Blu Going Further

in collaboration with David Ellis.

COMBO a collaborative animation by Blu and David Ellis (2 times loop) from blu on Vimeo.

Blu Going Further

in collaboration with David Ellis.

COMBO a collaborative animation by Blu and David Ellis (2 times loop) from blu on Vimeo.

After a conversation with AB

Apparently, the National Railway Workers installed a handrail on Richard Serra’s sculpture in Duedingen, Switzerland. Why would anyone want the autonomy of the artist?

(via)

After a conversation with AB

Apparently, the National Railway Workers installed a handrail on Richard Serra’s sculpture in Duedingen, Switzerland. Why would anyone want the autonomy of the artist?

(via)

Anthill sculpture

It's my birthday, so today I'm leaving you with some new art that was not meant to be art, made by a scientist in collaboration with ants... (Don't mind the off-screen commentary and enjoy the visual ride).



(If you're interested in the ant-not-art part of it, you can see the 6-minute documentary episode here)
(Thanks Pusty!)

Anthill sculpture

It's my birthday, so today I'm leaving you with some new art that was not meant to be art, made by a scientist in collaboration with ants... (Don't mind the off-screen commentary and enjoy the visual ride).



(If you're interested in the ant-not-art part of it, you can see the 6-minute documentary episode here)
(Thanks Pusty!)

Surfacing

Remaining on the surface is challenging.
Going deep means losing the precious cristalline equilibrium of form.
Going indepth means losing the surface tension, the attractive property, as Wikipedia nicely put it.

Picture one is Leak, from an ongoing project by the G&V (with credits to Matthew Chokshi) The second picture is called Z. and is by Lin Zhipeng, aka "No.223".

Surfacing

Remaining on the surface is challenging.
Going deep means losing the precious cristalline equilibrium of form.
Going indepth means losing the surface tension, the attractive property, as Wikipedia nicely put it.

Picture one is Leak, from an ongoing project by the G&V (with credits to Matthew Chokshi) The second picture is called Z. and is by Lin Zhipeng, aka "No.223".

Love, Art and Coimbra

Coimbra, a city in central Portugal, has one of the most beautiful - and creepy - love stories ever to be heard. It is the story of Pedro and Inês, a Portuguese heir to the throne and a Spanish aristocrat's maid. It has a tragic ending, much more gruesome than Romeo and Juliet (Pedro's own father, king Afonso IV, fears a political scandal and has Inês assissined), and contains what is one of the most extraordinary episodes in royal history: Pedro, besides declaring war on his father, declares he had wed his lover in secret shortly before her death, has her body exhumed and placed on a throne, and has the entire court kiss the dead girl's hand as a sign of loyalty to their sovereign.
Inês spent her last years in a Monastery in Coimbra, and the city is to this day associated with romance.
Now, what is particularly enjoyable in the story you are about to read, is that it happened in the same town, and yet, none of it ever meant to deal with the legend. It is but a simple story of two people. One of them happens to be the architect and artist Juan de la Mora.


"These hearts were painted by my girlfriend and I in Coimbra, Portugal a couple of years back. She is from Coimbra and I am from Chicago and we've been able to maintain a long distance relationship for the past 2.5 years. Since then, we continue to paint some of these hearts every time we are together in Coimbra. What is interesting about Portugal's Calçada (sidewalk), is that you can take a combination of a minimum of three stones and find the shape of an abstract heart form. The heart can grow by adding more stones to the original three."

Love, Art and Coimbra

Coimbra, a city in central Portugal, has one of the most beautiful - and creepy - love stories ever to be heard. It is the story of Pedro and Inês, a Portuguese heir to the throne and a Spanish aristocrat's maid. It has a tragic ending, much more gruesome than Romeo and Juliet (Pedro's own father, king Afonso IV, fears a political scandal and has Inês assissined), and contains what is one of the most extraordinary episodes in royal history: Pedro, besides declaring war on his father, declares he had wed his lover in secret shortly before her death, has her body exhumed and placed on a throne, and has the entire court kiss the dead girl's hand as a sign of loyalty to their sovereign.
Inês spent her last years in a Monastery in Coimbra, and the city is to this day associated with romance.
Now, what is particularly enjoyable in the story you are about to read, is that it happened in the same town, and yet, none of it ever meant to deal with the legend. It is but a simple story of two people. One of them happens to be the architect and artist Juan de la Mora.


"These hearts were painted by my girlfriend and I in Coimbra, Portugal a couple of years back. She is from Coimbra and I am from Chicago and we've been able to maintain a long distance relationship for the past 2.5 years. Since then, we continue to paint some of these hearts every time we are together in Coimbra. What is interesting about Portugal's Calçada (sidewalk), is that you can take a combination of a minimum of three stones and find the shape of an abstract heart form. The heart can grow by adding more stones to the original three."

Dress-up

Two ideas for an eye-opening surrounding:
Chris&Ruby's Footies, socks for your chairs

and TRASH:Any Color You Like, a rapidly growing project by Adrian Kondratowicz, based the simple idea that trash bags are also sculptoric forms.



(via)

Dress-up

Two ideas for an eye-opening surrounding:
Chris&Ruby's Footies, socks for your chairs

and TRASH:Any Color You Like, a rapidly growing project by Adrian Kondratowicz, based the simple idea that trash bags are also sculptoric forms.



(via)

Reconnaissance - installation view

Reconnaissance - installation view

Robin Hood Above

The artist going by the name of Above made this stencil in Lisbon. (I actually know the lady sitting on the right - she is one of Lisbon's classic characters). In a gesture the artist herhimself admits robinwoodesque, Above is selling prints of this picture and will give all the profits to two charities she has previously selected. More info here.

Robin Hood Above

The artist going by the name of Above made this stencil in Lisbon. (I actually know the lady sitting on the right - she is one of Lisbon's classic characters). In a gesture the artist herhimself admits robinwoodesque, Above is selling prints of this picture and will give all the profits to two charities she has previously selected. More info here.

The Actors - Reconnaissance, by Wojtek Ziemilski

This is a short fragment of my work called The Actors. The first volume - Reconnaissance lasts 50 minutes. You can see this excerpt in sort-of-HD here.
Any galleries interested in showing this work, write me, and I'll send you a DVD.

The Actors - Reconnaissance, by Wojtek Ziemilski

This is a short fragment of my work called The Actors. The first volume - Reconnaissance lasts 50 minutes. You can see this excerpt in sort-of-HD here.
Any galleries interested in showing this work, write me, and I'll send you a DVD.

A performance by Public Movement in Łódź

UPDATE (4.February):
Public Movement is an Israeli performance group. The action you see below was made by them in Łódź, Poland.
A short explanation: before WW2, Łódź used to have a very large Jewish minority. The Jews were, among others, the owners of a significant part of the textile industry thriving in the city. Today, there are practically no more Jews there - and no more industry as well (although the industry did go on until the 70's, I believe). It is a poor and degraded city, with a lot of social problems, and where antisemitism is still present (although the vast majority of the inhabitants have never seen a Jew).
It is one of the very few places I know where one can still find antisemitic slogans on the walls.
So here you have it: the Israelis arrive and correct the Star of David. They basically make a grafitti of how it should look like, and put the correct form over the incorrect one.

And a few little ideas:
- The grafitti they choose to work with are not openly antisemitic. They simply replace one of the letters of the name of a soccer club (ŁKS) with a Star of David. So this is a "neutral" correction on a "neutral" sign.

- The ritual. Ah, the ritual. Turns it all into an action of purity. Precious.

- Notice one other, much more hidden, interpretation: the Jews are back in town. They are here, after our land. They put their stamp on the walls. They claim what is theirs (the club, the building). They are tagging their city.

- But one idea I think is crucial, and might be overlooked in all this will to interpret every single aspect of the work. Public Movement seems to be saying "Yes, this is who we are. We see no reason to be ashamed of it. Do you? Are you not embarrassed to have thought this was inappropriate or even silly, in any way?"

This is some brilliant playing with street art, semiotics, identity and politics.
The one question that I find problematic is - yes, this is on the spot. But for whom? Who is the audience? Is it public art, or just private art in public space? Or maybe it is public art, only for the audience that is reading about it now? So where does that leave the people who walk by this daily? Do we expect them to have a surge of initiative and paint over the whole signs? Or are we, deep inside, enjoying the fact that it's still there, everything is just the same, while we, the smart ones, know and watch?
I really do not know. I do not have better solutions. This, of course, is not a solution either - it is highliting the question(s). But what are we to make of this insistent neutrality right in the middle of a political issue? Is it a curse, the curse of constant distance? Or the blessing of a delicately balanced gesture, for once?

A performance by Public Movement in Łódź

UPDATE (4.February):
Public Movement is an Israeli performance group. The action you see below was made by them in Łódź, Poland.
A short explanation: before WW2, Łódź used to have a very large Jewish minority. The Jews were, among others, the owners of a significant part of the textile industry thriving in the city. Today, there are practically no more Jews there - and no more industry as well (although the industry did go on until the 70's, I believe). It is a poor and degraded city, with a lot of social problems, and where antisemitism is still present (although the vast majority of the inhabitants have never seen a Jew).
It is one of the very few places I know where one can still find antisemitic slogans on the walls.
So here you have it: the Israelis arrive and correct the Star of David. They basically make a grafitti of how it should look like, and put the correct form over the incorrect one.

And a few little ideas:
- The grafitti they choose to work with are not openly antisemitic. They simply replace one of the letters of the name of a soccer club (ŁKS) with a Star of David. So this is a "neutral" correction on a "neutral" sign.

- The ritual. Ah, the ritual. Turns it all into an action of purity. Precious.

- Notice one other, much more hidden, interpretation: the Jews are back in town. They are here, after our land. They put their stamp on the walls. They claim what is theirs (the club, the building). They are tagging their city.

- But one idea I think is crucial, and might be overlooked in all this will to interpret every single aspect of the work. Public Movement seems to be saying "Yes, this is who we are. We see no reason to be ashamed of it. Do you? Are you not embarrassed to have thought this was inappropriate or even silly, in any way?"

This is some brilliant playing with street art, semiotics, identity and politics.
The one question that I find problematic is - yes, this is on the spot. But for whom? Who is the audience? Is it public art, or just private art in public space? Or maybe it is public art, only for the audience that is reading about it now? So where does that leave the people who walk by this daily? Do we expect them to have a surge of initiative and paint over the whole signs? Or are we, deep inside, enjoying the fact that it's still there, everything is just the same, while we, the smart ones, know and watch?
I really do not know. I do not have better solutions. This, of course, is not a solution either - it is highliting the question(s). But what are we to make of this insistent neutrality right in the middle of a political issue? Is it a curse, the curse of constant distance? Or the blessing of a delicately balanced gesture, for once?