found via Wurzeltod:
click through for more pictures
A poster the recipient completes by revealing spot-varnished type with hands made dirty by handling the poster, by Roland Tiangco.
n: vb: the spice of imagination
found via Wurzeltod:
A poster the recipient completes by revealing spot-varnished type with hands made dirty by handling the poster, by Roland Tiangco.
Tony apparently commissioned Eliza to create portraits of us as part of The Very Commercial SWEATSHOP. I adore what she’s done, Tony’s a delicious aristocrat and I’m a hot Armenian. Sweet!
EDIT: I’ve gone and bought delicious frames for these, and the one of Tony is going to live with me in Vancouver and the one of me is going to live in Seattle with him! And we have wings! Wings!!! So freaking awesome!
Blood Lamp, 2009, a single-use light that draws its energy from a drop of blood, by UK artist Mike Thompson, creator of the wifi dowsing rod.
For the lamp to work one breaks the top off, dissolves the tablet, and uses their own blood to power a simple light. By creating a lamp that can only be used once, the user must consider when light is needed the most, forcing them to rethink how wasteful they are with energy, and how precious it is.
Lose/Lose is a video-game with real life consequences. Each alien in the game is created based on a random file on the players computer. If the player kills the alien, the file it is based on is deleted. If the players ship is destroyed, the application itself is deleted.
Although touching aliens will cause the player to lose the game, and killing aliens awards points, the aliens will never actually fire at the player. This calls into question the player’s mission, which is never explicitly stated, only hinted at through classic game mechanics. Is the player supposed to be an aggressor? Or merely an observer, traversing through a dangerous land?
Why do we assume that because we are given a weapon an awarded for using it, that doing so is right?
By way of exploring what it means to kill in a video-game, Lose/Lose broaches bigger questions. As technology grows, our understanding of it diminishes, yet, at the same time, it becomes increasingly important in our lives. At what point does our virtual data become as important to us as physical possessions? If we have reached that point already, what real objects do we value less than our data? What implications does trusting something so important to something we understand so poorly have?
All that is solid melts into the air. from Sooz on Vimeo.
ARTIFICIAL PARADISE,INC. from Jp Frenay on Vimeo.
Performance commissioned by Kalmar Museum of Art, Sweden. During the inauguration of the new art museum in Kalmar a suspicious individual sneaked around the premises mounting sculptures made of carrots, alarm clocks, red and blue cables, metal wire and tape. On direct orders from the Swedish secret police the performance was stopped since the Culture Minister refused to give her inaugural speech if it were to continue. The speech , as it later turned out, was about how art must be allowed to be free and provocative.
via Grinding.be:
Heaven of Delight, a fantastic ceiling art created in four months using 1.6 million beetle shells:
The beetles:
The patterns:
The ceiling:
From makezine.com, via killerdirectory.com. with photos from angelos.be.
My dear, dear friend Myke,
artist of all trades, designer, comic author/illustrator, animator, sculptor, semi-retired DJ and promoter, and all around inspiration,
has just been featured on Dark Roasted Blend! Check it out: Airships and Tentacles.
Bonus: check out the intricate, ethereal art of his sassy girl Beth. (Also, they have an Etsy shop. And a really freaking cool website, the Miskatonic Archive.) (Did I also happen to mention they’re both obscenely good looking? Because they are. Yes. Go click on their sites.)
life-size wooden sculptures by German artist Gehard Demetz, found via the ever excellent Strange Little Girls.
SCINTILLATION, an experimental film made up of over 35,000 photographs, it combines an innovative mix of stop motion and live projection mapping techniques,
from Xavier Chassaing on Vimeo.