Art down the pan

What I will always think of as ‘almost Trump’s toilet‘ has made the news again.

Busted flush: Man arrested over theft of solid gold toilet in England
Det Insp Jess Milne said: “The piece of art that has been stolen is a high value toilet made out of gold that was on display at the palace. The artwork has not been recovered at this time, but we are conducting a thorough investigation to find it and bring those responsible to justice.”

That headline-grabbing golden loo was only one of Maurizio Cattelan‘s many not-so-subtle provocations at Blenheim Palace.

Maurizio Cattelan at Blenheim Palace: blisteringly good and as subtle as a solid gold toilet
In his new exhibition featuring a praying Hitler and a felled Pope the artist plays to his strengths: spectacle, scale, shock, subversion.

Hitler in Churchill’s birthplace more shocking than the golden toilet – Maurizio Cattelan review
The Italian art prankster redecorates Churchill’s birthplace with an 18-carat loo, hideous union jacks and Hitler himself. What a fitting show for a country unravelling into madness.

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Update 16/09/2019

The Art Newspaper have updated their report of the story with photos showing the damage caused by the theft.

‘I wish it was a prank’: Maurizio Cattelan on the surreal theft of his golden toilet
The burglars caused “significant damage and flooding” after removing the toilet, which was plumbed in, at around 4.50am this morning. A 66-year-old man has been arrested in connection with the incident. Thames Valley Police say that a group of offenders used two vehicles during the theft. Commentators on social media fear however that the work may be melted down.

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Cut-up cameras

They may be on their way out, but film cameras are nevertheless remarkable machines. This project from Fabian Oefner shows them off in a whole new way.

Vintage cameras dissected with a saw and suspended in resin by Fabian Oefner
For his latest series titled “CutUp,” artist Fabian Oefner used a band saw to slice film and still cameras into pieces, revealing their beautiful and complex inner workings. The pieces were rearranged, reassembled, and suspended in resin in interesting configurations. Each new sculpture transforms the tools for making art into new works of art designed to be viewed from multiple angles.

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There are more images of these familiar yet previously unseen objects on his website.

CutUp – Studio Oefner
Oefner deliberately selected still and video cameras to slice apart. This is an allusion to his earlier photographic work, where the image made with the camera is the “art” and the camera itself is merely a tool. For this series, the tool is transformed into a piece of art. It is at the same time a deconstruction of the technology of image capturing, revealing the beauty underneath the surface of these objects.

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And here’s how it’s done.

Fabian Oefner – CutUp
CutUp is a series of technical objects, that are sliced, rearranged and distorted into a new form. The objects are encapsulated in resin, captured in their current state forever.

Reminds me a little of Damien Hirst’s cows.

A big hand

Remember Mario Irarrázabal? Well, he’s not the only one with big hands.

New Zealand’s giant hand sculpture is the stuff of nightmares
You’ve got to hand it to New Zealand artist Ronnie van Hout. His public sculpture Quasi is part self-portrait, part oversized Thing from The Addams Family, and completely terrifying. Perched atop City Gallery Wellington in the Kiwi capital, the 16-foot-tall hand-face statue looks like something out of Salvador Dalí’s nightmares.

It’s the strangest self-portrait I’ve seen in a while.

Ronnie van Hout: Quasi
His work explores the freak, the outsider, the reject. His public sculpture Quasi is a partial self-portrait. The giant hybrid face-hand is based on scans of the artist’s own body parts. It’s as if ‘the hand of the artist’ has developed a monstrous life of its own.

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Non-reflecting reflections

We’re continually fascinated by mirrors, the first selfies, regardless of what Borges might sayWired introduces us to the work of interactive artist Daniel Rozin and shows us a few of his mechanical marvels.

This artist makes kinetic ‘mirrors’ that echo your movements
The interactive element is crucial, according to Rozin. “My pieces are very boring when there’s not a person in front of them,” he explains. “But the minute a person stands in front, it takes your image. I try to think that maybe it takes more than your image, that maybe it’s capturing something about your soul and displaying it back to you.”

How this guy makes amazing mechanical mirrors
Daniel Rozin, Artist and Professor, Interactive Telecommunications Program, NYU, makes mechanical “mirrors” out of uncommon objects that mimic the viewer’s movements and form.

Daniel Rozin, “PomPom Mirror,” 2015

As well as creating mirrors from fur and hundreds of stuffed toys, what else could you use? Mud?

Interactive sculptures mirror visitors’ movements in shimmering fabrics and cracked clay
In his recent piece Cracked Mud (2019), a mound of clay pieces undulate and upturn in response to visitors’ movements below a low-hanging orb. The suspended light mimics the sun, hovering over the manipulated and cracked earth below. Another piece, Fabric Mirror (2019), uses a digital camera and 400 motors to capture the movements of those who walk past, imitating their gestures in twisting gold and red fabric. Both works allude to how the sun interacts with our bodies and the earth, the former representing a barren future, while the later explores our reflection bathed in shimmering gold.

The global design collection Universal Everything take a similar but more high-tech approach here, with this installation that greeted visitors to The Barbican’s recent AI: More Than Human exhibition.

Futuristic shapes mirror human movement in a responsive animation by Universal Everything
Future You presents a non-human animated figure that wiggles, shifts, and bends in tandem with the user, presenting up to 47,000 possible variations in appearance. The animation also evolves alongside the user, becoming more agile as it learns movements specific to the visitor’s body.

Future You installation at AI: More Than Human, Barbican, London

Falling short

I think I need to make a bigger effort to find more positive stories. Everything I read convinces me more and more that we’re a planet of idiots.

Scarecrow’ statue of Melania Trump unveiled in Slovenia to mixed reviews
“I can understand why people might think that this falls short as a description of her physical appearance,” Downey told AFP, but insisted that he found the end result “absolutely beautiful”.

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If he’s saying this isn’t a good description of her ‘physical’ appearance, does he mean he was trying to represent her — what? Intellect?

Has humanity reached ‘peak intelligence’?
Whatever the cause of the Flynn effect, there is evidence that we may have already reached the end of this era – with the rise in IQs stalling and even reversing. If you look at Finland, Norway and Denmark, for instance, the turning point appears to have occurred in the mid-90s, after which average IQs dropped by around 0.2 points a year. That would amount to a seven-point difference between generations.

So long everybody

Hell is other people? No problem.

This camera app uses AI to erase people from your photographs
Bye Bye Camera is an iOS app built for the “post-human world,” says Damjanski, a mononymous artist based in New York City who helped create the software. Why post-human? Because it uses AI to remove people from images and paint over their absence. “One joke we always make about it is: ‘finally, you can take a selfie without yourself.’”

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Bye Bye Camera – an app for the post-human era
According to Damjanski: The app takes out the vanity of any selfie and also the person. I consider Bye Bye Camera an app for the post-human era. It’s a gentle nod to a future where complex programs replace human labor and some would argue the human race. It’s interesting to ask what is a human from an Ai (yes, the small “i” is intended) perspective? In this case, a collection of pixels that identify a person based on previously labeled data. But who labels this data that defines a person immaterially? So many questions for such an innocent little camera app. […]

A lot of friends asked us if we can implement the feature to choose which person to take out. But for us, this app is not an utility app in a classical sense that solves a problem. It’s an artistic tool and ultimately a piece of software art.

But, as that Artnome article explains, he’s by no means the first to do this…

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Meanwhile, Italian sculptor Arcangelo Sassolino (is he a sculptor? What’s the reverse of sculpture?) is creating another disappearance.

Dust to Dust: Arcangelo Sassolino’s literal and conceptual erasure of the classical aesthetic
In Arcangelo Sassolino’s ‘Damnatio Memoriae’, a custom-made machine grinds a white marble torso to dust; dematerializing classicism and all that it revered over the course of a four month exhibition period at Galerie Rolando Anselmi in Berlin.

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In this conceptual and literal erasure of the classical aesthetic, Sassolino questions the value of the narrative proposed by the Western canon and asks if we can free ourselves from the rules of the past. While the statue is changed by the process of grinding, it does not disappear—becoming instead fine dust that spreads through the exhibition space like mist. This new form allows the sculpture, and thus classicism, to invisibly permeate the exhibition space. As it settles on the walls and floors of Galerie Rolando Anselmi, and on those who visit the show, the complex reality of extracting oneself from the restrictive idealism of classicism becomes abundantly clear.

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Speaking of classically proportioned behinds.

New art project seeks to reveal the “real size” of modern life’s most famous behind
“The wait is finally over,” we’re told. “Hundreds, potentially thousands of images of the world’s most famous body part have been analysed and carefully measured. Interviews have been read through and words evaluated. Everyone has always known that it’s big, but exactly how big is it?”

Ida-Simon is, of course, talking about Kim Kardashian’s behind. No mere attempt at digital titillation, the pair describes the project, simply titled The Bum as “a commentary on the time we live in.”

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In the shadows

Some remarkably simple and effective sculptural installations from Kumi Yamashita.

Light & Shadow
I sculpt using both light and shadow. I construct single or multiple objects and place them in relation to a single light source. The complete artwork is therefore comprised of both the material (the solid objects) and the immaterial (the light or shadow).

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Before photography, the silhouette helped leave an impression
The four contemporary artists represented in the exhibition amplify the dualistic sense of technology and the occult seen in the 19th-century work. The most stunning of the works are by Kumi Yamashita, who conjures convincing shadow images using light and gently folded pieces of origami paper, or the carefully carved edge of a chair, or letter and number forms glued on the wall. The shadows give the uncanny suggestion of a living being, while they in fact are ensorcelled from inanimate material.

(Via)

Not happy with the world

It seemed a simple gimmick, to present a globe upside down to mirror the sense of geopolitical unease we feel. But nothing is without consequences.

LSE considers altering sculpture to show Taiwan as part of China after student pressure
Mainland Chinese students protested against the demarcation of Taiwan on Mr Wallinger’s sculpture, and the use of a red dot for Taipei as the capital city of a country, like other nations shown on the globe.

Taiwanese students however maintained the globe should remain as is, as Taiwan operates like any other democratic nation with its own government – led by president Tsai Ing-wen, a LSE alumnus – currency, military and foreign policy. Most of its 23.5 million people identify as Taiwanese.

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Wallinger’s upside-down globe outside LSE angers Chinese students for portraying Taiwan as an independent state
Although recent news articles say that LSE has now agreed to change the colour of Taiwan from pink to yellow on the globe, to make it appear part of the People’s Republic, these reports appear to be premature. An LSE spokeswoman told us this morning: “We are consulting our community and considering amendments to the work. No final decisions have been reached.”

The LSE director, Minouche Shafik, may now be regretting what she said at the unveiling: “This bold new work by Mark Wallinger encapsulates what LSE is all about.”

Damien Hirst and Da Vinci in Leeds

Leeds plays host to two artists at completely opposite ends of the art world.

Damien Hirst homecoming announced for Yorkshire sculpture festival
The inaugural Yorkshire Sculpture International festival on Wednesday announced plans to display in Leeds and Wakefield provocative works such as The Virgin Mother, a 10-metre high surgically flayed pregnant woman, and Black Sheep with Golden Horns, part of Hirst’s animals in formaldehyde series.

Hirst grew up in Leeds and followed in the giant footsteps of Barbara Hepworth and Henry Moore by going to Leeds Arts University, then called Jacob Kramer College.

He recalled happy, important visits to Leeds Art Gallery. “I never thought I’d ever be famous or considered important or anything like that, but seeing paintings by people like John Hoyland, Francis Bacon, Peter Blake and Eduardo Paolozzi – alongside the aquarium and natural history stuff in the City Museum – opened my mind to art.”

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Meanwhile, at Leeds Art Gallery currently…

Leonardo da Vinci: A life in drawing
The Royal Collection holds the finest surviving group of Leonardo’s drawings – more than 550 sheets that have been together since Leonardo’s death, acquired by King Charles II around 1670. As paper is damaged by light, these drawings cannot be on permanent display.

So to mark this anniversary, we are collaborating with 12 museums and galleries to stage simultaneous exhibitions of Leonardo’s drawings across the United Kingdom from 1 February – 6 May.

The exhibition
12 of Leonardo’s sculptural drawings are presented at the home of sculpture at Leeds Art Gallery. Although none of Leonardo’s sculptures themselves survive, the drawings on display provide an unparalleled insight into his investigations and thinking as an artist, and his reach across parallel areas such as anatomy as well as proposed sculptures and his design for the monumental Sforza monument.

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Update 16/04/2019

And that story about one of his paintings is still rumbling on.

London’s National Gallery defends inclusion of Salvator Mundi in Leonardo show after criticism in new book
If Lewis is correct, then the consensus was that only part of the painting was by the master, with the remainder presumably done by his assistants. Yet in Syson’s National Gallery catalogue entry, the painting is unequivocally attributed to Leonardo and described as “an autograph work”. Exhibition curators are fully entitled to make their own judgements, but it is surprising that Syson’s entry does not at least allude to the suggestion by other scholars that parts of the picture may have been painted by assistants, even if he went on to dismiss this idea.

Everything’s upside-down

Feeling disorientated?

Turner Prize winner Mark Wallinger unveils new public work, The World Turned Upside Down
Forcing the viewer to reconsider their relationship to the traditional Mercator projection of the world (i.e. the one most of us immediately see in our mind’s eye when we’re asked to conjure up an image of the globe) by asking us to consider both the vastness of the oceans and the true size of Africa, The World Turned Upside Down we’re told, reflects “the spirit of progressive enquiry that has characterised the School since its inception.”

Minouche Shafik, LSE Director, is quoted as saying, “this bold new work by Mark Wallinger encapsulates what LSE is all about. We are committed to tackling the biggest global challenges through our research and teaching, and this means seeing the world from different and unfamiliar points of view.”

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It’s a simple idea, effectively realised, and sits nicely alongside this magazine cover from Germany.

“A small twist with a big impact”: New ZeitMagazin International cover reflects topsy-turvy Europe
The new SS19 issue of ZeitMagazin International, the German weekly’s English-language sister publication, is all about Europe in a time of confusion and uncertainty. Mirko Borsche, the creative director of the biannual glossy magazine, has created a limited-edition cover for 1,000 copies showing the map of Europe turned upside-down.

“It’s interesting, because the European map looks totally strange, even though fundamentally I haven’t changed anything, apart from turning the country labels 180 degrees.” He says the decision was mainly motivated by the team in Berlin’s feelings about Brexit. “Personally, I’m sad about it,” he says. “But like the cover itself, I think it will change everything without changing very much.”

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Art, design and politics are more entwined than ever.

Luc Tuymans: ‘People are becoming more and more stupid, insanely stupid’
This is a dark time, Tuymans says. “Think of England, it’s no longer an empire although the English still think it is, which is basically insanity. Think about Brexit, about this narcissistic idiot Trump, the whole constellation of the West is in dire straits.” In the face of this, it is important to study not just our history—“people forget, that’s one thing,” Tuymans says—but the way we construct it and misremember it. At the heart of Tuymans’s project is a central conceit: that images are unreliable, that they can offer us no more than a fragment of reality and that our own memories, personal or collective, mislead us.

Take it easy

Remember Florentijn Hofman’s gigantic rubber duck in Hong Kong’s Victoria Harbour some years ago? Something else is floating about there now.

KAWS floats a massive inflatable sculpture in Hong Kong’s Victoria Harbour
The reclined, monochrome figure is the largest to date for the American artist, with recent previous iterations of the project installed at the Chiang Kai Shek Memorial Hall in Taipei, Taiwan, and on Seokchon Lake in Seoul, South Korea. The figure was purposefully designed to be in a peaceful repose, its crossed-out eyes gazing at the sky above.

“I was thinking of all the tension in the world, and I wanted to create work that would make people think about relaxing,” KAWS recently told TIME. “And there’s nothing more relaxing than lying on your back in water and looking up at the sky.

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It’s can’t be that relaxing for the organisers, though.

A giant KAWS sculpture will float in Hong Kong’s harbor
The 10-day waterborne installation, set to begin March 22nd, is the latest stop for a touring exhibition of the giant sculpture to different Asian cities, dubbed “KAWS:HOLIDAY,” and organized by AllRightsReserved. The company put together other viral hits in Hong Kong’s main harbor, including Paulo Grangeon’s sleuth of 1,600 papier maché pandas and Florentijn Hofman’s giant rubber duck, which famously deflated in 2013. The KAWS sculpture will be anchored in the harbor by a metal base weighing 40 tons, with the project costing over HK$10 million ($1.3 million), according to the South China Morning Post.

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Morbid streaks

Two fascinating documentaries on how we respond to mortality.

To Tibetan Buddhists, sky burials are sacred. To tourists, they’re a morbid curiosity
Filmed in 2011, the US director Russell O Bush’s short documentary Vultures of Tibet offers a small window on to cultural tensions on the Tibetan Plateau. Set in the historically Buddhist town of Taktsang Lhamo, home to two monasteries, the film is centred on the practice of sky burials, in which the bodies of the Tibetan dead are fed to wild griffon vultures. For the town’s Tibetan Buddhist population, it is a sacred means of helping the dead’s spirit transition to the next life – a final earthly offering to creatures believed to have the wisdom of deities. However, for much of the rest of the world, the tradition is a morbid curiosity, and increasingly attracts unwelcome tourists, whose pictures end up in all corners of the internet.

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“If a group of Tibetans were to surround a Chinese funeral and watch, laugh, and take pictures, it wouldn’t be tolerated.”

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From the mountains of Tibet, to the miniatures of the US.

Dieorama
Abigail Goldman spends her work days as an investigator for a public defender’s office in Washington state, helping people who are seriously in trouble—which can mean hours of staring at grisly pictures of crime scenes, visiting morgues, even observing autopsies. By night, she dreams up gruesome events, which she then turns into tiny, precise dioramas. Rife with scenes of imminent death and brutal dismemberment, the fruits of Goldman’s painstaking labor would be adorable … if they weren’t so disturbing.

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Lend a hand?

I’m lucky enough to live relatively close to the wonderful Yorkshire Sculpture Park, but here’s an outdoor sculpture that’s a little further afield; in the middle of the desert in Chile, more than 45 miles from the nearest town.

Hand of the Desert rises from Chile’s Atacama desert
The lunar-esque landscape has been used by NASA for testing martian rovers, while its smooth sandy dunes draw surfers looking for a different kind of wave. By night, the sky is a kaleidoscopic wonder of constellations and attracts many a stargazer.

Driving through the desert can be disorienting, and, at first, weary travelers may mistake its most unusual monument for a mirage. It rears up from the ground as if a giant is drowning in quicksand, reaching an outstretched hand in a desperate last plea for help.

But on closer inspection, visitors will see that the “Mano del Desierto” — “Hand of the Desert” — is, in fact, very real.

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It’s not the only one Mario Irarrázabal has created.

The hand may strike a solitary figure in the desert, but actually it’s part of a pair. It’s right counterpart sits in Uruguay. Built a decade earlier, in Punta del Este near the Atlantic Sea, an identical four fingers and thumb stretch for the skies, this time rising from the beach.

That hand seems not to have climbed out as far.

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Here’s the Google map of the left hand in Chile, if you want to track it down for yourself.

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Hand of the Desert, Antofagasta Region

Small dioramas, big issues

Compare and contrast these two recent posts from Web Urbanist. Similar levels of ingenuity and skills, but eliciting very different emotional responses.

Refugee Baggage: Suitcase dioramas show dark scenes from countries fled
The project of a Syrian-born artist and architect and an Iraqi-born author, this installation invites viewers to imagine what refugees leave behind when the pack up the few things they can carry and flee an oppressive regime or war-torn country.

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The UNPACKED: Refugee Baggage installation by Mohamad and Ahmed Badr “sculpturally re-creates rooms, homes, buildings and landscapes that have suffered the ravages of war. Each is embedded with the voices and stories of real people — from Afghanistan, Congo, Syria, Iraq and Sudan — who have escaped those same rooms and buildings to build a new life in America.”

Some really important stories being told. Meanwhile, over in Japan, Tanaka Tatsuya is continuing his miniature photography series. It’s been going since 2011.

Miniature Calendar: Micro-city scenes made daily from household objects
It takes just one artist to raise this annual micro-village, putting out a fresh scene daily featuring miniature people going about their everyday lives, navigating repurposed objects designed for different purposes at larger scales.

The new Miniature Calendar by Tastuya Tanaka is the latest in a series of 7, each one featuring 365 snapshots of lives lived small. The figures are often framed by items that are easy to recognize and yet also simple to reimagine in context.

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Making of MINIATURE CALENDAR

Sound mirrors

With parallels to that giant, concrete speaker in Taiwan, photographer Piercarlo Quecchia has tracked down all of Britain’s remaining strange and sculptural sound mirrors, built after World War 1 to detect incoming enemy aeroplanes.

Acoustic defense: photo series reflects on derelict British “sound mirrors”
“They represent an incredible demonstration of how sound can generate a physical form: both the curvature radius and the dimensions of the dishes are studied and designed according to the sound frequency that they must reflect,” explains the photographer. He hopes the series will continue to raise awareness of these artifacts.

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There are more images of these brutalist-looking structures on his website.

Sound Mirrors’ Portraits – Piercarlo Quecchia
They consist of concrete parabolas with a diameter of a few meters. In the twenties of the last century, their use combined with microphones, allowed to intercept planes directed towards the coast, discovering in advance any possible attacks. The need to be positioned near the coasts mainly in raised areas, the strong materiality of the concrete and their huge dimensions make them spectacular and extremely fascinating structures, able to dominate the entire surrounding landscape.

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Eye to eye

From Chris Eckert, a maker of “little art machines”, has made what could be described as a surveillance sculpture.

A disconcerting installation featuring 20 blinking kinetic eyeballs that track a person around a room
San Francisco artist Chris Eckert, who wanted to make a point of increasing surveillance and decreasing privacy of the population, has created “Blink”, an absolutely incredible series of mechanically operating blinking single eyeballs in a row, each equipped with face tracking software to deliberately evoke a disconcerting sense of privacy violation.

Yes, that combination of a very realistic eyeball looking directly at you from a very unreal, robotic face is unsettling, but I think what really works well is what happens after, as Chris explains in this video.

“You would have these interactions with them, and hopefully enjoy yourself playing with these eyeballs, only to go around the corner to discover that you’ve been recorded and observed the entire time by multiple eyeballs. And that anyone in that room was watching those video feeds and observing you doing that. And it kind of shifted your view of what was happening there. It changed it from being fun to being kind of invasive.”

Look Out! Chris Eckert’s Machines Are Watching You | KQED Arts

There are many more remarkable art machines on his website, and here is a piece on his Privacy Not Included exhibition, that Blink formed part of.

Chris Eckert: Privacy Not Included exhibition at San Jose Institute of Contemporary Art
Privacy Not Included presents a sensorial experience that considers how we are viewed, followed, and tracked. As technology progresses and, in conjunction, as we continue to share personal data and information, what will be the consequences of our own privacy, our right to personal space, and ultimately, our freedom? In George Orwell’s dystopian novel 1984 about omnipresent surveillance and public manipulation, the author writes, “The choice for mankind lies between freedom and happiness and for the great bulk of mankind, happiness is better.” The works in the exhibition challenge us to contemplate this dilemma. They reflect the conundrum we face in our contemporary society: appreciating the joy of convenience and technology’s ability to provide us security and safety, versus negotiating between the disconcerting, constant surveillance and intrusion in our lives.

And to really bring that point home, here’s an article from Aeon on the same theme, convenience versus surveillance.

Orwell knew: we willingly buy the screens that are used against us
One can easily imagine choosing to buy a telescreen – indeed, many of us already have. And one can also imagine needing one, or finding them so convenient that they feel compulsory. The big step is when convenience becomes compulsory: when we can’t file our taxes, complete the census or contest a claim without a telescreen.

#artworldproblems

I would say staff at this museum dedicated to the Fauvist artist Étienne Terrus need to look into hiring a few skips, as they’ve got a lot of rubbish to get rid of.

‘Catastrophe’: French museum discovers half of its collection are fakes
Eric Forcada, the art historian who uncovered the counterfeits, said that he had seen straight away that most of the works were fake. “On one painting, the ink signature was wiped away when I passed my white glove over it.”

Meanwhile, from works of art that shouldn’t be in galleries, to those which were but are no longer.

Bad week for art world as Jeff Koons piece is smashed and imitation Happy Meal thrown away
May evidently did too much of a good job, as a cleaning crew working at the Marco Polo HongKong Hotel which hosted the Harbour Art Fair, mistook it for the real thing and threw it away. “A lot of my pieces involve very small alterations to familiar items: changes that aren’t maybe obvious at first glance,” the artist explains, adding that “initially, I didn’t find it funny at all. But later I realised it meant my imitation had been a success.”

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Let Colossal cheer you up

Colossal is one of the largest art, design, and culture blogs on the web, and I’ve been a big fan for ages. The trouble is I mainly use an RSS reader to keep up-to-date with its posts, rather than visiting it directly, and so I can easily mess changes to the design or layout of its website.

Take the ‘Editor’s Pick’ collections, for example, and this one — the best of humour.

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The book is mightier than the wall?

We mustn’t lose sight of how impactful ideas can be, in a seemingly thoughtless world.

A single book disrupts the foundation of a brick wall by Jorge Méndez Blake
Although a larger metaphor could be applied to the installation no matter what piece of literature was chosen, Méndez Blake specifically selected The Castle to pay tribute to Kafka’s lifestyle and work. The novelist was a deeply introverted figure who wrote privately throughout his life, and was only published posthumously by his friend Max Brod. This minimal, yet poignant presence is reflected in the brick work—Kafka’s novel showcasing how a small idea can have a monumental presence.

Here, a book becomes part of a larger sculpture, but there are many examples of artworks that use books as sculptural objects in themselves.

Carving culture: sculptural masterpieces made from old books
Sensual, rugged, breathtakingly intricate, ranging from “literary jewelry” to paperback chess sets to giant area rugs woven of discarded book spines, these cut and carved tomes remind us that art is not a thing but a way — a way of being in the world that transmutes its dead cells into living materials, its cultural legacy into ever-evolving art forms and creative sensibilities.

Artist takes old books and gives them new life as intricate sculptures
Dettmer puts on display his pretty fantastic creations, all while explaining how he sees the book — as a body, a technology, a tool, a machine, a landscape, a case study in archaeology.

Old books transformed into imaginative 3D illustrations of fairy tale scenes
Seattle-based artist Isobelle Ouzman creates 3D illustrations from discarded books found in dumpsters, recycling bins, and local thrift stores. She adopts these forgotten books as a way to give them a second life, cutting and pasting the books into layered fairy tale scenes instead of letting the novels collect dust or fall prey to the elements.

Or how about books as building material? They form the foundations of our societies, as well as being products of them.

Defiant Democracy: Parthenon replica made of 100,000 banned books
The titles include Mark Twain’s The Adventures of Tom Sawyer, the Kite Runner by Khaled Hosseini, Salman Rushdie’s The Satanic Verses, Cecily von Ziegesar’s Gossip Girl, Harry Potter and the Sorcerer’s Stone and George Orwell’s 1984. The books are wrapped around a metal frame like a shingled facade with their covers visible, proving that despite efforts to keep their contents from the public, they have endured.

5,000 books pour out of a building in Spain
Artist Alicia Martin’s tornado of books shoot out a window like a burst of water from a giant hose. The Spain-based artist’s sculptural installation at Casa de America, Madrid depicts a cavalcade of books streaming out of the side of a building. The whirlwind of literature defies gravity and draws attention with its grandeur size. There have been three site-specific installations, thus far, of the massive sculptural works in this series known as Biografias, translated as Biographies, that each feature approximately 5,000 books sprawled out around and atop one another.

Not sure what category to put these books in, though.

Terry Border’s whimsical ‘Wiry limbs, paper backs’ series
Books come to life as characters of themselves.

I think we’ve stopped worrying about the death of the book now, but even if there are fewer books in our libraries, there may well be more in our galleries.