, and on an inevitable pathway to destruction and death.
bron: Miguel Wandschneider (culturgest)

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Departing Metros

8 X click !!

metro bits

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Trine Wejp-Olsen

The making of my paintings, drawings, and sculptures is a direct digestion of life around me.
I search questions more than answers, accepting that there are not always answers to be found. But in the questioning, I learn something about humanity.
Trine Wejp-Olsen

nancymargolisgallery
Chelsea, New York, from June 14-July 21, 2007
artrevolver

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Susanne Stövhase

Susanne Stövhase

Alles was wir vorfinden, hat den
Charakter von Antworten.
Es besteht allerdings kein Zwang,
jede vorgegebene Antwort mit der
von ihr suggerierten Frage zu
koppeln, und sie mechanisch in die
eigene Produktion einzubauen. *
*zit. nach Ruf/Galin: Dialogisches Lernen

example:
abschied vom revolutionären subject

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Julianne Swartz

Julianne Swartz uses high-tech materials – fibre-optics, plastics, light and sound technology – in her work to explore the eternal human need to be in contact, in touch; to communicate with someone we love, for instance, even when they aren’t physically present.

bron: tate Liverpool ( + video interview)

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Vladimir Dubosarsky & Alexander Vinogradov

Ils conçoivent leurs tableaux comme le montage d’un film, en choisissant les costumes, les couleurs, les découpes, le tout combiné avec un rythme imposé par la valeur narrative du sujet. Le mélange des styles permet également aux artistes d’imaginer et de construire un monde idyllique dans l’espace de la toile, où chaque personnage semble, en effet, être à la recherche d’un paradis doux et lyrique.
galerie Charlotte Moser (ch)

XL gallery

deitch

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