I found Finish painter Timo Vaittinen while browsing The Company of People (international community art project based in New York). Mystical centaurs, hot dogs on a grill, and weird people in creatures-of-a-furry nature outfits sound like a lot of fun…it also sounds like my birthday party (happening right now!)
Gal Weinstein, based in Tel Aviv, does some really cool sculptures. Burning tires, mosaic explosions, sputtering chimneys- this stuff is hard to ignore. Some people feel that we’re closer to the apocalypse now then we ever have been, whether it’s brought on by our own means or otherwise. Weinstein’s work often illustrates a sparse, unforgiving wasteland full of smoke and red brick. Even the sculptures that depict elements of life are disconnected, removed. Farm plots are reduced to tiny, green squares. The closest we get to humans are rows of stoic Foosball figures. But somehow there’s still hope in the artist’s work, which holds color and intrigue. (via)
Casa Tomada is a project of traveling installations started in 2007 by Colombian artist Rafael Gómezbarros in which giant sculptures of ants are fixed in swarms on buildings and structures. Self-described as “urban intervention” by Gómezbarros, the ants have been showcased in locations varying from London to Cuba with a very specific goal in mind: shedding light on immigration, forced displacement, and uprooting through historical points of departure for travelers and immigrants. The 2-foot ants themselves are crafted out of tree branches for legs and two joined skull casts made of fiberglass resin and fabric to make up the torso, making for a particularly morbid, visceral depiction of migrant workers in Latin America who are looked at as nothing more than vermin.
When placed on the facades of government buildings and blank gallery walls alike, the ants give off a chilling sense of foreboding and encroachment. By placing them in swarms, Gómezbarros makes the insects even more strikingly representative of the peasants displaced by war and strife in Gómezbarros’ native Colombia. The giant insects that make up Casa Tomada, which translates to Seized House, are certainly works that are bound to linger with viewers, whether in nightmares or otherwise.
Noell Oszvald, a Hungarian photographer with a penchant for dark, elegant, self portraits, is becoming a master of the surrealist photographic image. The 23-year-old photographer found wide acclaim after releasing a series of 22 photos to her flicker page early this year. The images are remarkable, but she’s only been shooting photos for a little less than two years. It makes you wonder what the motivations are of this emerging prodigy.
“I don’t want to tell people what to see in my images,” said Oszvald. “This is the reason why I never really write any descriptions other than titles. It shows what I wish to express but everyone is free to figure out what the picture says to them. It’s very interesting to read so many different thoughts about the same piece of work.”
Oszvald’s soft, black and white palette is a touch grainy and filled with contrast. And her images posses a striking amount of warmth in a dark frame. These compositions are solid—and the artist’s own physical beauty, and her affinity for a minimal frame add to the overall conceptual depth. (my modern met)
Jorge Rodriguez Gerada and the people from the Delta del Ebro region in Spain have joined to form a giant representation of a girl named Gal·la. This installation is meant to bring attention to how future generations will have to pay the price for our inability to act on climate change now.
This piece is one of several major public art installations in over a dozen locations across the planet that will be photographed by satellites 400 miles above the Earth’s surface this November 20-27 as part of a planetary scale art project, 350 EARTH, led by author Bill McKibben and international climate campaign 350.org.
Just when you thought Banksy was the real trickster of the art world, along comes . . . Hanksy, the puntastic street fartist. His use of satire not only challenges the smug, but playfully subverts the current street art standard with a necessary dose of light antagonism.
Check out the video after the jump to see a short documentary about Hanksy’s mysterious persona: his meager “greeting card” beginnings and current mission statement, which centers on a dream of meeting Tom Hanks.
Above is an image capture from Alice and Kev, a project from British game design student Robin Burkinshaw. The project, presented as a frequently updated blog, tracks the lives of a homeless father and daughter family Burkinshaw created in the Sims 3. She guides the two characters as little as possible, instead relying on AI and their set personality traits (the father is insane, while the daughter is compassionate). The amount of conflict created by these two characters is on par with pretty much any soap opera – and despite being completely artificial computer game characters, the humanity of them is plainly evident in the entries’ comments, in which readers express sympathy for various characters and contempt for others.
Artist Ivan Puig likes for his work to surprise and amaze, and two of his series, Fed Up and Artificial Growth do just that. Using a car and chair, respectively, he gives the illusion that these very solid, massive objects have sunken into the ground, as if they are in quicksand. The preciseness of Puig’s work and the fact that he’s cut the chair backs and Volkswagen Beetle at a perfect angle add to the believability of it all. While the artist strives for his work to have humour, he wants the viewer to read it in multiple ways, and glean various metaphors from his playful execution.
His installations are not only meant to delight us, and the sinking chairs in Artificial Growth have a more serious message. This piece comments on educational doctrines and their power structures that are present in Mexico. With this series, he brings to light the idea of the artificial education – like the lies and half truths taught and passed down to students which we only realize are wrong many years later.