KHALAVERA: jj., ten je miloucky

KHALAVERA: také jsem se nad nim zasekl :)

PASHWAKA: no teda, ten bronzový míč mě chytil za srdíčko...

MAHISH: ten prispevek od M2S mi zas pripomel tohle:

Ariel Orozco

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"Perro Balón", 2003
A starving stray street dog, which was ignored and abused by people was intervened in the form of a soccer ball, after which it became the centre of attention, creating an immediate bond and interest by the people around it.
This work elaborates on the lack of attention to the individual and how can absurd actions may lead to celebrity and attention.


"Rompecabezas", 2004
The skeleton of a chicken was constructed by individual bones obtained in different restaurants where costumers gave them up to be eaten by the artist.
The skeleton was formed by 27 diferent chicken bones, connected by 27 charity gestures.


"Doble Desgaste", 2005
An eraser was used as a model for a drawing and at the same time to erase it, generating an effect in the eraser’s shape, such eraser was then used as a model for the next drawing, the process was repeated until the disappearance of the image and the model.


"Yo paso por la ciudad y la ciudad pasa por mi", 2005
In this action, Ariel Orozco went through the streets of Mexico City wearing a designer suit looking for strangers in order to convince them to engage in a cloth exchange process. The entire action lasted three days. As result of the action he was able to cross through different layers of a complex socioeconomic structure.


"Ejercicio de Sueño", 2006
By this gesture the artist alters the use and meaning of an ordinary object and an ordinary action. The bed sleeps on the sleeper.


"Duelo Personal", 2006
A heavy bronze reproduction of a soccer ball is painted to look as an actual lightweight ball.
Ariel Orozco transited during long walks on the streets of Melbourne, acting as he was carrying a light soccer ball.
This work deals with the emotional weight concealed by people surrounding us on every day life.


"Espacio sin Espacio", 2007
By this action Ariel Orozco tries to establish a connection between the finite and the infinite.


"Melodía Robada", 2007


"Contrapeso", 2003
Ariel trained for two months with the sole objective to become his own flag for one second. The effort we make to achieve an objective almost never corresponds to the final result, most of times the effort is not proportional or coherent with the objective. This work makes reference to the prominent absence of a paradigm.

http://artnews.org/arielorozco

M2S:

New law proposed in response to exhibition
It would criminalise those who harm animals when making art

http://www.theartnewspaper.com/article.asp?id=8065

AHASVER: no tady bych imho hledal to odhalování hovna v kýči (jakožto světa bez hovna, podle Kundery)

MYKO: ono je to zábavný právě jen v tom prvním plánu, dál už je docela cynická práce s popkulturním materiálem

KHALAVERA: taky mi to nepripada usmevny

claire healy





oasis, 2002. tamarama beach, sydney. materials, pool, fake palms, fence, sunbather.




formica tower, 2001, materials: scaffolding, caravan




from dusk 'till dawn , 2003, materials: stretched beach towels on maple


sean cordeiro



welcome to the lucky country , 2002. dover heights, sydney. materials, fibreglass, mdf, paint.


claire healy & sean cordeiro



sculpture, 2008, Mdf, cardboard, perspex, acrylic, tie-down ratchets




Sculpture, , 2006, 9 months of printed matter waste, picnic table and beer bottles. Collection of Museum of Contemporary Art, Sydney




Sculpture, 2006, lexicons, ikea lack shelving




Sculpture, 2006, lexicons, ikea lack shelving








installation, 2006. materials: museum collection, wool.


http://www.claireandsean.com

KHALAVERA: mozna

PETROGRAPH: možná něco přehlížíš

THRAWN: ale aj ironicke a nadsazkove umenie sa da sprostredkovat tak, ze da priestor divakovi. ked neabsorbujes celu pointu letmym pohladom a celkovy dojem z diela nie je len jemne pousmiatie.

THRAWN: ale ne, já to nemyslel nějak vůči tobě, spíš tak obecně. myslim, že to je platný od tý doby, co vyprchal étos konce 60tejch let a mašiny pořád jedou stejně a nám došla chuť se prát, nebo nevim
takovej blábol ;)

AHASVER: no to nevim, ale takovy ty tezky koncepty mi uz obcas lezou krkem, tak sem rad, kdyz nekdo udela neco lehciho s troskou ftipu. Dneska je toho na vystavach tolik, ze si clovek muze vybrat :) a nemyslim ze by uspesny umelci byly jen ty co berou umeni jako zabavu a vtip... ale ja je mam proste rad a nemyslim si ze bych se nechal "pobavene" vlacet... kriticky ladeny umeni je moje hned druhy nejoblibenejsi... a to se samo da delat i s troskou ftipu a zabavy... skoda jen ze dneska se na slovo zabava kouka zkrze prsty.

 
CELINE MEYRAT
Tribulations Domestiques

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color pencil, 29x42 cm








Agonistique

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color pencil






Elucubration

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silk-screen printing, 120x170 cm







www.celinemeyrat.ch

THRAWN: aneb jak se nám pěkně obrušujou hrany a "pobaveně" se necháme vláčet...

WAKO: jep, to mam v soucasnym umeni prave nejradsi, kdyz se nad necim pousmeju, zasmeju, pobavim... a vazna tema mam nejraci profiltorvany pres nadsazku, satiru a humor :)

KHALAVERA: http://www.stephaniesyjuco.com

 
PHILIP WIEGARD

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www.philipwiegard.com

Stephanie Syjuco



Composite Bamboo Forest
2004

paper, cardboard, mixed media, approximately 7' high, dimensions variable



Using low resolution jpg images downloaded from the internet, I distorted images of bamboo so they created wrappers for cardboard tubes. A simple image search revealed numerous different depictions of bamboo: forests, individual plants, close-up images, and a range of textures. The resulting "composite forest" is a physical manifestation of bamboo as it exists online and, essentially, in the public imagination. The stretched and distorted images create what look like a warping of space, with the digital quality of the low-resolution images becoming enhanced and abstracted.

This work is part of a larger series in which I am "searching for the Phillipines"--my place of birth, and from which I am culturally removed from--and attempting to find it via the internet and at a distance.

THRAWN: nho ...tak úsměvný to je no ...

 
DOUG AITKEN

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www.dougaitkenworkshop.com