Amazing paintings by Paco Pomet…
Amazing paintings by Paco Pomet…
Vito Acconci, Virtual Intelligence Mask, 1993
“A conventional fencing mask is used as a support-structure-for electronics; the electronics are used as contact with the world outside.
On the front of the mask are three televisions: one larger television facing out, and two miniature televisions facing in. The miniature televisions, facing in, cover the eyes of the person wearing the mask; from an outsider’s point of view, the person inside the mask is blindfolded by the two televisions. At one side of the mask is a small portable radio, positioned at the ear of the person wearing the mask; the radio’s speaker is directed out.
On top of the mask are two surveillance cameras, one on top of the other, one directed toward the front and one directed toward the rear. The cameras mechanically rotate, side to side.
The person wearing the mask sees his/her environment on the two television screens in front of his/her eyes: one—screen shows what’s going on in front of the person, the other shows what’s going on behind.
In the meantime, the larger television, and the radio, are available for use by passers-by: a passer-by can switch TV channels, a passer-by can change from one radio station to another. A passer-by can, literally, ‹dial› the person wearing the mask; a passer-by can, literally, ‹turn the person on.›”
A pilot study from a group of Dutch scientists implies that being told that an image is an artwork automatically changes our response, both on a neural and behavioural level.
MATERIAL WANT is the first collaboration of Matthew Plummer-Fernandez and JODI. Bringing together their respective practices, they explore hybridisations of algorithms, errors, Internet found objects and digital fabrication. The result of this joint effort? A series of 3D-printed sculptures, uncanny, yet familiar objects, between incongruous assemblages and distorted reality.
Red is an Audio Visual art object by vtol is a homemade projector with a robotic controlled flexible lens which cam produce abstract light visuals…
“Don’t go unnoticed. Follower is a service that grants you a real life Follower for a day. A no-hassle unseen companion. Someone that watches, someone that sees you, someone who cares.”
a project by Lauren McCarthy
Luis Camnitzer, “The Photograph“, 1981
João Ferro Martins, London Brick, 2011
Ole Ukena, Cher, Chair, Share (Hello, Joseph), Poster of the singer Cher, a chair, a printed definition of the word share / 220 x 175 cm / 2011
The power of language can both separate us and bring us together. This piece, which is based on Joseph Kosuth‘s masterpiece Three and One chairs from 1965, playfully capitalizes on linguistic similarities while highlighting cultural absurdities bringing about the question: could a pop icon, place to rest and a single noun have anything in common/share common ground? In this work the intended act of misinterpretation becomes the actual act of artistic creation.
Sam Nichols, Like, 2014
A reanimation of the tea party & riddle scene from Alice in Wonderland (1951), restyled by 17 paintings.
Created with code by Justin Johnson, based on the paper on style transfer from Gatys, Ecker, and Bethge at the University of Tübingen in Sep 2015.
“Sculpture based on an algorithmic interpretation of the relationship between individuals tagged in a Facebook flyer for a salsa themed evening event”. By Kim Laughton.
Student Debt by David Horvitz
Ren Ri’s amazing honeycomb sculptures.
Sarah Abu Abdallah, The Salad Zone, 2013
Reece Terris, American Standard, 2004
“American Standard is an installation that featured fifteen functional urinals arranged in a pyramid formation on the wall of the men’s washroom in the Alexander Centre studio at Simon Fraser University. Transforming the facility into a public indoor fountain, water overflowed from the uppermost urinal and splashed its way down through the formation creating a deluge of water flooding the sunken floor. Visitors enter the space via tiled stepping stones, providing access directly to the sink and preexisting toilet, leaving the facility fully functional and open to both sexes.
American Standard draws upon the ‘readymade’ and confronts its art-historical underpinnings (recalling Marcel Duchamp’s iconic Fountain), while imparting more than pure reference, as it extends beyond the object-oriented readymade into an architectural space. Rather than demonstrating how context produces meaning within objects, American Standard presents an environment in which objects re-contextualize their space, revealing architecture’s dependence on standardized form and socially assumed function within even the most private of public spaces.”