Cod.Act’s Pendulum Choir is an original choral piece for 9 A Cappella voices and 18 hydraulic jacks. The choir stands on tilting platforms, constituting a living, sonorous body. That body expresses itself through various physical states. Its plasticity varies at the mercy of its sonority. It varies between abstract sounds, repetitive sounds, and lyrical or narrative sounds. The bodies of the singers and their voices play with and against gravity. They brush and avoid each other creating subtle vocal polyphonies. Or, supported by electronic sounds, they break their cohesion and burst into lyrical flight or fold up into an obsessional and dark ritual. The organ travels from life to death in a robotic allegory where the technological complexity and the lyricism of the moving bodies combine into a work with Promethean accents. (via)
Don’t forget to get your copy of the limited edition Beautiful/Decay The Seven Deadly Sins Book!
Lust, Gluttony, Greed, Sloth, Wrath, Pride, and Envy have been explored—and challenged—for centuries by artists, scholars, and writers. In this issue of Beautiful/Decay, you’ll find artists who explore these themes through a contemporary lens, either by explicitly calling out those deemed guilty of committing one of the Seven Deadly Sins, or by turning the sweeping notion of sin right on its head.
James Gobel tackles Pride through felt portraits of colorfully clad, sexually charged, plus-size bears, and continuing the exploration of Lust, we have the raw and lascivious Polaroids of Jeremy Kost. View Tom Littleson’s bloody portraiture drawings and their relationship with Wrath. See how cover artists Tim Noble & Sue Webster’s adept use of personified garbage channels Gluttony. Libby Black’s paint-and-paper sculptures replicate Envy-inducing luxury brand goods, while paintings and drawings from Brendan Danielsson address the social and physical epidemic of Sloth. Finally, Greed lies at the center of Ghost of a Dream’s hypnotic sculptural art and immersive installations. We’ve also invited international artists, illustrators, and designers to create original pieces for our Project Pages based on all seven sins.
Other featured artists: Carolyn Janssen, Okay Mountain, Colette Robbins, Cleon Peterson, Micah Ganske, Zoe Charlton, Penelope Gottlieb, Paul Mullins, Keith Puccinelli, Travis Somerville, Kara Maria, Aideen Barry, Travis Collinson, Geoffrey Chasedy, John Knuth.
Each copy of Beautiful/Decay: The Seven Deadly Sins comes blind packed with either a zine by Terence Hannum or Heather Benjamin or a limited edition silk screen print by Paul Nudd!
Not sure what kind of drugs you need to take to have visions like this but Mario please pass the water and a handful of pills.
Romina Ressia set out to confront the realities of life and the fallibility of our childhood inspirations in her series “Not About Death”. The captions record her relationship to her subjects and her reasoning for casting them as each character. They are humorous portraits – especially when set up beside each other in the poster format – and the humour makes them that much more appealing as true figures of inspiration.
Toronto based artist Talwst is a master of the miniature world. He patiently builds tiny fantasy scenes referencing the world of music, pop culture, films, climate change, conspiracy theories, sports stars, current events, and everyday experiences. Seven years ago, the artist was gifted an antique ring box by a Vancouver street vendor and given the challenge to make something with it. Talwst grabbed a hold of that idea and ran with it.
His miniscule realms feature Kanye West singing to an imaginary audience and Kim Kardashian in the background taking a selfie; a homage to his favorite painter Edouard Manet’s 1864 work La Muerte del Torero; a recreation of Japanese erotic art of the 1700’s; and a contemporary version of a Dutch landscape complete with a McDonalds restaurant in the background. His unique blend of art history, contrasting cultures and traditions are a witty comment on contemporary life. He cleverly draws us downward, and into his dioramas, immediately commenting objectively on the world we inhabit.
This form is calling me. I can make these feel like a poem; I can make these feel like a movie; I can make them feel like all the other mediums I was working in. (Source)
Talwst developed his love for piecing together mini worlds after growing up in the Canadian winter. For weeks at a time, the temperature wouldn’t be higher than minus 40 and he would sit in his room hibernating and entertaining himself by building models. The obsession certainly paid off – his skill and attention to detail is definitely something worth looking at. And you will get an extra chance to view his work – this September, a collaboration with VICE magazine will bring Talwst’s work to a newsstand close to you. Keep your eyes peeled! (Via Design Crush)
In “Once Upon a Time, We Weren’t Stalkers,” artist Adam Mars creates all-caps slogans for the lost MTV generation. Spraypainted in boldface, each piece could be read any number of ways. Is it tragic? Judgmental? Ironic? How many different ways can you read a phrase like “Gluten Free Cunnilingus”?
In the past, Mars has taken online concerns offline, painting “000,000,001 Views” on a brick wall. The meaning there is clear: The virtual has no context in the real life. A clipped “Good Lay Bad Texter” highlights skewed priorities, and “Your Sex Tapes Need Some Sriracha” is absurdity writ large.
Mars’s latest exhibit seems to take on a different tenor. Though just as cheeky as before, there’s also an underlying nostalgia and a critical eye toward modern predilections. “I Stand By My Uninformed Opinions,” one says mockingly, starkly painted in black on white. Another pronounces, “The Last Offline Lovers” on a speckled candy orange background. In blue, almost sadly: “Longing For Your Divorce.”
Written out in so many words, Mars’s words are a declaration. He’s the man holding cardboard next to the subway, saying, “Apocalypse Tomorrow – 3 PM!” It’s also hard to argue with his sharp-eyed truth. After all, some of us were the last offline lovers.
“Once Upon a Time, We Weren’t Stalkers” is on display until December 20, 2014 at Gusford Gallery in Los Angeles.
It’s always a good thing when a painter reaches into the toolbox and pulls out an unexpected medium or technique to mix into their bag of tricks. Such is the case with German painter Alexander Esters who uses linocuts to create the flat textured effects that pop up here and there in his paintings. This simple use of linocuts adds an unfamiliar depth to his painting technique that makes it stand out from the crowd.
With found Flickr photos as his source, Jeremy Rotsztain‘s series Obsessions (Flickr Pets) “document the love and obsession that people have for their pets.” The individual images are color-blocked and reductive, verging on abstract in some instances, yet the subject matter keeps them recognizable and full of personality. Each still is the result of animations made in C++ using the openFrameworks library — which just sounds impressive for a series from 2008, right. Rotsztain’s catalogue has a wealth of series that explore the overlaps of technology, culture, behavior and art.