Le motion designer Dilshan Arukatti basé à Paris nous montre tout son talent dans cette vidéo réalisée pour The Bullit Agency, spécialisée dans le booking de DJs reconnus. Mettant en scène le rythme de l’espace-temps sur notre planète, la vidéo est à découvrir dans la suite de l’article.
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The world’s most talented graphic designers battle it out live to win epic prizes
The annual Cut & Paste digital design tournament, back for its sixth year, is bigger than ever with 30 reigning champs from ten cities around the world converging on NYC to face-off head-to-head.
Under the judge’s watchful eyes (culled from the design community, members include influential figures including graphic artist Jon Burgerman and Dave Chau of Big Spaceship), each competitor will showcase their design prowess in this final test on stage under unnerving conditions. Every click and tap from the designer’s workstations will be projected in real-time on large-scale displays for the audience to view during the live performance, taking place this Saturday, 16 April 2011.
On top of bragging rights, this year three amazing prizes are on the line. Nooka will develop a new watch produced in limited quantity in collaboration with the champion of the 2D Design competition. The grand prize in 3D will earn a “designer in residence” at leading 3D printer Shapeways, where they will be mentored on design and prototyping as they prepare their new creation for market. For the crowned champion of Motion Design, Converse will award the winner the opportunity to collaborate on a special motion design project.
Doors open at 7pm at Webster Hall in NYC. Tickets for the Cut & Paste Global Championship sell online now for $15.
The world’s only real-time architecture competition improves urban life
Swinging through NYC’s Center for Architecture this evening, the 72 Hour Urban Action USA roadshow will hold a presentation going over last year’s competition held in the city of Bat-Yam, just south of Tel Aviv-Jaffa.
The 72 Hour Urban Action event is an international rapid architecture and design festival held every two years. Defined by a lack of time, space and funds, the efforts are directed to address the needs of the local community.
Now gearing up for its second edition, the competition brings 120 architects, students, designers, artists, and craftsman together from all over the world to form 10 teams. Each team has three days and three nights to design and build a project to address their randomly assigned, individual mission. As part of the festival, the goal is that finished projects remain a part of their surrounding urban community long after the competition ends.
The USA roadshow is ongoing throughout April 2011 with stops at Harvard University in Massachusetts and four more in California. For more information on the world’s first real-time architecture competition click here.
From post-apocalyptic imagery to pop culture references, two painters explore a single theme
When close friends Casey Diebold and Adam Devarney both graduated from Pratt University their journeys as artists naturally took them to very different places. Devarney returned to the serenity of his native Burlington, VT, while Diebold stayed in Brooklyn to work as a commercial storyboard artist. Their diverging paths have finally crossed again in the form of “Godspeed,” a collaborative exhibition opening 9 April 2010 at NYC’s Sacred Gallery.
The loose concept comes from Devarney’s suggestion of the phrase “God Speed”—a term that allows for their their work to be comfortably contained under one main theme, as well as individual interpretations. While Diebold played off the term more literally, depicting ungodly speeds and high-powered action, Devarney saw “Godspeed” as the loose English translation of the French salutation, bon voyage.
Heavily influenced by skateboard culture and ’80s illustration, Devarney’s work mixes mediums, styles and aesthetics. “I am excited by the idea of taking things out of context and re-purposing them, the chemistry interests me,” he explains. Working with wood panels, Devarney explores voyaging characters on the brink of self-destruction. His paintings follow the “vagabonds of the great beyond,” who are fighting the inertia of their movement.
The past might inform the resulting anachronistic portraits, but they’re firmly in the future. Delvarney says, “my work in this show comes from a soulful place. I am exploring characters, weary and worn down, voyagers who have been pushed to the limit. That is something everyone can relate to.” While Devarney’s stoic aviators put the viewer on edge, Diebold captures cinematic realism in incredible detail at frightening speeds.
Diebold creates surreal graphics with dizzying movement and beautiful texture, an approach he says is informed by his “fascination with future dystopian culture and science fiction like ‘Logan’s Run,’ or fictional gang movies like ‘The Warriors.'” His love of films shows in the multiple layers of allusion in his work, from Alex Cox
to George Miller. His choice to depict the action at a particular moment in the narrative forces viewers to think of the infinite possibilities, creating a dreamlike effect.
“Godspeed” opens at Sacred Gallery this Saturday, 9 April 2010, and runs through 30 April 2010.
Life among swine in our interview with the artist Miru Kim on the eve of her solo show
Photographer Miru Kim‘s newest exhibition “The Pig That Therefore I Am” opens next week at NYC’s Doosan Gallery. For her latest series, the Korean-born, New York-based artist juxtaposes her own nude body with those of about 300 pigs, exploring the spaces and similarities between humans and animals. Other themes take on the importance of touch in our development and understanding of the world—both the literal and metaphorical connective capabilities of skin—the evolution of pigs’ roles, and our relationship to them culturally, particularly since the Industrial Revolution.
By placing herself in their grunting midst, she also examines her existence as an artist—one who wishes to offer up her own skin for others to “see, hear and feel through art, music and poetry. I put my flayed skin on display in the form of a photo.”
Kim first came into the spotlight a few years ago with her Naked City Spleen series, which stunningly contrasted her nude figure with the grandness of urban ruins and industrial icons around the globe, such as atop New York’s Washington Bridge, inside the crumbling Detroit theater, in the catacombs in France and more.
Her latest series is, according to Kim, a return to her artistic roots. We had the chance to speak with Kim on the eve of her much-anticipated show.
I’ve been interested in pigs since college when I was a premedical student—we had to dissect a fetal pig to learn about human anatomy. It came to me as a shock that pigs were so physically similar to humans. When I decided to go to art school instead of medical school, I started making paintings of animals, and I found photos of industrial hog farms. Until then I had no idea where most pork comes from. It came as a shock that these huge industrial farms are so hidden and forgotten from people’s daily lives while they are regularly ingesting these animal products.
Then I had an assignment in graduate school to make Photoshop montages, so I experimented with cutting out images of factory farm pigs and pasting them onto urban environments, especially subway tunnels. Then I thought, why not put a live figure instead of making fake images? That’s when I started photographing myself in tunnels and abandoned factories, which grew into Naked City Spleen. After this series was established, I decided to go back to pigs, and since I was originally a “stand-in” for an image of a pig, I decided to photograph myself and pigs.
They were upstate New York and Iowa and Missouri. I cannot talk about exact locations because of political and legal reasons. I can say that it was close to impossible to get access to these places. This project really taught me first hand, ‘If you are really determined, everything is possible.’ It was that difficult. Even just getting the addresses of farms was difficult. I received letters from the department of agriculture in some states saying that I could be a threat to national security, and they could not disclose any information. The pork producer associations were very defensive as well. They did not respond well to my emails and letters and calls. After two months of constant requests, I finally got in touch with some farms and managed to shoot last year in the spring.
Pig eyes are remarkable. I find them more human-like than domestic pets like cats and dogs. Eye contact with them was shocking and mysterious, because their looks … were so strange and yet so familiar. The absence of human language between the pig’s gaze and mine became almost insignificant when I spent hours in the pens naked. I started to distinguish some different grunts of theirs and feel their emotions on a very physical level because I had temporarily let my guard down as a civilized and rational human being.
There would always be two or three (or more) curious pigs in the group surrounding me, and they would sometimes bite very hard. No pig had the intention of hurting me however. I could tell because I’ve seen pigs fight and I know they could have killed me in seconds if they wanted to. When they were nibbling on me too much or biting too hard, I would turn to them and express my annoyance just like another pig would, and they shrink back. It was very surprising that a 300-pound animal with so much more strength then I would shrink back at my grunt and hand gestures. With some pigs I had face-to-face interactions that were very gentle. It was apparent that they could somehow read my emotions as well, because the calmer I was the gentler the pigs were.
They saw them in my camera. One farmer said that he doesn’t understand art these days and that someone he knew in art school started shooting photos of his own excrement in the toilet, which he thought was ridiculous. But on the other hand, he said, what I was doing had beauty in it and that he could understand some artistic value although he couldn’t tell exactly what it was.
This series is more about body and the philosophical idea of what it is to be human in relation to animals. In my previous series, the human figure represents a fictional character of a poetic narrative, so the figure is more prominent and singular. In the pig series, the human figure becomes immersed amongst other beings, and the performance aspect becomes even more important. “I” in the title “The Pig That Therefore I Am” not only represents “the artist,” but also the philosophical idea of the human being in a larger sense. For me, it’s very important to question the dualistic thinking that comes from Descartes’ infamous cogito ergo sum. I say that it’s not the thinking and reasoning that makes “I” exist. My body is full of life force, or qi, and I could feel the existence of myself more then ever when I lay next to these pigs and mingled with them with my skin.
With the new series, I’m tending more towards philosophical ideas and I feel that this is only the beginning in my artistic career. I want to do more performance work and experiment with other media like video, painting, and installation.
“The Pig That Therefore I Am” opens 24 March and runs through 23 April 2010 at the Doosan Gallery NYC.
The “behind the scenes” aesthetic of the Mondrian SoHo’s Mister H lounge reveals a hot spot for locally-sourced design
In sharp contrast to the Mondrian SoHo‘s pronounced “La Belle et la Bête” theme is the hotel’s swanky bar and lounge, Mister H. While the rest of the Benjamin Noriega Ortiz-designed, 270-room hotel lends itself to French trim, Mister H has a decidedly Chinatown glow, with a “behind the scenes” ambiance conceived by Armin Amiri—the man behind exclusive NYC hot spots like Socialista and Bungalow 8.
The buzz surrounding Mister H would imply it’s merely the latest place for models and celebs to stylishly sip a cocktail, but design nerds and die-hard New Yorkers also have reason to pay visit. Director of Design for Morgans Hotel Group, Heather Maloney explains the bar is actually a display of local creativity, with most of the materials and props sourced from around New York, beginning with the “this is not a brothel” neon sign. Created by Chinatown lighting specialist Let There Be Neon, the sign is a recreation of a small metal plaque adorning the exterior of a now-defunct brothel in the neighborhood. Maloney says she found the image while doing a Google search for things relating to brothels, and it spawned the bar’s overall design aesthetic.
The local groove continues throughout the petite space, with a teal and white checkerboard floor, a DJ booth and the front of the bar all hand painted by F.W. Schmitz out of Long Island. Large, second-hand authentic Persian rugs were obtained from Paul De Beer, a retired Dutch engineer living on the Upper East Side. Reportedly flying to Iran twice a year to find the vintage carpets, De Beer sells his stock on Craiglist.
The design team also commissioned original paintings by NYC-based artist Gregory de la Haba, which combine Chinese astrology’s “Year of the Rabbit” with an “Alice In Wonderland” whimsy.
Hanging behind the gauze curtains on the wall opposing the bar is another Let There Be Neon sign, written in Chinese and translating to “Happy Drunk Love.” Maloney explains they chose these three words because they wanted to maintain a relaxed atmosphere but also “wanted to say something upbeat that reflected that Chinatown flavor.”
Hanging in each of the two bathrooms are gorgeous chandeliers Maloney found on Etsy, which are handcrafted by Studio Jota out of the Bronx. She says she chose them for their muted tones, explaining it’s hard to find a chandelier that doesn’t use a lot crystal. The beaded fixtures illuminate the intricately patterned, hand-screened wallpaper by Brooklyn’s Flavor Paper studio. The two styles—”Sassy Toile” and “Celestial Dragon”—are in custom colors chosen by the collaborative Mister H design team.
Behind a beaded curtain by Spanish brand Daisy Cake is a tucked away (and most likely VIP) area, that hosts a long cushioned couch and walls bedecked with original photos of classic film noir stars, sourced around eBay and housed in an assortment of random frames.
The lounge is accented by shiny red lanterns designed by NYC-based couture lighting specialist Abyu, which mimic the shape of the quintessential hat worn by working men in China. Adding to the “love nest” feeling is a beautiful bird cage from Barreveld International, an upstate New York outfit that sells vintage pieces to the retail industry.
While many establishments keep their sources a secret, Maloney explains the Morgans Hotel Group likes to promote and show appreciation for people who do their job well and deserve recognition. Mister H officially opens today, and will will be open regularly Tuesday through Saturday from 10pm to 4am.
Rooms at the new Mondrian SoHo hotel start at $309 per night for a Superior room and can be booked online. See more images of Mister H in the gallery below.
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Artist Michael Riedel’s first introspective show reinterprets source code as textual printed matter
A man seemingly obsessed with extraction, abstraction and repetition, Michael Riedel takes printed matter and toys with it until most sense is lost. With an almost “Matrix” style of approach, Riedel uses text to “write with writing,” a technique in which he excerpts the works of others in order to make his own statement. His current work—on display at the David Zwirner gallery in an exhibition titled “The Quick Brown Fox Jumps Over The Lazy Dog“—finally sees Riedel use himself as his subject.
Culling HTML code from websites that feature Riedel (mostly MoMA and David Zwirner), the Frankfurt-based artist created massive linear collages by copying and pasting the text in InDesign. By layering and turning the text, the arrangement appears nonsensical at first glance, but there is a clear pattern defined on each canvas. There is also seemingly a theme for each of the silk-screened “poster paintings,” with individual keyboard commands like “click,” “print,” “color” and “alt” highlighted in bold type.
Hung against a wallpaper backdrop of even more black-and-white code, the canvases are accented by colorful circles—a new foray for Riedel. The color not only helps to balance out the web of text, but with their geometric pie-like structure they also seem like the spinning beach ball Mac users encounter when their computer is processing.
A pangram used to test typewriters and keyboards, here “The quick brown fox jumps over the lazy dog” underlines the detached relationship Riedel found between text, canvas, paper, and architecture.
The exhibition opens today and runs through 19 March 2011 at David Zwirner gallery, where he will also be signing his catalogs on 5 March 2011 from 4-6pm.
Suit shopping with Retna on the eve of his Hallelujah World Tour
Behind gate 37E on Washington Street lies a warehouse with a Buick Regal parked inside. Photographers are snapping away, laptops are out, and well-dressed critics buzz throughout the space. This was the scene when I visited “Breaking Bread,” the first stop on Retna’s three-continent-spanning Hallelujah Tour on the day before its opening.
Sponsored by VistaJet and Bombardier, the tour will see the L.A. graffiti legend spend the better part of the next year on the road, painting all original material in NYC, Hong Kong and London—and with a just-announced surprise show in Venice along the way. The series of shows comes on the heels of Retna’s successful solo show at L.A.’s New Image Art gallery, where powerhouse Museum of Contemporary Art director Jeffery Deitch compared Retna to Keith Haring, positioning it as “one of the most exciting exhibitions that I have seen this year.”
For someone arguably at the peak of his career, Retna speaks casually about the worldwide tour, describing how the origins of the show started with a studio visit from the concept’s impresarios Andy Valmorbida and Vlad Restoin Roitfeld. “I thought it was cool, I was down with the cities. Then the sponsors came in and they wanted to put the ad on the plane digitally. I was like, ‘Nah, if my work’s gonna be out there it’s gonna be real, I don’t photoshop shit. If you want my work on that plane it’s going to be one 100% real.’ So now they’re locking down some super hanger so I can paint in it.”
If this newfound big league is unexpected or overwhelming, Retna doesn’t show it. “You know that’s why I still listen to the same music as I did back then. I’m still that same kid trying to get up on walls chasing the dream. When I was young I didn’t know what it was, but now that I’m here I guess this is the dream, I’m living it now.” Just after Retna shares these insights, a scruffy group of men who could be Hell’s Angels approach us. “You really out did yourself this time bro, looks great.”
The man clamps my hand, “Haze, good to meet you. This is my girl Rosie.” As in Perez, and Haze himself is one of graffiti’s inventors. Our corner of the room starts to fill up with members of Retna’s MSK crew, making it feel like a celebration. And there’s a lot to celebrate, not only Retna but the culture he represents—a kid from the gang-infested streets of L.A. who desperately wanted to join a gang at 13 but was told to focus on art instead. “You know they didn’t do that for just anybody,” he recalls. “They told me you can chill with us, you can smoke with us, you can paint our walls, but you ain’t a gangbanger.”
Retna introduces me to Revok1, who was recently arrested in Australia in what was called “the vandal vacation.” Revok1 explains, “Something like 10,000 kids went out to Melbourne from all over the country when they heard what was going down. They painted like 70% of all of the trains. The mayor came out and declared a state of emergency and called it a disgrace.”
Retna asks if we should continue the interview at a bar so he can relax, but before we can decide where, two enthusiastic assistants corner us saying, “This dinner is a huge deal! It’s like $100,000 a plate, and they’re auctioning off your painting. Bill Clinton is going to be there.” Retna, seemingly unaffected, is more interested in rounding up his friends for a quiet night downtown somewhere. After some back and forth with the assistants, it’s decided that his presence is required as an ambassador of “street art” culture. This is his world now whether he likes it or not. “I’m not a street artist dude, I mean, they can’t do what we do. I’m a graf writer. I always have been. Graf writers were getting gallery shows since the ’80s. This isn’t new, they just like that tag because it’s safe.”
With no suit on hand for the black tie event, we begin shopping through Soho, punctuated by “Fear and Loathing” moments, like Retna walking around Hugo Boss shirtless. The manicured men standing at attention find his antics less than amusing, even scoffing at his lack of interest in their style.
With the same courage he showed when he faced jail time and the same unflagging desire to paint, Retna does it all for the culture now so warmly embraced by high society. Before he disappears into the crowds of Soho, he turns with eyes open hugging the sky, “not bad for a lil nigga from the hood!”
Kicking off the Hallelujah Tour, “Breaking Bread” opens 10 February 2011 and runs through 21 February 2011 before moving on to its next port.
Crossing Queensboro Bridge, lui è Matthew Mawson.
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A grassroots group show launches with orgasm drawings, partially-chewed crayons and other performances
Armed with an “if you build it they will come” attitude, psychologist Ilana Simons curated the upcoming group show at the Prince George Gallery with the vision of creating an “instant art collective.” In a similar vein to a pop-up shop, the exhibit is the upshot of quick thinking after seeing the space on her hunt for a place to hold a wedding reception. “When I stumbled upon the space and realized my friends and I could go in on it for gallery space, it just became a no-brainer.”
Showing alongside the New School professor, works spanning simple line drawings to paintings. The nine artists showing include David Pettibone (below left), a fellow at the New York Academy of Fine Art, Michael Alan (above left) whose chaotic visions of New York City create abstract fantasies in vibrant colorways and Jenny Keith (above right), who represents animal emotions in her work.
Chris Colvin (below right) will exhibit pieces from his upcoming solo show at Lincoln Center, which include mixed media portraits from his series called “The Bust Collection.” Retired ophthalmologist turned full-time artist Jane Lubin incorporates her knowledge of biology into works featuring strange bodies in odd locations and bulging eyes. Prudence Groube (bottom left), an Australian artist fascinated by the idea of dismembering the self, will exhibit her colorful ink-on-paper works which are chiefly centered around her fictitious character Mimachan, who “inhabits the space between the seen and unseen.”
An opening night reception from 6-9pm this Friday, 14 January 2011, will launch the show with live performances dedicated to fine art. Sarah H. Paulson will perform with a group of other women, who will recline in the nude, and use their toes to draw whatever comes from their soul. Valmonte Sprout will paint with Crayola crayons she partially digested earlier in the night while the “ambidextrous visionary painter” Roman Zelgatas will paint himself in a translucent phone booth.
The Prince George Gallery show opens 14 January and runs through 26 Febuary 2011.
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