Scrapple Installation

Maker Profile - Kinetic Wave Sculptures on MAKE: television

“0°"” UNMASK 2009

unmask回来了——带着他们的新作品，拉开了2009个展的帷幕。unmask的创作始终是介乎于现实生活与虚拟空间之中的，从早期的“半透明”系列开始，unmask一贯坚持设计感与雕塑感相结合的超现实主义创作。新颖的材料，精湛的工艺，严谨而适度的唯美风——unmask作品总是和时尚、精致等等联系在一起。而在这些优雅的外表下，总有那么一些压抑与焦虑感于不经意间弥漫开来。

这次个展所展出的四件作品彼此独立而又相互照应，甚至可以被看作一件巨大的装置：四个弧形外壳里或躺或坐着形似人类、却长着动物皮毛的异形生物。《半透明》系列可以看作他们在传统雕塑上试验的体块删减，而这一次的0°系列则是以添加的角度在人体造型上实现的新探索：白色、黑色、黄色、紫红色，斑斓的仿真动物皮毛包覆着隐约可见肌肉和血管的人体，以及弧形外壳下方铺满白色细沙并精心组织出纹样的地面，unmask再一次证明了他们将装饰艺术融入雕塑语言的成功。

0°系列作品在展场中营造出亦真亦幻的迷离效果，但却不是生发于幻想中的。这种若有若无的疏离感强化了作品超现实的味道，同时也是以虚拟的角度介入真实的境况。在进入现实的过程中，unmask的作品采取了自我保护的态度。弧形外壳加强了虚拟空间的效果，并与动物皮毛一起，试图在最大限度上保护处于其中的身体。人物面无表情，然而却不是看破世俗的宁静：尽管有着自我建设的保护层，仍无法掩饰内心深处的不安，无奈，及至最终的隐忍。
— 文/ 景晓萌
http://study.artchn.com/argument/197001/artchn_124213.html

Asian Contemporary Art Fair

How does Asian Contemporary Art contribute to what is largely considered to be an American and European context? Curator and writer Peter Weibel asked these relevant questions: “How is contemporary art, and art in general, conceived of in such places where there is no art history and no tradition of exhibitions? What does art, as a contemporary phenomenon, mean in this respect outside a Western context? Is it no more than the most recent development of modern art or does it represent something else that demands the mediation of museums?” Anyone who has walked these same halls for the Armory Show may question where Asian Contemporary Art lies in the broader spectrum outside of its commercial success.

Some of the stronger pieces in the show were rooted in Asian philosophies like Zen and Tao that follow their own reflective path. Ran Hwang’s Dreaming for Joy installation was a study in Eastern meditation, where literally thousands of individual buttons were used in the ongoing process.


Ran Hwang
Dreaming for Joy
Curator: Liang Chong

Wu Jian’an’s Xiantian 2006 was a stunning work of laser cut paper depicting Chinese mythology. Respected Korean artist Seo-Bo Park’s Ecriture No. 040920, 2004 hung idly alone in the VIP lounge in pure stillness as if it had always been there and always will be.


Wu Jian’an
Xiantian 2006
Chambers Fine Art


http://www.designrelated.com/news/feature_view?id=37

Rebecca_Horn_at_Sean_Kelly__New_York

Motoi Yamamoto

art earth Andy_Goldsworthy_-_Pikininiz

de retour du Palais de Tokyo

vues de l'exposition de la Station dans le module 1 du Palais de Tokyo, jusqu'au 4 janvier 2009:

Wagram-Iéna, assemblage de tickets de métro, encadrement, 70 x 100, 2008

Wagram-Iéna, détail

RVB, assemblage de tickets de métro, 21 x 3, 2008

tony gragg

Michael Sailstorfer

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《破冰》展厅中新作品《棱镜屋》 邱志杰

今天，《破冰》展厅中新增加了一件作品《棱镜屋》。
这是原计划就有，没有能在开幕的时候完成的作品。春节期间厂家都放假，工人给再多的钱也不肯加班。到现在才把所有的三棱镜做出来。

这是一个半圆形的不锈钢结构的屋子，和装了双凸透镜的透镜屋相似，都很像爱斯基摩人的雪屋。

凸 镜屋直径四米。高两米。不锈钢框架上安装了五百块凸透镜。每个双凸镜的焦距都在两米远的地方，也就是圆屋子的圆心部分。假如把凸镜屋搬到户外的阳光下，在 圆屋子的中心放一块煤，煤会烧起来，在中间放一块冰，并会融化，成为一盆水，水会被聚集的阳光烧热。所以这个凸镜屋在“破冰”的概念结构中扮演的是“化冰 之屋”。展览的时候，曾经设想放在室外。后来发现这个凸镜屋也是一件凶器。小朋友跑进去，一个不小心，眼睛可能会被烧伤。放在室内的灯光下。中间放了一盆 漂浮着冰块的水。成为某种等待者。



《棱 镜屋》直径三米，高一米五。。小朋友们可以站着走进去，大人要猫着腰进来，马上坐下。不锈钢框架上安装了壹千四百个三棱镜。在室内的灯光下，已经在地面的 白色皮毛上投出了很多彩虹。四周墙面上有更多的彩虹。这还没怎么打灯呢，交待助手去买的全仿日光的特种灯还没有到位呢。只是用展厅里现成的灯一照。三棱镜 组成的雪屋的弧线墙体上泛着一层难名状的美妙光泽。
《棱镜屋》和《凸镜屋》都到位后，在展厅东北角形成一大一小两个半圆，如同一个半泡在水里的葫芦。
展厅中还会陆续增加作品。



http://www.qiuzhijie.com/blog/article.asp?id=334
http://www.qiuzhijie.com/blog/article.asp?id=333

art media

We Have IUAV

A ten week laboratory by Daniel Eatock in collaboration with Flávia Müller Medeiros at CLASVEM graduate degree in visual and multimedia design at the Venice School of Architecture IUAV University (pronounced ‘you-av’). During the lab participants explored the dematerialization of graphic design and the conceptual and non medium specific making and inventing of new works.

Participants were encouraged to start with ideas that lead to real works that function, challenge, interrupt and suggest new possibilities within graphic design, communications and art. Projects were set to create unique starting points for each participant from which they were asked to develop their own area of interest.