Hasta La Ideas

Utilisant des matériaux et éléments tirés de l’industrie de la mode, Ran Hwang propose des compositions d’une beauté incroyable, utilisant notamment des boutons pour imaginer des tableaux représentant des cerisiers en fleurs. Une série « Buttons Compositions » a découvrir dans la suite de l’article.

Children’s charity Kids Company has launched a pop-up toy shop in Soho in London which prints 3D toys for vulnerable children when members of the public make a donation by text message.

The shop is called Print Happiness and is on Great Windmill Street in London. It was created for Kids Company by ad agency AMV BBDO in partnership with 3D printing company Ultimaker to provide presents for vulnerable children who would otherwise receive nothing this Christmas. The window display in the shop features six 3D printers which are constantly printing the toys. If you can’t visit the store itself you can see the toys being created in the live feed below:

Two of the toys have been designed by Aardman studios, with other toy designs provided by Tado and Triclops as well as Ultimaker. The shop remains open until Wednesday December 18; to contribute to the toy production line, text ‘KIDS MONKEY’ to 70080. A charge of £5 will be applied to your next mobile phone bill, and one toy will be printed; all monies raised will go to Kids Company.

More information on Kids Company and the 3D printed toy campaign can be found online at printhappiness.co.uk. Kids Company will be open on Christmas Day when it will provide a Christmas lunch, presents and food vouchers for over 4,000 children, young people and vulnerable adults. Additional food parcels will also be delivered to children and families in the community.

Among the dust in the Black Rock Desert of Nevada, we spent six days braving the mayhem of the 2013 Burning Man Festival. There were plenty of interesting and strange characters roaming the playa, but…

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More than three decades after John Lennon‘s untimely death, a Bermuda museum remembers him with a stylized sculpture. Writer Nancy Lazarus takes a closer look.

The picturesque island of Bermuda is a long way and a far cry from the hectic urban settings of Liverpool, England where John Lennon grew up, and from New York City, where his life ended on December 8, 1980. The British musician and artist spent several months in Bermuda during his last trip abroad, and the island served as his muse. Bermuda pays special tribute with “Double Fantasy,” a sculpture dedicated last year in Lennon’s honor.

Masterworks Museum of Bermuda Art commissioned local sculptor Graham Foster to create the six-foot Cor-Ten steel structure. The work shows a stylized double-sided profile of Lennon and his “granny” glasses with his Rickenbacker guitar, doves of peace, and the double fantasy freesia flower. At approximately 4,000 pounds, it’s a weighty piece, and sits on a raised flowerbed in a courtyard near the museum’s entrance. The sculpture is located in Bermuda’s Botanical Gardens, on the island’s south shore in Paget parish.
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This London building appears to have been turned on its head, but it’s actually an installation created by Hackney artist Alex Chinneck.

Alex Chinneck, whose previous projects include a house with a slumped down facade and a melting brick wall, constructed a new facade for a former livery stables in Southwark to make the building look like it has been turned upside down.

Entitled Miner on the Moon, the project takes over a structure that was first built in the 1780s as a storage facility for horses and carriages, but until recently had been left as an empty shell with a colourless facade and boarded-up windows.

“I was interested by how the architectural silhouette of the building had been created with this function in mind and I wanted to conceive a concept that responded to this shape and the building’s history,” said Chinneck.

The artist followed the proportions of the existing facade for the design of the new elevation, creating a shopfront, doors and windows that are all the wrong way round.

A fake materials palette of brickwork and white plaster is provided by brick slips – a kind of flattened brick – and rendered polystyrene. Chinneck also added an enamel sign from a company founded nearby in 1876.

“After being dissolved in 1986, I found their enamel signage earlier this year in a reclamation yard in Wales and this sign initiated and informed the mood of the work,” he said.

Like many of his public art projects, Chinneck says his intention with the piece was to create a spectacle that somehow manages to fit in with its surroundings.

“I’m conscious that when a person walks through the doors of an art gallery they do so through choice, but people do not make that choice when presented with public sculpture,” he said.

“I wanted to create an artwork therefore that offered spectacle but was simultaneously subtle and by using the material and architectural language of the district the artwork has the ability to disappear into its environment without dominating it.”

The artist relied on donations to source the materials needed to build the structure, and installed it with help from a team of volunteers.

Photography is by Stephen O’Flaherty and Alex Chinneck.

Here’s a statement from Alex Chinneck:

Miner on the Moon

The work is titled ‘Miner on the moon’. It is located just south of Blackfriars Bridge at 20 Blackfriars Road SE1 8NY and was produced as the finale to Merge Festival 2013.

Built in 1780, the site was originally used as livery stables housing horses and carriages for hire. The access through the site (the underpass to the bottom right of the building) was used to ferry live cattle from the rear yard to the Thames for trade. I was interested by how the architectural silhouette of the building had been created with this function in mind and I wanted to conceive a concept that responded to this shape and the buildings history.

The material and aesthetic decisions within the project celebrate the architectural heritage of Southwark and the timeless charm of its fatigued buildings. By presenting a very familiar architectural scenery and narrative in an inverted way, the audience hopefully re-appreciates the buildings and moments of our daily environments that we allow to slip into our subconscious.

The sign (W. H. Willcox & Co Ltd) is a company founded in 1876 on Southwark Street a few minutes walk from the site. After being dissolved in 1986, I found their enamel signage earlier this year in a reclamation yard in Wales and this sign initiated and informed the mood of the work.

As an artist, this very busy junction is of course prime real estate for public sculpture given the volume of traffic and potential audience. Having said that, I’m conscious that when a person walks through the doors of an art gallery they do so through choice but people do not make that choice when presented with public sculpture. I wanted to create an artwork therefore that offered spectacle but was simultaneously subtle and by using the material and architectural language of the district the artwork has the ability to disappear into its environment without dominating it.

The project was built in partnership Mace Group. Other supporters and sponsors include Tate, Better Bankside, Ibstock Brick, Norbord, Euroform, Eurobrick, K-Rend, Kingspan, Lyons Annoot, Benchmark Scaffolding, Dhesi and Urban Surface Protection.

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by Alex Chinneck appeared first on Dezeen.