This new interactive installation Oil by Moscow media-artist, musician and engineer of ‘strange-sounding mechanisms’ ::vtol:: (Dmitry Morozov) is an exciting opportunity for participants to create something new and original from destroying used personal objects. Inviting people to use whatever object they are carrying at the time (headphones, sunglasses, keys, cosmetics), he places them underneath a hydraulic press and proceeds to crush them into something unrecognizable. He records what happens next with a microphone mounted closely to the hydraulic presses. The sound from the act of destruction is turned into a 20 minute record and presented to the participant to take away with them.
The project is intended to provoke visitors into spontaneously ridding themselves of material consumer objects for the sake of creating their own individual work of art via deprivation, divestment and destruction. Sound has been taken as the chief medium here with good reason, since sound art is perhaps the least material and most abstract of all genres in art. The technological aesthetic involved constitutes an ironic attempt to make the process of art production into a technological process, but the result, unlike that of mass production, demonstrates a contrary phenomenon – this is a work involving programming and code in the context of generative art, with the potential to broaden the range of instruments at art’s disposal. (Source)
You can also hear one of the 1574 tracks recorded during exhibition here. And see more innovative work from :vtol::, including different instruments here.
You could say artist Aganetha Dyck creates her sculptures as much as she fascilitates them. Dyck uses honeybees to decorate these figurines. The bees create graceful lines and countours that seem compliment the existing shapes of the figures. Their honeycomb patterns don’t seem like strange additions but rather enhancements. Dyck begins her process with figurines, often broken or damaged in some way. Then collaborating with beekeepers and scientists, bees are allowed to add their distinctive pattern to each small statue. Dyck describes her process:
“To begin a collaborative project with the honeybees, I choose a slightly broken object or damaged material from a second hand market place. I choose damaged objects because honeybees are meticulous beings, they continuously mend anything around them and they do pay attention to detail. To encourage the honeybees to communicate, I strategically add wax or honey, propolis or hand-made honeycomb patterns to the objects prior to placing them into their hives. At least I like to think my methods are strategic. The honeybees often think otherwise and respond to what is placed within their hive in ways that make my mind reel.”
542,000,000 years after the start of the Phanerozoic eon comes the announcement of self-titled sound clip “Masters of the Universe – part 2″ by collaborative creative group The Russian Frost farmers. The video is a tad on the long side (13 but it’s got the usual psychedelic lo-fi meets shaman noise band sounds that are so prelevenant these days. Worth a look.
African-Mexican-American photographer Hannah Price reverses the power of the male gaze through capturing spontaneous photographs of men that catcall her. Through them, Price transforms these men’s taunts into an exercise of reflection and observation.
“This project is a work in progress documenting a part of my life as an African-Mexican-American, transitioning from suburban Colorado to consistently being harassed on the streets of Philadelphia. These images are a response to my subjects looking at me, and myself as an artist looking back.”
The bold project is neither a judgment on men nor a comment on race, but it is certainly a way for her to take control of a situation that she would not be able to control otherwise. Through her camera, she captures the actions of her ‘suitors’ in a precise and spontaneous way, and although she is taking control, she does not intend for her actions to cause these men to reconsider their actions. In a sense, she wants them to be themselves; this is the only way for her to further understand their behavior and find the humanity that lies within their actions…if there is any. (via feature shoot)
It’s not everyday that we post an artist who works with yarn but Jo Hamilton’s crochet portraits are really interesting. I’m really happy that Jo decided to not over finish these and left them without a background and with the yarn hanging down. Sort of looks like paint drips and adds another dimension to the work that you don’t see often in crochet.
Stefanie Klavens has a love for 20th century pop culture and Americana. In her articulate photographic series, titled “Vanishing Drive-Ins,” Klavens documents the disintegration of the American drive-in. Once a popular social and entertainment aspect, it has been slowly disappearing from the United States. As Klavens explains, “The drive-in has suffered the same fate as the single screen theater. Before World War II the drive-in was a modest trend, but after the war the craze began in earnest, peaking in popularity in the late 1950s and early 1960’s. Drive-ins were ideal for the modern family, everyone jumped into the car, no babysitter needed. ‘Car culture’ had officially arrived as a dominant force on the American scene.”
Despite the rapid popularity of the drive-in, they simply could not stand the test of time. Klavens attributes their decline to the evolution of technology and altered views of land: “Over time, changing real estate values began to have an effect on the drive-in. Land became too valuable for a summer-only business. Widespread adoption of daylight saving time in the mid 1960’s subtracted an hour from outdoor evening screening time. The decline was further hastened by the advent of VCRs and home video rentals. In the 1950s there were over 4,000 drive-ins nationwide. Today there are fewer than 400.”
These photographs, with their heavily saturated colors and blurry prolonged exposures, showcase some of the few drive-ins that are still functioning with a romantic nostalgia. The structures and signage may be antiquated, but the car types and models are a dead ringer for our era.
Gypsy and the Cat performing their U.S. live debut at the Hotel Cafe in Hollywood, CA, February 19, 2013.
With the success of Australian bands like Cut Copy and a huge Grammy win for Gotye‘s Somebody That I Used To Know, I expect more and more pop-infused indie bands from Down Under will be making the long trek to try and win over American audiences. The Vaccines‘ recent show in Los Angeles had San Cisco open to a very enthusiastic crowd that sang along and went wild for most of their early set. Gold Fields performed to a sold out crowd last night at the Troubadour and Melbourne pop band, Alpine should be reaching our shores again any day now. When I was invited to the Hotel Cafe last week to see the American debut of Gypsy & The Cat, I had high expectations and wasn’t disappointed.
Xavier Bacash and Lionel Towers, former Melbourne DJs released Gilgamesh, their highly successful debut album back in 2010. It garnered rave reviews in both the Australian and European press, but failed to reach much of a U.S. audience. I’m guessing that’s why they ditched their major label and went with their own on their latest release, The Late Blue on Alsatian Music. It’s currently available on iTunes and definitely worth a listen.
Their U.S. debut at the Hotel Cafe was a perfect start to what should be a very fruitful year for the band. They played songs off both of their albums including their 2010 hit, Jona Vark that had more than a few people singing along. Newer songs like Bloom and Zombie World sounded very strong with the addition of a touring drummer and bass player. “Anyone here have our music?” Xavier asked the large industry heavy crowd to which a few clapped as they began playing Human Desire from their debut, Gilgamesh. The band were more than gracious through their short, but sweet set and finished with their new single, Sorry. Check them out this weekend and next when they perform at the Future Music Festival in Australia.