Art/Aesthetics · Performativity · Sculpt/Install

Sigurdur Gudmundsson

Guided by an existential interest in the unknown, Sigurdur Gudmundsson generates work of abundant wit and verve that questions the way that vernacular culture and art relates to nature. Depicting everyday circumstances with absurdist tweaks, his Situations read as visual poems that explore the idiosyncrasies of human existence and tend toward the comical while retaining philosophical gravity. Gudmundsson uses himself as the subject of the Situations, but does not consider the works to be self-portraits but, rather, open-ended reflections that invite the viewer to ponder alongside the artist. Turning to sculpture in recent years, Gudmundsson has focused on creating works that retain his characteristic humor and are dominated by elegance, simplicity, and technical perfection.

In 1978, with 19 other artists, Gudmundsson co-founded Reykjavik’s Living Art Museum, which is dedicated to experimental and innovative contemporary visual art. His artworks have been exhibited internationally, including at the 37th Venice Biennale, the National Gallery of Iceland, and the Stedelijk Museum in Amsterdam, and his public commissions have been displayed in Rotterdam, Groningen, and The Hague.

Born: 1942
Hometown: Reykjavik, Iceland
Lives and Works: Amsterdam, The Netherlands and Xiamen, China

Text via Artspace
Images via i8 and ilikethisart

Collage, 1979. C-print, 69 x 87 cm / 106 x 127 cm framed

Horizontal Thoughts, 1970. Silver print on fiberbased paper. 100 x 95 cm

Animalia · Design · Sculpt/Install

The Paper Birds of Diana Beltran Herrera

See +++ HERE

Performativity · Sculpt/Install

Li Hongbo

Classical sculptures that defy logic by paper master Li Hongbo.
Extended Version

Architectonic · Sculpt/Install

Lucia Koch

Lucia Koch transforms the interiors of humble paper bags and cardboard boxes— evoking contemporary architectural spaces through a shift in point of view before printing them at a monumental scale. To create this effect she enacts a range of manipulations, adding light filters and translucent materials, altering skylights and facades, and pasting images of three-dimensional spaces to walls. Koch’s work reflects her broader political concern with the livability of generic, mass-produced structures.

Via 7 Knot Wind

Architectonic · Paint/Illust./Mix-Media · Sculpt/Install

“Irrational and Useless” Monument: The Abu Dhabi Mastaba by Christo and Jeanne-Claude

Since 1977 Christo and Jeanne-Claude have been working on their largest mastaba of oil barrels, a project conceived for the city of Abu Dhabi in the United Arab Emirates. The couple is mostly famous for their ephemeral monuments obtained by wrapping famous natural sites, sculptures or buildings, but during the years they also conducted parallel studies for the creation of monuments entirely made of barrels. These projects usually employ hundreds or thousands of barrels piled to form walls, (like for the “Iron Curtain” which blocked the rue Visconti in Paris in 1962), or a “mastaba”, a flat topped rectangular structure with sloping sides, like in their 1968 project for the Institute of Contemporary Art in Philadelphia, a structure of 1,240 oil barrels. The name and the shape of “mastaba” makes reference to ancient Egyptian tombs constructed out of mud-bricks or stone. Apparently, according to what Christo reported in an interview, “Mastaba is the old name of the mud bench found at the first urban place we know in the world—in Mesopotamia“.

The still unbuilt Abu-Dhabi Mastaba will be the world’s largest man-made sculpture, a 150 m (492-foot) tall structure made of 410,000 multi-colored barrels. Eventually, in 2012, after more than 30 years since its original conception, the artists obtained the building permissions and the site was approved. The sculpture/monument is indipendently financed by the artists as in the tradition of Christo and Jeanne-Claude’s works: the couple usually produces an extensive amount of drawings in order to sell them and use the proceeds to finance the building of their works.

Text and Images via Socks Studio. Continue THERE

Design · Paint/Illust./Mix-Media · Sculpt/Install

Autonomous Paintings


Echo Yang explores the current popularity of generative design processes, where computer software iterates endless variations, by turning old school analog devices like tin windup toys, a Walkman, an alarm clock and other machines into instruments of self-generated output.

Animalia · Design · Science · Sculpt/Install · Vital-Edible-Health

Honey Bees Can Detect Cancer in Minutes

Portuguese designer Susana Soares has developed a device for detecting cancer and other serious diseases using trained bees. The bees are placed in a glass chamber into which the patient exhales; the bees fly into a smaller secondary chamber if they detect cancer.

Scientists have found that honey bees – Apis mellifera – have an extraordinary sense of smell that is more acute than that of a sniffer dog and can detect airborne molecules in the parts-per-trillion range.

Bees can be trained to detect specific chemical odors, including the biomarkers associated with diseases such as tuberculosis, lung, skin and pancreatic cancer.

Via Dezeen

Bio · Sculpt/Install · Vital-Edible-Health

Don’t Forget the Brain Is as Complex as All the World’s Digital Data

Twenty years ago, sequencing the human genome was one of the most ambitious science projects ever attempted. Today, compared to the collection of genomes of the microorganisms living in our bodies, the ocean, the soil and elsewhere, each human genome, which easily fits on a DVD, is comparatively simple. Its 3 billion DNA base pairs and about 20,000 genes seem paltry next to the roughly 100 billion bases and millions of genes that make up the microbes found in the human body.

And a host of other variables accompanies that microbial DNA, including the age and health status of the microbial host, when and where the sample was collected, and how it was collected and processed. Take the mouth, populated by hundreds of species of microbes, with as many as tens of thousands of organisms living on each tooth. Beyond the challenges of analyzing all of these, scientists need to figure out how to reliably and reproducibly characterize the environment where they collect the data.

“There are the clinical measurements that periodontists use to describe the gum pocket, chemical measurements, the composition of fluid in the pocket, immunological measures,” said David Relman, a physician and microbiologist at Stanford University who studies the human microbiome. “It gets complex really fast.”

Excerpt from an article by Emily Singer at Quanta. Continue THERE


The Specimen Series by DO-HO SUH


Sculpting with polyester: examining the meaning of Home, Specimen Series Exhibition by Do-Ho Suh presents full-size replicas of the bathtub, toilet, medicine cabinet, radiator, refrigerator, and kitchen stove from Suh’s Manhattan apartment, executed in his signature polyester fabric.

Text and Images via MOCO LOCO
The Specimen Series exhibition will run November 14, 2013 through January 24, 2014 at Lehmann Maupin in Hong Kong.

Performativity · Sculpt/Install · Social/Politics · Technology

The Turing Normalizing Machine: An experiment in machine learning & algorithmic prejudice

In the 1930s British Mathematician Alan Turing studied normal numbers. During World War 2 he cracked the Nazi Enigma code, and then laid the foundations for computing and artificial intelligence. In the 1950s he was convicted of homosexuality and was chemically castrated. And in June 7th 1954, depressed by the anti-homosexuality medical treatment, and alienated by the society who deemed him abnormal, Alan Turing ate a cyanide laced apple.

In the following decades many of Turing’s ideas have materialized through the digital revolution, while many of them are still being researched. Inspired by Turing’s life and research we seek to finally crack the greatest enigma of all:

“Who is normal?”

Learn more about this project by Yonatan Ben Simhon & Mushon Zer-Aviv HERE

Design · Paint/Illust./Mix-Media · Sculpt/Install · Shows


Stefan Sagmeister’s ‘The Happy Show’ is centered around the well known designer’s ten year exploration of happiness. Having gathered the social data of Harvard psychologists Daniel Gilbert and Steven Pinker, psychologist Jonathan Haidt, anthropologist Donald Symons, and several prominent historians, ‘The Happy Show’ also includes a personal narrative, underlinig Sagmeisters individual experience. Furthermore he has focused on social data detailing the role of age, gender, race, money, and other factors that determine happiness. According to him: ‘The Happy Show offers visitors the experience of walking into Stefan Sagmeister’s mind as he attempts to increase his happiness via mediation, cognitive therapy, and mood-altering pharmaceuticals.’

Animalia · Performativity · Sculpt/Install · Videos

The POO PRINTER: an analog generative typography printer using bird-poo

he Poo Printer consists of a wooden cage sized 170x120cm and 100cm high with a removable tray in the center. This tray has interchangeable parts looking like tree branches with integrated food dispensers. According to the order of placement of these pieces it creates the shape of each of the characters of the Latin alphabet. The birds will hang out there most of the day, eating, pooing and even eating and pooing simultaneously.

Directly under the cage an extended roll of paper is located over the entire surface of the cage. The birds in their pooing performance from the mobile structure, with an angle of 90° to the paper surface, are generating, one by one, poo after poo, the latin character shape desired.

A group of male zebra finches underwent this experiment with rigorous commitment. The author/captor, taking the role of some kind of 1984´s Big brother, is providing the implementation guidelines for the transformation of this countercultural attitude into a marketable artsy product. The observation of this group of non-breeding birds in captivity and the experimentation with induced behaviors has been rigorously documented for this task. This project researches in a hybrid, artistic and scientific framework the physiological, mechanical and social dynamics of birds under captivity in a simulated factory-chain environment.

The result is the Poo Printer, an analog generative typography printer using the bird-poo as the particle substance in order to slowly generate the Latin alphabet characters over a large paper roll.

Text and Images via POO PRINTER by Fabrizio Lamoncha.

Photographics · Sculpt/Install

Harm-Less by Sonia Rentsch

Art/Aesthetics · Sculpt/Install · Shows

The Universal Addressability of Dumb Things

The Universal Addressability of Dumb Things, installation view (detail) the Bluecoat, Liverpool. 2013. Photo Jon Barraclough.

Francois Dallegret, Ted’s Opera Cosmic Space Suit, 1968, Courtesy the artist (c) the artist.

Space Dog Suit. Image courtesy the National Space Centre.

Turner Prize-winning artist Mark Leckey has curated an exhibition that explores the magical world of new technology, as well as tracing its connections to the beliefs of our distant past.

Historical and contemporary works of art, videos, machines, archaeological artefacts and iconic objects, like the giant inflatable cartoon figure of Felix the Cat – the first image ever transmitted on TV – inhabit an “enchanted landscape” created in Nottingham Contemporary’s galleries, where objects seem to be communicating with each other and with us.

In Leckey’s exhibition “magic is literally in the air.” It reflects on a world where technology can bring inanimate “things” to life. Where websites predict what we want, we can ask our mobile phones for directions and smart fridges suggest recipes, count calories and even switch on the oven. By digitising objects, it can also make them “disappear” from the material world, re-emerging in any place or era.

Text and Images Nottingham Contemporary

Animalia · Photographics · Sculpt/Install

As Long As It Photographs It Must Be A Camera

No animals were harmed in the making of these cameras. These cameras were handcrafted by the Swiss duo Taiyo Onorato and Nico Krebs as part of their Camera Collection. They are part of a two volume publication, As Long As It Photographs It Must Be A Camera.

Earthly/Geo/Astro · Performativity · Sculpt/Install · Sonic/Musical

Listen to the Surface of the Earth Transposed on Vinyl Record – by Art of Failure

FLAT EARTH SOCIETY proposes a transposition of the earth elevation at the scale of a microgroove record. This engraving of elevation’s data on the surface of the disk generates in consequence a subtle image of the earth. When played on a turntable, the chain of elevation data crossed by the needle can be heard.

“Can we hear the Earth? Not the sounds occurring upon it but the Earth on a geophysical scale? […]
The hill-and-dale technique was used in Edison’s phonograph, recording sound with a stylus that vertically cut a minute landscape into the grooves of the cylinder. […] Flat earth society takes readings from the stylus of topographic radar, cuts them into vinyl and then plays them back with a stylus. Phonographic hills-and-dales grow into the Alps, Andes, Himalayas, Grand Canyon, Great Steppe, Great Rift Valley, Great Outback and the Lesser Antilles. Where Enrico Caruso and Nellie Melba once sang one hears the Baja Peninsula, Antarctic Peninsula, and the bathymetric pauses of the Red Sea and Baffin Bay. […] Peaks and valleys, spikes and wells, spires and troughs, aspirations and depressions, all have their gradations in mythical and actual landscapes.”
– Douglas Kahn

Learn more about this project HERE

Bio · Design · Science · Sculpt/Install

Glass Microbiology


This body of glass work has been developed since 2004. Made to contemplate the global impact of each disease, the artworks were created as alternative representations of viruses to the artificially coloured imagery we receive through the media. In fact, viruses have no colour as they are smaller than the wavelength of light. By extracting the colour from the imagery and creating jewel like beautiful sculptures in glass, a complex tension has arisen between the artworks’ beauty and what they represent.

The sculptures are designed by Luke Jerram in consultation with virologists from the University of Bristol, using a combination of different scientific photographs and models. They are made in collaboration with glassblowers Kim George, Brian Jones and Norman Veitch.

Glass Microbiology


T4 Bacteriophage

Design · Performativity · Sculpt/Install

The Waste less chair

The Waste less chair by ‘Architecture uncomfortable workshop’.

Animalia · Bio · Design · Performativity · Science · Sculpt/Install

Algaculture Symbiosis Suit

Will humans be compared to lichen, sea slugs and salamanders in the future? With the future in mind, U.K.-based designers Michiko Nitta and Michael Burton study and design alternative ways to fuel the body. Algaculture offers a symbiotic relationship between humans and algae. It proposes humans to be semi-photosynthetic allowing us to gain food from light, the way plants do and, apparently, lichen, sea slugs and salamanders. Burton and Nitta have come up with an Algaculture Symbiosis Suit enabling the mutually beneficial relationship with algae to occur. Last September, one of these suits was used in The Algae Opera at the V&A in London. An opera singer sang using her large lung capacity to produce high-quality algae-product. The photosynthetic plant-like organisms fed on the carbon dioxide from the singer’s breath, creating a sample of the future food source. The audience was not only invited to appreciate her music, but also to savor her unique blend of algae. If you think this sounds unappealing, think again; Burton & Nitta’s Republic of Salivation is much harder to swallow.

Text and Image via Collabcubed

Animalia · Architectonic · Design · Public Space · Sculpt/Install

Fumigation Tents: The circus of aerosoled death

There’s something eerie about a clown-striped fumigation tent on a dark, residential street. Perhaps, in addition to its incongruous looks, it’s the knowledge that the house underneath is abandoned, its air rich with aerosoled death, necessitated by an infestation of parasitic insects. It evokes a sense of the uncanny – a mood that photographer Robert Benson went to great lengths to capture in his new photo series.

“I was never arrested and always stood on public property or had permission, but I definitely got some weird looks,” says Benson, who by day is an editorial and commercial photographer.

For several months Benson scoured San Diego (where he lives) for tented houses. At first he tried shooting the project by day with a film camera, but the photos were flat. By shooting at night with a digital camera, he found an added contrast and a tone that makes the photos so evocative, almost menacing.

Excerpt from an article written by Jakob Schiller at WIRED. Continue HERE
See more of this series at Robert Benson’s site HERE


Indoor Christo & Jean Claude-like installations by Penique Productions

Sculpt/Install · Shows · Technology

Light Show tricks meaning out of physics and biology

Light Show explores the experiential and phenomenal aspects of light by bringing together sculptures and installations that use light to sculpt and shape space in different ways. The exhibition showcases artworks created from the 1960s to the present day, including immersive environments, free-standing light sculptures and projections.

From atmospheric installations to intangible sculptures that you can move around and even through, visitors can experience light in all of its spatial and sensory forms. Individual artworks explore different aspects of light such as colour, duration, intensity and projection, as well as perceptual phenomena. They also use light to address architecture, science and film, and do so using a variety of lighting technologies.

Read Article: Light Show tricks meaning out of physics and biology.

Light Show runs at the Hayward Gallery, London, until 28 April.

Photographics · Sculpt/Install

“Lovers I (for AB)” by Juan Ortiz Apuy.

“Lovers I (for AB)” by Juan Ortiz Apuy.

Architectonic · Sculpt/Install

Hoover Buildings: Architecture Models That Literally Suck

By Dutch Artist Frank Halmans. The machines literally suck up dirt into the interior of a dollhouse. Halman has created functioning vacuum cleaners and dust busters in the shape of buildings in an attempt to show how ‘dirt and debris’ clutters our personal space.

Book-Text-Read-Zines · Sculpt/Install

Crystalized Books

‘Crystalized Books’ by Alexis Arnold.

Animalia · Design · Sculpt/Install

“ORSON, I’m Home”

“ORSON, I’m Home” is a limited series of dining sculptures in different sizes, dimensions and techniques processing a specific selection of livestock breeds.

“In talking of modern society as a consumer culture, people are not referring simply to a particular pattern of needs and objects […] but to a culture of consumption.” ~ Don Slater, Consumer Culture and Modernity

Via Armin Blasbichler Studio, a multidisciplinary design practice based in Brixen, Italy committed to expanding the notion of fabricated environments. Merging conceptions of space and object from both an art and architecture perspective the studio pursues ventures that are built on transgression and the experience of chance, physically and conceptually.

Paint/Illust./Mix-Media · Performativity · Sculpt/Install

Jared Clark’s Bleeder

“Clark is adept at taking the theoretical concepts of modernism and minimalism and reapplying them to conditions that are not ideal. With a laboratory full of objects culled from thrift stores he sets about reconsidering modernist painting and minimalist sculpture. While Jared’s use of rescued objects may liken him to those artists classified as making found-art, it is his affinity for the flatness of painting that imbues his work with a sense of newness. Jared’s sense of surface and texture serves to pull these pieces together, flattening and overriding their natural objectness in favor a privileged plane, a new painted image.

Given the extent of Jared’s materials it is easy to first consider his work a series of unrelated arrangements, a sprawling mess of objects. Certainly his choice of materials, which for the moment includes: cutting boards, luggage, soap, craft paintings, ceramic figurines, map pins, painted rocks, and Styrofoam, are chosen for the express purpose of challenging his connections to painting as associated with abstraction and modernism. Often with minimal intervention Jared succeeds in addressing major considerations of abstract painting, especially mark making and color. However I find his engagement with format and the consideration of the artist’s hand his greatest concerns. How these objects find themselves arranged is strictly through Jared’s manipulation. Yet it is the prompt of their form, either through color, scale, or character, that informs Jared as to what he is to make of them, creating an odd relationship between artist and object, disguising who exactly manipulates who.”

Excerpt from a text written by Andrew Kozlowski, 2011 at Jared Clark’s website

Design · Human-ities · Performativity · Sculpt/Install · Social/Politics · Videos

The Mine Kafon clears land mines

The Mine Kafon, by Afghan designer Massoud Hassani, is designed to be blown across dangerous terrain by the wind, triggering mines as it passes over them. A single unit, which costs about $50 to make, could remove several mines, as each explosion will only destroy a few of the Mine Kafon’s limbs.

Massoud Hassani: “I grew up in Qasaba, Kabul. My family moved there when I was 5, and at the time there were several wars going on. My brother Mahmud and I we played every day on the fields surrounded with the highest mountains in our neighborhood.

When we were young we learned to make our own toys. One of my favorites was a small rolling object that was wind-powered. We used to race against the other kids on the fields around our neighborhood. There was always a strong wind waving towards the mountains. While we were racing against each other, our toys rolled too fast and too far. Mostly they landed in areas where we couldn’t go rescue them because of landmines. I still remember those toys I’d made that we lost and watching them just beyond where we could go.

Almost 20 years later, I went back to Qasaba and made those toys again. That was my graduation project for the Design Academy Eindhoven (2011). I remade one, making it 20 times bigger as well as heaver and stronger. Powered by the wind, it’s meant for the same areas which were (and still are) full of mines.

Now if it rolls over a mine, the toy, now a Mine Kafon, will destroy itself and the landmine in the same time. Made from bamboo and biodegradable plastics, the Mine Kafon also has a GPS chip integrated in it. You can follow its movement on the website and see were it went, where are the safest paths to walk on and how many land mines are destroyed in that area. On paper, Afghanistan is said to have 10 million land mines. In truth there are far, far more. Every destroyed land mine means a saved life and every life counts.”

Via Inhabitat

Sculpt/Install · Sonic/Musical · Technology

Oramics Machine, c. 1959

The Oramics Machine is a unique electronic instrument invented by Daphne Oram (1925-2003).

Throughout the 1960s it was the focus of Oram’s determination to create a device to realize her musical imagination. With two grants from the Gulbenkian Foundation and the participation of several engineers, she was able to develop this unique machine.

On the Oramics Machine, Oram controlled both the structure of a piece and how it sounded by painting on strips of 35mm film. The fundamental sound came from waveforms that she also painted onto glass slides.

Daphne created her extraordinary music machine at a time when synthesizers as we know them were not available. In the 1950s and early 1960s, musicians wanting to use new sounds had to adapt devices made for other purposes. Laboratory signal generators, natural sounds and, especially, tape recorders were pressed into service. Oram produced many compositions that way, but she also dream of making machines that would give her complete control of compositions and how they sounded.

The Oramics system has two principal components. At its heart is the wooden cabinet that contains the waveform scanners. A glass slide with a wave-like shape drawn onto it, the waveform, is inserted into the scanner. Inside the scanner a flying spot from a cathode-ray tube traces the shape repeatedly. The speed at which this happens determines the pitch of the sound. The output of the scanning tube is then passed through the programmer and passed to a recording device or audio amplifier and speakers.

The metal table-like structure is called the programmer. Here Daphne would manipulate the sound from the waveforms by drawing on 35 mm film strips. The top strips controlled the vibrato. Other strips influenced the speed of the scanners, defining the pitch, the reverberation level and the volume of the sound.

You can find more information about how the Oramics Machine works on the website of the Daphne Oram Trust.

The Oramics Machine was a constant work in progress. It was changed, improved and added to by Daphne and the people she worked with. This makes it a very interesting and ‘layered’ object. Together with Goldsmiths University of London, which holds the Daphne Oram Archive, and the Daphne Oram Trust, the Science Museum is exploring the history of the machine and trying to find out how exactly it worked and how Daphne used it.

For a long time, the location of the Oramics Machine was not generally known, but it was rediscovered by Dr Mick Grierson, Director of the Daphne Oram Collection, in 2009. The short film bellow shows how the machine arrived in London before it was acquired by the Science Museum in 2010.

A documentary following the co-curation of the ‘Oramics to Electronica’ exhibition at The Science Museum in London.

The exhibition centered around Daphne Oram’s legendary Oramics machine, and features exhibits co-curated by BBC Radiophonic Workshop, EMS and a group of contemporary electronic musicians.

All text and Info via Science Museum

Art/Aesthetics · Performativity · Sculpt/Install · Shows

The Research and Destroy Department of Black Mountain College

For a brief moment the revolutionary ideas on art and living of Black Mountain College resonate in the spaces of W139. The work of more than 30 young conceptual artists meets in an experimental Wunderkammer and engages in a tactile dialogue creating a performative space.

THE RESEARCH AND DESTROY DEPARTMENT OF BLACK MOUNTAIN COLLEGE brings together a group of bricoleurs, conceptual artists whose work share the idea of collecting. The physical shape of the work is determined by the content of their own research. The gathering, or ensemble of different ideas in literary images tells a story, and stands close to the notion of anachronism. In the exhibition mostly three-dimensional works will be presented, forming a dynamic parcours, as a forest of metonymic sculptures and images. The displaying of this anti-digital show will create new conceptual reflections between the different works. With 30+ artists the exhibition spaces of W139 will take on the temporal form of a giant cabin of curiosities, a physical embodiment of knowledge. The unforeseen encounters will be spurring new insights and fuel an active dialogue on exchange, collaboration and collection. Together, the large group of artists will have to overcome the inhuman proportions of the W139 exhibition space and engage in a spatial relationship with each other’s work, In the rear space Thomas Raat will transform the pattern of the mosaic floor of the Radio Kootwijk building into an enormous mural, making the large back wall an impressive rhythmic backdrop of repetitive ornaments.

Texts by Anne van Oppen and Jean Bernard Koeman

Curated by Jean Bernard Koeman

More Info HERE

Design · Earthly/Geo/Astro · Sculpt/Install · Sonic/Musical

The Sound of the Earth by Yuri Suzuki

The Sound of the Earth is a content of Yuri Suzuki`s spherical record project, the grooves representing the outlines of the geographic land mass.
Each country on the disc is engraved with a different sound, as the needle passes over it plays field recordings collected by Yuri Suzuki from around the world over the course of four years; traditional folk music, national anthems, popular music and spoken word broadcasts.

An aural journey around the world in 30 minutes.