Paul McCarthy: Three Sculptures / Inaugural Exhibition at L&M Arts Gallery, Los Angeles

Cloud Cities : Yang Yongliang

"

Ephemicropolis - A city scape all stapled

Ephemicropolis - A city scape all stapled: "THe city scape of Ephemicropolis was an installation y the artist Peter Root made from around 100'000 staples. The installation shown here took about 40 hours to set up, see 'the making of' below. Root graduated from the Fine Art BA Hons at University College Falmouth in 2000. Its amazing how this models the way we perceive the city and the building structure as a sort of abstraction. From the stationary cupboard to the Streets of the world.



Image by Peter Root / Detail Ephemicropolis.





Found via Urban Tick

Chris O'Shea : Audience

Audience - rAndom International from Chris O'Shea on Vimeo.

Site : ChrisO'Shea

Power of 8 : Experimenting with Imagined Urban Fabrics

Power of 8 is a collaborative project developed by Anab Jain, a designer whose work investigates intersections between digital, biological and sociological fields. Her current efforts investigate design alternatives that impact present development practices and experiment with the collective expression of imaginative urban forms. In this project "8 people from different walks of life work together to build a public conversation about their individual aspirations for a desirable future."

Power of 8 blurs overlapping space between the public and private sphere and carries my interest for a variety of reasons. In part it is open source and participatory in nature, it makes use a variety of cognitive mapping techniques and explores the development and social expression of urban form in relation to fantasy. Beginning with a series of workshops the crew of eight share their ideas and formulate imaginative visions of the future.


The project is of particular interest because it has manifest as a part of the art world. It is funded by the Arts Council England, presented within the gallery environment, and extends traditional roles for artists, designers, and other professionals; emphasizing transdiciplinary approaches to the development of the urban fabric.

The approach taken is one that begins exclusively and unfolds in the public realm. While typical design-build projects dictate urban morphology from the top down this project is inclusive, moving from the ideas of its eight original participants to the public, facilitating in the process of imagining alternatives to the existing urban fabric. While public participation did not occur from the onset, the shift from private to public practice was planned and implemented at an early stage in the life of the project. Preliminary results of the project workshops were presented to the public during a gallery opening and a large abstracted map of Brentford, the area surrounding the gallery, became a central interactive component to the exhibition. The idea was to "engage with the local people by situating some of our imagined scenarios over the map, and inviting them to do the same."

The incubation period, during which the professional crew initiated the process and developed individual and collective visions, could very well have provided a successful way to show that images of the future need not be limited in scope. Ideas that emerged from the workshops appear to have included a wealth of creative proposals and initiated a creative response from the public.

"Over the course of two days we had a steady stream of participants ranging from the radically activist to the playfully naive populated this map of their local area of Brentford with walking houses, snow stimulators, solar powered airships, public free boxes, trees that could talk to one another, new wireless connectivity, new species of underwater organisms and human spinning tops. The table was transformed into a landscape of fantasy and possibility in what appears to be a distant edge suburb of London."



Following the exhibition ideas generated through the Power of 8 project are intended to move freely through the public realm. "After October, the work will discursively enter the public domain, and each collaborator will be able to have equal ownership over the material and disseminate it in a way that suits him/her best." In this way the project will have seeded the landscape with ideas of the future, opening the local community to the creative potential of collectively imagined landscapes and inspiring new visions for the future.

In essence this project exemplifies an optimistic and inclusive approach to the development of our shared habitat. It combines the creative potential of forward thinking professionals with that of everyday citizens, those who share in the lived experience of the city and its infrastructure, to produce a collective expression of the future.


to see more visit: The Power of 8

Tiago & Gabriel Primo : Climbing & Living as an Intallation

Climbing brothers Tiago and Gabriel Primo have been living on display since May of this year. Their vision for the exterior wall of a local gallery in Rio de Janeiro, Brazil has literally taken on the life of these two artists/climbers.

Apparently images of big wall climbing and the bivy ledges that climbers use to camp out on these, often multi-day vertical expeditions have creeped into the art scene of Brazil. But this time there is no big wall, just an urban niche now filled with the amenities that you would usually find in the comfort of your own home.

This is not the first time the art scene has taken a page from the journals of the climbing community. Artist Matthew Barney, in one of his 'Creamaster' films put his rigging and construction man T.J. Davey to work as a stand in, climbing the proscenium of an opera house in Budapest. There is also the moving structural mass of 2000 bamboo supports "Big Bamboo" by the Starn brothers making its way through the old Tallix foundry in Beacon, NY.

Perhaps these two have brought a new edge to the use of climbing equipment and techniques in art, by publicising their life 14 hours a day for nearly four months. Apparently Taigo and Gabriel spend the majority of their time interacting with the public. Which renders some questions related to my current interests. Through the publicity of their lifestyle, that which is typically private, are these brothers blurring the distinction between the private and public spheres? And could this be called public art? Perhaps not, but I am inclined to wonder, if they began dialogues related to housing issues, which they have been asked "How much is the rent?" by a passerby, and if they then opened a public dialogue related to such a topic in the streets of Rio, would it then become public art? While this may not be the purpose of their work, and it seems as though activism is the last thing on the minds of these two, their actions do generate questions and blur the divisions of public/private domains. What can be seen, and is probably more important than the questions I am posing, is simply how much fun it would be if there were more vertical access and exposure in the Urban landscape. Sure it presents liability issues and would probably incur serious legal ramifications if not authorized by the art world, but perhaps that is one of the best things about the art world. It's diverse, experimental, and has enough authority to provide spaces and legitimacy for the otherwise irrational but all to human forms of expression and acts of freedom.

Brothers Taigo and Gabrial plan to continue this exhibition and lifestyle through mid August. After which the home on a rope will come down and another, perhaps more grounded exhibition will take place.


Brothers Taigo and Gabriel Primo as their installation.
image via: associated press

Olafur Eliasson: Playing w/ Space and Light : TED

Vito Acconci : Interview on Design Boom

Vito Acconci in Conversation at Acconci Studio, New York
Uploaded by microcinema. - Arts and animation videos.

Check out the Interview @ : Design Boom

Opening Night Reception : New Work & Installation

Opening night at J Fergeson Gallery is coming up:

Saturday : May 9th : 5:00 - 8:00pm

311 N. Main St. Farmville VA
434.391.1066

More on this exhibition can be found at the following sites:
www.davidbrucestudios.com
www.jfergesongallery.com

Wind Chill Factory : Opening @ Red Door : 04.16.09

The Red Door Gallery will open this Friday with new work by Matt Lively. "Home" features his most recent work on the Wind Chill Factory. To see more poke through the label "Wind Chill Factory on this blog" you can also visit some of the following links:

Matt Lively : official site : www.mattlively.com
The Red Door Gallery
NotCot


"Home" @ Red Door Gallery

Opening Night Reception : Friday : April 17th , 6:00pm - 9:00pm

Red Door Gallery
1607 West Main Street
Richmond, VA 23220
804-358-0211

Big Bamboo

Play, Art, Installation... It all comes together when you get a glimpse of work like the Big Bamboo Project of Mike and Doug Starn. Recently featured in the New York Times this installation emerges from the stochastic action of climbers articulating the artists' vision. Mike and Doug are brothers who have been active in the New York scene for nearly three decades. Their studio is currently located in what used to be the Tallix foundry in Beacon, NY.

The Starns have chosen a non-linear approach to construction allowing for evolution of form. A prominent emphasis on emergent structure eases the rigor typically involved with such a large architectural mass. The work is composed of roughly 2000 bamboo poles lashed together with nylon rope. It is generated through a multitude of incremental decisions decentralized through loosely coordinated behavior of eight to fifteen climbers roughly governed body the Starn brothers. Charged with the movement of its laborers the piece will begin to crawl through the space as the makers remove bamboo supports from the far end and replace them in the front. Such a dynamic approach to construction and structure alludes to living systems. Ongoing reviews point towards these organic reflections and ideas noted by the artists take into account self healing, adaptive and chaotic properties.



Inviting a playful response and an active role for viewers the Starn brothers encourage visitors to climb through the mass to reach a platform constructed some 50 feet above the floor, framing the work from above.

On a personal note. I hope to get up to Beacon and climb Big Bamboo on my next trip up north. Ive got to thank Robin Sedgwick and her son for passing this one along. It appers that some of my past work quickly came to mind when they got a glimpse of this in the NY Times. Big thanks!

Big Bamboo will be open to visitors from May 15 - 18 from 11am - 4pm.

Be sure to check out more via the following:
Starn Studio - Website

Reviews:
New York Times article
Vernissage TV
MAYKR
New Space New Focus @ Art Miami

Who needs stairs? : Carsten Holler @ Tate

I mean really, what fan of art who loves taking a minute from the hustle of the world would pass this is up? I have written a little on the idea of urban play and this pretty much pegs its union with art. As part of The Unilever Series the Tate exhibited the work of Carsten Holler from October 2006 to April 2007. This work is one that could certainly be appreciated at a distance. I'm sure you get the impression and if you have a great imagination you could probably day dream about sliding down these tubes. But, the best part is that you can. These works are perhaps only fully experienced by actually taking them up on their offer. The aesthetic is in the motion and act of sliding down these spiraling conduits.

Comission : Matt Lively's Wind Chill Factory

I just completed the prototype glass dome for Matt Lively's "Wind Chill Factory" project. I was asked a few weeks ago if I could create glass domes with several holes in them. The holes are orifices for pipes that will maintain the atmosphere of each property. With the prototype completed it is now time to move on to the remaining 20 pieces for the project. I will post more images as the work develops.

Meeting Mark Zirpel

I have been researching graduate programs in an effort to find the best fit for my work. University of Washington's developing 3D4M program has been tossed to the forefront of my mind on many occasions. The acceptance of diverse approaches to making paired with a strong public art background lend the advantage here. While researching the program I devoted a good amount of time to browsing the images on their site, then digging for information on the various faculty members. Akio Takamori, Doug Jeck, John Young, Jamie Walker; their work speaks volumes and the diversity of approaches to creating certainly provides support for my interest in this program.  Then I catch the work of Mark Zirpel; intriguing, dynamic, kinetic, intense, and unforgettable. With my recent interests in work by Arthur Ganson, Theo Jansen, and Joe Gilbertson it's now wonder that i am captivated by Mark's work. What is most exciting is the fact that he retains an unbelievable connection to natural phenomenon, and invests this into his work. 

Mark's work in recent years has involved the body, patterns in nature, and an edge of sound. It is more often than not kinetic, at times incorporating motion sensors that detect viewers movement initiating a series of responses in the work. He uses many different materials but there appears to be a strong relationship to rusticated metals, glass, conduit and rubber skins. These materials combined perform all sorts of engaging activities from smoking cigarettes and asking for change, to making sounds and measuring weather patterns.  

I was informed last week that Mark would be in Richmond to give a lecture and visit the studios of several graduate students in the craft department. And so, of course, I packed my bags and headed back to RVA to try to catch a few moment of his time and undoubtedly his lecture and presentation. 

I am far from being a graduate student, but somehow i still get away with a lot on the VCU campus. No need to digress, as the one and only Jack Wax would say, but I guess they still support my awkward methods. What is important is that i am one motivated non-student who works in apparently divergent ways. But its rather simple in my perspective. Im a non-linear thinker and all things being connected will eventually work themselves out. As chance and a touch of commitment would have it i am beginning to gather a great deal of clarity within the greater scope of my work. Thus I have decided that my next major efforts would be best cultivated in a graduate program and I am finally prepared to do the work necessary to make this happen. 

I made the lecture yesterday and it was worth every minute. Reading articles, catching quotes, these things are all second hand. They may be interesting but are worth little when you can finally put a personality to the text. Mark keeps a good smile and is a thoughtful, buoyant individual. The work, the videos that expose the workings of his pieces in time, are well done and I found them to be fully worth sitting in the chilled air of the lecture room to experience. 

As luck would have it I got moment today to speak with Mark. I have to thank Jack Wax for affording me the opportunity as well as Akiko Jackson for passing up hers. From this I was able to have a great discussion; my past work, chaos, order, scale shifts, perception, play, dreams. Overall it was a fluid discussion punctuated with a few mutual laughs and some great feedback. Mark has an unbelievable energy and his dedication to hard work is a motivation to anyone with like interests. I look forward to traveling to Seattle and visiting the University of Washington and I certainly hope to catch up with Mark again in the future, not to mention see his work in first person. 

U-Ram Choe: Urbanus

Dony Permedi: Kiwi

kosukebando: kinetic architecture

sony bravia; bunnies

Christian Benefiel: Inflatables

Theo Jansen: Kenetic Creatures

The following excerpts have been sourced form Theo Jansen's website: www.strandbeest.com

Since 1990 I have been occupied creating new forms of life.

Not pollen or seeds but plastic yellow tubes are used as the basic material of this new nature. I make skeletons that are able to walk on the wind, so they don’t have to eat.

Over time, these skeletons have become increasingly better at surviving the elements such as storms and water and eventually I want to put these animals out in herds on the beaches, so they will live their own lives.

Self-propelling beach animals like Animaris Percipiere have a stomach . This consists of recycled plastic bottles containing air that can be pumped up to a high pressure by the wind. This is done using a variety of bicycle pump, needless to say of plastic tubing. Several of these little pumps are driven by wings up at the front of the animal that flap in the breeze. It takes a few hours, but then the bottles are full. They contain a supply of potential wind. Take off the cap and the wind will emerge from the bottle at high speed. The trick is to get that untamed wind under control and use it to move the animal. For this, muscles are required. Beach animals have pushing muscles which get longer when told to do so. These consist of a tube containing another that is able to move in and out. There is a rubber ring on the end of the inner tube so that this acts as a piston. When the air runs from the bottles through a small pipe in the tube it pushes the piston outwards and the muscle lengthens. The beach animal's muscle can best be likened to a bone that gets longer. Muscles can open taps to activate other muscles that open other taps, and so on. This creates control centres that can be compared to brains.

source: Theo Jansen's website: www.strandbeest.com