Archive for the ‘ Künstler ’ Category

REM Artspace Opening 6.12. – Drink’n’Draw

REM Drink'n'Draw

RABBIT EYE MOVEMENT (REM), a collective of Vienna-based creatives, is kicking off their opening event on Thursday December 6th with their first exhibition entitled “DRINK’N DRAW 2012”. The opening ceremony will take place in their brand-new REM Art Space located in the heart of Vienna with an exhibition national and international urban illustration artists like:

THE WEIRD // JUKEBOX COWBOYS // LORDS // SOBEKCIS // MICHAEL HACKER // FLYING FORTRESS

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With this opening event REM wants to think outside of the box. A week before the official opening 30 European urban illustration Artists will get together in the REM Art Space to have some drinks, create artworks together and exhibit them at the official REM opening.

The RABBIT EYE MOVEMENT wants their new Art Space to be a platform in Vienna for local and international urban and graffiti artists. Their ambition is to give graffiti illustration the same level of recognition within the art scene as it does in cities like London, New York and Paris.

The REM Gallery is located in the heart of Vienna. It will be a place where art is both made and exhibited. The REM movement of urban artists is active all around the globe. National and international graffiti artists – many with a background in illustration – will be invited to show their work in the REM Art Space. Yet it will be more than a gallery; it will be a meeting point where in addition to exhibitions, all kinds of events such as concerts and art festivals will be held. As well as organizing events, REM wants to mediate between artists and clients.

Watch the video  of 2012’s flashback of  The Weird, The Lords, Sobekcis and Jukebox Cowboys collaborating on walls all around the world.

See you on Thursday!

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DANIEL PALACIOS – Waves

How does sound move?

Daniel Palacios, Spanish multimedia artist, gives us one the most authentic demonstration of the visualisation of moving sound. The art work called „Waves“ is made up of a long piece of rope generating 3D waves, which are floating in space by the physical action of its movement. At the same time those visual waves create a typical sound by cutting through the air. The movement of the rope is affected by the audience which moves around the installation, generating visual and acoustic sound waves from harmonic patterns to complex ones.

An absolutely astonishing and beautiful installation. Hope I get to see it live some day.

Enjoy the video.

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Read more on danielpalacios.info.

 

Interview with ANTHONY GERACE (project Fig. 1-99)

Anthony Gerace, visual artist and photographer, wrote me an email couple of days ago and I had the chance to take a closer look on his work.

I am especially interested in his work series „Fig. 1-99“, hundred colour studies on paper sourced from 60s, 70s magazines such as Life, Playboy, Time, Popular Mechanics etc.

I enjoy this fragmentation of colour and combination of forms. The collage pieces definied by their outlines appear as abstract forms with words/letters giving away their identity – their combination only predicted by their specific colour chosen from the magazines.
And still, there is enough space to bring those pieces to life; at one point, you start to recognize those stripped motives seeing contours of women, hands, breasts,… some appear more vivid, others less. At the end it’s all about the uniqueness of a single piece.

I asked Anthony some questions to know more about him and his work. Enjoy the interview.

artpjf: Please introduce yourself briefly.

Anthony Gerace: My name is Anthony Gerace, I’m a photographer and collage artist based in London. I moved here recently to pursue work in graphic design, but for the past ten years have lived in Toronto.

artpjf: I am especially interested in your work series „Fig. 1-99“ – hundred colour studies on paper sourced from 60s, 70s magazines. The collages don’t seem specifically arranged. How do you know when to come to an end? What role does coincidence play in your work?

A.G.: I conceived the series, near the beginning, as having a defined ending (100 was always the goal). But within that, while there was no specific arrangement to speak of, there were certain instances where pairings or runs of images were important. Especially in the centre of the series, where Fig. 50 is split in two to show the potential (and main point, really) of the project: that each piece was unique not only in composition but also in tonality, and that even if I kept an obvious visual cue (the „and the“ typography) it would still result in a very different piece just on accounts of the paper. There were also certain pieces that were made with the intention of going in certain places in the series: though I made „Fig. 99“ long before I finished, I knew it was going to be the final image, mainly because I think it sums things up well. Likewise, there was always meant to be more and more multi-coloured studies as the series went along. Though I always found these less satisfying. So while I didn’t know how the entirety would look, I did know what it would be.


artpjf: As a graphic designer does your commercial practice influence your art practice? Do you separate those practices? Or is it just „the same“?

A.G.: I’d say both practices influence each other. For a long time I tried to integrate my collage work into my graphic design, but as I thought about it more I realized that that had the side effect of cheapening the collages and making them look more like process than their own entity. I do think that the methodologies of both practices have influenced one another for the better: when designing, I can’t help seeing myself as collaging, just not collaging paper and doing it digitally, while, when making collages, the implications of typography and tone factor in more because of how my design education has influenced me. They’re definitely not the same, and I do keep them separate, but I don’t think they’d exist without each other.

artpjf: Upcoming projects?
A.G.: I have quite a few projects on the go at the moment! I’m in the last stages of a series called „People Living“ which is a return to more traditionally figure based collage. I started that one when I was still working on the colour studies, and it acted as much as a foil to that work as it did it’s own thing. I’m also working on two new projects, both of which are untitled and both of which are continuing some of the more abstract work I’ve been doing and are the next step out from the colour studies. And I just started a body of work that I’m calling „There Must Be More to Life Than This“, which is a series of frustratingly intricate grid collages. I think there’ll end up being a hundred of them at varying sizes. And as always the portraits are a constant. I’m really excited to be able to make work, and to keep doing this and find people interested. It’s the best feeling.
artpjf: Thank you, Anthony!

Some other collages I appreciate too…

More on a-gerace.com

JAMIE ALLEN – Cum on Feel the Noize

Recently I stumbled upon continent.  an academic journal, which exists to promote and explore thinking across a variety of media, and as such welcomes a range of submissions including text and scholarly articles as well as images (still and moving), poetry, fiction, sound, and other media.

One article from artist-researcher Jamie Allen responded to a growing interest of mine – using noise in art practice.

Jamie Allen sees noise signals as simultaneous synthesis and analysis of spaces, subjects and relations and a way of learning about the world through perturbation — exploration by incitement and speculation of possible conditions. Read the entire article on continentcontinent.com.

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Of course, at first, it will sound annoying, of course you won’t immediately appreciate it. That’s what makes it so interesting. Try to examine your perception and reaction to it while watching the movements of the small particles and patterns correlative to the sound/noise. I think it’s beautiful.

DAVID LETELLIER – Caten

In the last days I was looking for some art to completely jump into it, feel the immersion and leave all (sometimes stupid and senseless) words and theory behind, to which I’m surrounded on almost daily basis. I found this beautiful piece of art from french media artist David Letellier called „Caten“. Unfortunately I haven’t seen it in real life, but it amazed me straight away. You can find the description of the artwork on his website davidletellier.net and have a look at his other works which are absolutely worth seeing/understanding.

Created for the Saint Sauveur chapel in Caen, Caten is a levitating sculpture, determined by gravity and guiding the evolution of a sound composition.
300 fine wires suspended from two ropes, connected themselves at each end to a slowly rotating arm, form an evanescent surface which interacts with the architecture.
By a symbolic mirror effect, the curves of the wires, created by the gravitational force, reflect the shapes of the church arches. Caten opposes the ephemeral to the eternal, the movement to the static, and produce a tension between the lightness and the millenary stability of the space.
The sound composition is inspired by the medieval solmisation prayers, especially the first verse of „Ut Queant Laxis“, also known as the „hymn to St John the Baptist“, used in the eleventh century to determine the names of the notes of the scale used in latin countries.
At each turn, the engines emit one of the first 4 notes of the scale (Ut, Re, Mi, Fa), creating a sequence of intervals, constantly reconfigured. Low frequencies resonate in the space and emphazise the transcendental character of a place once dedicated to faith.
The name is derived from the term catenary, which describes the plane curve formed by a rope hanging between two points.

XL Kunst in XS Monaco

Das Grimaldi Forum, das Kulturzentrum Monacos, zeigt diesen Sommer in Kooperation mit dem Centre Pompidou die Ausstellung „Extra Large“. Ausgestellt werden vor allem großformatige, monumentale Werke aus der zeitgenössischen und modernen Kunstsammlung des berühmten Pariser Museums. Bekannte Künstlerpersönlichkeiten wie Joan Miró, Jean Dubuffet, Pierre Soulages, Frank Stella, Sam Fancis oder Yan Pei-Ming werden im Konzept der Monumentalität mit ihren XL-formatigen Gemälden präsentiert. Neben den zweidimensionalen Werken enthält die Ausstellung vor allem raumgreifende Skulpturen und Installationen u.a. von Joseph Beuys, Christian Boltanski, Daniel Buren, Sol LeWitt, Anish Kapoor und Bill Viola – insgesamt 4000 m² für 40 Werke.

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her ARTic impression:

Grob gesagt beinhaltet das Ausstellungskonzept XL Werke (und Künstler, im Sinne ihres Bekanntheitsgrades) in XS Monaco zu präsentieren. Monaco ohne Luxus und Spektakel vorstellbar? Mais bien sûr que non!

Es hat mich besonders gefreut all diese, im Raum wohl rhythmisierte, Kunst von so bekannten Namen des 20. Jh. zu sehen, und das gleich alles auf einem Haufen – das letzte Mal hatte ich dieses Vergnügen… oh… ja… im Centre Pompidou!

Der Charakter einer Überblicksausstellung dominierte, kritische Gehirnmasse Fehlanzeige – nicht seitens der Werke selbst, sondern seitens des Ausstellungskonzeptes. Kind of Notorious Big – mais quand même, bravo et merci Monaco – die Kunst war ein genussvoller Augenschmaus.

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Fotos: montecarlodailyphoto.com & eternal-optimist.com

Summer in Monaco + France

My little au pair kid in front of a Marc Quinn @ Musée Océanographique in Monaco. I swear I didn’t let her pose! Anyway, I’m happy to refresh my french again as well as some old childhood memories. And of course, I’ve tryed to check out the contemporary art scene in Monaco. Article about the exhibition Extra Large @ Grimaldi Forum (in cooperation with Centre Pompidou) coming up.