Jeremy Laffon‘s series of installations are entirely constructed from chewing gum. He painstakingly builds each of his installations with this unusual material. The precision and care he gives to his work is contrasted by the material itself. Chewing gum isn’t particularly strong or sturdy – the lattice work structure buckling under its own weight, or tiled gum easily giving way underfoot. Chewing gum is also associated with casualness, rude to chew in formal settings, spit out when finished with: a pleasant surprise in an often stuffy art world.
Chicago based Ryan Travis Christian has just opened his first Museum Exhibition at CAM Raleigh entitled Well, Here We Aren’t Again. Ryan spent three weeks on site creating a large-scale wall drawing, sculptures and floor installation specifically for CAM Raleigh’s Independent Weekly Gallery. This new body of work continues his hazy vision of dank landscapes ripe with powerful patterns, cartoon personalities, and awkward situations expertly rendered with graphite and ink.
Photographer Antonia Basler‘s series Content Aware makes use of a Photoshop tool of the same name. The content aware tool is used to erase objects from images and replace the space with content the program judges to be appropriate. Basler’s series begins with old family photos. She’s highlighted the faces of the photo’s subjects and applied the tool, then highlighted the inverse and applied the tool for a second image. The resulting images are a cyber sort of surreal, like a creepy reality glitch. [via]
Hitoshi Kuriyama creates elaborate light installations using complex clusters of shattered fluorescent light bulbs. With Kuriyama, fluorescent lights and LEDs become life forces that animate the darkness of the universe with an irregular, unpredictable rhythm.
Photographer Gabriele Galinberti‘s series Toy Stories is a simple concept revealing a complex story. Over the course of 18 months the artist photographed children throughout the world with their most prized possessions. He would often play with the toys along with the children prior to arranging them for the photographs. It is surprising how much the toys can reveal about each child. Often children would prize toys that reflected the occupations of their parents – a large collection of cars for the son of a taxi driver or rakes and shovels for the daughter of a farmer. Also, Galinberti relates that poorer children’s play focused more on friends and activities rather than possessions. He says:
“The richest children were more possessive. At the beginning, they wouldn’t want me to touch their toys, and I would need more time before they would let me play with them. In poor countries, it was much easier. Even if they only had two or three toys, they didn’t really care. In Africa, the kids would mostly play with their friends outside.”
Artist Zsuzsi Csiszer’s installation may at first seem massively out of place. An actual subway car emerges out of the floor into the Museum Kiscelli in Budapest. It seems poised to make a stop and move on to its next otherworldly destination. The subway clearly references a journey – one of more significance than just from one neighborhood to another. More importantly perhaps, subway cars transport groups of people. Maybe it sounds cheesy, but the piece is similar to a larger journey we all make. One in which we share with various people who come and go.
Dutch design agency/think tank Joris’ Laarman’s exquisite Bone Furniture.
“Ever since industrialization took over mainstream design we have wanted to make objects inspired by nature: from art nouveau and jugendstil to streamline and the organic design of the sixties. But our digital age makes it possible to not just use nature as a stylistic reference, but to actually use the underlaying principles to generate shapes like an evolutionary process…
Trees have the ability to add material where strength it is needed, and bones have the ability to take away material where it is not needed. With this knowledge the International Development Centre Adam Opel GmbH, a part of General Motors Engineering Europe created a dynamic digital tool to copy these ways of constructing used for optimizing car parts. In a way it quite precisely copies the way evolution constructs. We didn’t use it to create the next worlds most perfect chair, but as a high tech sculpting tool to create elegant shapes with a sort of legitimacy. After a first try-out and calculation of a paper Bone Chair, the aluminium Bonechair was the first made in a series of 7. The process can be applied to any scale until architectural sizes in any material strength. The Bone furniture project started in 2004 with a the research of Claus Mattheck and Lothar Hartzheim, published on Dutch science site Noorderlicht.” (via)
Karen Knorr’s past work from the 1980’s onwards took as its theme the ideas of power that underlie cultural heritage, playfully challenging the underlying assumptions of fine art collections in academies and museums in Europe through photography and video. Since 2008 her work has taken a new turn and focused its gaze on the upper caste culture of the Rajput in India and its relationship to the “other” through the use of photography, video and performance. The photographic series considers men’s space (mardana) and women’s space (zanana) in Mughal and Rajput palace architecture, havelis and mausoleums through large format digital photography.
Karen Knorr celebrates the rich visual culture, the foundation myths and stories of northern India, focusing on Rajasthan and using sacred and secular sites to consider caste, femininity and its relationship to the animal world. Interiors are painstakingly photographed with a large format Sinar P3 analogue camera and scanned to very high resolution. Live animals are inserted into the architectural sites, fusing high resolution digital with analogue photography. Animals photographed in sanctuaries, zoos and cities inhabit palaces, mausoleums , temples and holy sites, interrogating Indian cultural heritage and rigid hierarchies. Cranes, zebus, langurs, tigers and elephants mutate from princely pets to avatars of past feminine historic characters, blurring boundaries between reality and illusion and reinventing the Panchatantra for the 21st century. (via)