Founded by artist Ryder Ripps, Internet Archaeology is a project that “seeks to explore, recover, archive and showcase the graphic artifacts found within earlier Internet Culture.” It’s essentially a repository of imagery from old Geocities and Angelfire sites, including a full few mirrors of some old homepages. This is an important service because, as their mission statement points out, Yahoo will be taking down Geocities in October 2009. I miss the pre-Web 2.0 internet!
Sandro Giodarno‘s photographs are like Saturday morning crime scenes. The victim? Dignity, mostly. His carefully choreographed pictures show a snapshot of cartoonish tragedy.
According to Designboom, Giodarno says of his photos, “The instinctive reaction is bewilderment and awkwardness towards the unlucky fate of the character, but then that same awkwardness breaks into a liberating laugh. This is the effect I want to recreate through my photographs: tell tragedy through irony.”
While the photos are at times baffling, they’re also increasingly absurd and comedic. One woman’s grocery trip ended in a gruesome mishap with a tomato sauce blood splatter. Another is wearing a halo of pottery shards instead of flowers. The body count reads five in one photo of a dinner party that went down like the TItanic. Truly, Giodarno’s characters are a series of unfortunate people.
“My photographs are short stories about a falling-down world,” Giodarno says, describing each scene as a “black-out” moment where each character simply gives into an existential malaise and flops down, unable or maybe unwilling to go on. They just lie there, clutching whatever material possessions they happen to have with them, that happens to define them whether deliberately or through happenstance.
On first glance, it might seem a little sad. But the name of the collection, “In Extremis (Bodies with No Regret),” is reassuring, like maybe they’ll get up again — or maybe they are fine just where they are. (h/t Designboom)
Filip Dujardin photographs buildings that are post modern and mundane. They are nondescript and unassuming. He has a way of spicing things up, though. With the help of Photoshop, Dujardin uses these photos and remixes them into structures we’ve never seen before and could never exist in our world. His series of images, titled Fictions, is just that, but done so seamlessly and with such mastery that we might think they are real.
Dujardin’s work contains some spectacular things. Buildings are labyrinths and Escher-eque in their construction. You could travel the same path over and over again, but never get anywhere. Oh well, who cares? You probably can’t even get inside. They don’t have entrances; they are simply a mass of siding and concrete.
Dujardin’s architecture is a mass of things that we love looking at buildings. Surface decoration is more important than structural integrity. Take, for instance, the windows. In multiple photographs, he’s adorned building with all different factory-style windows.The varying color and size is a design decision, and he places them in clusters. Likewise, he uses the repeating of balconies, ducts, and vents to create patterns. Metal siding is collaged based on color combination than anything having to do with an actual building.
We can try to apply logic to Dujardin’s structures. We’re probably familiar with these types of buildings, and expect them to look a certain way. But, with Dujardin’s doctored photographs, we cannot. Instead, we can admire them for the fantasy that they are.
After gazing at Dujardin’s work for awhile, it occurs to that this series was probably a lot of fun to create. It’s the digital equivalent of playing with Legos. There are a lot of pieces, and with the help of Photoshop you can cut them up, flip them, and arrange them however you wish.
Artist Maximo Reira fuses wild creatures with furniture in his series called Animal Chairs. The hulking, sculpted figures have a realistic styling to them, and beings like octopi, rhinos, whales, all have a place for someone to sit. Their backs have large notches cut into them, and they’re so regal looking they transcend ordinary chairs and are thrones.
Reira’s designs have textures that mimic the real epidermises of these creatures. There are tiny, intricate folds that look like dry, rough skin, and he’s covered them in a natural color palette. From a certain angle, they look as though they could be real. The artist has also kept their defining features, like long tentacles and massive horns. It’s an elegant, unique take on industrial design. (Via Hi Fructose)
Street artist Levalet more than only uses the public space as a canvas. The artist’s wheat paste images interacts with the city itself. His life size subjects lean, sit, and lie down on the surfaces they are pasted on. He even incorporates everyday objects such as books and umbrellas to further bring his work to life. You can find his work on walls, on the street and in galleries, scattered throughout Paris, France. [via]
After many years of using molds conventionally as negatives to be filled with materials, British artist Peter Burke became interested in the molds themselves. there is a curious relationship between the outside and inside of a mold, in their contained space they have a specific, dematerialized ghost form, and yet the outside which is generalized in form is more specific in its materiality. when confronted with a mold of the human form the viewer has an immediate association with and a curiosity about the nature of the space we occupy, and a predisposition to read the negative as a positive.
Believe it or not, these very old drawings of Japanese men farting are not Photoshopped. The images were produced during the Japanese Edo period (1603 – 1868), and they depcit what is called he-gassen or “farting competition.” They show men shooting noxious blasts of gas towards other men, women, and animals (including a cat!). Seemingly, the force of the farts is so great that it the targets turn topsy-turvy when hit.
These drawings are peculiar, and not having a vast knowledge of Japanese culture makes their meaning even more alluring to me. Luckily, the website Naruhodo explains the historical context. They write, “similar drawings were used to ridicule westerners towards the end of the Edo period, with images depicting the westerners blown away by Japanese farts.”
The individual images originally appear on a scroll, which has obviously been sectioned off today. You can view it in its entirety here. It’s funny to think that farts have always been a source of amusement, even across time periods and cultures. (Via Dangerous Minds and Naruhodo)