Beautiful/Decay is pleased to announce to release of 8 brand new prints from our ever-growing poster series. Each poster is printed on full, heavy-weight, archival quality paper. The new prints, “Darkness,” “Bathead,” “Satellite,” and “Space” are a bold cocktail of the amazing and beautiful images you’ve come to expect from us. And if owning Issue: K and Issue: T weren’t enough, now you can have the mind-bending cover art of Alex Trochut and Aya Kato. So what are you waiting for? Pop on over to the shop and legitimize your walls already!
“I’m just as fucked up as they say, I can’t fake the daytime, found an entrance to escape into the dark”, sang Emily Haines as Metric opened up with the first track, Artificial Nocturne from their newest record Synthetica. I doubt many of her fans would agree with her since the outpouring of love and excitement came as soon as the lights went down and didn’t let up for the whole show. I for one have been a huge fan of Metric’s music since I first saw them open up for fellow Canadians, Stars back in 2003 at the now closed Knitting Factory in Hollywood.
The laser light show over drummer Joules Scott-Key started when they played the title track Synthetica and as soon as the first notes for Dead Disco came on, the crowd jumped into a dance frenzy, not that it wasn’t before. While Emily is an amazing performer (I challenge anyone to do her trademark 80’s aerobic dancing for an hour and half), she has very few words for the crowd, that is until the encore. “I know it’s a cliche… moving out to CA to fulfill your dreams, but I’m so glad we did it… carrying gear when it’s not freezing cold… contrast to Canada… music trumps all the talking in the world.” With just James Shaw on acoustic, the pair ended with Gimme Sympathy which turned into a sing/clap-along as the rest of the band joined them onstage for the last half of the “lullaby”. Check out their new video for Breathing Underwater for a behind the scenes glimpse at what their Synthetica tour was like.
Casa Tomada is a project of traveling installations started in 2007 by Colombian artist Rafael Gómezbarros in which giant sculptures of ants are fixed in swarms on buildings and structures. Self-described as “urban intervention” by Gómezbarros, the ants have been showcased in locations varying from London to Cuba with a very specific goal in mind: shedding light on immigration, forced displacement, and uprooting through historical points of departure for travelers and immigrants. The 2-foot ants themselves are crafted out of tree branches for legs and two joined skull casts made of fiberglass resin and fabric to make up the torso, making for a particularly morbid, visceral depiction of migrant workers in Latin America who are looked at as nothing more than vermin.
When placed on the facades of government buildings and blank gallery walls alike, the ants give off a chilling sense of foreboding and encroachment. By placing them in swarms, Gómezbarros makes the insects even more strikingly representative of the peasants displaced by war and strife in Gómezbarros’ native Colombia. The giant insects that make up Casa Tomada, which translates to Seized House, are certainly works that are bound to linger with viewers, whether in nightmares or otherwise.
Dolls are an appealing motif for artists because, as artist/ doll-maker Marina Bychkoya says, “I’m not content working in just one medium such as painting or sculpture, and dolls offer me a very diverse and satisfying tactile experience. To create a doll I get to do it all: sculpture, industrial design, painting, engraving, mold-making, drawing, metalwork, fashion and jewelry design.” Combining multiple interests and talents, these five artists create some of the most fascinating, bizarre, beautiful and awesome, in the truest sense of the word, dolls I’ve ever seen.
Freya Jobbins says that she is inspired by Guiseppe Archimboldo and his fruit and vegetable paintings; Penny Byrne’s ceramic creations, Ron Muek’s giant people, Gunther Von Hagen’s plastinated corpses, and of course the Toy Story Trilogy. Combining these inspirations with a technique that incorporates plastic doll parts and toys, she creates assemblages of faces, heads and larger busts. Provocative, humorous and perhaps slightly disturbing Jobbins’ assemblages explore the relationship between consumerist fetishism and the emerging recycling culture.
Ana Salvador was born in Barreiro, which is a small town in Portugal. She now lives in Amsterdam and has a passion for sculpture, drawing and painting. Inspired by the human body, antiques, ornaments, fabrics and laces Salvador creates fantastical sculpted figures with distinct personalities.
Marina Bychkova is a Russian-Canadian figurative artist who founded Enchanted Doll so that she could devote her time to creating exquisite porcelain dolls. An artist through and through Bychkova is concerned with each detail on her dolls, from their costumes to their facial expressions.
Flock Shop & Spectrumega Media Present…
The Funk Rumble Block Party
Saturday, July 11th, 2009
12 pm – 10 pm
$5 before 4 pm, $8 after
Kids under 10 years old in free
All ages, fenced event
947 N. Broadway, LA 90012
Street & Lot parking available
“It’s Hardly Noticeable explores the world of a character who navigates living with an unspecified anxiety-based mental illness. He negotiates situations constructed to highlight the impacts and implications of his differences on his thoughts and behaviors, and by doing so raises question of normalcy. Through constructed tableaus and metaphorical still lifes, the series reveals the relationship between reality and perception, and highlights issues of pathology while questioning stereotypes of normalcy.
In 2009 economist Bill Gross used the term New Normal to define the American economic landscape of the very recent past. In ensuing years, the term resonated with culture at large and became an umbrella term for changes in cultural and societal practices, identifying a shift in held notions of what is commonly viewed as acceptable.
These images question the legitimacy of applying the term normal in a societal context by prompting a reconsideration of what, if anything, is normal, or at least what is perceived and labeled as such. Is it possible for a society to have a commonly held idea of what is normal, when few individuals in that society actually meet the criteria for normalcy?” – John William Keedy‘s artist statement for this series.