Artes Visuais, Arquitetura e Design

:tapas:

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Architects reveal plans to redesign Paris

Responses to Nicolas Sarkozy's vision for a new 'Grand Paris' include a verdant landscape like New York's Central Park, and a system of motorways through the city centre

French president Nicolas Sarkozy will receive the ten architects selected to create Le Grand Paris. Richard Rogers is one of them. Earlier this week, they each gave a 30-minute presentation of their visions (see it here). The task is herculean, the mission quasi-impossible, but the challenge absolutely irresistible for any ambitious architect.

For he or she knows that, as Paul Goldberger writes in the New York Times, "politics and architecture have always been inseparable in this city". And that "Parisians, with their long and deep commitment to the idea that the city is in the most profound sense a public place, feel that Paris is very much their own possession."

The most visited city in the world, here is a capital whose great talent has been to interweave the grandeur of its official buildings with the everyday charm of its many quartiers. Or as ex-Parisian and writer Adam Gopnik puts it in his book Paris to the Moon: "Paris marries both the voluptuous and the restricted. It is not the yeses but the noes of Paris, not the licences it offers love but the prohibitions it puts in its way that make it powerful. "




Parisian architect Roland Castro's vision for a greener Paris in La Courneuve. Photograph: Castro Denisoff/AFP/Getty Images


http://www.lefigaro.fr/culture/2009/03/12/03004-20090312DIMWWW00505-grand-paris.php



fonte The Guardian*

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Is Shepard Fairey's poster of Obama really the best design of the year?





Tom Dyckhoff

"Well, what else could have won?" people keep asking me. Last night, illustrator Shepard Fairey's famous poster depicting a moody, mystical Barack Obama gazing into the great future above Chicken Soup for the Soul incantations like Hope and Progress, won the Brit Insurance Design of the Year, picked by a panel of greats and goods including Alan Yentob and Paola Antonelli, curator of architecture and design at New York's Museum of Modern Art. It was, apparently, chosen as "most innovative and forward thinking design of the past 12 months".

Really? Innovative and forward thinking? Really? Sure, there's no denying the poster's impact. Hundreds of thousands have been sold in the past few months. The image has appeared both all over street corners in America and on the front cover of Esquire. Fairey reprised it for the front cover of Time magazine's Man of the Year edition and has become something of a star across the Atlantic, with a retrospective of this 31-year old's back catalogue now on at Boston's Institute of Contemporary Art. It is, says Peter Schjeldahl, art critic of The New Yorker, "the most efficacious American political illustration since Uncle Sam Wants You", credited by many with helping garner the grassroots upswell that propelled Obama into office. And it is indeed a handsome poster. Bold. Graphic. Packed, like most of Fairey's work, with allusions to Soviet revolutionary propaganda, and from the street art and graffiti culture in which Fairey's made his name since his teenage years. Though it hardly pushes the envelope in terms of posters as a type of design; while as street art Fairey's work lacks the light wit and many-layered subversion of, say, a Banksy. "Just as the presidential candidate's campaign speeches recaptured the lost art of oratory," says the jury's citation, "so this poster breathed new life into a form that had lost its purpose." This poster, they go on to say, "demonstrates the power of communicating ideas and aspirations from grass-root level."

There's no denying any of this. But this is Designs of the Year. Not Poster of the Year. Or Ad Campaign of the Year. And the prize's self-defined role is to reward the most "innovative and forward thinking" design. This poster is neither innovative or forward thinking, certainly not compared with last-year's winner, the bargain-basement laptop in reach of the world's poor, designed by Yves Béhar. Indeed the poster's very nostalgia - nodding to a past, and, it implies, a future, of Kennedy-sque cosy God-Bless-America certainty in which we really can believe in our Messiah-like leaders - is part of its appeal. Maybe the jury, like the rest of the western world, is still riding the wave of Obamamania, taking leave of their critical faculties. Yes the poster is bold and powerful; yes, it helped galvanise support. But it says precisely nothing about the direction in which design is going right now. It's zeitgeisty, but, unless it was single-handedly responsible for getting Obama elected, not agenda shifting. It says something about an historical moment, but not a historical epoch.

Admittedly, most of the designs on the prize’s shortlist, were pretty conservative. Konstantin Grcic's MYTO chair? Nice, but just your usual chair dovetailing form and function. Italian Vogue's all-black issue? Important, but on a global scale? Snøhetta's Olslo Opera House, its walls and roofs blurring into the harbour and landscape is undeniably handsome, but, it, too, doesn’t have that global significance these awards should reward. Make magazine's website, which provides blueprints for users to make their own objects, is cute, but I've no idea why it's on the shortlist. The cable car public transport system to skylift the poor of Medellin City, Colombia from their steep-sloped favelas into the centre is a great example of idea transferal and design with a social purpose. But, if anything, the Magno Radio, which won the audience "Blog Vote", was the more deserving winner from the shortlist. Singgih S. Kartono's design for technological equipment elegant enough to easily walk off the shelves, yet made by re-skilled Indonesians in a Javanese village - thereby tapping into local craft techniques and stimulating the local economy - has far more to say about global consumerism at this critical time. Think global AND local.

The longlist, though, has even more worthy winners both innovative and forward thinking. Tony Mullins Green Felt Protest Suit is a far cleverer approach to politics and design: the suit acts as a greenscreen onto which he can project any image he wants - in essence becoming a walking billboard for such spots, like Westminster, where protest is under threat. Ditto the Pet Shop Boys' video, which wittily uses barcodes to be read by camera phones, directing viewers to websites on civil liberties. Or what about the McGuffin Library project, tapping into rapid prototyping technology which allows you or I, to "print" our own customized, mass-produced objects. Or, perhaps the most boundary-pushing and challenging piece of design of all, Life Support, in which animals become the "design" - used, essentially, as pieces of medical equipment: with genetic tweaks, sheep become kidney dialysis machines.

Still, maybe it's comfort and nostalgia and certainty we want right now, not challenge and provocation. In which case Fairey's poster delivers it in spades.

Fonte Times*

uma nova era pra body-art com este Andrei Molodkin

:tapas:

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Till death do us sculpt: Russian to render human bodies into art materials

Fancy a long-lasting keepsake of your loved one? What better than a statue made from the resin of their mortal remains?





Andrei Molodkin has made moulds of praying hands and a brain which eventually will be filled with the boiled down crude oil from the body of the BBC reporter Sasha Gankin

Andrei Molodkin has made moulds of praying hands and a brain which eventually will be filled with the boiled down crude oil from the body of the BBC reporter Sasha Gankin



It gives a grim new meaning to the term body art. A leading contemporary Russian artist says he has perfected a technique to boil human corpses into crude oil from which he will create permanent sculptures, and he has already signed up willing volunteers.

Andrei Molodkin, who will represent Russia at this year's Venice Biennale, claims that after spending three to six months in a high-pressure machine, a corpse becomes oil that can be used to power cars or be moulded into a permanent memorial statue to sit on the mantelpiece.

His work is the ultimate extension of a growing trend for artists to use human bodies as art materials. The sculptor Marc Quinn made a study of his head from his frozen blood; Gilbert and George regularly use bodily fluids in their art, and Günther von Hagens's Body Worlds exhibition of preserved corpses is on at London's O2.

Paris-based Molodkin, 43, has already signed up the BBC reporter Sasha Gankin, who wants to be rendered into a sculpture of a brain, as well as a French porn star, Chloé des Lysses, who wants to be turned into a model of praying hands. Conscious he may have to wait several decades before putting these plans into action, Molodkin has also signed up some HIV sufferers in New York, whom he expects to die "in one or two years".

The artist says the machine acts like a pressure cooker as it applies heat to a corpse, turning it into "yellowish, sweet crude". This can be turned into petrol or gas, or poured into a transparent mould to become an "oil sculpture". He has already tested the machine with a dog.

"It only takes two or three months to turn a body into crude oil," he said. "As soon as I learnt that oil is made out of organic matter I thought it would be a really great idea. When you're driving in California where dinosaurs used to live it's good to think that the car is being run on dinosaurs. Maybe this is a way to solve the energy crisis. To turn Sasha into oil will take up to six months. I cut the body into a few parts and put it in the accelerator and apply high pressure and temperature. I have signed contracts with Sasha and Chloé. I'm also looking for older people, and I have signed some people in New York who will die in one or two years because they have HIV. Someone may want to give the oil to their parents to put in their car, or to be turned into gas to light a lamp for a few months, or as a memorial sculpture."

Molodkin, a former Soviet soldier, adds that the machine he will use will produce between 1.5 and 2.5 litres of oil. He is already known for his so-called "liquid sculptures" of oil and light and will exhibit in London for the first time between April and June before going to Venice. Much of his work is inspired by oil because he had to deliver it while serving in Siberia as a soldier.

His plan to turn corpses into oil follows a recent trend among artists to address the final taboo. Last year the German artist Gregor Schneider advertised for someone who would be willing to die in an art gallery, and the Wellcome Trust displayed portraits of people pictured shortly before and after death.

Mr Gankin, 47, said he agreed to donate his body after interviewing Molodkin for the BBC World Service. "It started off as a joke, but then I thought, why not?" he said. "I work a lot in Africa. There is a lot of disease, such as malaria, and my death could happen any day. I haven't told my family yet, or thought about how my funeral might take place. Perhaps I'd better start thinking about that."

fonte The Independent*

Yvonne Lee Schultz











The Porcelain Pistols by Yvonne Lee Schultz (YLS), are replicas of the famous James Bond Walther PPK and it’s sister P99, with friendly permission of Carl Walther Inc. They are hand-painted in the style of classic china motifs. Whether happy strewn flowers, a classic golden rim or the even more traditional blue onion pattern, they will blend harmonically into the perfect table setting, the pride of every house wife.

:girlahaha:

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TREZE TESES CONTRA SNOBES

(Snobe no escritório privado da crítica de arte. à esquerda, um desenho de criança, à direita um fetiche. Snobe: «Com isto, todo o Picasso pode fazer as malas.»

I. O artista cria uma obra. I. O primitivo exprime-se por documentos.

II. A obra de arte só acessoriamente é um documento. II. Nenhum documento é, em si mesmo, uma obra de arte.

III. A obra de arte é uma obra-prima. III. O documento tem uma função didáctica.

IV. Os artistas aprendem o seu ofício com a obra de arte. IV. Diante dos documentos, educa-se o puúblico.

V. As obras de arte distanciam-se uma das outras pela sua perfeição. V. Todos os documentos têm em comum a materialidade.

VI. Na obra de arte, o conteúdo e a forma são um só: o assunto. VI. Nos documentos, a matéria domina inteiramente.

VII. O assunto é o que está comprovado. VII. A matéria é o que é sonhado.

VIII. Na obra de arte, a matéria é um peso morto que a contemplação elimina. VIII. Quanto mais profundamente nos perdermos num documento, tanto maior a densidade: matéria.

IX. Na obra de arte, a lei da forma é central. IX. No documento, apenas há formas dispersas.

X. A obra de arte, sinteticamente, é uma central de energia. X. A fecundidade do documento requer: análise.

XI. Com a observação repetida, a obra de arte eleva-se. XI. Um documento só domina pela surpresa.

XII. A virilidade das obras reside no ataque. XII. Para o docuemnto, a sua inocência é um véu.

XIII. O artista perte à conquista de assuntos. XIII. O homem primitivo entrincheira-se por detrás de matérias.



Walter Benjamin - "Rua de Sentido Único"

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A técnica do crítico em treze teses

"I. O crítico é um estrategista na batalha da literatura.
II. Quem não for capaz de tomar partido por uma das partes deve calar-se.
III. O crítico nada tem em comum com o comentador das épocas de arte do passado.
IV. A crítica tem de falar com a linguagem dos artistas. Porque os conceitos do cenáculo são senhas. E é apenas nas senhas que ressoa o grito de guerra.
V. A «objectividade» tem de ser sempre sacrificada ao espírito de partido, se acaso o assunto da batalha for digno disso.
VI. A crítica é uma questão moral. Se Goethe não reconheceu Hölderlin e Kleist, Beethoven e Jean-Paul, isso em nada diz respeito à sua compreensão da arte, mas sim à sua moral.
VII. Para os críticos, os seus colegas são a instância máxima. Não o público. Muito menos a posteridade.
VIII. A posteridade ou esquece ou confere fama. Só o crítico julga diante do rosto do autor.
IX. Polémica é destruir um livro em poucas frases. Quanto menos foi estudado, melhor. Só quem sabe destruir é que sabe criticar.
X. A verdadeira polémica trata um livro com tanto carinho como um canibal prepara para si um bebé.
XI. O entusiasmo pela arte é estranho ao crítico. Na sua mão, a obra de arte é a arma branca na batalha dos espíritos.
XII. A arte do crítico in nuce: criar chavões sem trair ideias. Os chavões de uma crítica insatisfatória vendem os pensamentos à moda e ao desbarato.
XIII. O público tem sempre de sofrer a injustiça e, no entanto, sentir-se invariavelmente representado pelo crítico."

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Enter into the magical, whimsical, mystical and surreal world of Sergey Tyukanov. He was born May 17, 1955, in Poronaisk, Russia. In 1981 he received his Master’s Degree in the graphic arts. He currently works and lives in Kaliningrad and Chicago as a free artist. His work is collected widely in the United States and Europe, where he has separate following for his etchings, ex libris prints, and his paintings, watercolors and drawings.











podem ver aqui mais http://bibliodyssey.blogspot.com/2007/04/tyukanov-revisited.html

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The Visionary Art of Gil Bruvel

Gil Bruvel's visionary style grew out of the dream of making intuitive art. "I have no interest in recreating reality", he says; instead his work emphasizes the imaginative aspects of the mind and body, along with intuition.
After a childhood spent making art and studying at Laurent de Montcassin's Restoration Workshop in France, the classically trained Bruvel emerged as a defining force in the Visionary Art Movement.
The result is canvasses alive with color, animated by whimsy and archetypal vision













mas boa mesmo é a sua produção escultórica





http://www.bruvel.com/

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Arquitectura de Viana do Castelo
A prestigiada revista “Wallpaper”chamou-lhe a nova “Meca da Arquitectura”. Esta semana, fomos conhecer o novo mapa arquitectónico de Viana do Castelo e propomos-lhe uma visita guiada aos projectos que modificaram o perfil da cidade da foz do Lima.


http://static.publico.clix.pt/docs/fugas/viana/index.html

http://videos.sapo.pt/TQRgzlikbKiQKh3MB69d

http://jn.sapo.pt/multimedia/galeria.aspx?content_id=1190844

Arquitectura Dinâmica




o italiano DAVID FISCHER e apresentação do seu novo projecto de torre rotativa no Dubai

Richard Jackson
















Richard Jackson

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Banksy comes home for Bristol show
Friday, June 12, 2009, 09:30





The world's most famous living artist is coming home. Banksy has sneaked his biggest ever UK exhibition into Bristol.

The Bristol Evening Post can reveal that the mysterious artist, best known for his subversive stencil graffiti work, has taken over much of Bristol's City Museum and Art Gallery.

People have already started queuing to get a first look at the exhibition.

Speaking exclusively to the Bristol Evening Post, Banksy said: "The people of Bristol have always been very good to me – I decided the best way to show my appreciation was by putting a bunch of old toilets and some live chicken nuggets in their museum.

"I could have taken the show to a lot of places, but they do a very nice cup of tea in the museum."

Banksy's Summer Show, entitled Banksy vs Bristol Museum, opens to the public tomorrow, and will run for three months. Admission will be free.

The surprise show will come as a shock to the city, as sources close to the elusive artist have revealed that just half a dozen people knew of Banksy's plans.

Speculation began among Banksy's online followers earlier this week, after the artist replaced his official website with a single unsavoury image of an ice cream cone dropped in a pile of dog mess. Above the image was the simple message "Banksy Summer Show Opens June 13."

The show is expected to feature a range of different media – including sculpture, oil paintings, installations and animatronics, as well as stencil work.

The Bristol-born artist, who has never revealed his true identity, has become an iconic figure among the artistic community since his first pieces of graffiti appeared in the late 1980s.

His work, highly charged with a caustic, political sense of humour, soon gathered an enormous following.

Many of his most iconic pieces of graffiti have become landmarks in Bristol – from the distinctive Mild, Mild West mural in Stokes Croft, to the naked adulterer apparently hanging from a window on the wall of a sexual health clinic in Park Street.

But this exhibition will be the greatest gift he could have presented to his home city. It is likely to attract hundreds of thousands of visitors to Bristol throughout the summer. The last comparable show, held in a Los Angeles warehouse in 2006, lasted for just three days. That show attracted a host of Hollywood stars, all keenly clutching their chequebooks.

Christina Aguilera bought an original of Queen Victoria as a Lesbian and two prints for £25,000. None of the works in the Bristol exhibition will be for sale.

In May last year, Banksy hosted an exhibition in London called The Cans Festival, which took over a tunnel formerly used by Eurostar beneath Waterloo station. Graffiti artists with stencils were invited to join in and paint their own artwork, as long as it didn't cover anyone else's.

But the artist's most distinctive show to date took place last October, when he took over a New York pet shop. In the window he placed a realistic-looking leopard, which on closer inspection turned out to be an ingeniously-folded leopard-skin coat.

Other animatronic animals in the show included hot dogs, fish fingers swimming in a tank, and "snakes", which on closer inspection were strings of sausages.

Banksy personally requested that news of his latest show should be revealed in his home city's local newspaper.

We have also been offered an exclusive sneak preview of the show today, ahead of its opening. There will be more pictures to follow, and don't miss your copy of the Bristol Evening Post tomorrow

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Inside Banksy's new Bristol exhibition


From the moment you enter the lobby of Bristol’s City Museum and Art Gallery, you know that Banksy has arrived.

The entrance hall has been taken over by the “portaloo” toilets, stacked like Stonehenge, which became iconic symbols of the Glastonbury festival a couple of years ago.

But as you enter further into the building you realise that the exhibition, entitled Banksy Versus Bristol Museum, has taken over the entire building.

With 100 works - 78 of which have never before been seen in the UK - this is Banksy’s biggest ever British exhibition.

The anonymous Bristol-born artist’s new works blend cleverly into the existing collection - a Guantanamo escapee can be seen clinging on to the biplane that has flown over the main hall of the museum for years.

Upstairs the galleries have become an interesting game - spot the Banksy, as he has hidden away new works amongst the old.

Often they appear to fit in well with the room - among the religious iconography, for example, he has placed an oil of the Madonna and Child, which may seem conventional at first glance, until you notice that the Holy Mother is listening to her iPod.

The theme for blending the traditional with the Banksy begins in the main hall, where classical statues line the walls - familiar images that have been subverted by the artist.

Michelangelo’s David is now wearing a suicide bomber’s jacket, and the Venus di Milo now appears as an amputee beggar.

Rebecca Burton, deputy head of collections and archives for the museum, said: “The way he has blended his work into our collection is incredibly exciting.”

The show runs at Bristol’s City Museum and Art Gallery until August 31, 10am to 5pm daily. Admission is free.


http://www.thisisbristol.co.uk/news/Video-Inside-Banksy-s-Bristol/article-1072715-detail/article.html

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Solar Forest Charging Station For Electric Vehicles

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Hu2 the Smart Vinyl Laboratory

http://www.hu2.com/index.php

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Populuxe film on American industrial design of 1958. Part three of three. Digitally enhanced at Retro-matic in Hollywood, California. This film registered with Creative Commons as Public Domain at...
Populuxe film on American industrial design of 1958. Part three of three. Digitally enhanced at Retro-matic in Hollywood, California. This film registered with Creative Commons as Public Domain at www.creativecommons.org









http://www.archive.org/details/American1958

A Primer on Urban Painting (2005)



INFO:
Pablo Aravena, Canada, english, 2005, 95 min.
http://www.imdb.com/title/tt0495164/
http://www.nextthemovie.com/
-Buy the DVD-

(en) “NEXT, a Primer on Urban Painting” is a documentary exploration of a phenomenon that was born on the streets of American cities and has come to influence youth culture all over the world. Combining verite visual moments and interviews with painters, journalists, collectors, sociologists, DJ’s, art critics and other participants within the subculture, the film will convey the dynamism and creative brilliance of this important emerging artistic movement.

Trailer:




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