PopScreen - Video Search, Bookmarking and Discovery Engine

Brim Silo Project

• Vimeo 3:45

Video by - Round 3 CreativenArtist - Guido Van HeltonnProduced by – Juddy RollernPresenting Partners - Brim Active Community Group, GrainC...

Video by - Round 3 CreativenArtist - Guido Van HeltonnProduced by – Juddy RollernPresenting Partners - Brim Active Community Group, GrainCorp, Regional Arts Victoria, Taubmans, Loop ColoursnnCurated by Juddy Roller, the Brim Silo Art project was painted on the façade of 6 towering 30 metre high, decommissioned grain silos in the Wimmera region of Victoria and attracted extensive national (and international) attention. nnIn the process it helped to uncover the essence of the many social issues affecting small regional towns. These include population decline due to the use of new farming technology and heavy drought conditions resulting in an uncertain future for many isolated farming towns located in rural areas of Australia.nnFor this project, Guido undertook a documentary based photographic study of the life and community in Brim. This can be considered an archetypal case study representative of the broad spectrum of social issues faced by regional small towns in Australia.nnDrawing from these issues the work captures the generational differences and resilience of those who have continued to work the land. The artist chose to by represent a broad spectrum of the Brim Community by portraying in archetypal form the different generations of the community, including an acknowledgment of the importance of the female contribution to farming the land.nnAesthetically the artwork aims to convey the strong sense of community spirit revealed to Guido while spending time with local community members. The work fuses the different elements of farming life into the monumental structure of the now disused grain silo, which in itself is a historical symbol of the changing landscape of the Wimmera.   Less

Little Things

• Vimeo 2:49

This is a three minute animated short inspired by a happy toddler, an unhappy car ride, and a pink muppet. The film is a gift to a toddler, ...

This is a three minute animated short inspired by a happy toddler, an unhappy car ride, and a pink muppet. The film is a gift to a toddler, exploring the filmmaker's musings regarding life, death, faith, art, an the things that we might make, set to a dusty and beautiful demo recording of Joe Raposo's "Little Things" — Thanks for watching.nnLittle Things is written and directed by Mario Hugo & Sam Mason. The short is presented by Mister & Missus, a special projects division of Hugo & Marie.nnhttp://misterandmissus.com/nhttp://hugoandmarie.com/   Less

Twelve

• Vimeo 2:33

TwelvenTaipei Fine Arts MuseumnTaipei (Taiwan)n2016  

Yvette Brackman: A Sense of Togetherness

• Vimeo 10:25

"There’s nothing about an art space that says you’re not included.” Meet the praised American artist Yvette Brackman, whose captivatin...

"There’s nothing about an art space that says you’re not included.” Meet the praised American artist Yvette Brackman, whose captivating artwork echoes her somewhat split upbringing as the all-American child of Russian Jewish dissidents.nn“The visual is the weakest one. It’s usually a sound or a smell or a touch of something that can evoke something really complete that maybe you haven’t even thought about for years.” Brackman’s parents suffered from the way Jews were treated in Russia and consequently immigrated to America. She wanted to understand their experience, but because her own ‘mundane’ upbringing in the suburbs of New York was so far from theirs, it seemed “almost like a dream world.”nnBrackman’s occupation with her family history resulted in what she herself describes as an “unintentional fragmented approach” to her artwork, and the delicate tents in the exhibition ‘Agit Flight’ reflect her interest in creating a sense of a flexible but safe gathering point: “You can still have a sense of togetherness without necessarily having to lock other people out.”nnYvette Brackman (b. 1967) is an American New York-born artist based in Copenhagen, Denmark since 1999. Her work encompasses many forms such as installation, sculpture, performance, video and text, which investigate complex socio-cultural themes. Brackman often uses textiles to explore subjects such as fashion, commodity, distribution and exchange. Her work has a performative character, engaging a combination of sculptural elements and time-based media. Brackman has exhibited in prominent venues such as The Moscow Biennial 2013, The Liverpool Biennial 2012, Freies Museum in Berlin, LAXART in Los Angeles and The National Gallery of Denmark in Copenhagen. From 2000-2007 she was Professor and Head of Department in the School of Walls and Space at the Copenhagen Art Academy.nnFor more about Yvette Brackman see: http://www.yvettebrackman.info/nnYvette Brackman was interviewed by Kasper Bech Dyg in connection to her solo-exhibition ‘Agit Flight’ at Overgaden – Institute of Contemporary Art in Copenhagen, Denmark in January 2015.nnCamera: Jakob SolbakkennProduced and edited by: Roxanne Bagheshirin LærkesennCopyright: Louisiana Channel, Louisiana Museum of Modern Art, 2015nnSupported by Nordea-fonden   Less

Strength

• Vimeo 6:14

Carole Feuerman | Making Art is brought to you by Crafty88.nnCrafty88 supplies the creative class with materials, inspiration, and tutorials...

Carole Feuerman | Making Art is brought to you by Crafty88.nnCrafty88 supplies the creative class with materials, inspiration, and tutorials. This video is a glimpse into the lifestyle, philosophies, and creative world that Crafty88 serves. Signup at crafty88.com for the first look at our next video, exclusive discounts, and the chance to be showcased in upcoming features.nn——————————————————————nnCarole Feuerman works in, New York.nn"Where would I be without art? Art is me. I am art. I couldn't be me, so I wouldn't be anyplace. I'd be lost."nnFind out more about Carole at carolefeuerman.comnnMusic courtesy of Kai Engel, Children of the Drone and Jolle LandrennTake a look at the entire making art series at vimeo.com/channels/makingartnnShop for your Art Supplies at crafty88.com   Less

Articruz and Marion Gallery present SPECTRA

• Vimeo 8:49

This video has subtitles! Please click on the CC button to watch with English or Spanish subs. nnEvery form of art is, somehow, experimental...

This video has subtitles! Please click on the CC button to watch with English or Spanish subs. nnEvery form of art is, somehow, experimental. A true artist proposes, takes risks and tries to push to the limits. Making art is to invent art. In contemporary art, with the declared intention of rupture that characterizes it and with its focus on individuals beyond schools and groups, this becomes evident. Each artist has its proposal and performs a research of its own. nnThis exhibition, that gathers four young artists with shared concerns but with clearly structured and differentiated speeches, is the result of a deliberate process of exploration and experimentation. The works in this show emerged from a temporary residence of these artists in Articruz workshop, which has allowed them to explore different materials and techniques. nnSpectra gathers the proposals of these artists in a variety of surfaces to state that the value of an artwork relies upon the speech of each artist, and when someone has managed to properly structure a particular visual language, it will work in any given surface. nn1010, Cisco Merel, Felipe Pantone and Nelia have a common background. All of them were trained in design, and arose from the world of graffiti and street art. Their visual vocabulary was forged on the street and in murals, with the particularity that they have focused their interests on abstraction, geometry and perception, creating languages from pure forms and color. nnNow they are all in a transition process between urban art and conventional works on permanent surfaces, between the outdoor walls and the walls in the galleries. This is the reason why we have coordinated a collaboration with Articruz so that these artists can experiment with the various possibilities that the workshop provides them. Thus, this transition in support, from the wall to the frame, can be more effective and adapted to the needs of each artist's speech. nnThe result is Spectra, a combination of technical and discursive solutions, which interact with each other and are now being shown to viewers and visitors of the exhibition. In Marion Gallery we are very proud to be part of this gathering.   Less

Djalouz - Petites Chroniques Urbaines

• Vimeo 7:14

Petites Chroniques Urbaines vous invite à découvrir le street art à travers les récits de vie d'artistes urbains.nnpetiteschroniquesurba...

Petites Chroniques Urbaines vous invite à découvrir le street art à travers les récits de vie d'artistes urbains.nnpetiteschroniquesurbaines.com/portrait/djalouznfacebook.com/petiteschroniquesurbainesnnLe site de l'artiste : www.facebook.com/djalouznnREALISATION : Jeanne-Marie LAURENTnIMAGE : Dorian RIVIEREnSON : Victor LOEILLET nMONTAGE : Samuel COUSINnETALONNAGE : Didier MARTINEZnMIXAGE : Lucas MASSONnMUSIQUE : Hugo SACCHETTInCONCEPTION GRAPHIQUE : Yoann ShOn GEHLENnSOUS TITRAGE : Rémi LAMARCHE   Less

6 Artists on Black Identity

• Vimeo 5:13

“Where am I in this story?” Watch artists such as Wangechi Mutu, Ngũgĩ wa Thiong’o and Chimamanda Adichie discuss how black people a...

“Where am I in this story?” Watch artists such as Wangechi Mutu, Ngũgĩ wa Thiong’o and Chimamanda Adichie discuss how black people are (mis-)represented in today’s society and culture.nnNigerian writer Chimamanda Ngozi Adichie (b. 1977) discusses the narrow perception of beauty in African culture, which is heavily influenced by Western ideals: “You’re internalizing society’s message to you that your hair, the way it is, something is wrong with it.”nnArtist Wangechi Mutu (b.1972) argues that growing up in Nairobi in Kenya in the 70’s and 80’s, there was virtually no representation of urban middle-class African kids in the films available to them.nn”You literally erase the memory of who they are,” says Kenyan writer Ngũgĩ wa Thiong’o (b. 1938) about how colonizers tampered with the memories of the natives and instead planted their own memories.nnTo American artist Kerry James Marshall (b. 1955), showing the diversity of races in museums is essential to how we perceive the world: “We live in a material world, in which the things we see shape our expectations.”nn“Africa is a European concept,” states Congolese artist and photographer Sammy Baloji (b. 1978).nnAuthor Taiye Selasi (b. 1979) – who is born to a Nigerian mother and a Ghanaian father and raised in Boston, U.S. – talks about creating an alternative to having your identity labeled: the global, multi-local ‘Afropolitan.’nnInterviews by Synne Rifbjerg, Kim Skotte, Mathias Ussing Seeberg and Kasper Bech Dyg. The interviews can be watched in full length at http://channel.louisiana.dknnProduced and edited by: Roxanne Bagheshirin LærkesennCopyright: Louisiana Channel, Louisiana Museum of Modern Art, 2016   Less

6 Artists: The Poetry of Discarded Materials

• Vimeo 10:58

In a time where consumerism only seems to be growing, it is inspiring to observe these six artists – such as Tara Donovan and Piet Hein Ee...

In a time where consumerism only seems to be growing, it is inspiring to observe these six artists – such as Tara Donovan and Piet Hein Eek – who have made discarded, everyday materials the centre of their work. Watch their exciting approach to re-using materials. nn“The materials wait to be used again.” British sculptor Phyllida Barlow (b.1944) uses materials from her former sculptures – from their experimental stage. To Barlow, sculpturing is not about perfection but about recovering lost moments. nnFlexibility is key to American artist Elliott Hundley (b. 1975), who uses materials he’s found washed up on a beach in his artwork. Wrapping paper, rocks and beads are all part of a magnificent collage pieced together by chicken wire and straight pins.nn“In a way the artist works with remnants, society’s remnants.” Danish poet, writer and artist Morten Søkilde (b. 1974) dubs himself “a thing-finder” and uses these things he finds on e.g. the street to create his poetic, dream-like miniature models. When re-using materials in such a manner, there are suddenly infinite possibilities, and one’s own ideas are the only limitation. nnAmerican fabric sculptor and performance artist Nick Cave (b. 1959) describes his art as “a second skin that hides gender, race, class.” An array of discarded materials makes up his artwork, and he often frequents thrift stores and flea markets, searching for something “that has a pulse to it” and can be the beginning of something new. nn“It always starts with material,” says Dutch designer Piet Hein Eek (b. 1967), who uses e.g. scrap wood to build furniture – his goal being to optimize and take maximum advantage of the things around him. Starting out, people thought he was crazy to use leftover-material, but his approach has now set a new trend. nnAmerican artist Tara Donovan (b. 1969) was initially drawn to everyday materials – such as straws – because they were easily accessible, inexpensive and mass-produced. She works to the point where the flexible material, which makes up her magical sculptures, transcends itself, thus creating a sort of artistic structure. nnAll interviews by Marc-Christoph Wagner, Christian Lund and Jonas Hjorth, Louisiana Museum of Modern Art. nnProduced by: Marc-Christoph Wagner nEdited by: Klaus Elmer nCopyright: Louisiana Channel, Louisiana Museum of Modern Art, 2015nnSupported by Nordea-fonden   Less

Peter Zumthor: Different Kinds of Silence

• Vimeo 1:1:47

We visited Peter Zumthor – one of the world’s leading architects – in his studio in Switzerland. In this extensive and rare biographic...

We visited Peter Zumthor – one of the world’s leading architects – in his studio in Switzerland. In this extensive and rare biographical video interview he tells the captivating story of his childhood, his studies in NYC and his parents’ strong influence.nnZumthor – who works from the small town of Haldenstein in Switzerland – likes being outside the big centres of the world, as it frees him of having to consider the opinions of his fellow colleagues: “If you work like an artist, you need your own separate space.” He does, however, also work well in the “anonymous sound” of a city, where it is also possible to find calm in “a protective ocean of sound.” There are, Zumthor feels, different kinds of silence, and finding one’s mental silence – being able to concentrate – is what is most important in order to work well.nn“There’s nothing I’m not interested in.” Zumthor loves literature and music, but prides himself in taking an overall interest in different things, as it fuels him: “It’s a nourishing ground.” His constant appetite for learning gives him the tools to be able to understand whatever place or landscape he needs to work in, and being able to “feel a space” and having an idea how to react as an architect, is essential. When he designs his innovative architecture, Zumthor furthermore puts great emphasis on connecting the old with the new, rather than breaking with history. Likewise, he feels that all architects have a great social responsibility when it comes to creating buildings, which are both well crafted and sustainable.nnAnything can be considered art as long as it’s done with personal devotion to the making of it, Zumthor argues: “I never decided to become an architect.” Starting out as an industrial designer, it was not until 1968 that he made the decision of becoming an architect and began participating in competitions, thinking to himself: “I can do this better.” As for the first competition he entered, he was kicked out in the first round – a pivotal experience that made him aware of the need to always improve.nnPeter Zumthor (b. 1943) is a Swiss architect. Among his best-known projects are the Kunsthaus Bregenz in Austria, the thermal baths in Vals in Switzerland, the Swiss Pavilion for Expo 2000 in Hannover (an all-timber structure intended to be recycled after the event) and the Kolumba Diocesan Museum in Cologne. Zumthor is the winner of several prestigious awards such as the 1998 Carlsberg Architecture Prize, the Mies van der Rohe Award for European Architecture (1999), the Praemium Imperiale (2008), the 2009 Pritzker Architecture Prize and the 2013 RIBA Royal Gold Medal. He lives and works in Switzerland.nnFor more about Peter Zumthor see: http://zumthor.tumblr.com/nnPeter Zumthor was interviewed by Marc-Christoph Wagner at his studio in Haldenstein, Switzerland in May 2015.nnCamera: Klaus ElmernEdited by: Klaus ElmernProduced by: Marc-Christoph WagnernCopyright: Louisiana Channel, Louisiana Museum of Modern Art, 2015nnSupported by Nordea-fonden   Less

Yayoi Kusama: Let's Fight Together

• Vimeo 6:24

Welcome to the magical, polka-dotted, pumpkin-filled world of the legendary Japanese artist Yayoi Kusama, who uses her art to fight for love...

Welcome to the magical, polka-dotted, pumpkin-filled world of the legendary Japanese artist Yayoi Kusama, who uses her art to fight for love and peace. We had the pleasure of meeting the 86-year-old Kusama in her colourful Tokyo-studio. nnKusama, who feels that we’re getting into the worst century, hopes that her artwork reflects her longing – and fight – for love and peace: “I have been expressing an infinite devotion to peace loving and the refusal of war and terrorism by infinite human love.” Infinity is key in this context, as all of her work – from fashion to literature and art – centres on the notion of infinity and “the marvellous mystery of the universe.” nn“I have the enthusiasm as if I was still a child.” Pumpkins have always played and continue to play an essential role in Kusama’s artwork. She depicts the impressive fruit through both drawings and sculptures of various sizes and material: “I love pumpkins because of their humorous form, warm feeling and a humanlike quality and shape.” nnYayoi Kusama (b. 1929) is a Japanese artist and writer. She has worked in a wide variety of media, including paintings, collage, sculpture, performance art, fashion, and installations. Common for these different genres is the thematic interest in psychedelic colours, repetition and pattern (most famously dots). She moved to the United States in 1957 and soon became a fixture of the New York avant-garde scene, influencing contemporary artists such as Andy Warhol. It was also in New York, that she embraced the rise of the hippie counterculture of the late 1960s, organizing a series of happenings in which naked participants were painted with polka dots. In 1973 Kusama moved back to Japan, where she was suddenly perceived as a “Western” artist, and thus had to re-establish her network and position. Kusama’s work is in the collections of leading museums such as MoMA in New York, Tate Modern in London, Stedelijk Museum in Amsterdam, Centre Pompidou in Paris and the National Museum of Modern Art in Tokyo. She has received numerous prestigious awards, including the Asahi Prize (2001), Order des Arts et des Lettres (2003), the Order of the Rising Sun (2006) and one of Japan’s most prestigious prizes, Praemium Imperiale (2006), which she was the first Japanese woman to receive. Kusama has also designed for the fashion-industry, collaborating with prominent designers such as Louis Vuitton. She lives and works in Tokyo, Japan. nnYayoi Kusama was interviewed at her studio in Tokyo, Japan in June 2015. nnCamera: Yudai Maruyama nProduced and edited by: Roxanne Bagheshirin Lærkesen nCopyright: Louisiana Channel, Louisiana Museum of Modern Art, 2015nnSupported by Nordea-fonden   Less

MINA FINA | FORMAT 90

• Vimeo 1:30

Mina Fina (1978) graduated in 2002 from the Department of Visual Communications at the Academy of Fine Arts and Design in Ljubljana. During ...

Mina Fina (1978) graduated in 2002 from the Department of Visual Communications at the Academy of Fine Arts and Design in Ljubljana. During her studies she received two awards for typographic excellence from TDC New York. She received the Award for Excellence at the Academy of Fine Arts and Design for her final degree piece as well as the Brumen Award. She is a freelance graphic designer, illustrator and VJ. She is a member of the Ee design group as well as the YGT (Your Gay Thoughts) audio-visual collective. She has recently been concerned with the exploration of drawing, animation and video. She has published several original artist’s publications, zines and artist’s books, and has published two print series in cooperation with MGLC. The first was presented at MGLC in 2012, and the second was shown in last year solo exhibition entitled This mess we're in. www.minafina.sinnProduction: Kino Šiška | 2016 | kinosiska.sinVideo: David Lotrič | Music: Sai Pan | Design: Maruša Račić | Animation: Sai Pan | Project Manager: Piera Ravnikar   Less

Emitting Velocity - Burning Tree - Live Performance at CMIAR 25

• Vimeo 10:09

Matt Swift wrapped up the show at The Columbus Moving Image Art Review 25 with a live moving image performance which combines dramatic spoke...

Matt Swift wrapped up the show at The Columbus Moving Image Art Review 25 with a live moving image performance which combines dramatic spoken word, and musical accompaniment with his new film created through 32 views of a single tree falling into slumber with the changing season. Like many of the other pieces in the show, the orderly chaos that accompanies the cycle of the changing of the seasons has been the inspiration for Emitting Velocity – Burning Tree. Emitting Velocity is a series of work by Matt Swift exploring the camera as painters hand highlighting movement of color and light as brushstrokes brought together to engage with spiritual painting practices that create mandalic shapes and patterns.   Less

David Carson - All For a Few Good Waves

• Vimeo 14:47

David Carson is arguably the world’s most well known graphic designer. All For a Few Good Waves is a short documentary portrait offering a...

David Carson is arguably the world’s most well known graphic designer. All For a Few Good Waves is a short documentary portrait offering a raw glimpse into the life and work of David, an uncompromising genius, who refuses to be anyone but himself.nnAfter a career as a top ranked pro surfer and high school sociology teacher, he rose to prominence in the 90’s after art directing Transworld, Beach Culture and Ray Gun Magazines before going on to start his studio. With no formal design training, Carson took the design world by storm, upending conventions and breaking traditional rules he didn’t even know existed. nn——————————————————————————nnCredits:nnStarring: David Carson + Ola CarsonnnProduced and Directed by: Dress Code (dresscodeny.com)nExecutive Producers: Dan Covert + Andre AndreevnProducer: Tara Rose StrombergnCinematography + Sound Record: Andre AndreevnEdit + Color: Mike CooknAssistant Camera: Mercy LomelinnProduction Cordinator:  Rose GlaesernEnd Titles: Mike Cook + Mercy LomelinnnMusic + Sound Design: You Too Can WoonnShot on Location in Tortola, BVI over a couple years on:nA Red Epic, a GoPro Hero 3, and a Black Magic Pocket Cinema Camera   Less

THE THUNDER WOMAN OF LOVE & FREEDOM Michel Montecrossa’s music movie for the opening song of his THE THUNDER album

• Vimeo 3:39

’THE THUNDER WOMAN OF LOVE & FREEDOM’ music movie presents Michel Montecrossa’s live version of the opening song for his stunning albu...

’THE THUNDER WOMAN OF LOVE & FREEDOM’ music movie presents Michel Montecrossa’s live version of the opening song for his stunning album THE THUNDER which he played together with his band The Chosen Few during the ‘Rettet Die Willkommens Kultur - Save The Welcome Culture’ concert. ’THE THUNDER WOMAN OF LOVE & FREEDOM’ music movie features, along with Michel Montecrossa’s thrilling song performance, a fascinating series of his paintings and drawings from the great treasure house of his fine-art masterpieces. ’THE THUNDER WOMAN OF LOVE & FREEDOM’ music movie thus is an impressive example for a holistic crossover art movie combining music, singing, images and poetry to create a single morphogenetic field of consciousness expression for the androgyn theme of ’THE THUNDER WOMAN OF LOVE & FREEDOM’ about which Michel Montecrossa sings: “I am the wisdom of my search and the women dwelling within me. Now I am close to your pain bringing the thunder and the rain.“ nnnMichel Montecrossa says:nn“’THE THUNDER WOMAN OF LOVE FREEDOM’ is the opening song for my album THE THUNDER. It is a deeply personal Lilith-style album singing about love relations as the root of all conflicts and every redemption. THE THUNDER songs are singing from the place where male and female are the androgyn reality of our Self, where we meet every other Self in the way of both sexes. It is there where all conflicts disappear and the unexpected appears. THE THUNDER can be heard in this album through Cyberrock Ballads of Love and Freedom and New-Topical-Song-Echoes from an uprooted world of sensual distortion. THE THUNDER like Lilith does not want to be buried under the king during love making but rather wants to sit on top of his prick. Lilith was greatly despised for that by patriarchs and male dominated religions. But in fact she is the creation goddess dwelling in the World Tree, or in other words, in every prick. THE THUNDER gives you something to think for the next time you are in bed with someone. Most of the songs have English lyrics and some are bilingual Deutsch-English.“nnMore music and movies: www.MichelMontecrossa.comnnSong LyricsnnThe Thunder Woman Of Love & FreedomnnThe Thunder Woman I am of Love and Freedom,nthe girl I am and the mother.nThe old I am and the unborn,nlonging I am, giving birth to the nations.nnYou who hate me, why do you love menand hate those who love me?nI am the whore and I am the holy.nI am the wife and I am the virgin.nnYou who deny me, come to embrace me.nAnd you who embrace me, come to deny me.nI’m the stillness of the unforeseennand the vision I am that can see.nnYou who tell the truth about me,nare telling lies about me.nAnd you who have lied about me,nare telling the truth about me.nnI am the voice whose sounds are many,nI’m the utterance of my own name.nI am shameless and I’m ashamed.nI am shy and I am bold.nnI’m tough and I am sweetnfor I’m knowledge and I’m the good deed.nI won’t be silent among the silent,nI will appear and I will speak.nnI am the wisdom of my searchnand the women dwelling within me.nNow I am close to your painnbringing the thunder and the rain.nnThe Thunder Woman I am of Love and Freedom,nthe girl I am and the mother.nThe old I am and the unborn,nlonging I am, giving birth to the young.nnLyrics & Music: Michel Montecrossa, © Mira Sound Germany   Less

Llumversació

• Vimeo 1:58

LLUMVERSACIÓnMaurici Ginés & artec3 Studio nnMaurici Ginés & artec3 Studio presents a collection of light art. "Llumversació" aims to cr...

LLUMVERSACIÓnMaurici Ginés & artec3 Studio nnMaurici Ginés & artec3 Studio presents a collection of light art. "Llumversació" aims to create a new perception of an object through the use of light, in its interaction with materials and filters. Ginés´ work explores the event taking place when two colors interact together, and when chromatic additive interference is applied. The resulting ambiguity creates a new virtual sensation.n nLlumversacio is a collection of artwork that evolved from Maurici´s persistent investigations during his years dedicated to light.n nMaurici Ginés, creative director of artec3 Studio, has more than 20 years of experience working with light in different areas. He has done projects ranging from ephimeral to permanent, in the urban public space. In this exhibition, Ginés proposes an analogical experience in an interior space, where light breaks through materials to reveal a magical image and establish a dialogue with the audience.   Less

Smökers II

• Vimeo 0:53

Smökers, a mobile site-specific project displayed in various locations in New York City by American artist Mark Reigelman II.nnThe plastic ...

Smökers, a mobile site-specific project displayed in various locations in New York City by American artist Mark Reigelman II.nnThe plastic orange steam tubes placed above manholes in New York are a commonplace element within the metropolis landscape. These tubular chimneys offer some sense of spectacle and mystery, but for the most part are one more obstacle in traversing the city. American artist, Mark Reigelman II, has created a site-specific art intervention that forces spectators to reconsider the framework of a city’s infrastructure, and redress the functionality and activation of public space. nnSmökers, consists of a miniature monochromatic wooden cabin, temporarily installed throughout the New York City. This cabin replaces the brightly colored plastic steam tubes that dot the New York landscape, allowing the byproduct of the city’s essential industrial process of providing power and heat to thousands of homes and businesses throughout the city, to be highlighted and subverted, all while referencing this process in the selection of using a house structure for the work. Inspired by Reigelman’s childhood fascination and familiarity with small hand-made German objects (Räuchermann), the project seeks to imbricate the purpose of steam tubes, and insert the notion of whimsy and imagined narrative to the everyday. Räuchermann, also commonly referred to as ‘smokers’, are simple wooden incense burners, often resembling cottages, animals, and chimney sweeps. The aesthetic to these common German objects references the visuality of the orange and white candy-cane striping of these plastic steam tubes. But more importantly, both objects have identical functionality and usage - to channel and release smoke, compounding the nuance of the work.   Less

Smökers

• Vimeo 1:01

Smökers, a mobile site-specific project displayed in various locations in New York City by American artist Mark Reigelman II.nnThe plastic ...

Smökers, a mobile site-specific project displayed in various locations in New York City by American artist Mark Reigelman II.nnThe plastic orange steam tubes placed above manholes in New York are a commonplace element within the metropolis landscape. These tubular chimneys offer some sense of spectacle and mystery, but for the most part are one more obstacle in traversing the city. American artist, Mark Reigelman II, has created a site-specific art intervention that forces spectators to reconsider the framework of a city’s infrastructure, and redress the functionality and activation of public space. nnSmökers, consists of a miniature monochromatic wooden cabin, temporarily installed throughout the New York City. This cabin replaces the brightly colored plastic steam tubes that dot the New York landscape, allowing the byproduct of the city’s essential industrial process of providing power and heat to thousands of homes and businesses throughout the city, to be highlighted and subverted, all while referencing this process in the selection of using a house structure for the work. Inspired by Reigelman’s childhood fascination and familiarity with small hand-made German objects (Räuchermann), the project seeks to imbricate the purpose of steam tubes, and insert the notion of whimsy and imagined narrative to the everyday. Räuchermann, also commonly referred to as ‘smokers’, are simple wooden incense burners, often resembling cottages, animals, and chimney sweeps. The aesthetic to these common German objects references the visuality of the orange and white candy-cane striping of these plastic steam tubes. But more importantly, both objects have identical functionality and usage - to channel and release smoke, compounding the nuance of the work.   Less

Border Crosser

• Vimeo 1:40

Borders can appear hard and fixed on maps, in language, and in space. But these borders are constructed and ultimately malleable. Border Cro...

Borders can appear hard and fixed on maps, in language, and in space. But these borders are constructed and ultimately malleable. Border Crossers comprise a series of lightweight robotic sculptures that poetically explore and question the notion of borders and boundary conditions. The inflatable sculptures, working in tandem, rise up to several stories high and extend across a given threshold. Their choreographed performance, originating on both sides of the border, would stage a symbolic connection. nnEach physical deployment would also take the form of a mediatized event, recorded and broadcast over the web using satellite and video feeds. nBorder Crossers provoke investigation of borders as constructed entities. At one level its actions embody a simple curiosity to see what lies on the other side of a border (national, architectural, environmental, etc.). On another level the work expresses a utopian desire to live in a world without borders. The project treats the border as a physical condition that can be temporarily transcended by technological proxies. It offers a critique of militarized geopolitical borders, and a metaphorical suspension of those borders in the form of temporary arches or partial arches equipped with sensing and surveillance technology. nnThe specific choreography of the inflatable machines would vary from one situation to the next. In one imagined scenario along the U.S.---Mexico border fence, up to six inflatable units would be installed on opposite sides of the border (either public or private property in towns or the desert). At dusk, the reflective white, ethereal forms are activated by compressed air, and begin to grow gradually, gracefully upwards into towers, standing out against their surroundings. The robots use their “muscles” to move and undulate into a variety of forms as they rise. Once they reach above the barrier fence, they begin to arch toward the other side of the border. Those machines anchored on the Mexican side cross over and touch down on the U.S side. Reciprocally, the U.S.---based machines touch down on Mexican soil at the same moment. Together the machines, illuminated from inside or outside, form six unifying archways, simultaneously inhabiting and puncturing the artificial border imposed upon the citizens of these countries. nnBorder Crossers invites the public to rethink the notion of borders in a globalized world. Technology currently helps to overcome cultural and economic borders, but is also frequently used to maintain and reinforce physical borders. This project envisions technology as a positive tool to establish dialogues beyond borders, to question borders, and to create a symbolic suspension and transcendence of borders.nnThe Border Crossers remind us that we are connected, that borders can be temporary (as temporary as the “crossing” performance). Their actions allude to the equality of humanity against a backdrop of tensions and conflicts over national and cultural identity. Technology comes to the fore in this questioning of the boundaries placed upon trans--- border cultures and ecologies.nnThe first Border Crosser was presented by ZERO1 in San Jose, CA in February 2016 and was supported, in part, by a Cultural Affairs grant from the City of San José, Arizona State University Art Museum and Herberger Institute School of Art, the Montalvo Arts Center, and Dyneema®.   Less

THE WANTING MARE- Concept Trailer

• Vimeo 3:10

Join us on Indiegogo!nhttps://igg.me/at/thewantingmare/nncontactnnick@coatwolf.comnnA film by Nicholas BatemannAnamere: nDavid Io RossnCassa...

Join us on Indiegogo!nhttps://igg.me/at/thewantingmare/nncontactnnick@coatwolf.comnnA film by Nicholas BatemannAnamere: nDavid Io RossnCassandra Louise BakernAaron BoudreauxnnwithnJordan MonaghannEdmond CofienFrank MosleynJosh ClarknBailey Anne BordersnHannah Lewis   Less