Pavel Puhov, connu sous le nom de 183Art, est un artiste russe qui adapte son talent à l’environnement urbain et cherche à interagir avec la ville. Avec des créations street-art intéressantes, une sélection de ses travaux est à découvrir dans la suite.
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You may have considered either 2010 or 2011 to have been the year(s) that popular street artist Banksy possibly hit his career high, becoming a near-household name with his documentary, Exit Through the Gift Shop and then, later, its Oscar nomination. However, with the 2012 Olympics soon arriving in his native England, some are speculating that this could be Banksy’s most prolific year. As such, spotters are on the lookout and they have recently found perhaps the first piece by the artist this year. Though it’s certainly difficult to verify such things, given that the artist is keen to maintain his mysterious recluse mystique, most it seems are considering this to be the first real deal of the year. Here are some details:
It appears to have all of the hallmarks of a real painting by the artist and would be the first new year offering by Banksy. 2012 the Olympic year is expected to be a big year for the artist as all eyes are now focused on the capital.. The stencil turned up on the corner of an office building on Oval Street in Kentish Town (near Camden Town) and many followers of the street artist have already identified the painting as a Banksy. It possesses all of the his irreverent stencil features including a distinctly political statement.
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The installations of American artist Daniel Arsham play with the very fabric of the gallery itself. His first solo show, the fall, the ball and the wall, has just opened at the OHWOW gallery in Los Angeles
Hiding Figure, 2011, Fiberglas, paint, joint compound, mannequin, fabric, and shoes, 87 x 48.5 x 13 inches
The show, OHWOW says “illustrates the artist’s continued interest in manipulating architecture and in challenging expectations of accepted realities”.
In these latest works, Arsham uses materials such as fibreglass and foam to create pieces that appear to be formed out of the walls of the gallery itself.
Curtain, EPS foam, plaster gauze
Mail Slot, 2008, Bronze, plaster, paint, joint compound
the fall, the ball and the wall is at OHWOW, 937 N. La Cienega Blvd. Los Angeles, until February 16. Details here
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Sandro Kopp’s Skype sessions reflect the hybrid nature of painting reality from a two-dimensional plane
A series that evolved out of two friends chatting online while on opposite sides of the world, Sandro Kopp‘s Skype paintings are a natural progression for the young portrait artist. As a half Kiwi, half German, Kopp—who currently lives in the Scottish Highlands—is no stranger to the nomadic lifestyle that Skype enables, telling us he regularly uses it keep up with friends and family. One person Kopp frequently speaks to is his pal Waris Ahluwalia, who is the subject of numerous paintings and the catalyst for this tech-inspired concept, which will soon be on view at NYC’s Lehmann Maupin gallery in a week-long solo exhibit called “There You Are.”
With Ahluwalia as his sitter, Kopp began his “experiment” of painting from Skype video sessions. A few days after its completion, he explains, he kept noticing it out of the corner of his eye and started thinking more seriously about the concept. Kopp prefers the emotional connection and fodder for real observation a live model gives over working from a photograph. The personal engagement Skype provides, combined with the screen’s two dimensional plane, is for him a new hybrid format.
The Skype sessions also reflect Kopp’s personal philosophy that art should develop from doing. The industrious artist paints nearly everyday—he told us of one instance in which he did four paintings in one day—and this routine practice allows him to explore new ideas, saying “there a million ways to do a painting.”
The series has evolved since its organically-formed inception, and the forthcoming exhibition will not only include new works, but will also feature video installations that depict various moments during the sitting. Like his self portrait series called “The New Me,” Kopp continues to explore the subject of realism with a sequence of paintings that depict his friend Dave Le Fleming. Each painted on separate occasions, the portraits reflect both his ability as an artist to remain consistent through repetition as well as the inconsistencies in observation on any given day.
Kopp’s cast of models include some of popular culture’s most famous subjects, including Michael Stipe, Tilda Swinton, John C. Reily, Ryan McGinley and more. Those wondering how he finds himself in such good company need to look no further than the artist himself. Beyond the opportunity to sit for the talented painter, they are undoubtedly taken by his incredibly thoughtful, humble and considerate nature. Kopp is very aware of the time they give him, and says his fast-paced style—one where he often completes the small portraits in just a few hours—is both an understanding of the situation and his personal technique. “I would like to slow down in the future though,” he says.
The fourth solo show of his Skype portraits, Kopp’s mind is already wheeling with his approach for the fifth show, which will see the series unfold and progress in another creative direction. “There You Are” opens 25 January and runs through 4 February 2012 at Lehmann Maupin Gallery.
Anyone going along to Pentagram partner Angus Hyland’s Typographic Circle talk tonight can look forward to an added bonus: Hyland will be giving away some rather beautiful posters designed for the occasion
Hyland’s talk is in two parts, bringing together two major projects. One is Symbol, the book on trademarks that he produced with writer Steven Bateman (see our piece here).
Symbol features an asterisk on the cover
which Hyland has worked into the design of the posters for his talk. The posters also feature different abstract marks – a reference to the other topic he will discuss, his long-running relationship with Cass Art for whom he acts as brand consultant.
Cass recently brought out a range of own-brand products, designed by Hyland and his team at Pentagram (we discussed the work Hyland has done for Cass in our July 11 issue). The packaging of the products feature abstract marks made using the kind of materials related to the product – watercolours for the watercolour pad, charcoal for cartridge paper etc
The marks on the posters for Hyland’s talk reference these designs.
The four posters will be given away at Hyland’s talk. Unfortunately it’s now sold out. Details of future Typographic Circle talks here
If you only read CR online, you’re missing out. The January issue of Creative Review is a music special with features on festivals, the future of the music video and much much more. Plus it comes with its very own soundtrack for you to listen to while reading the magazine.
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Aliki Braine, Draw Me A Tree Black Out, 2006
At a time when many are mourning the demise of film and traditional photography techniques, an exhibition at this year’s London Art Fair, Photo50, introduces a group of artists who are experimenting with analogue in new and unexpected ways…
Curated by Sue Steward, the exhibition brings together the work of 12 photographers who are all exploring different ways to present images, and who use playful techniques to achieve surprising results.
A number of them use photographic images as a starting point to create original pieces of art. “Many images in this exhibition were produced through analogue processes and reveal surprising similarities with their digital counterparts; many mingle the two,” says Steward in the essay accompanying the show. “There is also the changing assumption that the photographic print is the finished object, the ultimate goal of production. But it is no longer necessarily the end-point; the printed paper is enduring transformation, partially destroyed or decorated, re-built to take on a new dimension – and becoming an original artwork in its own right.”
Julie Cockburn, Yellow Dress, 2011
Julie Cockburn, The Physicist, 2011
For example, Julie Cockburn, whose work is shown above, uses found photographs as a basis for her artworks, but then defaces and redesigns them by cutting, sewing or adding objects until a new image is formed.
Aliki Braine, Circle/Square, 2011
Aliki Braine, above and top, manipulates the photographic negatives to achieve different effects. “In an attempt at breaking the illusion of the photographic medium, I have been hole-punching negatives and sticking stickers on negatives, pushing photography towards abstraction,” she says.
Walter Hugo, Muse, 2011
Walter Hugo, Developing Shadows No. 5, 2011
Walter Hugo takes this experimentation even further, using traditional photographic techniques in wild and innovative ways to create exciting contemporary imagery. Hugo has printed onto lifesize glass plates and even directly onto walls by using photographic emulsion paint, creating ‘photographic frescoes’.
Jorma Puranen, Icy Prospects 46
Esther Teichmann, Untitled, 2009
Other artworks at Photo50 feature paint directly applied to the surface of photographs. As Steward writes in the essay, this is not a new idea, though the artists are still finding ways to innovate. “The technique developed by the celebrated Finnish professor of photography at Helsinki University, Jorma Puranen, is utterly original,” she says. “He takes a large wooden board which he coats with black glossy alkyd paint. He leaves the board in the arctic landscape, letting the elements work on the paint, disfiguring the surface. He then returns to photograph the relected landscape and the result is a unique ‘photograph painting’.”
Noemi Goudal, Haven Her Body Was (Warren), 2011
Lesley Parkinson, Bell Jar Zebra
Photo50 is on show at the London Art Fair in Islington until Sunday, and as so many of these works feature unique techniques and materials I would strongly recommend a trip down there to see them in the flesh. More info on the show (and the fair in general) is available here.
If you only read CR online, you’re missing out. The January issue of Creative Review is a music special with features on festivals, the future of the music video and much much more. Plus it comes with its very own soundtrack for you to listen to while reading the magazine.
If you would like to buy this issue and are based in the UK,you can search for your nearest stockist here. Based outside the UK? Simply call +44(0)207 292 3703 to find your nearest stockist. Better yet, subscribe to CR for a year here and save yourself almost 30% on the printed magazine.
Try to look something up on Wikipedia today and you will be met with a black page. The English language version of the site is down in protest over SOPA and PIPA, two pieces of legislation that it believes will “fatally damage the free and open internet”. As both creators and consumers of content, where do CR readers stand on the issue of copyright online?
SOPA (Stop Online Privacy Act) and PIPA (Protect IP Act) are two pieces of legislation currently before the US House of Representatives and US Senate. Their aim is to restrict the unauthorised downloading, distribution and use of copyrighted material online. Opponents have accused the measures of being heavy-handed, ineffective and that they will severely inhibit people’s access to online information. Some of the more alarmist critics of the bills have accused them of effectively ‘killing’ the internet as we know it.
Anti-PIPA/SOPA video from Fight for the Future
These are long and complex pieces of legislation (Mashable has a pretty good walk through here. Try this Guardian piece too). The issues of particular interest to CR readers are those involving sites that allow contributors to upload content (such as our Feed section, for example, YouTube or Behance) and those that collate large amounts of imagery (Fffound, for example, or But Does it Float). Under the original SOPA legislation, it has been suggested that sites could potentially be shut down on receipt of a complaint about a piece of content from a copyright holder. So, potentially, if a student uploads a piece of work to a portfolio site which includes perhaps a logo that they do not have permission to use, that site could be shut down while the complaint goes through the US legal system. Sites would even be liable for content on other sites that they merely link to.
Our view is that SOPA, in its original form at least, appears to be a sledgehammer to crack a nut: an exercise in corporate power in protection of corporate interest. It is impractical and iniquitous. Currently, it seems unlikely to pass into law without at least some major amendments. However, this issue is now ‘live’ and is not going to go away – there are too many powerful interests involved for that to happen.
So perhaps the time has come to ask what we in the creative community want from the internet.
Wired registers its opposition to SOPA with this ‘redacted’ homepage
CR readers create content. If you are a photographer, for example, you will want protection from those who might use your pictures without your permission. If you licence your work through a photolibrary, you will expect that photolibrary to pursue anyone using your images without paying for them. But you may also recorgnise that having your work featured on other sites that have a creative industry readership (even if used without permission) may well bring great opportunities that otherwise you would not enjoy.
And CR readers also consume content. One of the great phenomena of the internet has been the explosion of blogs featuring imagery and videos. There are a huge number of inspirational sites offering, for example, vintage ads, found photography, old posters and so on. We all enjoy these sites but how many have sought permission from a copyright holder before posting an image or a film? How many have paid to use content? Should they?
We have just finished our February issue. We’ve chosen our 20 favourite slogans, each one illustrated with archive images of the slogan in use. One of the slogans we chose is Beanz Meanz Heinz. To illustrate that piece we had to pay the History of Advertising Trust over £100 to use each image. That money goes to fund the work of the Trust – without those fees, it couldn’t exist. If sites like Fffound had to pay similar fees for each image used, they couldn’t exist either.
There’s no doubt that unauthorised copying, downloading and distribution is a problem for anyone who wants to make a living by creating content. How would you feel, for example, if you had invested two years of your life in writing a book which you hoped to sell online only to find that it had been made available to download for free elsewhere? But the counter argument is that you if make your book available for free, millions more may read it and the fame and opportunities that this exposure then brings you is worth far more than you would have made by selling the book in the first place.
Those familiar with Creative Commons will know that there have already been considerable efforts made towards a reasonable compromise. People want protection for their work, but they also recognise that there are benefits in having their work seen widely and that there is a great difference between, say, a non-profit site like Fffound posting an image and a corporation using that same image in an advert without permission. SOPA, its critics argue, would not make such distinctions.
This is a massively complex area and we don’t pretend to have the answers. What we’d like to use this space for is to ask readers where you stand on these issues:
As a creator of content, are you happy to see sites using content without permission?
Do the benefits of the current ‘free’ model outweigh the drawbacks?
Is current copyright law sufficient to protect you?
How can livelihoods be protected without destroying the free flow of information?
Let us know your views. We’ll get involved below the line to respond to particular points
Prada has teamed with two of its favorite collaborators to present an ephemeral museum experience in Paris. Puckish Italian artist Francesco Vezzoli and AMO, the architectural think tank-cum-consulting arm of Rem Koolhaas‘s OMA, are the minds behind “24 h Museum,” which opens Tuesday, January 24—and closes 1,440 minutes later. The project will transiently commandeer the Palais d’Iéna. Designed by Auguste Perret between 1936 and 1946, it currently houses the French Conseil Économique, Social, et Environnemental. What Vezzoli and AMO have in store for the historic property remains anyone’s guess, but they’ve picked a fetching Pepto-Bismol pink for the identity of their pop-up “architectural intervention,” which now has official Facebook and Twitter accounts. According to Vezzoli, who has worked with everyone from Gore Vidal to Lady Gaga on a string of genre-straddling meta-spectacles, the art in 24 h Museum “will dangerously resemble advertising tools.” Meanwhile, AMO is fresh from another Prada project. The OMA offshoot designed the palatial-mod sets for the house’s fall 2012 menswear show, held Sunday in Milan. Audience members surrounded a grand expanse of carpeting, a woolly collage of red, white, and black piles dotted with geometric flower shapes. Above them hung a half dozen massive chandeliers, illuminated by 300 neon tubes.
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Two young curators contemplate deception through a range of works that question reality
In magic, a blind cut refers to when the illusionist appears to shuffle a deck of cards, but in reality, hasn’t actually shuffled them at all. This sleight-of-hand trick is also the befitting title of the forthcoming exhibition at NYC’s
Marlborough Chelsea gallery, a group show curated by Jonah Freeman and Vera Neykov. Tapping revered Belgian artist Marcel Broodthaers as its thematic anchor, “Blind Cut” explores the concept of deception in regards to identity, authenticity and originality, through his works and others’, each questioning what is real and what is fictional.
After living for decades as a struggling poet, in 1964 Broodthaers set in plaster 50 copies of a compilation of his poems entitled Pense-Bête, and put them on display at Galerie St Laurent. In the catalog for the exhibition, the Surrealist poet boldly stated, “I, too, wondered if I couldn’t sell something and succeed in life…The idea of inventing something insincere finally crossed my mind and I set to work at once.”
Re-framing his poetry as tangible works of art, Broodthaers continued to explore word-object relationships and the meaning of language throughout his short-lived career, often recontextualizing the work of his mentor, Réné Magritte. His diverse oeuvre now spans paintings, sculptural installations, photogrpahy, books and film, but with each medium he muddled the truth in order to expose the truth. “Blind Cut” also looks to another quotation by Broodthaers, which states “A fiction allows us to grasp reality and at the same time that which is veiled by reality.”
A contemporary reflection of this ideology may be found in the work of sculptor
Robert Lazzarini, who poetically distorts the familiar by toying with perception. Interested in phenomenology, Lazzarini uses real materials to create fabricated objects which sharply remind the viewer of their mundane existence.
Showing other introspective artists such as Matt Johnson, Anne Collier, Ed Ruscha and more—as well as works from influential movements like Dada and the radical architecture agency Superstudio—”Blind Cut” looks at a perpetually relevant topic with fresh eyes. In the digital age—one where Twitter verification is a measure of authenticity and bloggers post images without any concern for copyright—questions about identity, originality and reality feel like a natural part of conversation, but Freeman and Neykov have compiled a range of works that make the audience reconsider what they see.
“Blind Cut” opens 19 January 2012 at Marlborough Chelsea and runs through 18 February 2012.
More images of work from the show after the jump
The Random Project 2012 invites everyone to design a postcard relating to an aspect of London, the Olympics or 2012. Each participant will be sent a randomly generated word which they have to respond to
The Random Project first ran as part of the London Design Festival where everyone from schoolchildren to professional designers such as Ed Fella (image above) responded to various random words. Joint founder Sarah Hyndman has brought the idea back for this Olympic year. The aim is to produce a “collection of postcards which are created by everybody. These will celebrate the spirit of London 2012 and enable us to visually document the shared cultural experience as the year unfolds – we will all become the artists-in-residence for a historic year.”
Pat Morrissey’s response to the word ‘box’ from the first Random Project
All you have to do to take part is email word@random-project.co.uk with a number between 1 and 100. You will be sent your word along with full instructions.
All submitted cards will be on view in the Random Project 2012 virtual gallery which will open on February 1, 2012. A physical exhibition will be planned later in the year.
Go here for more details
‘Jake’s’ idea of ‘Fun’ from the first project
If you only read CR online, you’re missing out. The January issue of Creative Review is a music special with features on festivals, the future of the music video and much much more. Plus it comes with its very own soundtrack for you to listen to while reading the magazine.
If you would like to buy this issue and are based in the UK,you can search for your nearest stockist here. Based outside the UK? Simply call +44(0)207 292 3703 to find your nearest stockist. Better yet, subscribe to CR for a year here and save yourself almost 30% on the printed magazine.
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