“Sitting is perhaps the most common condition from which we experience architecture. Whether we work, relax, watch, eat, sleep, or talk to each other, sitting is at the core of our relationship to buildings.”
“SEAT” is an installation in Atlanta’s Freedom Park produced by E/B Office (Ju Lee and Brian Brush). The piece involves 400 chairs assembled in a sine wave formation “drawn into an agitated vortex rising from the ground.”
The “SEAT” pavilion was organized in part by Flux Projects, an Atlanta based public arts organization. (via)
San Diego-based artist Seyo Cizmic works largely within the realm of the surreal. From hammers that droop to knock nails into their own bodies to wooden pencils with thorns built into them, many of the objects Cizmic creates are meant to confound the viewer. Barely any of them are usable in the practical sense of the item, presenting a challenge to viewers about what exactly these objects could be meant for. Some are rife with humor, such as Cyclops’ Shades, a pair of tie-dyed flower child sunglasses with only one lens, or Fish Machine Bank, a gum ball machine filled with goldfish. They’re sculptures that are meant to be questioned, scrutinized, perhaps even laughed at. Cizmic’s objects are of a different world, one in which backwards is forwards, in which objects that don’t follow reason are a new, cockeyed normal.
Within the nonsensical nature of Cizmic’s objects, however, lie larger issues at play. There’s With God on Our Side, a gold-plated sword with a crucifix at the base, joining religious iconography with an image of violence. Then there’s the self-explanatory In God, Money, and Guns We Trust, in which a pair of disembodied gold arms in military regalia hold a dollar bill up as if in prayer. Despite having his tongue pressed firmly against his cheek, Cizmic often layers his sculptures and installations with these deeper meanings, making the scrutiny and perplexity they evoke all the more rewarding.
Andy Freeberg‘s “Art Fare” series is currently on view at Kopeikin Gallery in Culver City, CA. The series captures gallery owners and artists, usually hidden behind desks and gallery walls, in plain sight at major art fairs. Simultaneously “real-life” and narrative drama, the photos depict the business of the art world in stark, natural light. The results are humorous, seedy, and honest.
The exhibition is up until October October 27th. See more photos from the show after the jump.
Images courtesy of Andy Freeberg and Kopeikin Gallery.
Francine Spiegl is kind of like the painterly female counterpart to Paul McCarthy’s chocolatey, syrupy, Santa, violent, chopping, dripping, slopping performances. In fact, for her upcoming exhibition “Mud and Milk” at Deitch projects, Spiegel created a massive performance that called for “10 pounds of grits, 5 jugs of pancake syrup, 10 squirt bottles of grape jelly, 5 bottles of Pepto-Bismol, 20 buckets of tempura paint, 20 cans of whipped cream; plus silly string, shaving cream, Fruit Loops, flour, Kool-Aid, glitter, pie, marshmallow Fluff, fake arms, fake blood and chocolate syrup.” These ingredients were researched and taken from Fangoria Magazine’s behind the scene horror movie ingredients.
Artaksiniya is a Russian girl who’s “lifeblood is fashion for the moment.” Her illustrations are whimsical and odd yet altogether quite endearing. I wouldn’t be surprised to see her work in Vogue sometime next Spring or something.