Very First Accident, Accident Series
Reblogged from Dark Silence In Suburbia.
October 18, 2013, 3:42am
As part of Creative Time Reportsâ Summit Series, musician, artist and bicycle diarist David Byrne considers New York City’s present and future ahead of the 2013 Creative Time Summit: Art, Place & Dislocation in the 21st Century City.One would expect that the 1 percent would have a vested interest in keeping the civic body healthy at least—that they’d want green parks, museums and symphony halls for themselves and their friends, if not everyone. Those indeed are institutions to which they habitually contribute. But it’s like funding your own clubhouse. It doesn’t exactly do much for the rest of us or for the general health of the city. At least, we might sigh, they do that, as they don’t pay taxes—that we know. Many of the wealthy don’t even live here. In the neighborhood where I live (near the art galleries in Chelsea), I can see three large condos from my window that are pretty much empty all the time. What the fuck!? Apparently rich folks buy the apartments, but might only stay in them a few weeks out of a year. So why should they have an incentive to maintain or improve the general health of the city? They’re never here. This real estate situation—a topic New Yorkers love to complain about over dinner—doesn’t help the future health of the city. If young, emerging talent of all types can’t find a foothold in this city, then it will be a city closer to Hong Kong or Abu Dhabi than to the rich fertile place it has historically been. Those places might have museums, but they don’t have culture.
October 09, 2013, 10:31pm
Terrifying Sculptures by Mark Jenkins
Imagine walking around the corner and seeing one of these. American artist Mark Jenkins is fond of installing sculptures in public that hurtle you screaming into the uncanny valley.
October 09, 2013, 5:23pm
KORB. CCTV Documentary (Director’s Cut).
Motion sculptures for CCTV Documentary Channel is a digital metaphor of phenomenal blinks and moments that life consists of. In four Idents we follow a visual performance of organic and vital substance, animated using data of actors movements.
Idents visualize four different themes. To emphasize the emotion of each Ident, we have decided to use different textures of steel, wood and glass. Motion sculpture of steel reflects old Chinese adage that true power is mastering yourself. Youthful energy of dancers evolve into beautiful organic sculpture. Colorful happiness is the engine of father’s and his daughter’s joy. Two lovers visualize fragility and vitality of love in the last Ident.
October 06, 2013, 7:14pm
By the time he was out of primary school, Augustin Lesage was sent to work deep in the coal mines of France, which to be fair, would probably be enough to render anyone mad. In 1911, when he was 35 years-old, Lesage claimed he heard a voice speak to him in the darkness of the mine and tell him, “One day you will be a painter”. The only contact he had ever at with the arts at that point was a visit to a museum once during his military service. The experience prompted him to explore communication with the spiritual world, and within a year of his first unexplained encounter, Augustin was hearing more voices, this time specifically telling him what to paint, what art supplies to buy and conveniently, where to find them.
For the next two years, Lesage would come home from the coal mines every night and begin to paint his labyrinthine works on three metre squared canvases. It was his belief that the voices speaking to him were the spirits of his little sister who had died at the age of three, artists from ancient Greece and even Leonardo da Vinci himself. Guiding his hand, they told him, “Do not try to understand what you’re doing,” claims Lesage, who wrote that before he would start to paint, he would never have any idea as to what he wanted to portray. “I never have an overview of the entire work at any point of the execution. My guides tell me … I surrender to their impulse.”
October 01, 2013, 9:17pm
A relic hunter has lifted the lid on a macabre collection of 400-year-old jewel-encrusted skeletons unearthed in churches across Europe.
Art historian Paul Koudounaris hunted down and photographed dozens of gruesome skeletons in some of the world’s most secretive religious establishments.
PIMPED. THE FUCK. OUT.
That’s fucking crazy
September 29, 2013, 4:37pm