Dude. Just. Whoa. Heavy metal/wizards in winter/hesh lights.
I love this new video of Lykke Li trapped on an island, decked out in 5 inch heels, and stabbing at the sand with various knives. I have no idea what this is about but going along for the ride. It’s sexy, weird, dramatic, epic, and has a dash of goofiness (check out the knife play towards the end. Full video after the jump.
Brooklynite Gallery has been on some sort of weird hiatus for a while, apparently to focus on making arts related films. Well, they do make good shorts. This is one from a while back when they had an exhibition from collage artist DAIN. So there’s this unassuming elderly guy, right? Well he happens to be a fairly prolific street artist who makes collage work out of portrait photography. Just watch the video. And the next time you find yourself in a discussion lamenting what “Street Art” has become, remember DAIN, who pastes work on the street because it’s as natural to him as breathing. To him, it’s not about money or cool factor, this is just something that gives him a lot of satisfaction. Dude knows what it’s all about.
Italian illustrator Virginia Mori uses black ballpoint pen and pencil on paper to create strange, lady-centric compositions. The minimal drawings feature long-haired women in surreal situations. Heads are often seen severed or parts of the body are fused with furniture. Although they are weird, Mori’s work isn’t gruesome. Even when a umbrella handle is coming out of a character’s mouth, there’s no blood or guts. It’s simply a surreal scene.
Mori separates mind from body, in both literal and figurative ways. Heads are rolling, they exist on different levels, and are obstructed by hair. It represents the idea that we can “disconnect” our mental from our physical self, and that this separation can feel like two entities. But in Mori’s illustrations, what causes it? Mystics? Physical ailments? Lessons not learned? The sparse compositions allow for multiple interpretations.
Dude Harrison, thanks for your help. You’re my friend ‘n’ all, so I’ll leave it at that. Zigz is gonna miss his man-bud terribly. He will probably paw at the spot you once sat and snort around the office trying to collect strands of your long, long hair. Check out Harrison’s killer portfolio HERE and some of his rad design work after the jump.
Exquisite relief sculptures by Diederick Kraaijeveld using discarded and reclaimed wood.
At the end of life: a camera lens, desperately recording and archiving the fears of the dying. For the series Life Before Death, the photographer Walter Schels captures the terminally ill in anticipation of the unknown and again in the moment after death. These intimate portraits are the last of a lifetime, documenting the body after some ineffable human essence has vanished. Informed by the words gathered in interview with the subjects by Schels’s partner Beate Lakotta, the haunting shots imagine the invisible, giving form to the most unconquerable human fear.
Schels’s portraits, in their silvery black and white tones, are reminiscent of Victorian post-mortem photography, presenting the dead as if sleeping, their eyes closed and brows gone slack in seeming comfort. These images are poignantly juxtaposed with the interviews, conversations in which even the most mundane, peripheral things of daily life are assigned significance; beside wizened and terrified eyes and coupled with existential wonderings are thoughts on fridge-freezers and local football teams. The banal works against and in service of the tragic; when confronted with death, a burial site and a cup of coffee are equally potent reminders of our mortality.
At the turn of the 20th century, it was believed that the eye recorded the last sight seen by the dead, that with careful study of the ocular nerves, we might reconstruct the moment of death. Schels’s subjects, pictured with gleaming eyes and contained within unrelentingly tight frames, seem to stare into the viewer as they confront inevitable passing, as if to implicate us or to say, “You are the last thing I saw.” (via The Guardian)
Adrien Mondot and Claire Bardainne, the French performance art duo that forms Adrien M / Clair B Company, has created a stunning display of dance and the digital. “Pixel” combines the physicality of human movement with unique technological creativity. Dancers leap from mountain to mountain, splash through wire-frame water, and fling themselves through showers of shimmering pixels.
In collaboration with Compagnie Kafig, the performance is an hour long and described as “a work on illusion combining energy and poetry, fiction and technical achievement, hip hop and circus.”