Mark Manders‘ sculptures seem to be driven by a poetic narrative, and the fact the he used to practice the linguistic form of poetry should then come as no surprise. His meticulously constructed figures are assemblages of furniture, metal, human and animal shapes, and other ephemera. Engaged in an ongoing project since 1986 entitled “Self-Portrait as a Building” that has come to define his practice, the form of language mediates his work in that his pieces are structured in a manner that replicates sentences. In this way, he creates physical spaces that mirror his mental spaces. At once fragmented, balanced, poignant, and resonant with the ineffable, Manders’ work evokes a personal poetic sentiment that is meant to provoke the viewer.
Single-perspective installations have been extremely popular for the past several years, with the best examples making their rounds instantly on the usual social media platforms. The real shame of this mass exposure is that viewers rarely experience the tactile joy of these illusions, viewing the photographs but never seeing them first-hand. This is especially true with the work of Georges Rousse, a French artist who has been creating his painted perspective installations in abandoned and soon-to-be demolished buildings since the 1980’s.
Finding influence from Land Art as well as specific works like Suprametist painter Kazimir Malevich’s Black Square, Rousse pre-dates the modern trends of illusionistic installation, having perfected his trademark geometric style and his fondness for desolate locations decades ago. According to his site’s bio, Rousse considers himself a painter, sculptor, architect, and ultimately a photographer, but considers his raw material to be his great inspiration: Space. Upon selecting a site, Rousse goes about creating a unique angular perspective, that when photographed, compels the viewer to re-analyze their own surroundings, possibilities, transformations, and ultimately, Space.
Rousse explains, “The convergence of these spaces goes beyond a visual game: Like a hall of mirrors, enigmatic and dizzying, it questions the role of photography as a faithful reproduction of reality; it probes the distances between perception and reality, between imaginary and concrete.” (via My Modern Met)
Aleksandra Domanović deals with sculpture that echoes monuments from the past from her native (former) Yugoslavia. While some sculptures take on more traditional forms of post-Communist leaders, the Berlin-based artist also began experimenting with unique materials in her work. 19:30 Stacks was created by piling size A3 and A4 paper with photos printed on their sides with ink-jet printing. First creating a massive PDF file of a photo, Domanović set the printer to ‘border-less print’ setting, which coated the ends of each paper, and when stacked upon each other, revealed the finished image.
For a time this work was open-sourced so that anyone could make one for themselves by downloading the file (now broken), printing it out, and then placing it between 1500 empty pages on the top and bottom of the printed stack. According to her artist statement, Domanović’s “work focuses on profound social and media-technological transformations, and their interdependence. Some of her projects give form to the relationships of meaning imposed by archival models. Others suggest alternate models that draw on her observations of shared memory and feelings of community. Domanovic uses material related to her autobiography — the television, music, and monumental art of Yugoslavia — as well as materials that claim transcendence of the personal and national, such as Getty Images’ database of stock photography and (on the blog Vvork, which she co-edits) international contemporary art production.” (via u1u11)
Kunihiko Nohara creates lofty sculptures whose subjects hover between the earth and sky. Using a single piece of wood for each of his pieces, Nohara replaces clothing with clouds making his figures seem ready to take flight in a hot air balloon.
Nohara’s works have earned him the name “The Cloud Man” in Taiwan. But while this name visibly connects him with his works, the clouds also mean something else to Nohara. In interviews he says that clouds are emblematic of his practice in that he often feels “blurry” within his own thoughts. Dealing with this space of fuzziness between thoughts and dream, he further says that his “creations are not necessarily based on fantasy, but neither are they overly grounded in reality – they’re just reflections of my experiences of the world.”
Despite the delicacy and softness of these sculptures, Nohara works entirely in wood and, more notably, only uses one piece for each work. His preference for wood emerged in school but he also believes the use of material aligns his work with Japan’s propensity towards wooden objects, like houses and furniture.
Nohara’s works were recently shown at “Laissez Faire,” a group show presented by Gallery UG at the Luxe Art Museum in Singapore. His sculptures were included with works from 17 other Japanese artists.
Quotes from: expatliving.sg
Adam Helms is known for drawing radicals and constructing ominous wooden watch towers. His current project is a series of 48 charcoal portraits in response to Gerhard Richter’s “48 Portraits.” Richter’s work used encyclopedia photos to catalog the iconic males of Western culture. Helms is also cataloging icons, but shifts focus to the dangerous fringes where civil wars and insurrections take place. Ranging over the entire political spectrum, from anti-establishment and anti-government groups to official government troops, Helms’ portraits are intentionally politically ambiguous, stating “The politics are less interesting to me then this idea of a repeated identity.”
We are proud to present Beautiful/Decay Book 4: Exquisite Corpse! This book assembles a group of artists that twist and contort our understanding of the human body. Ranging from the macabre, grotesque, humorous, sculptural and the beautiful, each artist pushes classical figurative work into brand new forms. We also invited 26 artists from around the world to play a virtual game of Exquisite Corpse.
If that’s not enough, each copy of the book comes with an original silkscreened artist print of interpreting the theme! To celebrate the release get 15% off Book 4 for one week. Use discount code: BDECAYBOOKCULT
And, while you’re stocking up on Cult of Decay reading material, be sure to check out our newly re-launched online shop. We’ve stocked up on over 20 B/D back issues. We’ve even made available a select number of previously sold out issues-so grab your copies while they last! Buy HERE.
Hailing from Singapore K-NARF covers galleries, streets, and anything else he can get his hands on with his deconstructed Photograffiti images. Pulling inspiration from old amusement parks, childhood nostalgia, and street life imagery, K-NARF installations both indoors and out have a carefree and experimental bend that we at Beautiful/Decay can certainly appreciate.
I got an anonymous email late last night with the above image. It said “This weekend I found myself at a party at Jeffrey Deitch‘s new home in the hills of Los Angeles. I’m hardly a street artist but I thought it might be nice to add some value to the interior of his “movie star house.” ”
Who knows if this is actually Jeffrey Deitch‘s house (looks like the bathroom) but I thought it was interesting that he’s getting so much backlash. Who can confirm that this is real?