arte
Ryan Sarah Murphy
I make abstract, sculptural collages using found and collected cardboard and book covers. I am interested in how these materials, in their simplicity, variety and wide abundance, can be cut and formed into quiet surfaces teeming with both geographical and emotional underpinnings. Referencing architecture, landscape and the topographical intersection of urban & natural environments, these constructions are 3-dimensional in form, coming off the wall in various layers suggesting odd terrains, infrastructures and skylines.
The intuitive process of cutting, sorting, applying and constructing this tactile material is integral to its final form and implication. The restrained compositions and varying densities of these collages present a landscape of containment and a sense of buried history. These are roadmaps with no conclusive routes, aerial views of unattainable grounds. The dualities of growth and decay, building and razing, maintenance and destruction are all explored within these quiet peripheries. [via]
Mechanischer Körperfächer
The fan suits my body — i carry it and i balance it on my shoulders so that head and shoulders constitute the central axis of the two semi-circles — starting position — the two semi-circles of the fan close over my head — when i move my body’s balance, the two semi-circles change their horizontal starting position and begin to turn — one semicircle turns in fron of my body, the other one behind it, so that my body becomes the fixed axis for the semicircles — when the rotation is slow, just sections of my body can be seen by turn — when the two semicircles rotate fast, they close in a transparent circle. – rebecca horn [via]
Robert Morris
“Personally, I’d rather break my arm by falling off a platform than spend an hour in detached contemplation of a Matisse. We’ve become blind from so much seeing. Time to press up against things, squeeze around, crawl over – not so much out of a childish naivte to return to the playground, but more to acknowledge that the world begins to exist at the limits of our skin and what goes on at that interface [emphasis added] between the physical self and external conditions doesn’t detach us like the detached glance.” - robert morris in a letter to tate curator michael compton in 1971
MAJA RUZNIC
Absolutely in love with her paintings, it reminds me of Marlene Dumas. [via]
Over the past year or so, I have been drawing and painting people, objects and memories of experiences that evoke a sense of failure and trigger a sense of psychological unease that echoes my childhood refugee experience. In documenting these people, objects and events with highly editorialized and projected-upon personae, I am simultaneously preserving them and destroying who they actually are. My intention in painting these subjects is to meditate on who they are and infuse them with a second chance. I am interested in the repetitive nature of recording and the meditative and spiritual aspects of redemption. The paintings become a collection of failed objects and experiences. It is also an agglomeration of memory, imagination and misinformation I have collected over time. Through the glut of imagery and objects, I am interested in evoking the past, while fictionalizing it. The figures in my small works on paper are Anti-Heroes, characters I have created based on my interest in those who live along the interstices of society—homeless, drug addicts, prostitutes, derelicts and vagabonds—individuals whose psychological state reminds me of my immigrant experience. [via]
Angelica Adverse – Palíndromo
Depois de 1 ano, eu tenho o prazer de poder publicar estas incríveis fotos da artista Angelica Adverse em sua colaboração para o projeto Palíndromo, da Greco Design e Rona Editora. Angelica foi convidada para falar sobre Moda e Tempo em um ensaio fotográfico do maravilhoso trabalho do alfaiate Sr. Hermano do Carmo e um belo texto chamado “Eterno”:
“O saber produzido desta experiência temporal permite ao homem criar símbolos e valores que ressaltam as aparências destes momentos opostos. A formação discursiva destas formas eternas/efêmeras cria uma oscilação entre o novo e o antigo. Este jogo de semelhanças e dessemelhanças potencializa a descontinuidade histórica das imagens da Moda e do Design. A fratura entre o presente, o passado e o futuro esgarça as tentativas de determinar a condição temporal de suas criações.”
Damien Hirst
Damien Hirst Retrospective, na Tate Modern em Londres <3
The Happy Show – Stefan Sagmeister
Exposição imperdível do designer Stefan Sagmeister sobre felicidade ;]
The Happy Show offers visitors the experience of walking into the designer’s mind as he attempts to increase his happiness via mediation, cognitive therapy, and mood-altering pharmaceuticals. “I am usually rather bored with definitions,” Sagmeister says. “Happiness, however, is just such a big subject that it might be worth a try to pin it down.” Centered around the designer’s ten-year exploration of happiness, this exhibition presents typographic investigations of a series of maxims, or rules to live by, originally culled from Sagmeister’s diary, manifested in a variety of imaginative and interactive forms.
