Images and news of the Israel-Palestine conflict have been circulating media for a few weeks now. The photographs that emerge out of this war are tragic and graphic. A handful of Palestinian artists have been transforming images of smoke and fire from the attacks on Gaza into portraits that reveal the very real and human cost of these rocket explosions. By inscribing faces and bodies onto images of destruction, these artists are reminding people from all sides that war takes its toll on an individual, human level, a fact that is often erased when the media creates its narratives. These simple, yet powerful, illustrations give these Palestinian artists a voice that they might otherwise not be given, a voice that tells a different story than the ones represented in the original photographs. (via demilked)
Although We Were Once a Fairytale (2007) begins slowly, with Kanye West stumbling drunkenly around a nightclub, the short film offers strange but rare insight into the celebrity/artist/god’s psychological complexes in a totally strange and successful way. He accomplishes this by stabbing himself in a bathroom, and producing a rodent from his guts. One of the main criticisms thrown Kanye’s way (other than pointing to his spectacular ego) is his inability to express himself coherently, but in his collaboration with Spike Jonze, Kanye seems to accomplish seemingly genuine and recognizable sentiment.
At first all of your assumptions about Kanye are affirmed: seeing him act like a shithead around the club, pitching back and forth barely able to stand, he is almost too easy to dislike. It’s about halfway through, when he ends up in the bathroom alone, that things begin to change. After he stabs himself, the vulnerable and repulsive creature he extracts from his streaming red-ribbon viscera creates an inner layer of Kanye most people are perhaps even unwilling to concede to him. Depending on how you look at it, it could be as cheesy/naive Bound 2 music video, but it’s difficult not to respect Kanye for the attempt to bare something deeper even when he is bashed so vehemently by pretty much anyone. The film defies direct interpretations. You have a sense of what the rodent represents: something living within, curious and grotesque, but it’s difficult to make sense of his relationship to the creature when he hands it a miniature knife. The final shot of Kanye’s expression maintains the ambiguity of the event, and keeps you thinking about it long after.
The goal of Japanese designer Takayuki Fukusawa’s work is “to create things that make people say , ‘he made another ridiculous thing.’” And that he did. His newest series of works is called Tanama Diver, and it features pendants that resemble human and animals who are poised to look like divers and climbers. They are positioned in a way that they appear as if they’re headed into the cleavage of whomever is wearing them.
The silly accessory includes figurines like a salaryman diver, a skydiver, an astronaut, and canyon climber. There’s even a sloth and wolf thrown into the mix. Alone, they look innocuous, but when around someone’s neck suddenly transform into provocative pieces of tiny, site-specific works of art that interact with your breasts. (Via Demilked and Spoon and Tamago)
Latest installation by Montreal-based media and entertainment studio Moment Factory invites visitors to explore the illuminated paths of an enchanted forest in Québec, Canada. Foresta Lumina, a 2 km long trail, meanders through the Parc de la Gorge de Coaticook full of colorful light installations, visual projections and chilling sound effects.
According to the creative studio, Foresta Lumina strives to reveal park’s natural beauties and mysteries. Along the nocturnal stroll through the forest, visitors are acquainted with the region’s fictitious heritage and forest mythology: fairies, spirits and other bewitched mythical creatures. “It’s all about goosebumps,” says Gabriel Pontbriand of Moment Factory.
The multisensory experience is achieved through a set of skillful arrangements. Colorful lighting compositions turn the forest into a glistening canvas, whereas video mapping brings natural elements to life. Dynamic visual projections accompanied by ethereal soundtrack escort visitors into the mystical world of fantasy.
The project has already become a major tourist attraction with an average of 500 to 1,000 visitors every night. Foresta Lumina is open to public until October 11th. (via designboom)
Emil Lukas doesn’t actually paint, and half the time he has larvae do it for him. The Pennsylvanian artist’s recent exhibition at Sperone Westwater Gallery was comprised of two bodies of work: one of paintings made entirely with fine thread, and the other artworks with many layers of larvae trails recorded in ink. His strategies to create these works are particular, and in the case of the larvae pretty unconventional. Lukas’ creativity is reactive and set in the present. With his thread paintings, he mounts one thread across the canvas, considers its placement and compositional purpose, and then continues the same process with the next. In a macro and micro sense the work is contemplative, as each thread is placed with purpose, but also that the final composition should turn out having the same slow and purposeful glow as the act itself.
In the summer, Lukas keeps fly larvae eggs in a converted Tractor Factory that he uses to create his ink-path pieces. He covers the larvae in ink, and uses light and shadow to manipulate their route. After, he applies a translucent wash over the trails, and repeats. The level of control that Lukas can maintain is both impressive and essential, as the strategy seems to form a good balance between chance and design that produces consistent but unexpected work. The paths end up looking like tree roots or coral. Nature is ever-present in the layers of Lukas’ paintings. (Via Artnet)
In today’s economy, it’s not uncommon for recent college graduates to move back home with their parents. According to The New York Times Magazine, 1 in 5 people in their 20’s and early 30’s find themselves in this particular situation. The phenomena is fodder for photographer Damon Casarez’s recent series Boomerang Kids, which was shot in eight states and over 14 cities. His poignant images paint portraits not of people who are lazy, but those who have massive student debt, or see their current situation as a means to achieving their own American Dream. They exist in a strange limbo where they’ve grown up but still aren’t entirely self-sufficient adults.
Even for those not living at home, this series might resonate with you on some level. Student loans and a general high cost of living can make anyone feel like it’s hard to make the ends meet. After all the possibilities offered in college, the real world is generally not as kind. But, these images don’t feel hopeless; they feel hopeful and demonstrate the changing landscape of growing up. (Via Feature Shoot)
Sculptor Sophie Kahn has merged new technology with old to haunting effect in her sculptures of incomplete women. Kahn initially worked as a photographer but became frustrated with working in two-dimensions. Modern 3d scanners initiate these sculptures, but the fragmentation of the figures is achieved by using the scanners in a way for which they were not designed. Kahn says:
“When confronted with a moving body, it receives conflicting spatial coordinates, generating fragmented results: a 3d ‘motion blur’. From these scans, I create videos or 3d printed molds for metal or clay sculptures. The resulting objects bear the artifacts of all the digital processes they have been though.”
The absences in these figures is what makes them so arresting. The elements that are represented are death-like in their pallor and stillness. There’s no sense of motion, instead the women look like they were captured post-mortem. Their peaceful body language and impassive faces contrast with their layers and patches. Like the juxtaposition of new and ancient techniques Kahn uses to create these works, the figures are both enduring and fragile.
“These scans, realized as life-size 3d printed statues and installed in darkened rooms as a damaged ancient artifact might be, serve as a incomplete memorials to the body as it moves through time and space.” (Source)
The imperfect sculptures reveal flaws, empty spaces, and altered textures. It speaks of the inability to ever really know a person, as if these pieces of the mapped and printed bodies are all that could be gathered.
“This concern with the instability of memory and representation is the common thread that weaves together the ancient and futuristic aspects of my work.”
Kahn’s fragmented women give form to the futility of capturing the essence of a life.
Selfies are a ubiquitous mode of self-expression. Photographer and performance artist Jaimie Warren integrates pop culture. humor, and a bright color palette to create visually striking self-portraits that are absurd, humorous, and campy. In one photo series, Warren becomes celebrity-food characters, fusing their names into an offbeat expression. In another, she re-creates images from art history, embellishing them with her signature pop culture camp style. Warren’s selfies subvert the form of traditional portraiture by using absurdity and grotesqueness to supplant the selfie’s identification with vanity. In addition to her individual projects, Warren also co-directs an internationally touring “faux-cable access show” called Whoop Dee Doo, a nonprofit that partners with youth organizations to introduce kids to wonderfully strange art that is meaningful, fun, and compelling. (via la monda and vice)