Edible Monsters. Siamo quello che mangiamo? Ogm, pesticidi, ma cosa c’è in un piatto di insalata? Un progetto di denuncia dei potenziali pericoli del cibo attraverso uno sguardo umoristico e satirico per Expo di Zim & Zou.
Zim & Zou sono due artisti francesi, che lavorano a Nancy. Il duo è composto da Lucie THOMAS e Thibault ZIMMERMANN, Hanno studiato graphic design per tre anni. Hanno deciso di concentrarsi su installazioni che utilizzano oggetti di artigianato realizzati con materiali come carta, legno, filo, ecc ..
Creano tutti gli elementi che compongono le loro installazioni a mano, dal disegno al taglio e montaggio. Materiale referito? La carta.
Il polipo rosso di Keng Lye è fatto da un guscio d’uovo e strati di resina e pittura acrilica. Un lavoro bellissimo.
Artist Keng Lye recently completed a new painting that blends sculpture and layers of acrylic paint to create this near lifelike red octopus. Lye often uses an egg shell to form the body of his cephalopods which then merges seamlessly with alternating layers of resin and acrylic to create an incredible sense of depth and dimensions. via THIS IS COLOSSAL
The English sculptor Jason deCaires Taylor seeks to encourage environmental awareness towards art. Taylor’s underwater sculptures change over time with the effects of their environment. These factors create a living aspect to the works, which would be impossible to reproduce artificially. As time passes and the works develop biological growth, they redefine the underwater landscape, evolving within the narrative of nature.
Taylor’s interventions instigate organic growth and transformation. Taylor states, “It’s environmental evolution, art intervention as growth, or a balancing of relationships.”
Although constituting only 8% of our oceans, shallow seas contain most of the marine life on planet earth. By situating his sculptures in clear, shallow, barren areas, Taylor not only replicates the conditions necessary to stimulate coral growth but ensures divers, snorkelers and those aboard glass bottom boats the opportunity to view his works. Underwater, everything is magnified by 25%, light refracts, colors are changed and—as the only light source comes from the surface—kaleidoscopic effects are produced, governed by currents and turbulence. Taylor states, “Taking art off of the white walls of a gallery offers the viewer a sense of discovery and participation.” Underwater, one has a truly multi-dimensional and multi- sensual experience, free from the confines of gravity and offering a viewing perspective that is both intimate and personal.
The obliteration room, un progetto di Kusama Yayoi del 2011 mi stupisce ancora perché è semplice, disarmante. Uso le sue immagini ogni volta che scrivo un progetto strategico che focalizza sulla positività dello sguardo. Ma perché mi piace così tanto? Forse proprio perché è tanto semplice, è un po’ il sogno di ogni creativo, un mondo bianco da riempire di idee, progetti, a cui trovare un’anima, un senso, a cui dare vita. Quello stesso foglio bianco che ogni giorno come un pozzo senza fondo ci troviamo davanti. Con la minaccia di diventare un buco nero o di diventare invece uno dei nostri progetti migliori.
Yayoi Kusama (Matsumoto, 22 marzo 1929) è un’artista giapponese. Yayoi Kusama nasce a Matsumoto nel 1929. Studia la pittura Nihonga, uno stile di grande rigore formale. Nel 1958 si trasferisce a New York attirata dal potenziale sperimentale della scena artistica dell’epoca. Nel 1959 crea i suoi primi lavori della serie Infinity Net, delle grandi tele lunghe quasi una decina di metri. Negli anni ’60 si dedica all’elaborazione di nuove opere d’arte, per esempio Accumulatium o Sex Obsession.
Precorritrice della Pop Art, e dei movimenti minimalista e femminista, ha influenzato alcuni dei suoi contemporanei, fra cui Andy Warhol eClaes Oldenburg. Voce importante dell’avanguardia è uno dei più importanti artisti giapponesi
The obliteration room 2011 revisits the popular interactive children’s project developed by Yayoi Kusama for the Queensland Art Gallery’s ‘APT 2002: Asia Pacific Triennial of Contemporary Art’.
The white room is gradually obliterated over the course of the exhibition, the space changing measurably with the passage of time as the dots accumulate as a result of thousands and thousands of collaborators. It functions as a blank canvas to be invigorated — or, in Kusama’s vocabulary, ‘obliterated’ — through the application, to every available surface, of brightly coloured stickers in the shape of dots.
Yayoi Kusama (草間 彌生 or 弥生Kusama Yayoi?, born March 22, 1929) is a Japanese artist and writer. Throughout her career she has worked in a wide variety of media, including painting, collage, sculpture, performance art, and environmental installations, most of which exhibit her thematic interest in psychedelic colors, repetition and pattern. A precursor of the pop art, minimalist and feminist art movements, Kusama influenced contemporaries such as Andy Warhol and Claes Oldenburg. Although largely forgotten after departing the New York art scene in the early 1970s, Kusama is now acknowledged as one of the most important living artists to come out of Japan, and an important voice of the avant-garde.
Knit and vacuum sealed meats and fish by Stephanie Casper. What a replica of supermarket items. I love knitting art, and the way it merges into daily life. Bringing beauty back to the protein section, Knit Meat is Casper’s capstone series after graduating Pratt Institute.
Child Soldiers Fought For Food, Not Power in Congo. One goal : to find food”
“We were told things like we were going to take power but I quickly understood that we were only fighting for one goal: to find food. We used to steal food or we used to threaten villagers to give us some. But even at home we ate better than we did there!” John says he never fired directly at anyone with the Chinese rifle that had been issued to him. That’s just a piece of the London Brick Lane big story .
Londons Brick Lane. It is the epicentre of street art in the city. Artists from all over the world and the UK come here to paint, safe in the knowledge that they will get an appreciative audience and a wide appeal.
Look down towards Whitechapel and dominating the view will be the giant Crane by Belgian artist ROA. This is another well loved community piece as evidenced by the local uproar that went on when Tower Hamlets council tried to cover it over with a banner just before 2012s Olympic Games.
Exit Liverpool Street station onto Bishopsgate.
Cross at traffic lights and turn left along Bishopsgate.
Turn right onto Middlesex Street.
There are lots of Eine letters along Middlesex Street on the shops shutters.
Do go to the end of the road where you’ll hopefully still find Eine’s HAPPY.
Walk back up Middlesex Street and turn right down Wentworth Street, where Petticoat Lane Market takes place.
Cross over Commercial Street and carry on down Wentworth Street to Brick Lane.
Turn left up Brick Lane and left again on Fashion Street. There’s usually some street art to be seen at the other end of this street.
At the end of Fashion Street, turn right on Commercial Street, past the Ten Bells pub on your right and Old Spitalfields Market on your left.
Turn right at Hanbury Street at the Golden Heart Pub. There are some good street art spots along Hanbury Street (like this) so take your time looking around here.
Cross over Brick Lane to the other side of Hanbury Street and you should be lucky enough to see Roa’s Crane and other artworks.
Turn around and go back to Brick Lane, turn right and walk up Brick Lane.
The junction with Pedley Street on your right (small alleyway), opposite Rokit Vintage Clothing, usually has some things to see but the alleyway is also used as an open-air toilet so the smell may be bad.
Continue up Brick Lane, under the railway bridge, to the junction with Sclater Street on your left and Cheshire Street on your right. Cheshire Street has some interesting shops and Grimsby Street, the first right turn, has street art.
Come back to Brick Lane and walk up to the next junction which is Bacon Lane. Turn left for some regular large artworks.
Go back down Brick Lane to the previous junction and turn right down Sclater Street. The disused buildings on this street have been covered in street art but some renovations had started .
Walk to the end of Sclater Street and cross Bethnal Green Road at the crossing round the corner (to the right).
Go left on Club Row and look out for Roa’s Squirrel.
Turn left down Redchurch Street, then left on Ebor Street to see Eine’s ANTI and PRO walls.
Back onto Redchurch Street and you’re outside The Albion Cafe which is always worth visiting whether just for tea or a full meal. If you want to keep walking they do take out drinks and the gingerbread men are superb.
When ready, go to the end of Redchurch Street and turn right on Shoreditch High Street.
Cross over and walk up Shoreditch High Street for a few minutes till you reach Rivington Street on your left.
Turn down here and you’ll find Eine’s SCARY and the Cargo beer garden with Banksy’s His Master’s Voice. You can enter the beer garden from Rivington Street, or through the bar.
Continue along Rivington Street, past the Comedy Cafe, and turn right on Curtain Road.
Cross over and turn left on Old Street.
Turn right at Pitfield Street where you should see Stik and Eine artwork.
The last stop on this route is about ten minutes walk from here so you can choose to skip it and turn back to Old Street; turn right to get to the Old Street tube station.
If you choose to continue, walk up Pitfield Street to a roundabout and turn left on New North Road.
Continue along New North Road and cross at the traffic lights after Mintern Street is on your right.
Continue along New North Road, and on your left you’ll find the large toasters, next to Cropley Court flats.
If you need a tube station, walk back along New North Road and stay with it as it turns into East Road and leads you to City Road.
Turn left for Old Street tube station.