I may be a little late on the band-wagon, but I couldn’t not post about Keith Tyson’s solo exhibition at the Blum & Poe gallery, it’s way too good. The buildings large brick structure and Tyson’s sizable work are the perfect combination. The height and natural lighting in the gallery space is awe-inspiring.
This exhibition includes three bodies of Tysons work: Nature Paintings, Operator Paintings and Studio Wall Drawings. All three projects explore the “paradoxes about the nature of being” and touch upon the overwhelming link between humans and the complex systems that are constantly surrounding us. My personal favorite is Tyson’s Operator Paintings. For this project he utilizes mathematical theories and cosmological systems as a basis for his illustration, calling attention to the limitations and differences between two disparate forms of communication: math and art.
The architectural firm Tetsuo Kondo Architects makes creative use of a unique material: clouds. They carefully manipulate the humidity and temperature in buildings to create indoor clouds. This eventually creates three distinct layers within the room with actual clouds gathering in the middle. The firm uses the space to allow visitors to experience the cloud from below, within, and above. In a way clouds are architectural components of the natural world that serve several practical purposes. Tetsuo Kondo Architects pull these clouds inside not only as a strange material, but also as a symbol of the relationship between architecture and the surrounding environment. (Via Collabcubed)
Recently, Canadian installation/performance studio Moment Factory put on a really ambitious show in Barcelona. The group designed and executed a video projection piece using the facade of Gaudi’s Sagrada Familia cathedral. Looks incredible. MF pulled off the piece three nights in a row during the recent La Merce Festival. It would kill my brain if I tried to engineer a video projection piece using a structure as complex as the Sagrada Familia. More images after the jump. (via)
I heard this discussion over the ethics of killer robots (ENERGETICALLY AUTONOMOUS TACTICAL ROBOT, appropriately shortened to “EATR”) on the battlefield on KPCC radio bright ‘n’ early this morning and became excited over the possibility of science fiction plot lines inching closer and closer to reality. This picture above will not be what they look like (a more accurate modeled depiction after the jump), but how frightening would it be if these self-refueling lovelies really did jump into the uncanny valley? The government is trying to make more “ethically” aware EAT(E)Rs that will reject tasty corpse morsels on the battlefield (this is apparently against the Geneva convention?) for more Brontosaurus-friendly scraps. The question comes then, if your robot kills someone on the battlefield, who’s moral dilemma does it become? Obviously robots are not of a sentient mind to make such decisions…or are they?
Scottish-born, London-based visual artist Robert Montgomery loves to write in fire. Montgomery’s epic statement pieces are constructed from gigantic letters attached to a wooden platform, ready to be torched. The words aflame, his ideas come alive, sparked by their prophetic tone. The poems appear like floating fortunes, hovering in bold typeface, spelling out tales of ghosts and temporality, horses and palaces, situations seeped in apprehensive futures. The destructions of comfort, foreshadowing the obliteration of power structures and the rise of beauty. The act of setting them on fire is also, whether intentional or not, a nod to the finite nature of art and installation work. It echoes the premise of destruction as the highest form of creation.
Montgomery has also shown many of the same pieces in “recycled sunlight,” or through batteries charged via solar panels, illuminating at night. This electric voice speaking softly within the crowded streets adds a beautiful dimension to the art. Some of his pieces, put up as billboards around London’s east end, look like advertising at first glance. It is this interplay that is exactly what draws Montgomery to anonymous installation as his primary method of display:
“I’m definitely interested in hijacking advertising space for a different kind of conversation. I think it’s really interesting to use that space for a sort of interior voice. A voice in the private sphere. When I started putting my art on billboards, people told me, “You can’t put a hundred words on a billboard. No one will read that.” (Source)
By now you know I have a soft spot for illustrators that delve into the dark side so it should be of no surprise that I’m posting the blood covered, head splitting, and eye popping drawings of turkish illustrator Elif Varol Ergen. Not only are these works delightfully grotesque but they are beautifully drawn with an iconic color palette of red, black, and baby blue for good measure.
Taravat Talepasand’s work is anything but subtle. As a dual citizen between Iran and the US, Talepasand work deals with both contemporary and traditional issues of both nations. Talepasand work puts symbolic and iconic images in new contexts, forcing you to view them in a new ways. “I had my own way of depicting things,” she explains. “I wanted to work on my own terms.” Beautiful and thought provoking. If you like what you see, Talepasand’s work will be featured in Beautiful/Decay’s upcoming issue! Subscribe today to view more works by her, as well as other great artists!