Torafu Architects has installed an interactive haunted playhouse in the Museum of Contemporary Art in Tokyo. Paintings move, portrait eyes dart back and forth, and children climb through picture frames installed at the museum. A secret passageway exists within the installation, allowing children to interact with nearly all of the featured art, most of them re-creations of classic works. Museums and galleries are usually places reserved for more serious contemplative reflection, discouraging touching and interaction of any kind. Torafu Architects has transformed this perception, creating a space that encourages engagement and creativity. Be sure to check out our previous post about Torafu’s kid-friendly designer information kiosk here.
I love these ultra detailed, goopy portraits by Colin Chillag!
The documentary FOCUS follows the trials and tribulations of professional gamer Mike Ross as he trains for EVO, one of the biggest tournaments in his life. Ross, who recently signed with pro gaming team CompLexity, is one of the most passionate and well respected fighters in the entire Super Street Fighter 4 community. Watch the full documentary after the jump.
Rhiannon Schneiderman‘s self portrait series “Lady Mane” takes on societies ideals for women but with a hilarious tongue-in-cheek spin. Striking the same types of poses you’d find in fashion magazines with hip accessories across a neutral background, the artist stares into the camera while long wispy ponytails, four foot hair braids, and jheri curls dangle from her crotch. In a recent interview with Design Taxi Schneiderman states about the project:
The Lady Manes is a series of eight self-portraits. In each image I’m standing in your typical feminine pose in an outfit or article of clothing, and I’ve accessorized each outfit with its own unique, stylized ‘Lady Mane.’ A ‘Lady Mane’ is just a somewhat empowering pseudonym for a bunch of pubes, a “bush,” your “hair down there”… And that’s what the series was about for me: empowerment. I can’t really pinpoint any one source of inspiration for the project because it really was a culmination of so many things going on at the time; I’d moved to and lived in Daytona Beach, the armpit of Florida and possibly all of civilization, for almost two years (for school) during which time I’d witnessed and been subject to some pretty amazingly sexist ordeals. I was moving more into my hardcore feminist phase, which I think every lesbian in their 20’s goes through, and just so happened to have a hardcore feminist, fine-arts-major professor who had been giving me a semester of the most intense and life-altering class critiques I’d ever experienced. I’d been introduced to Cass Bird’s “Rewilding”, an amazing body of work that continues to influence me. All of these things, and maybe a few Lady Gaga songs, were inspiration enough to create a series that kind of laughed at conventional gender norms. I wanted to tell people that they were ridiculous, make them uncomfortable for a change. I wanted to challenge femininity and the objectification of women that is still so incredibly prevalent in society. I guess it was my way of saying, “Fuck you. Enough is enough.”
Carlos de los Rios, a Columbian artist represented by Stephanie Bender Gallery in Munich, produces an amazing variety of pieces by working in series, this one titled 32 Memoiren. The media and subject matter may alter, but de los Rios’ work maintains a fragmented attachment to the figure, like a futuristic Rorschach Test in need of translation–I see a bird.
This new interactive installation Oil by Moscow media-artist, musician and engineer of ‘strange-sounding mechanisms’ ::vtol:: (Dmitry Morozov) is an exciting opportunity for participants to create something new and original from destroying used personal objects. Inviting people to use whatever object they are carrying at the time (headphones, sunglasses, keys, cosmetics), he places them underneath a hydraulic press and proceeds to crush them into something unrecognizable. He records what happens next with a microphone mounted closely to the hydraulic presses. The sound from the act of destruction is turned into a 20 minute record and presented to the participant to take away with them.
The project is intended to provoke visitors into spontaneously ridding themselves of material consumer objects for the sake of creating their own individual work of art via deprivation, divestment and destruction. Sound has been taken as the chief medium here with good reason, since sound art is perhaps the least material and most abstract of all genres in art. The technological aesthetic involved constitutes an ironic attempt to make the process of art production into a technological process, but the result, unlike that of mass production, demonstrates a contrary phenomenon – this is a work involving programming and code in the context of generative art, with the potential to broaden the range of instruments at art’s disposal. (Source)
Nicholas Kashian’s abstractions.
“I feel it is not important, can be even detrimental, to conceive of, or predict outcomes in the studio: accidents, chance occurrences and reaction will direct the coarse of the work. What is important is to be present, to be a sensitive, sincere, focused, open and as powerful as possible. The work is thus finished when either it says it’s done or I abandon it and take to working on something new.
In my recent work, I am moving away from image based painting and drawing towards more ambiguous, blatantly abstract and open-ended works that seem to want to define painting as a pure, visual language.”