I think I found my new theme song, courtesy of Das Racist.
A thousand chairs creating chaos in the middle of a plaza. Baptiste Debombourg is the messenger from the skies. With his installation ‘Stellar’ he transports us above and beyond infinity. A snapshot of a movement, dancing chairs all linked in the air to connect with the public once landed on the ground, is the artist’s vision for this temporary installation.
It took Baptiste Debombourg 1200 chairs, 300 meters of steel tubes and 11 months to set up the installation in the middle of plaza du Bouffay in Nantes, France. Chairs are an important part of the six coffee shops symmetrically facing the plaza, they are the symbol of conviviality. Imitating that concept, he created the installation, structured yet taking us elsewhere, a relaxing place. From each coffeeshops, the sculpture can be perceived from a different angle; creating a different point of view.
Baptiste Debombourg was inspired by the French artist Robert Delaunay’s installation exhibited in 1937 (see the black and white photo far below). The shape’s roundness and exhilarating feeling is reproduced, except the artist chooses to incorporate ordinary materials: chairs that come in six different colors. His purpose is to nourish the eyes, to get a reaction and to defy specific contexts. In many of his installations he is not afraid to deconstruct and recompose, preferring being close to reality and see his work alive.
Baptiste Debombourg’s ‘Stellar’ installation can be viewed at the plaza du Bouffay in Nantes, France until August 2015.
Amsterdam based designer, art director, and animator Rosa de Jong creates tiny worlds in test tubes. The series, in which she has titled Micro Matter, almost acts like a physical miniaturized moment of nostalgia. Her work, in instants of logic and irrational, act like tiny encapsulations of deep rooted memories that are to uncover mysteries . Due to their scientific glassware, her pieces seem like they are something to investigate, to question, to figure out truth from. Their nonsensical yet somehow, almost recognizable nature, allows them to insist on a true moment of contemplation. Is this the depiction of something, somewhere, that belongs? Is this something that should be recalled, known? They are fantastical — they are a replica, but of something of a dream, of half remembered childhood homes, or fantasy houses, or fictionalized dwellings. Their beauty and their delicacy become even more inciting once it becomes known that they are hand made with simple products such as paper, cardboard and found materials from nature like tree branches and moss. Her work aims to tell a story, whether it be recognizable or not, she states;
“since people are naturally drawn to stories and people that are different, the goal is to tell the real story of the brand, an set it apart from the crowd, making every piece of communication authentic and personal.”
Artist Rosa de Jong uses her work to create a new narrative, to delve into the unknown through known resources; her work pushes us to feel and search, while holding our hand throughout the journey. (via design boom)
“I heard my song at Whole Foods like a half an hour ago… this is weird”, said Montreal’s Cœur de Pirate, aka Béatrice Martin who performed this past weekend in LA at the El Rey Theatre in front of a very enthusiastic crowd. At only 23 years old, she already has two award winning LP’s under her belt and three new nominations from the ADISQ (Association québécoise de l’industrie du disque, du spectacle et de la vidéo) this year, and she was invited to perform at the Francofolies first American event, A Tribute to Édith Piaf at New York’s Beacon Theatre tonight. I was more than happy that the busy young singer/songwriter graciously sat down with me to chat before her LA debut.
“It’s my first California tour, I did Portland and Sasquatch about a year ago when I was still pregnant so that was intense”. “I wasn’t expecting such a turn out” she says about her show at San Francisco’s Great American Music Hall the night before. “I thought 3 people were gonna show up… it was packed… people that don’t know French and they’re just singing… it was really nice so I’m excited about tonight”.
Photographer Brian McCarty combines the innocence of childhood with the horrors of war in his series WAR-TOYS. Violent scenes are reenacted with toys; Bombs are dropped on a pink plastic house, while toy soldiers gun down a giant-headed doll. McCarty’s source material is the drawings of children who live in war-torn areas like the West Bank, Gaza, and Israel.
The artist travelled to the sites where the children had been, which adds another level of sadness to these images. This project is not just the undertaking of McCarty, but he pairs with other aid workers as well. From his artist statement:
Employing principles of expressive art therapy, my process begins with observation and guided interaction with children under the care of humanitarian organizations operating in areas of active conflict. Specialized therapists and caregivers conduct art-based interviews on my behalf, inviting children to draw pictures about their lives and experiences. The resulting illustrations serve as art direction and basis for photographic exploration.
McCarty tries to involve the tiny artists, too, and uses toys that are acquired locally. You’ll see that a Disney Princess is in the line of fire. He writes:
When possible and under the guidance of specialists, I invite the children to actively participate and use the photographic process as a form of therapeutic play. The resulting photographs provide an interpretive document of witnessed events and context for the children’s accounts.
McCarty plans to continue this project and travel to Afghanistan, Sudan, and Colombia. (Via Huffington Post)
Internationally renowned artist Florentijn Hofman does not settle for less. His sculptures are large, very large, and are bound to make an impression. Take Rubber Duck (2007) for example: a gigantic 26-metre-high yellow rubber duck. It is an inflatable, based on the standard model that children from all four corners of the world are familiar with. The impressive rubber duck travels the world and pops up in many different cities: from Auckland and São Paulo to Osaka. A very positive artistic statement that immediately connects people to their childhood. Hofman’s sculptures often originate from everyday objects. A straightforward paper boat, a pictogram of an industrial zone or mass-produced little toy figures can all serve as sources. They are all ready-mades, selected by Hofman for the beauty of their forms. Subsequently he crafts these into clear and iconic images; cartoonish blow-ups of reality that alienate and unsettle through their sheer size and use of materials. Nevertheless they are immediately identifiable and have an instant appeal. (via faith is torment)
It’s a popular thing to draw on fairy tales and the fairy tale tradition as inspiration for art, but painter Stephen Mackey has invented a whole fantasy world of his own. Working with oil on wood, his paintings are by turns in media res cautionary stories and mysterious rituals straight out of make-believe myths. Each painting is labeled in cursive script or all caps serif, and the titles don’t do much except further the enigma. “Somnambulist as a Bride Ascending a Staircase Backward,” proclaims one. Another is straight out of the recipe book of some apocryphal apothecary: “Charm No. 2: Attar of Knotgrass.”
Populated with velvety plush clouds and soft-focus girls, Mackey’s world is certainly charming. There are friendly faces in his darling cat-headed children and the moon, which is adorned with a Mona Lisa smile. However, there is sense of danger in the still water: a menacing shadow looms in “The Secret People,” and another painting shows a little girl being lured to a cottage by a wolf-headed mother. The latter is simply called, “What the Moon Saw.”
Mackey’s paintings seem to all occur in the twilight hours or at least before waking. They hint at elusive stories that promise to be as interesting as they appear. Richly colored and filled with wonder, they feel like an elaborate game of hide and seek with one’s own dreams.
Borondo is an unconventional street artist, using a broad variety of materials to make his murals that are mostly portraits. Both his technique and choice of situ are excitingly unexpected. In a few of his works, he has used the smoke from candles to create the markings of the images. Though it would be safe to assume that this is a difficult technique to have control over, he is able to mold the forms into recognizable imagery.
Another strategy he employs is using reflections in water to be a part of his images, and sometimes even as the main event. In one, he creates the image of half a face on bails of hay – something he had done at an even larger scale beforehand – and planted grass in a pool of water to complete the second half of the face. It’s a nice contrast between the dried hay that looks as if it was burnt, and the living grass in the pool of water. Although in this one, the reflection completes the image, in the upside down mural portrait, the artwork is meant to be viewed right side up in the water, at least considered at an equal importance to the painted image. (Via I Need a Guide)