The Eiffel Tower was built in 1889 and by the very next year it had several admirers in neighbors across the channel. Some saw the potential of a similar tower, a “Great Tower for London”. These illustrations are part of a catalog of competitive designs for the proposed tower released the following year. Some are hilariously derivative of the still brand new tower. Others, on the other hand, seem to belong to some sort of Victorian space-age. Regardless, in a strange way all of the designs seem to point to the importance and uniqueness of the original Eiffel tower, even at this very early age.
Lets start the weekend with a bang courtesy of photographer Christian Weber.
Playing with human size dolls and dressing them up with colorful garments and crazy accessories to contemplate today’s identity is the medium Yinka Shonibare has chosen to express his vision. The mix of Victorian style dresses, tutus and adire; a textile made by Nigerian women creates an intriguing and marvellous symphony, pleasant to the eyes but disturbing for consciousness. ‘You will undergo environmental doom” the graceful and sarcastic Greek gods disguised as ballerinas seem to be announcing. ‘What is my identity?’ seem to be screaming the headless characters.
The dolls represent the rebellion that humans deserve for soiling the planet. It is a charming, fantastical staging operated by Yinka Shonibare to condemn agressive and violent acts with a clear message: he hopes to provoke the “psychic unity of mankind’.
Caught in an unceasing dichotomy: colony and metropolis, white and black, poor and rich, progress and destruction of the earth, traditional and contemporary society are subjects approached by the artist via atypical sculptures.
The subject touches directly Yinka Shonibare who considers himself as a “post-colonial” hybrid. He was born in Nigeria and raised in England, that explains his concern towards colonialism and post-colonialism within the contemporary context of globalisation. He flirts with intense subjects such as money, empire, conflict and environement. He questions the meaning of cultural and national definitions and he asks what constitutes our collective contemporary identity today while condemning the excess of destruction due to the humans excess violence against the Earth.
Yinka Shonibare will be showing his work at the following locations:
Morris-Jumel Mansion in New York until August 2015
Daegu Art Museum in South Korea until October 2015
Contemporary African art Museo Afro in Brazil until September 2015
You might have already read our series on food artists. B/D has decided to feature another 3-part series on cut paper artists! The art of paper-cutting evolved from the traditional Chinese craft, stretching back to the 6th century. Today, contemporary paper artists have pushed this art-form into focus once again. Armed with their X-Acto knives, (and nail scissors?), these artists have redefined the meaning of intricate. (Some actually believing they’ve only completed a day’s work once their hands shake with fatigue, waking up sore the next morning!) Though it can be frail, finicky, and prone to tearing, their choice of medium is deliberate; they’ve claimed paper as a way of using an ordinary material to express themselves in unconventional ways. Check out the three cut paper artists of the day!
Christopher Bauder‘s Polygon Playgound is a digital heaven .The piece serves as a large scale interactive lounge object, as it offers room for up to 40 people at a time to sit or walk and explore the multifaceted surfaces. Bauder’s interactive piece incorporates 3D surface projections and a sensory system that detects people’s positions and proximity.
The visual appearance of the digital landscape is in constant flux, as the animations on the surface are continuously changing with the constant physical movement and presence of its visitors. For instance, running across the top of the structure may cause the animations to highlight the participant’s footsteps.The animations are ever changing; some of the motifs that are projected on the piece include: grids, orbs or color that can be ‘kicked’ around, and various abstract color forms. (via Art and Electronic Media)
Interdisciplinary artist and illustrator Lilli Carré‘s “Moving Drawings” are simple and abstract and capture, in looped form, the surreal whimsicality to be found in her comic illustrations and animations. Based in Chicago, Carré has created several comic books and is a co-founder – along with her animator husband, Alexander Stewart – of the Eyeworks Festival of Experimental Animation. Carré’s animations are playful, evocative of childhood, and deal with themes of mundanity and transformation. Aware of the way animated gifs command attention and provoke feelings of delight and curiosity, of her gifs, Carré says, “They help me get little images in my head — like a woman incessantly eating flowers — out of my mind and into moving forms. They don’t have to be part of bigger projects; they can just exist on their own and live forever on the Internet. They’re like little breaths of fresh air.” You can find a collection of Carré’s animated films over on Vimeo. (via juxtapoz)
This Sunday Beautiful/Decay will be taking part in the first annual Cal Arts Print Fair. Students from the Cal Arts art & design departments will be showing off and selling their zines, posters, and other limited edition products and a series of lectures and workshops will be taking place all day long. This event is completely free and open to the public so head up to the valley and visit one of LA’s best art schools for some Sunday zine & Print fun.
Featured guest speakers:
CalArts: Print Fair
California Institute of the Arts, Main Gallery
Sunday, April 15 | 11 am-5 pm |Free admission
24700 McBean Pkwy, Valencia, CA 91355