Starting today I’ll be posting interviews I’ve conducted with artists participating in the live video/performance art show I am curating, presenting itself in it’s entirety and in REAL LIFE 3D SPACE this weekend. Not only are the videos colliding, so are the performers- meeting minds from Berlin, Canada, Colorado, the 310, 818, and 323, holler! This will also give me a great opportunity to showcase (you should really you know… come to the event) everyone’s work because it’s an awesome roster of young artists crazy enough to come and do this. I also want to thank Megan, my partner in this comedy duo, and all the artists as well.
I feel like I’m breaking the rules looking at Ukrainian photographer Alexander Alekseenko’s work in the office. Between the girl-on-girl action and the shirtless marauding men, I can’t help but blush. Alekseenko told Mint Magazine “I love spontaneous shots, stories and mostly all of my works are pretty much spontaneous.” Wait, if this is the kind of stuff that just happens in the Ukraine, I think we’ve found the next spring break hotspot. And it looks a whole lot classier than Cabo.
Dina Litovsky‘s work examines “group interactions in both public and private spaces.” In her series Bachelorette, Litovsky turns the lens on the long-standing tradition of the bachelorette party, observing females actively performing the rituals you may have heard about but never witnessed.
The incredible sand sculptures of Carl Jara more closely resemble ancient carved marble or surrealist daydreams than they do ordinary sand castles. His giant creations can reach an astounding height of fifteen feet, delightfully dwarfing beach goers and casting shadows across the sand. Jara has won several local, national, and international competitions with his powerful work.
Jara’s sculptural content seems to take a cue from his medium; each piece is devastatingly impermanent, fragile and vulnerable in the face of waves and rain. The carefully-constructed form of the sculptures express a similar evanescent quality, appearing as if they might vanish at any moment. The human body is split in two, and the flesh magically loses its materiality, intermingling with draped fabric. Here, bisecting the nude form is as simple unzipping a zipper that lines the torso; in this surreal realm, it appears as though we may shed our physical, mortal bodies like clothing.
And yet, somehow these images suggest a spiritual permanence of the creative self. Though the human figure is shown as transient, and although the artwork will surely vanish with the tides, Jara’s body of work hints at an invisible and unknown infinity. A man opens himself, revealing countless tiny selves arranged like Russian dolls. A piece titled Infinity presents a man, a philosopher maybe, holding unending manifestations of his own thought within a large, curved palm. Like grains of sand, we humans will one day be washed away, but in some surreal universe, our identities will be repeated, remembered time and again. (via Colossal)
The description of this video says “A short abstract movie dealing with nature and maritime creatures, metamorphosis and transformation-connecting art and science” but all I keep thinking of while I watch this is “wow this is what happens when we’re conceived.” Anyone with me?
Video by Silja
The 9 Worthies is a series of sculptures produced by art project Salão Coboi. Each sculpture highlights pieces from the autumn/winter 2012 fashion collections…as worn by polymer resin monsters. The creatures model clothing from brands and designers such as Maison Martin Margiela, Jil Sander, Raf Simons, ACNE and Paul Smith. Sculpted, hand painted and signed by Salão Coboi, each piece is part of an edition of twenty.
Salão Coboi (Portuguese for Cowboy Salon) is the personal project of artist Apolinário Pereira. Originally, the project began as a “collective that was born in 2009 two days after Michael Jackson’s death in the European Wild West (Portugal)”. Pereira now operates Salão Coboi as a solo project.
Melanie Authier’s paintings bring together visual contradictions into one imaginary space. By drawing upon the histories of abstraction and the strategies of representation, she presents improbable environments. A sense of disorientation comes about through the way in which colour, texture, line and shape compete for room within the canvas. Each work presents a brimming jostle of oppositions that the viewer is invited to bring into a certain order.
Too Many Mountains is brought to you by our friends at Dailyserving, where critic Catherine Wagley discusses the work of Joel Kyak currently on display at Francois Ghebaly Gallery in Los Angeles, CA.
As a kid, I lived in a Seattle suburb for a year. We could see Mt. Baker out the living room window – the whole, majestic mountain was right there, nearly always in plain view. Before that, my family had lived in Chicago and Minneapolis, where there are hills and “bluffs” but no real mountains. When I told the other kids this, that I’d come from a place without mountains, most thought I was pulling one over. I remember, when the dad of one disbelieving six-year-old got transferred to Minnesota, thinking, “now he’ll see.”
Probably, I’d seen mountains in picture books before I had Mt. Baker constantly in my line of site, but even if I hadn’t, I wouldn’t have doubted the existence mountains. But I guess it’s easier to believe in what you haven’t seen than to believe that, somewhere else, what you have seen doesn’t exist.