maandag 28 februari 2011

Stu Mead




Stu Mead's paintings touch the art world at a tangent. Not that he's exactly an outsider, having received a formal art education. But the Berlin-based American has a bigger reputation in "underground" culture than on the established art scene. Maybe that's because his paintings are unabashedly (one could even say sincerely) about their subject matter rather than about art. That the subject matter Mead is drawn to is entirely disreputable--girls, often conspicuously underage, as objects of desire--is a separate issue. From Francis Picabia through David Salle to John Currin, pornographic imagery has hardly been alien to contemporary painting, but the game has always been to detourne that imagery to specifically artistic ends even while drawing on its power to offend. Mead, by contrast, matter-of-factly concedes that his work is pornographic, describing his paintings as "masturbatory images." His foursquare compositions and often daintily rococo colors place these abject fantasies straight in front of us.
source:
Artforum 2009


no-art.info


zondag 27 februari 2011

The City


An interesting film, created as part of the 1939 New York World's Fair, is 'The City', an heavily anti-urban vision of the perils of the the modern city agglomeration. Using a number of images from both the smoky and polluted industrial Pittsburgh and the crowded, frenetic cosmopolitan New York City of the 1930s, the film sets the stage of life in the city as overwhelming and unhealthy. Written by Lewis Mumford, and indicative of his nostalgic view of cities, the film does offer up an alternative - a Howard-esque garden-city model of inspired new American Greenbelt towns (notably Radburn, NJ and Greenbelt, MD) that were at the time a planning panacea that reflected the forthcoming suburban ideal.
source:
landscapeandurbanism

cityofsound

baggerblog-video
City, The (Part I) (1939) (16:25)
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baggerblog-video
City, The (Part II) (1939) (15:37)
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1939 New York World's Fair


zaterdag 26 februari 2011

Mutate or Die: a W.S. Burroughs Biotechnological Bestiary




“Mutate or Die” is a bioart project being conceived of and executed by Tony Allard and Adam Zaretsky. Bioart tends to use cutting edge biotechnology as an art making device and specializes in presenting living organisms as art. In this project, a DNA sample from William S. Burroughs will be isolated, amplified and shot into the nuclei of some cells.
source:
hplusmagazine

aolnews

"When you cut into the present, the future leaks out.”? from the Brion Gysin/W.S. Burroughs Third Mind?

Burroughs and Gysin - 'the 3rd Mind'


vrijdag 25 februari 2011

Psycho-Motorische Geräuschaktion [Aktion Nr. 39]. Otto Mühl | 1967


A batch of films from Vienna that screened in a tiny ‘underground’ cinema in Munich moved me into an unexpected experience of a difficult–to-explain mix of charm, disgust and fear. I oscillated between surprise, fascination and revulsion. The films were baroque, even rococo – a cascade of prolonged “blood, shit and tears” scenes, agony, dirt, “sadism” – as if someone was inviting my stupidity to step forward. The authors of the films, obviously, wanted me scared or furious. The public was leaving the cinema in a panic. I had never before faced the anarchy of life cleansed of humour. However, the orchestrated chaos on the screen contained a lot of daring and a genuine indefinable “something”. And, also, the blood was more often ketchup, and the chaos was mostly an excess of flour being spilled around.

What I’d seen on the screen made me acutely aware that instead of staging some clumsy half-fantasy of mine with hired actors I could, and should, place my leading actress into a sort of living anti-psychiatry collective. I decided to get in touch with Otto Muehl.
source:
sensesofcinema - Dušan Makavejev

archivesmuehl

baggerblog-video
Otto Muehl Aktion Nr. 39
Psycho-Motorische Geräuschaktion 1967 (08:40)

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donderdag 24 februari 2011

Alexandros Vasmoulakis




Zak Smith: Like a lot of early 20th century artists like Balthus or Modigliani, your work almost always features these people who have a certain kind of face. This sort of dark, kind of deep-eyed faces–like Kafka’s family or something. Where do these faces come from? Are they Greek faces?

Alexandros Vasmoulakis: The process starts first of all by ripping pages from magazines, collecting fragments of other faces, mostly from glamorous ads.
The next step is the selection of the proper elements (mouths, eyes, noses) and the mix of them with my own drawing.
Actually it is a collage but it is not that obvious in the final project because it is all made just with ink and acrylic. The very first idea is to create something through the destruction of something else.
source:
therumpus - Zak Smith 2009



gallerynosco

graffart



woensdag 23 februari 2011

Peter Forde - Beat Box



Art must not sit idol but must actively engage the viewer to provoke a response that changes their perspective from before engaging with the work.

My philosophy for making art is that it is a cultural manifestation and reflection of our society. This is why I feel it is important to create work that speaks directly to the audience. Strong art engages the individual and allows them to transcend, interpret or ridicule it.
source:
Peter Forde statement

wastedspaces

UCA Epsom


baggerblog-video
BEAT BOX (07:06)
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dinsdag 22 februari 2011

João Vasco Paiva - “Chirps”





A fresh ingredient added to the Creators Project mix,
João Vasco Paiva is a Portugese-born artist based in Hong Kong since 2006, where he’s been exploring sound and image through seemingly “random” patterns taken from urban or natural environments. His installation “Chirps,” with its chatty plastic birds atop an abstract city-scape, has proved ultra-popular with visitors to the Beijing exhibition (one Japanese viewer kept calling his cellphone throughout dinner in the attempt to buy them). He explains the origins of the piece below – survival of the fakest?
source:
thecreatorsproject

videotage

baggerblog-video
CHIRPS (v.2) - João Vasco Paiva (06:55)
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maandag 21 februari 2011

Architecture of Mind - Atomic City




Architecture of Mind: Fantastische Architekturen entfalten sich. In diesem Gehäuse führen uns die Berliner Künstler Ulrike Dornis und Jens Hanke durch Parallelwelten. Sie schicken uns mit Stanislaw Lems Held Ijon Tichy in Gravitationsstrudel und Zeitschleifen. Von Zeitreisen und Parallel-Erfahrungen erzählen auch die Texte von Meghan Hickey, Andrew Patner und Tanja Langer. Ihre Geschichten – für diesen Band geschrieben – fließen in die Bildwelt von Dornis und Hanke gleichsam ein und erhalten durch den Wechsel von Formen und Farben einen neuen – parallelen – Rhythmus. Das Buch begleitet zwar die gleichnamige Ausstellung, erscheint jedoch als eigenständige Gedanken-Architektur. Dornis und Hanke schaffen scheinbar spielend einen unablässigen und atemberaubend schnellen Transfer zwischen Bild-Welt und Text-Welt.
source:
amazon.de - Architecture of Mind-Transfer [Taschenbuch]


zondag 20 februari 2011

Out My Window - Katerina Cizek


Concrete gray apartment buildings have been the most common form of housing for the past half-century. You can find them all over the world, and they all look exactly the same. But in Out My Window, the kickoff to the extensive documentary project Highrise, a plethora of variety is lurking behind all those identical windows. On the main screen, you see a collage-like apartment building. You can click on each of the 13 windows. Behind them, 13 apartments in 13 different cities around the world are lurking: Chicago, Toronto, Montreal, Havana, São Paolo, Amsterdam, Prague, Istanbul, Beirut, Bangalore, Phnom Penh, Tainan, and Johannesburg. There are collages to be found here as well: a 360-degree view of the apartment’s interior, including its residents and their view of the city, composed of separate photos. The stories of their lives can be navigated by means of various clickable objects.
source:
IDFA DocLab


baggerblog-video
Out My Window, trailer 2010 (06:37)
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zaterdag 19 februari 2011

Martynka Wawrzyniak




Martynka Wawrzyniak:
“I find the petty, competitive female nature very challenging. This is the first time that I have had a close working relationship with a group of women,” says Wawrzyniak, a Polish-born photographer and video artist who explores femininity with both brutality and warmth. One of her pieces is a split-screen video of the four artists emphatically smearing their faces with lipstick. ”I wanted to challenge the whole idea of the beauty shot,” she says. “It’s interesting to see someone destroy their face with something that is supposed to beautify you. But it’s also about being bare—we just let go of all insecurities.”
source:
Wmagazine - November 2010


baggerblog-video
Chocolate, 2010 (09:22)push image to autoplay or go to vimeo


vrijdag 18 februari 2011

James Hart Dyke - The MI6 Project




'I'll come straight to the point," said "M", looking across the desk at his top agent. "I've got a job for you, Bond. I want you to start painting. Show the world out there what this organisation is really all about. Show them the world of spying, Bond. Show it like it is . . . put it on canvas with a brush and paints . . ."

In all his fictitious exploits, Ian Fleming's James Bond never did get to be a painter. But about 18 months ago, proving that life is often stranger than fiction, a conversation much like this really did take place. Sitting behind the desk was the then head of MI6, Sir John Scarlett – who was known, as all heads of MI6 are, not as "M" but as "C", for chief – and opposite him, a rather dapper man in his early 40s by the name of James. Not a spy called James Bond, but an artist called
James Hart Dyke.
source: The Guardian

MI6.co.uk
baggerblog-video
MI6 Murder: Post-Mortem Cannot Explain Death (02:36)
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donderdag 17 februari 2011

Arno Fabre




Arno Fabre est un artiste ....

.... éclectique, inclassable. Il aime se dire "méticuleux voire maniaque, persévérant voire entêté". Nous pouvons ajouter qu'il est curieux du monde, car c'est bien avec cette méticuleuse persévérance et avec une étonnante liberté de pensée et de moyens qu'il dessine son parcours parmi tracteurs, robinets, bruits, mots, machines, danse contemporaine, taille de pierre, photographie, textes de loi, urbanisme et musique contemporaine. Poétiques autant que réflexives, ses œuvres nous déplacent et nous bousculent dans notre rapport au monde.
source:
aquitaineonline

baggerblog-video
Les Souliers installation sonore - 2009 (04:09)
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woensdag 16 februari 2011

Julien Discrit




Julien Discrit:
One of the consequences of the infinite nature of the universe is that there would therefore exist an infinite number of worlds resembling our own.
It is true that each person possesses his or her own respective imagination. Each person has elaborated, like Robinson equipping his island over time, a “little personal universe”. As J. M. Barrie writes in Peter Pan, it must be possible to draw “the cartography of someone’s mind, like a country”. Have you ever noticed that the map of Disneyland Paris resembles the x-ray of a skull?
This “slightly shifted real” is like a superimposition, like a double-exposed film. Art, science, literature… in short all these mirrors are images of our world, inevitably distorting, but more and more similar. In terms of sales, the video game industry has surpassed that of the movies. Massively multiplayer online games create singular worlds which parallel our own; Google Earth software gives us a synthetic copy of our planet, like an echo. All of this, including the predicted autonomy of machines, is the reflection of a profoundly human desire: the desire to replay reality, to answer it, to recreate it and in so doing discover what is beyond what is here.
source:
CRAC Alsace
baggerblog-video
Marathon Life 2005 (16:39)
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jeudepaume: Julien Discrit - Entretien avec Claire Jacquet


dinsdag 15 februari 2011

Margarita Gluzberg




statement Margarita Gluzberg:

Her practice ranges from painting and drawing, usually on a gigantic scale, to performance and sound installation. From the subject of boxing, to the history of consumer culture and how it affects human relations, Gluzberg creates a visual territory from historical, autobiographical, and literary references. Her most recent project, The Captive Bird Society, centres round early recordings of birdsong, and generates a wider investigation into the story of phonography, and the mechanics of capture.
source:
contemporaryartsociety

baggerblog-video
Captive Bird Society - Performance sonore et installation, 2009 (02:07)
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nyartsmagazine

calvert22


 
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