Black Rain is sourced from images collected by the twin satellite, solar mission, STEREO. Here we see the HI (Heliospheric Imager) visual data as it tracks interplanetary space for solar wind and CME’s (coronal mass ejections) heading towards Earth. Data courtesy of courtesy of the Heliospheric Imager on the NASA STEREO mission.
Working with STEREO scientists, Semiconductor collected all the HI image data to date, revealing the journey of the satellites from their initial orientation, to their current tracing of the Earth’s orbit around the Sun. Solar wind, CME’s, passing planets and comets orbiting the sun can be seen as background stars and the milky way pass by.
As in Semiconductors previous work ‘Brilliant Noise‘ which looked into the sun, they work with raw scientific satellite data which has not yet been cleaned and processed for public consumption. By embracing the artefacts, calibration and phenomena of the capturing process we are reminded of the presence of the human observer who endeavors to extend our perceptions and knowledge through technological innovation.
Moroccan painter Zakaria Ramhani creates large-scale portraits using Arabic calligraphy as a medium to convey form. Ramhani uses the beautiful painterly forms of Islamic calligraphy to depict and further expound and question political issues, Muslim identity, Islamic piety, text and image in the Muslim culture, amongst other things. Through his technique, the artist defies and contradicts the religious taboo on figuration, which is, to say the least, a very scandalous thing to do. These works are part of a collection called May Allah Forgive you, a name derived from childhood memories of his father, a landscape painter, trying to avoid working on commissioned portraits of the human figure for religious reasons. His father would explain to Zakaria that ‘only god will forgive’ him for the sins he committed whilst painting the commissioned portraits.
Ramhani’s earlier work, precisely a piece called You Were my Only Love (2012), incited much controversy, as the work questioned religious tradition and the prevalent coercion at hand during the last couple of years in Egypt and the Middle East. The piece was banned from last year’s Art Dubai.
Zakaria’s first U.S. exhibition opened November 6th, at the Julie Meneret Contemporary Art (JMCA), a new gallery on the Lower East Side in NYC.
Norwegian artist Marius Watz uses Processing and other programming languages to explore the effects of different rule-based systems on virtual space. The finished product may be printed, sculpted, or a video.
Marni Kotak is off her meds. At least, she’s aiming for that. Prescribed a potent mixture of psychotropic medications in 2012 for her port-partum depression, Kotak’s latest work of performance art, “Marni Kotak: Mad Meds,” features her attempt to wean herself off medication.
Kotak’s 2011 work, “The Birth of Baby X,” was the literal progenitor of “Mad Meds,” culminating in the birth of Kotak’s son Ajax in front of an audience in the gallery space. This controversial exhibition was meant to “convey the authentic experience of [her] life as it is being lived, simultaneously engaging with audience members who become active participants in the actual events unfolding,” Kotak says. “The Birth of Baby X” was followed up by “Raising Baby X” (2011-ongoing), “Postpartum Depression” (2012), “Raising Baby X: The First Year” (2012), “Ajax’s First Birthday Party” (2012), “Raising Baby X: Playtime!” (2013), “Raising Baby X: Family Jam Session” (2013), and “Raising Baby X: Little Brother” (2012-ongoing). Is involving her son in her performances from literally the moment of his birth exploitive? What will it be like for Ajax when he’s old enough to realize that his childhood has been a public spectacle in the name of art?
“Mad Meds” does not involve other people in the performance, but that doesn’t mean that it’s not without its own complex issues.
The 6-week durational performance exhibition and installation finds Kotak addressing her personal struggles with her own mind, the US medical system, and the pharmaceutical industry as she attempts to withdraw from psychiatric medicines prescribed as follow-up treatment for post-partum depression more than two and a half years ago. (Source)
Depression can be agonizing; depression after childbirth can be especially isolating in its opposition to the socially acceptable construct of happy new mommy. Of course, Kotak is completely within her rights to wean herself from her medications if she feels that they’re not working correctly, or if the side-effects have become too overwhelming, or if she just wants to. Naming the 10-foot trophy in the work “Med-free and Happy,” though, has implications about psych meds and depression that go far beyond her performance. If Marni Kotak is able to publicly stop taking psychiatric medication as a work of art, that would be a personal act that she has chosen to share, as she did the literal moment of her son’s birth. If Marni Kotak is using her art to suggest that it is some kind of achievement to stop taking meds, the many, many people who are thankful every day that they are functioning and whole and able to live their lives because of the medication they take may have a different point of view.
We’ve just added a new way to get your B/D fix on our online shop. With the B/D Magazine variety pack you’ll get a mix of 5 issues of Beautiful/Decay for the price 3. No two packs will be the same and each pack will have 5 separate issues. We’ve even snuck in a few rare early issues into some of the packs! It’s perfect as a present or as a way to introduce fellow artists to Beautiful/Decay without breaking the bank. The B/D mag variety pack can be found on our Shop along with hundreds of other artists books, apparel, and goods.
Pier Francesco Martini‘s digital self portraits are an interesting twist to one of the oldest practices in art.
Lately, we’ve seen shipping containers used as repurposed mobile shelters for the homeless. The sculpture featured here serves an arguably less practical purpose but is a nonetheless an inventive and impressive use of the limited space. It was created by designers Masakazu Shirane and Saya Miyazaki who created a massive kaleidoscope as part of the Kobe Biennial Art Container Contest. This competition challenged creatives to craft an environment within the confines of an international shipping container. Here, the participants installed this brilliant piece as one that people could walk into and immerse themselves in an experience.
A kaleidoscope generally consists of carefully-angled mirrors that change light, color, and shape as it’s shifted. While their installation followed this general principle, Shirane and Miyazaki wanted to build the world’s first zipper architecture. “We wanted to create the world’s first zipper architecture. In other words, this polyhedron is completely connected by zippers. And in order to facilitate even more radical change some of the surfaces open and close like windows,” explains Shirane. The structure needed to be light, soft and mobile, and they were able to accomplish it; their ingenuity paid off, too, and they won an award at the Kobe Biennial and more recently a CS Design Award. (Via Spoon and Tamago)