woensdag 31 augustus 2011

Catalin Burcea - a few grams of red, yellow, blue.


A few grams of red, yellow, blue.
Austere and bizarre. An empty space and emptied of purpose. Ceausescu (the last communist Romanian President) would have liked it to be a lake, witch, probably should have made "Bucharest harbor to the Danube". Beyond the horizon line generated by the concrete boards of the dam, spreads an amalgam of buildings: factories, production workshops, ex-communist blocks of flats, post-communist blocks of flats... Somewhere in the farthest layer "rules" the ex "House of the People" or "House of the Republic", a megalithic and hideous building of the ex "dictator". Today it hosts the Romanian Parliament. Three colors. An open-air graffiti. The patriotic feeling. National spirit. Fade-in… Fade-out…
source:
Catalin Burcea

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a few grams of red, yellow, blue. (02:12)
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dinsdag 30 augustus 2011

Anila Rubiku




Anila Rubiku, often with assistance from members from local communities, works primarily with sewn paper and large-scale structures that depict the human body and explore urban architectural spaces. She has shown her work throughout Europe, Asia, the Middle East and in the U.S., and has done numerous collaborative community projects around the world with diverse groups that include Ethiopian women in Tel Aviv and students of the Design & Architecture University in Taipei.
source:
bravermangallery


jozsagallery

drawingcenter


maandag 29 augustus 2011

Shannon Plumb: The Window Series - Window #1 (2011)


Shannon Plumb: The Window Series
In the 4th projection, Shannon dresses in a burqa and proceeds to try and "catch a breeze" by lifting the garment and allowing air to seep in underneath. This was the first political piece that I've seen of hers. An American flag is reflected in the foreground of the projected window (dizzying!) and the actions were both absurd and filled with humanity. While I doubt it would be a common occurrence to see a woman lifting the skirt of her religious attire, the action reminds us of the person and the physical presence/discomfort that results from heat. This character is the only one who doesn't appear to be in an interior. The point of view is distorted, and she could be peering through the window at us, whereas all the other videos are in his/her interior within what is presumably urban space.
source:
Katy Diamond Hamer

smackmellon

sarameltzergallery

kickstarter: The Window Series


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Shannon Plumb - ^ Window #1 (2011),The Window Series (03:59)
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zondag 28 augustus 2011

Jesse Sugarmann - Fresh Aire IV


Jesse Sugarmann loves cars. Always has. In his 20 years of driving, more than 100 cars have passed through his hands. Imports and domestics, sedans, wagons, coupes, campers, trucks… It!s a revolving door of (almost exclusively used) vehicles. He!ll buy a car, drive it around for a while, see what it can do and can!t do. At any given time he!s the shepherd of upwards of eight !mobiles, juggling parking and maintenance and registrations, and deciding each day which one to drive as if it were pants.
But autos for Jesse are more than an accessory or way to go places; they!re objects with distinct personalities, machines you get to know. Each car is born out of its own set of circumstances and considerations and into its own unique existence. Each feels, looks, smells, and sounds differently and acts and reacts in its own way. Each comes equipped with its own personal history and larger context. Each is a time capsule and a doorway to a different experience, and a unique way of seeing and interacting with the world.
source:
BaseNow (PDF)

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Jesse Sugarmann - Fresh Aire IV (03:00)
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zaterdag 27 augustus 2011

Jeremy Rotsztain - Action Painting (Masculine Expressionism) (2008 - 2011)


Action Painting brings together the adrenalin-filled culture of action cinema and the formalist canon of modernist painting. It is a line of inquiry into spontaneity and self-expression that contrasts user-generated web 2.0 culture against the work of the genius craftsman — and action as a form of expression versus pure spectacle.

As action occurs in the original film, abstract forms move across a high-definition screen like paint flung onto a canvas, creating an animated composition. Action Painting is an example of an aesthetic digital image-making process where the material used in the production of the image provides additional layers of meaning. All of the source material was collected from Internet top 10 lists — top 10 explosions, movie fights, car chases, gun fights.
source:
Jeremy Rotsztain - Action Painting

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Jeremy Rotsztain - Unrelenting Physical Aggression (04:27)
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vrijdag 26 augustus 2011

Marlon Wobst




Marlon Wobst, der Wahl-Berliner und Lucander-Meisterschüler, ist in der Galerie Greulich zu Gast. Seine humorig-pfiffigen Ölbilder verdrängen Raum, haben Witz und zeigen ihn. Zwei putzige Cowboystiefel und ein in den Himmel steigender Hut so groß wie ein Stecknadelkopf inmitten einer Landschaft aus braunem Horizont und ockerfarbenem Himmel, das hat was. Wobst ist ein hochbegabter Spaßvogel.
source:
main-netz



galerie-greulich


schwarz-contemporary


donderdag 25 augustus 2011

Guy Maddin - Sissy Boy Slap Party Director's Cut


Sissy Boy Slap Party is at surface level about grown men slapping each other but you can read deeper into that. Homo erotic themes, check! Young African men playing the drums, check! He tells them no slapping but yet they do it anyway! Again, Guy pushes multiple early film styles but adds a ton of hyper-quick edits that become a tidal wave of slapping, crying and whining. Worth checking out.
source:
RVAmag

sensesofcinema - Guy Maddin

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Guy Maddin - Sissy Boy Slap Party Director's Cut (06:19)
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woensdag 24 augustus 2011

Ditte Ejlerskov




Ditte Ejlerskov’s paintings use the most traditional of subject matters. She paints still lives, landscapes, portraits, the female nude and the choreographed history painting. Yet while apparently following the conventions of representational painting, she aims to challenge its established languages and unsettle its assumptions. Ejlerskov often returns to the same subject, but change the approach each time. Some paintings are purely experiments in composition, light, colour and technique. In other works, she chooses to capitalize on the tension between subject matter and medium – her brush strokes both affirming and contradicting what they depict.
source:
LARMgalleri


dinsdag 23 augustus 2011

Jhave - Give me Your Light



Jhave - Give me Your Light, A generative video-installation.
ISA TOUSIGNANT in Montreal 05/17/11:
I imagine mine was the money-shot reaction sought by Montreal artist Jhave, the digital poet behind Give Me Your Light. The video, part of the biennial’s digital programming curated by Paule Mackrous, is the simplest thing: an alternating juxtaposition of two happenstance occurrences filmed by the artist on a trip to Macau. One half of the footage is of a monkey, tied by a two-foot chain to a fence and slowly going mad with boredom; the other is of a kitten, filthy and abandoned in a parking lot, about to die. Two-minute scenes of one and the other alternate according to a changing and unpredictable algorithm, which adds an element of suspense to the work. Nothing really happens, except that it creates – at least in me – an endless and unbearable feeling of hopelessness in the face of human stupidity and helplessness in regards to fate’s cruel path. Not an experience I expected on a sunny Saturday afternoon.
source:
akimbo


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maandag 22 augustus 2011

Matthieu Lavanchy





Jörg Colberg: An integral part of your work involves constructing environments so that you can take photographs of them. So I’m wondering, are you a sculptor taking photographs, or are you a photographer using things you build as props?

Matthieu Lavanchy: I would say I’m a photographer using things I build as props. For me, it is not just about documenting something I created. The photographic aspects - the context, the light, the perspectives, the angle - are an integral part of the overall impact and meaning of my work. In my images, I try to get all the elements of a calculated set-up to work together to form a narrative and a sense-generating whole. And photography is a key part of this process.
source:
Jörg Colberg


zondag 21 augustus 2011

Bello Benischauer and Elisabeth Eitelberger - 5 Experiment


EXPERIMENTATIONS WITH PERFORMANCE AND NEW MEDIA ART
Bello Benischauer and Elisabeth Eitelberger (ART IN PROCESS, Austria/Australia)
The project generally investigates how integration or exclusion is felt around particular cities/urban places. It addresses issues about identity and belonging arising from globalization and human existence in a still cultural diverse society. Video & sound installations develop i.e. from performances in public and private and through collaborations with other international artists.
Previously developed part Not quite kosher (Vienna/Austria, March to May 2010)
source:
Artspace Visual Arts Centre

ISEA Istanbul 2011.

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Bello Benischauer and Elisabeth Eitelberger - 5 Experiment (11:09)
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zaterdag 20 augustus 2011

ADA - analoge interactive installation


ADA - analoge interactive installation
Similiar to Tinguely's «Méta-Matics», is "ADA" an artwork with a soul. It acts itself. At Tinguely's it is sufficient to be an unwearily struggling mechanical being. He took it wryly: the machine produces nothing but its industrial self-destruction. Whereas «ADA» by
Karina Smigla-Bobinski, is a post-industrial "creature", visitor animated, creatively acting artist-sculpture, self-forming artwork, resembling a molecular hybrid, such as a one from nano biotechnology. It developes the same rotating silicon-carbon-hybrids, midget tools, miniature machines able to generate simple structures.
«ADA» is much larger, esthetical much complexer, an interactive art-making machine. Filled up with helium, floating freely in room, atransparent, membrane-like globe, spiked with charcoals that leave marks on the walls, ceilings and floors. Marks which «ADA» produces quite autonomously, athough moved by a visitor. The globe obtains aura of liveliness and its black coal traces, the appearance of being a drawing . The globe put in action, fabricate a composition of lines and points, which remains incalculable in their intensity, expression, form however hard the visitor tries to control «ADA», to drive her, to domesticate her. Whatever he tries out, he would notice very soon, that «ADA» is an independent performer, studding the originaly white walls with drawings and signs


thisiscolossal


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ADA - analog interactive installation / kinetic sculpture by smigla-bobinski (03:51)
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vrijdag 19 augustus 2011

Elke Andreas Boon




Elke Andreas Boon (Ghent) became known in the late 1990’s with her fragile photographic portraits of youngsters. In recent years, however, she has mainly focused on the investigation of the self-portrait, and this by means of drawings, photographs and video. Her work combines a poetic and escapist imagination with a raw vision of our human condition. With her work she tries to deal with the fragility and pain of humanity in a very personal way so as to free herself from the established social power structures.
source:
museum Dhondt-Dhaenens

fotomuseum

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Playing dead 2009( fragment 05:23)
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donderdag 18 augustus 2011

Simon Menner - Images from the secret STASI archives/Stasi Dressup




Stasi Dressup
The images of men in costumes were taken during a seminar for STASI agents on how to dress up. It might look ridiculous indeed but it shows how they thought someone appears inconspicuously.
source:
Jörg M. Colberg


woensdag 17 augustus 2011

Emi Avora




Built up by layers of thin oil paint, paintings by Emi Avora are based on sketches, drawings, glimpses and a variety of sources, from glossy magazines to historical architecture (a combination of appreciation of the past and curiosity for the future). Through an exaggeration of elements and invention of shapes the artist tried in her work not only to describe an extravagant, opulent and cinematic realm but also to create dreamlike visions putting the viewer into a place that hovers between reality and fiction, between countries and centuries.

Avora combines the linear with baroque details, creating a somehow unfocused visual journey. The layers of translucent paint gradually form the image allowing a web of brush-strokes to describe its spaces. An intense sense of light is of great significance in the work as it acts as way in or an exit point out of that journey. It allows suggestions of infinity or describes claustrophobic areas.
source:
artlab-gallery

Greenberg Van Doren Gallery

Swide - Be aware of Emi Avora



 
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