zondag 28 februari 2010

Addicted To Plastic

Addicted to Plastic (2009) Reveals the history and worldwide scope of plastics pollution, investigates its toxicity and explores solutions.
Addicted To Plastic is a global journey to investigate what we really know about the material of a thousand uses and why there's so darn much of it. On the way we discover a toxic legacy, and the men and women dedicated to cleaning it up.

Addicted To Plastic - Directed by Ian Connacher (85:03)
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PSFK-Interview: Filmmaker Ian Connacher

zaterdag 27 februari 2010

The Miss Guides

The Miss Guides are a Vancouver-based artist collective that lead urban walks through the city. Invoking the long tradition of drifts and dérives, the walking body becomes a way of knowing, of mapping the city through movement, play, awareness, history, memory and imagination. A historical tour. A fictional performance. A virtual navigation.

vrijdag 26 februari 2010

Jeff Gabel

artreview.com : But do you love failure?

Jeff Gabel : No, but I do thrive on it. Regarding failure as content, there seems to be a strong drive or inclination in me towards exploiting its nature or celebrating it, and it's one of my most comfortable subjects to work with. As for the reason, it's internal, which means that I probably can't see or comprehend it as clearly as others around me can, so I'll leave it at that, it's an internal thing. Regarding failure as art process, it is easier for me to be a little objective. It comes from my temperament's gross inability to condition itself to wide open-endedness or situations which involve turning chaos, even mild disorder, into clarity.

click img. to play

donderdag 25 februari 2010

Zbigniew Libera

Zbigniew Libera’s photographs, videos, installations, objects and drawings, piercingly and subversively (in an intellectual way) play with the stereotypes of contemporary culture. He also designs transformed toys, works that reveal the mechanisms of upbringing, education and cultural conditioning. In recent years he has also been preoccupied with the specifi city of press photography and the ways in which the media shape our visual memory and manipulate the image of history.
(Gallery statement)source: flashartonline.


Zbigniew Libera: works 1982–2008 (04:40)
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woensdag 24 februari 2010

simple.mechanisms by Geraldine Juárez

Geraldine Juárez is a beta artist from Chaos D.F. – known as Mexico City – and maybe that is why she thinks that the world already ended. She finds disaster beautiful and research the exciting possibilities of calamity, via low-tech, waste, piracy and emerging economy to create simple.mechanisms and other forays to survive the end of the world in the streets and the internets.

Kopyfamo (01:09)
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dinsdag 23 februari 2010

Demetrius Oliver

T.J. Carlin : You started out as a painter in grad school. When did you decide to switch to doing the photos and installations you're known for now?

Demetrius Oliver : I was making these small, scruffy photographs on the side,
getting them developed at, you know, Walgreens, and putting them in the corner. And whenever I had someone over to my studio, they'd talk more about the photos than about the work I'd spent weeks making. These were drawings of body parts, using myself as a model. But they were bigger than life, and I was kind of interested in scarification. I was trying to find a way of modernizing that, so I tried to create the illusion of different materials and objects under the skin, rendering them as realistically as I could. I started doing that with photography. One of the things I found was that photos were a way of getting at the idea quicker; when I was drawing, I'd have a dozen ideas in my head, and photography kind of matched the speed of my thinking.
source: T.J. Carlin,
Time out New York, 19-25 March, 2009(PDF)



maandag 22 februari 2010

Adam Putnam

Adam Putnam
A room fucking itself.

What happens when you stop being able to tell the difference between outside and inside?

When the edge of your body dissolves into walls and mirrors?

When interiority is revealed?

People say it is all about sex and death…well, yeah, but… what is sexier than a corner? A perfectly smooth ceiling? Clean tube socks on polished floors? Moldering attics and damp basements? The space behind a cupboard? What could be more life threatening than a vaulted arch? A nave? A collapsed atrium of a nameless factory or a high school auditorium? Perhaps the erotic rests not in the depiction of bodies but in the depiction of space. Perhaps it lies within the idea of perfection. For example: visualize the image (impossible to achieve), of a perfectly built, symmetrically flawless brick wall, where the space between each identical brick, similar in every way, is the SAME. And as if that weren’t enough! Try to imagine a barely perceptible crack. (The thrill and the possibility of erosion and collapse.) How it forms is hard to say, could be anything, could be weather, or it could be destiny. The crack is the way in, however small.


zondag 21 februari 2010

To shoot an elephant - Alberto Arce/ Mohammad Rujailah


"...afterwards, of course, there were endless discussions about the shooting of the elephant. The owner was furious, but he was only an Indian and could do nothing. Besides, legally I had done the right thing, for a mad elephant has to be killed, like a mad dog, if it's owner fails to control it".

George Orwell defined a way of witnessing Asia that still remains valid. "To shoot an elephant" is an eye witness account from The Gaza Strip. December 27th, 2008, Operation Cast Lead. 21 days shooting elephants. Urgent, insomniac, dirty, shuddering images from the only foreigners who decided and managed to stay embedded inside Gaza strip ambulances, with Palestinian civilians.

George Orwell: “Shooting an elephant” was originally published in New Writing in 1948.

"To shoot an elephant" is an eye witness account from The Gaza Strip. December 27th, 2008,(113:29)

zaterdag 20 februari 2010

Kate Mitchell: I am not a Joke

What Kate Mitchell aims for is a projected desire to go beyond the values of modern customs and modernist mortality, to attempt to step back away from the artificial conventions of society, to make the self-reflexive effort to re-think effort itself.

As the artist says, this process allows her to try to get beyond herself, to touch upon something far greater than what she or any of us can comprehend, something raw and universal. And yet at every turn, her actions and attempts snap her (and us) back into being, and make us painfully aware of our reality, our humanity, and ultimately our failings - but also how we can take them into our own hands.
: chalkhorse

Kate Mitchell: I am not a Joke (05:33)(Szpilman Award 2008 Best Seven)
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More Szpilman Award : The Landscape Is You (via:NewArt)

vrijdag 19 februari 2010

Donald Urquhart

Whilst grounded in the disciplines of drawing and painting, Donald Urquhart's practice has diversified in recent year to encompass the use of a wide range of media including audio, text, video and photography. It is work that can be characterised as being reductive and highly formal, what has been referred to as "epic simplicity", always seeking to engage the viewer in a quiet and poetical dialogue.
Edinburgh College of Art

Video interview with the artist



portikus / inventory / scott king / donald urquhart

donderdag 18 februari 2010

Mads Lynnerup

Artists who gleefully skewer our expectations are not always the most beloved of figures, but every once in a while, one arrives on the scene with an irresistible swagger. Mads Lynnerup qualifies as one of those welcome tricksters.

"You're the Artist, You Figure It Out," Mads Lynnerup challenges his audience more than he charms them.
sfweekly - Traci Vogel 2009

The video "Fix It!" (07:20)is part of an installation by Mads Lynnerup currently exhibited at Socrates Sculpture Park in Queens, New York, which celebrates and focus on the skill of the people living in the neighborhood around the park, who make a living of repairing various objects and machinery.
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woensdag 17 februari 2010

Esther Schena

Esther Schena dringt in ihren gemalten Bildern in fremde Interieurs ein und sammelt leise, fragile Momentaufnahmen. Teilweise wie von einem Blitzlicht eingefangen, erinnern ihre Arbeiten an Trompe-l’œils oder fotografische Schnappschüsse; den vergänglichen Moment des Zufälligen baut sie dabei bewusst mit ein. Beim näheren Hinschauen jedoch erschliesst sich dem Betrachter eine sorgfältig konstruierte Komposition, die oftmals auch Melancholie ausstrahlt.

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