woensdag 29 september 2010

Angela Strassheim

Before receiving her MFA from Yale in 2003, Angela Strassheim became certified as a forensic photographer. She did crime scene, evidence, and surveillance photography in Miami and, while working in New York, photographed autopsies. Her first exhibited work was a photograph of a naked woman on an unkempt bed who had committed suicide, and subsequent photographs feature a hospital X-ray room, a body in an open casket, and a bloody surgical saw. But many of Strassheim's vivid color photographs depict less dramatic, even banal, objects and figures, and she identifies her subject matter as "the Midwest and the middle-class American family with the dog, etc."
Whitney Biennial 2006

dinsdag 28 september 2010

A Constructed World

Riva + Lowe have been collaborating as A Constructed World since the mid 1990s, and are known internationally for creating ‘happenings’ – ad hoc performances, conversations, dances and sit-ins within (and frequently outside of) the gallery environment – often challenging or involving the audience.

Proponents of the movement pioneered by artists such as Yves Klein, John Cage, Allan Kaprow and others in the 1950s and 1960s, where a performance, event, situation or ‘happening’ became art, A Constructed World have explained contemporary art to live eels in Milan, held sleepovers at Basekamp in Philadelphia, and danced covered in post-it notes in their seminal Italian gallery space More Fools in Town.

They have also produced a body of work that includes drawings, paintings, sculpture and video. Increase Your Uncertainty is a major survey of these works, and will be accompanied by a series of events, performances and collaborations at ACCA and around Melbourne – ecstatic dances, ad hoc performances and forums about, amongst other things, the meaning and state of contemporary art in Australia



Explaining contemporary art to live eels #5, SOS48, Murcia, Spain, 2009 (01:33)
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aconstructedworld (QT)

maandag 27 september 2010

Pavel Pepperstein

We should not be deceived by the diversity of Pavel Pepperstein's talent. He is capable of very subtle graphic work, inventive installations and even conceptualist erotica captured on film. Pepperstein writes novels – from the vast fantasy epic 'The Mythogenic Love of Castes' (with S. Anufriev) to the exquisite refinement of his detective novel 'The Swastika and the Pentagon' – and performs rap (he promises to do so for the 'Victory over the Future' exhibition). But for Pavel Pepperstein both fine art and literature are only instruments of investigative activity. It is no coincidence that the association of authors from the Young Conceptualists group he founded in the 1990s adopted the emphatically bureaucratic-scientific title 'Inspection Medical Hermeneutics'. The objects and methods of these investigations are also strikingly whimsical (although it is hard to call them a mere whim). Pepperstein is interested in everything – psychoanalysis (he is writing his own version of 'The Interpretation of Dreams') and Hollywood movies, the 'collective unconscious' of Soviet ideology and the philosophy of Moscow Conceptualism, the schizoanalysis of Deleuze-Guattari and Castaneda, Orthodoxy and Zen Buddhism, classical literature and contemporary youth culture.
Russian pavilion “victory over the future” - Irina Kulik


Artist of the week 82: Pavel Pepperstein

zondag 26 september 2010

reactions in plants and animals - Dr. A. E. Navez

Plant Physiology Mimics Animal Physiology

As they are eaten by insects, chemical reactions almost identical to the neurohormonal reactions that regulate pain and injury repair in animals surge through plants. When leaves get nibbled, they release a hormone resembling the endorphins made by animals after injury. So similar are these chemical responses to injury that a sprinkling of aspirin or ibuprofen on plant tissue will squelch the reaction, as it does in people.

source: The Reactions and Responses of Green Plants - Dennis Holley

reactions in plants and animals - Dr. A. E. Navez(10:18)
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Instant Messenger how plants talk to each other (02:36)
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zaterdag 25 september 2010

Sam Durant

Sam Durant's work takes a critical view of social, political and cultural issues, and explores the varying relationships between popular culture and fine art through a variety of materials and processes.

He has engaged in subjects as diverse as the civil rights movement, southern rock music and modernist architecture, and creates research-based projects that often involve the making of conceptually layered installations.
Biennale of Sydney



vrijdag 24 september 2010

Jani Leinonen

When considering the core of artist Jani Leinonen´s work, it has to be noted that art is not only a painting on a wall. Leinonen´s art is the environment, the context, everything that happens around art, discussions, scandals, scoops, interviews and stories in newspapers. Leinonen´s art a manifestations of certain place, context, ideologies, conversations, politics and society, not a detached aesthetic object on a white wall of a museum

Often artist Leinonen´s own statements just add confusion to the idea of who Jani Leinonen is and where are the boundaries of his art and reality. Often he denies his own claims, mocks himself behind pseudonyms and purposefully creates conflicts that at first seem to make his job more difficult but in the end raise him on an oddly high pedestal.
Matti Vatanen - Free Lance Curator / Art Historian


Pimp my art 01:58)
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pimp_my_art (QT)

donderdag 23 september 2010


web site of lyle rowell, creator of the dog's bollox in mechanical and scrap art.

Lyle and Wrecks (03:19)
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woensdag 22 september 2010


Fleshmap is an inquiry into human desire, its collective shape and individual expressions. In a series of studies, we explore the relationship between the body and its visual and verbal representation.
Fernanda Viégas and Martin Wattenberg.

This is the collaboration site of Fernanda Viégas and Martin Wattenberg. We invent new ways for people to think and talk about data.

dinsdag 21 september 2010

Alex Da Corte

“There is a certaindecorative motif to Latin American culture that inspires me,” he says. “Like the festive nature of the Day of the Dead and the life-size piñatas with lots of sequins and glitz.”

Alex Da Corte seems to revel in that kind of gleeful explosion of candy and papier-mâché. His sculptures operate partly as high aesthetic comedy—one of his first serious works was a hand-sewn 15-foot-long ketchup bottle madeof vinyl—and more recent projects have included stuffed-animal snakes, rattlers made of crystals and acrylic fingernails, and homemade batches of cola repurposed on the floors of P.S. 1 as dried, minimalist grids.

Nevertheless, this pop appeal doesn’t come without an ensuing punch in the stomach. Many of Da Corte’s sculptures turn mournful or macabre—or just plain heartbreaking—right in the center of the party.

fleisher-ollmangallery - love explosion (2008)

coolhunting : Alex Da Corte, Artist (03:55)
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maandag 20 september 2010

Michael Scoggins

In the tradition of the great Pop and contemporary artists, Scoggins redefines the ordinary and familiar, composes a new vision, and, in the process, creates for the viewer an icon for the 21st century. As simple as it is sophisticated, his work is accessible, edgy, provocative and….witty, in an often sinister, way. Michael Scoggins takes on the world like a kid in the schoolyard of life.

Scoggins' bigger than life works, combine elements which pull on our collective memories and heartstrings. The works are emotionally charged - they make us laugh, they fill us with feelings of nostalgia or melancholy, while some make us angry and frustrated.



zondag 19 september 2010

The Continental Review

Welcome to one of the internet's first video-only forums for contemporary poetry and poetics. The Continental Review aims to be:

(1) A forum for video readings of new poetry
(2) A forum for diverse poetic/cinematic/multi-media experiences
(3) A forum for video interviews and filmed discussions on poetics

With close to 50 videos featured in its archives, the vision is to provide a haven for original video readings, video poetry and hybrid poetic-imagistic objects. The Continental Review, in its (re)embodied real-time, thus aims to become one of the primary stops for new video content related to contemporary poetry and poetics on the web.

Ryan MacDonald Poetry In The Continental Review (03:23)
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Poem by Michelle Taransky, video by John L. Roberts. Commissioned by Jordan Stempleman for The Continental Review, 2008. (01:55)
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zaterdag 18 september 2010

Rauha Mäkilä

Thick, impenetrable layers of black paint – hair and a hat, beard, shirts, jackets. Vibrant colours, nearly fluorescent, contrast the black. Yellow background pushes the figures forward. Orange around the eyes or, elsewhere, touches of green tie couples together. Splashes of pink grant the female figures defiant femininity. Only some bare skin appears translucent, vulnerable even, with depth accessible for the gaze.

The paintings ooze youth and beauty, unbearably effortless style. To those on the know, the titles spell out what is, for some, also instantly recognisable in the images: a diva, a band, a song. The figures seduce, tease with their unattainability, achingly cool. They often avoid eye contact yet, simultaneously, reach out towards the viewer with their gestures and powerful visual presence. Close yet always in a distance. They are all on the surface, all about the surface, but this does not imply superficiality.

Rauha Mäkiläs paintings are electrified by the popular audiovisual culture they take inspiration from.
Taru Elfving - Writer and curator



vrijdag 17 september 2010

Bernardí Roig

Bernardì Roig's practice proposes a reflection on the contemporary human condition; on his isolation, his desires and immortality. Regardless of the medium chosen – sculpture, drawing, video – the artist's creations revolve on the two key concepts of body confinment and impossibility of vision. His notorious white scuptures – casts of real people – represent a journey where the memory of the image plays a vital role. Roig's work could be defined as a cast of a society at the edges, at a time teinted by the loss of historical memory and identity. The inability of seizing new images constitutes the dominant theme, for which light becomes a metaphor; lamps, luminous signs, fluorescent tubes encase his subjects, blinding them. From here, the artist explores the dynamics of voyeurism and the unsettling dimension of artistic imagery, revisiting classical myths, baroque iconography and memento mori, filtered through the fundamental issues of postmodern thought.
Galleria Cardi



Bernardi Roig presenta Bernardi Roig en el IVAM de Valencia (03:30)
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