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Animals Killed In The Name Of Art

In 2004 TINKEBELL. made a purse out of her dearest cat Pinkeltje. Pinkeltje was a ‘depressed cat’ who couldnt be left at home alone. By killing her and making her into a purse, TINKEBELL. could carry her always with her.

The extensive attention to her project ‘My dearest cat Pinkeltje’ received from activists and the media demonstrates that this approach certainly meets with its share of resistance. In this project, she killed her cat with own hands and then had it stuffed and made into a hand bag as a product for consumption, thereby directly bridging the gap between house pet and animal for consumption/production and thus painfully bringing the matter to light. A collection of the threats generated by this and other projects was later published in the book ‘Dearest TINKEBELL

As a life long vegan and animal lover I have been struggling with whether I should post the work of TINKEBELL. Not only do I find the work in terrible taste but I generally don’t like to promote work that involves killing of any kind. However I think this work brings up some interesting questions about what can be considered art and how we define animal cruelty as well as our distinctions between animals that are killed everyday for food, clothing, accessories, and even art (leather) and what animals we wouldn’t dare touch because we have grown to live with them as pets and companions. How do we justify slaughtering millions of cows for Louis Vuitton purses yet get bent out of shape when someone turns a cat into a purse. If I had it my way neither would ever happen but I find it hard to justify one without the other. So what do you think? Is this art and how do we draw distinctions between one animal over the other?

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The Lonely Photography of Bence Bakonyi

Hungarian photographer Bence Bakonyi‘s series Dignity is a clearly personal one.  The white arctic-like landscape is contrasted against deep black fields.  The inky pools seem to be light swallowing and even begin to envelop a figure in some images.  Bakonyi’s photographs are intensely lonely.  Referring to the series, he speaks about a distinction between the body and mind as expressed in the photos.

Speaking about struggles between the two he relates, “It’s so alluring, sometimes as if the will of the body would want to swallow me, leaving my thoughts behind, but then comes the soul to pull me back.”

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Artwork Of The Day: Mad Cow Motorcycle

I’m loving Billie Grace Lynn’s Mad Cow Motorcycle.  A combination of electric motorcycle and cow bones. Could this be commentary on our dependence of fossil fuels?

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Rena Littleson’s My 2 Cents

Australian artist Rena Littleson’s “My 2 Cents” is a RENAFIED experience of the gambling world. A colorful and comical creation of paintings, installations, games, fashion, fun and fortune, inspired by the years that Rena worked as an artist for a poker machine company. Check out some of Rena’s earlier work here.

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The Intimate Moments Between People And Their Sex Dolls

Marcussen, Photo

Early morning at the hotel in Wales. ‘Shadowman’ wakes up with his doll Carly. He has 2 adult daughters with another woman. Besides Carly he has 4 other dolls. Bianca is one of them. His dolls are not part of a daily life with his family, but everybody knows of their presence. Shadowman recently got divorced from his second wife.

Phil stopped smoking for a year to be able to afford his doll Jessica. He is aware that she's a doll, but simply doesn't care what anyone thinks about his choice of lifestyle. Phils friends all know of her existence.

Phil stopped smoking for a year to be able to afford his doll Jessica. He is aware that she’s a doll, but simply doesn’t care what anyone thinks about his choice of lifestyle. Phil’s friends all know of her existence.

Rebekka and June in the backyard of Everard. He has 12 dolls and often takes them to the garden for a photoshoot. His neighbours goes inside when he enters with his dolls. Everard has only had one relationship with a living women and has difficulties understanding women. He is lonesome but his dolls gives him kind of a comfort by their presence. The men are in general vain towards the dolls, they use a lot of time to make the hair and make up right before they picture them. That is also the reason why Rebekka and June are wearing summerhats – not to have the sharp sun in their face.

Rebekka and June in the backyard of Everard. He has 12 dolls and often takes them to the garden for a photoshoot. His neighbours go inside when he enters with his dolls. Everard has only had one relationship with a living woman and has difficulties understanding women. He is lonesome but his dolls give him kind of a comfort by their presence. The men are in general vain towards the dolls; they use a lot of time to make the hair and make up right before they picture them. That is also the reason why Rebekka and June are wearing summerhats – not to have the sharp sun in their face.

In 1986 after having their first child Chris Zachos wife filed for divorce. He was refused contact with his daughter for years. Every now and then he would try to search his daughters name on different social medias to get back in touch and a few years ago he managed to find her, now married and a mum of 2. It has been very painfull for Chris not to have been a part of his daughters life, so it was big when they finally reunited.

In 1986, after having their first child, Chris Zacho’s wife filed for divorce. He was refused contact with his daughter for years. Every now and then he would try to search his daughter’s name on different social medias to get back in touch and a few years ago he managed to find her, now married and a mum of 2. It has been very painful for Chris not to have been a part of his daughter’s life, so it was big when they finally reunited.

While, since its popularization in the 1990s, the phenomenon of sex dolls—life-sized and lifelike synthetic figures intended both as erotic objects and as stand-in companions—has been riddled with condemnation, Danish photojournalist Benita Marcussen seeks to shed these judgments through her series, Men & Dolls.

Following a group of six male doll-owners, Men & Dolls documents the individuals’ relationships with the anatomically-correct mannequins and provides an intimate glimpse into this controversial lifestyle. While the identities and situations of the subjects greatly vary—two men are married with children, two have been through a divorce, one was once betrothed in a dead-end engagement, and one has never had a girlfriend—they have one very apparent thing in common: they each consciously turn to dolls as a means to alleviate their loneliness.

This is why, in the photoseries, Marcussen does not solely focus on the sexual aspect of neither the dolls nor the relationships that they facilitate. She presents, rather, images that convey the ways in which the men incorporate the dolls into their daily lives and treat them as sentient—albeit intimate—companions.

Ultimately, whether clad in a sun hat and seated outdoors, dolled up in formal attire, carried around on a romantic pseudo-stroll, or wrapped in an embrace on a bed, it is clear that each doll featured in Men & Dolls is so much more than a sex toy. (Via Feature Shoot)

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Artist Saeborg’s Farm of Inflatable Pig Women

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Saeborg - Installation Saeborg - Installation,

Seaborg, a Japanese designer and artist, chooses latex as her medium of choice. A blend of installation and performance art, her latest work is an “inflatable animal farm,” complete with blow-up cows and pigs as well as performers in inflatable suits. Saturated with bright children’s book colors, the installation also features somewhat disturbing images, exposing what seems to be a literal underbelly. In a slaughterhouse, a pig with prominent human breasts dangles from the ceiling, gutted and bled. Another photo from the installation shows a pig, partly eviscerated, posing coquettishly with a come-hither expression.

In the past, Saeborg’s work has been included in group shows that portray a female perspective on modern Japan, particularly colored by sexuality, pop culture, and humor. According to beautiful.bizarre,

“As a new driving force of the economy, these women now work for the modernization of traditional Japanese culture, a culture that was unknown to the Western World. This new feminine expression is based on ‘impermanence’ (a Buddhist concept) and is mixed with the attraction to darkness and the internalization of feelings.”

Saeborg’s inflatable farm certainly hits all these notes, putting the ideas of impermanence and objectification front and center. These pig-women are fetishized, yet at the end of the day, they’re nothing more than a commodity: so many pounds of meat. (via Hi-Fructose)

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Love-Padlocks

Love_Padlocks

In the spirit of love, love, love craaazy love, here’s an interesting little trend of the heart I found via Buzzfeed. 30 years ago, in the center of a little town called Pecs in the south of Hungary, lovers clamped padlocks to a wrought-iron fence as a symbol of their commitment to one another. Since that time, needless to say the trend has caught on around the world. I find the whole thing rather interesting, it reminds me a little bit of the padlock Nancy gave Sid as a symbol of their junkie-tainted pirate love gone bad. How does one propose the proverbial love-lock? “Honey, I think it’s time we head down to the town center and clamp a lock on it, what do you say!” What’s bizarre to me is the image of clunky, over-locked bars and gates, weighed down by the sheer magnitude of their unwieldy weight, somehow doesn’t look so sweet. It actually kind of looks like something your psychotic ex-girlfriend would do right before she hacked into your Facebook account, found out you’re a cheater, and  slashed your tires.

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Norway’ Unveils Poetic Memorial For Tragic Mass Shooting

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A memorial to the victims of the worst mass shootings in modern history was recently announced, as the country revealed the selection of a design by Jonas Dahlberg. Almost three years ago on the island of Utøya, Norway, a gunman set off several bombs and killed 77 people. Rather than erecting a building or edifice in remberence, Dahlberg’s submission chose to focus on nature itself, separating the end of the island with a man-made fjord where the shooting took place. Across the channel, the names of the victims will be etched in stone, which will be seen by visitor’s in the viewing area. Separated from them physically, Dahlberg explained, “The concept for the Memorial Sørbråten proposes a wound or a cut within nature itself. It reproduces the physical experience of taking away, reflecting the abrupt and permanent loss of those who died.”

The Swedish designer’s submission was unanimously selected (his project description can be read in full here) Dahlberg explained the presence and loaded feelings upon visiting the future building site, “An emotional observation informs my overall concept. During the initial site visit to Utøya, I noticed how different the feeling was of walking outside in nature, compared to the feeling of walking through the rooms of the main building. The experience of seeing the vacant rooms and the traces of extreme violence brought me — and others around me — to a state of profound sadness. In its current state, the building kept close within it the memory of the terror acts of July 22, 2011. Like an open wound.” (via gizmodo)

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