At Paris’ Slick Art Fair in October, CH discovered the work of several young galleries that reflect the ever-evolving nature of the industry. Beyond the traditional role of representing artists, their more proactive approach leads them…
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It’s Vivian Maier‘s moment. The enigmatic Chicago nanny-cum-master street photographer died in 2009 at the age of 87, leaving behind more than 100,000 photographs from a lifetime of shooting. Now her life and work are the subject of a cultural triple play, with an exhibition on view through December 14 at New York’s Howard Greenberg gallery that coincides with the publication of Vivian Maier: Self-Portraits (powerHouse), setting the stage for the November 17 U.S. premiere of Finding Vivian Maier at the DOC NYC film festival.
The documentary, directed and produced by John Maloof and Charlie Siskel (Bowling for Columbine, Religulous) with the help of Kickstarter backers, unravels the life of the now famous Maier as well as Maloof’s journey to piece together her past. Its world premiere at the Toronto Film Festival generated not only buzz but a deal with Killer Films to develop the documentary into a narrative feature (we’re thinking Frances McDormand would make a great Viv).
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In Travis Louie’s imaginary world strange creatures and humans exist side-by-side—and are even sometimes morphed together into one. While much of his work offers a fictional recreation of the
Disney’s fantasy movie “Fantasia” gave us all false hope when it comes to the magic behind composing music (and hanging out in forests in general). But we can thank artist Robert Seidel for creating the grown-up, “Fantasia”-esque installation, “Advection”—a perfect title, considering the word by definition describes “the transfer of heat or matter by the flow of a fluid, esp. horizontally in the atmosphere or the sea.” The installation is a two-channel video projection displayed on a water fountain and pond in Bad Rothenfelde, Germany.
The reflections from the resting water and the shadows from passersby add an additional layer of interactive visuals past the planned digital image. The end product is an ethereal mix of music, digital projection art and fantasy. Check out the video below to get a better feel for the project:
Though a global front-runner in all matters of design and culture, New York City has missed out on a lot of America’s heavy car culture history and is regrettably unfit for…
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It has been frequently noted that there’s magic in miniature gifts. It’s no different with New York-based artist David Hochbaum’s “Village in a Can.” A handmade, ornately painted collection of 11 pieces per can, all are…
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An abridged history of Industry City, f.k.a. Bush Terminal, via Wikipedia: Just as New Amsterdam became New York in the late 17th Century, so too was Jan Bosch’s surname anglicized to Bush (no relation to the former presidents) when he arrived from the Netherlands; six generations later, Irving T. Bush invested a sizable inheritance in building a shipping terminal in Sunset Park. The year was 1895, just three years before Brooklyn became part of New York City, when the ambitious plan was dismissed as “Bush’s Folly” (again, no relation to W. or H.W.), but Irv quickly made good on his promise of inexpensive shipping and storage compared to that of Manhattan. He employed a ruse—something to do with bales of hay—to convince intransigent transportation authorities to ship to Brooklyn by rail and, by 1910, steamship as well, despite what a scanned encyclopedia article calls “a peculiar prejudice of New Yorkers against any possible business facilities in Brooklyn.”
The federal government took to Bush Terminal during both World Wars, but the facilities plateaued and eventually declined in the second half of the century as shipping migrated across the harbor to New Jersey. (The 50’s saw the rise of Topps, who produced baseball cards at the Terminal, as well as “what might have been the largest explosion in New York City History.”) Industry City, as it was renamed in the 80’s, has been relatively quiet (but not dormant) for the past three decades; recent years have seen increased interest from both the City and developers, most notably Jamestown Properties, who own Chelsea Market. Along with a handful of other stakeholders, they’re looking to revitalize the sprawling real estate while remaining true to its manufacturing legacy: “Not only was Bush Terminal one of the first and largest integrated cargo and manufacturing sites in the world; it also served as a model for other industrial parks and offered employment to thousands, and is the home of many businesses today.”
So that’s the short version of Industry City’s rich 100+ year history (it also involves lots of bananas—Bush imported them to promote his piers) and a brief introduction to a recent pop-up event that took place there over the past two weekends. We announced Factory Floor with measured optimism about both the venue and the event itself, and it was a success by most accounts. Each of the exhibitor/vendors I spoke to provided a slightly different cocktail, so to speak, of feedback (including the need for more cocktails, or at least beer during the final hours of the show last weekend): Some took the event as a testing ground for potential projects for NYCxDesign come next spring, while others treated it as a deadline to complete works-in-progress.
Images of fantasy goddesses are hidden in brightly-coloured graphics on the walls, floor and ceiling of this exhibition space in Reykjavík, Iceland (+ slideshow).
Berlin-based Icelandic graphic designer Siggi Eggertsson created a set of eight posters that fit together in different ways to form a seamless, patterned wallpaper across the interior of Spark Design Space.
Eggertsson used a mixture of curved and straight lines to generate the complex pattern. “My work is all based on grids and construction of geometric shapes,” Eggertsson told Dezeen.
“I normally work with warmer and less saturated colours, but for this exhibition I wanted to create something overly colourful, so I decided to use only pure CMYK colour blends,” he said.
On closer inspection, the graphics merge together to form images of women or ‘skvís’, the Icelandic term for a young, pretty and smart girl.
“They are sort of imaginary muses, said Eggertsson. “I knew I wanted to make a system of modular posters that could connect to each other in numerous ways to create a seamless pattern, but didn’t really know what to draw.”
“At first I thought about creating abstract patterns but then realised it would be more fun to draw pretty girls,” he added.
The exhibition continues until 16 November.
Here’s some information from the exhibition organisers:
SKVÍS at Spark Design Space
There is a special relationship between mind, sight, fine muscular movements and hands which, together with its reflection in the virtual world of digital technology, has given birth to a new species of of homo sapiens. The American science fiction writer William Gibson wanted to refer to this new-born species as “Cyber-punks”.
That was 30 years ago. This species has from early childhood had an almost unbreakable bond with a keyboard, a computer screen and a mouse. The infinite virtual world seems to be a dwelling place, an extension, and a reflection of their feelings and thoughts. When this proximity reaches a certain stage they become one and the same, the virtual world and the species.
Siggi Eggertsson is an artist of this new world. He was born in 1984 and will turn 30 next year. His life has been a constant journey in the virtual world almost since birth. He has never paused to consider the ordinary. He dives deep into the basic squares which the visual presentation of the screenshot and the printed matter are based on.
If patterns were a pure geometry without reference to the biological world such as flora or fauna, they were arabic or eastern. Patterns with a reference to flora or fauna, plants and birds, originated in Rome. A combination of the abstract and the real are found in Indian or Chinese mandalas.
The methodology is in fact the same. Squares based on horizontal and vertical lines. The density of the squares, or the resolution as we now call it, is the only thing that decides whether we can read into the pattern a representation of something real. The highest resolution digital photograph can be blown up until it ends up like squares on a ruled page without a reference to anything real. Siggi also uses a quarter of a circle pasted into a square – that is what his personal style is based on.
The exhibition consists of eight modular posters. The nature of the pattern is almost always spiritual – a suggestion of divine beauty. This beauty of infinity is always present in Siggi’s work. This may be related to methods for expanding ones mind, whether by use of substances or meditation.
That world has goddesses floating about, as can be seen in Siggi Eggertsson’s representation. He invites us on a guided journey as someone who has seen a world none of us have seen. This is a journey into infinity where we fleetingly catch a glimpse of the goddesses and make the briefest of eye contact.
The post SKVÍS by Siggi Eggertsson
at Spark Design Space appeared first on Dezeen.
The 2013 Foire Internationale d’Art Contemporain (FIAC) party starts right at the entrance. Immediately, visitors are faced with the impressive and imposing, nearly seven meters tall “Iron tree,” by controversial Chinese artist Ai Weiwei. Pursuing…
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Dutch Design Week 2013: from synthetic biology to 3D printing, technologies that could signal the future of fashion are demonstrated in garments and accessories at an exhibition in Eindhoven (+ slideshow).
For the Modebelofte 2013 Future Fashions exhibition, Eindhoven fashion store You Are Here and Amsterdam agency Glamcult Studio collaborated to select young fashion designers who have worked with technologists, to create experimental new materials or recycle old ones.
“We tried to make it about technology and innovation, as well as handcraft,” curator Ellen Albers of You Are Here told Dezeen.
The range of projects on display was curated to show how different technologies can be applied to fashion design and textiles, plus adapted for other applications.
“[The exhibition is] an examination of what these new techniques can do for us, and how can we bring designers and companies together so that they can use the techniques for other kinds of things,” said Albers.
Items on displays are split into two groups, one on each floor of a dilapidated former fire commander’s house.
The ground floor contains pieces categorised as Revolutionary Innovations, which were created using processes such as 3D printing, laser cutting and moulding techniques.
These include body adornments based on exaggerated animal skeletons moulded from fibreglass, resin and silcone by Ana Rajcevic.
Cat Potter used 3D scanning technology to accurately map the contours of the foot to create the shape of the inners for her chunky wooden shoes, which clamp around the wearer’s feet.
Royal College of Art graduate Maiko Takeda’s prickly accessories made from hundreds of acrylic spikes are shown along with her classmate Xiao Li’s plump pastel silicone garments moulded from knitwear.
On the first floor, the Hyper Crafts section displays exaggerated uses of traditional techniques such as pleating, knitting, embroidery and woodworking.
Jaimee McKenna’s fully pleated Yves Klein blue garments and South Korean designer Minju Kim’s clothes that feature melted, knotted and twisted rubber demonstrate these.
Barkfur, a synthetically-created biomaterial, is used by Danish designer Laerke Hooge Andersen to suggest how we could grow clothing directly onto the body in the future.
All the designers graduated in the last five years from institutions across Europe including the Royal College of Art and Central Saint Martins in London, the Royal Academy of Fine Arts in Antwerp and the Royal Academy of Art in The Hague.
This year’s Dutch Design Week also featured a collection of heavy-duty garments made from tarpaulin and an exhibition of African-inspired textile prints.
The top prize at the Dutch Design Awards 2013 was awarded to Iris van Herpen’s Voltage fashion collection, which includes 3D-printed garments. Future Fashions and Dutch Design Week continue until 27 October.
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and Glamcult Studio appeared first on Dezeen.
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