A couple of recent Colossal finds that I thought went well together.
Rope twists into massive, fibrous circuit boards by artist Windy Chien – Colossal
I find the metaphor of the journey to be potent and relevant here. For me, the visual pleasure derived from the Circuit Boards comes from choosing one rope end and following it to the conclusion of its journey through the work. Electronic circuit boards connect and conduct power; subway maps (maps in general) provide a kind of simulation of a journey, a guide to choices and paths.
Images Windy Chien
Constellations of found electronics shape faces on vintage rackets by Artist Leonardo Ulian – Colossal
The egg shape of the “head” of these vintage rackets reminded me of something yet familiar but at the moment lost. The result is a composition that resembles vaguely a human face made from a recycled object from the past, the racket, clashing with the rest of the elements, electronic parts, and the found objects. Then, an anomaly called “pareidolia,” the mechanism that leads our brain to bring things and objects of all kinds back to known and sensible forms does the rest. Will these be the faces of the future?
Images Leonardo Ulian
Some time in the 90s, I was convinced, absolutely convinced, that I had come across a secret Christo within the grounds of the University of Leeds. Of course it turned out just to be some wrapped scaffolding for a building renovation project. It did look pretty cool, though, and gave me just an inkling of what looking at the Reichstag (and perhaps still the Arc de Triomphe?) might have been like.
Christo (1935–2020) – Christo and Jeanne-Claude
Artist Christo Vladimirov Javacheff, known as Christo, passed away of natural causes today, on May 31, 2020, at his home in New York City. He was 84 years old. Statement from Christo’s office: “Christo lived his life to the fullest, not only dreaming up what seemed impossible but realizing it. Christo and Jeanne-Claude’s artwork brought people together in shared experiences across the globe, and their work lives on in our hearts and memories.
How the visionary artist Christo (RIP) changed the way we see the world – Open Culture
After removing the wrapping from the Biscayne Bay islands, a project he called “my Water Lilies” in honor of Claude Monet,” Christo remarked that Surrounded Islands lived on, “in the mind of the people.” So too will Christo live on—remembered by millions as an artist who did things no one else would ever have conceived of, much less carried out.
The story behind Christo′s ′Wrapped Reichstag′ – DW
In 1978, Christo presented a model of a veiled Reichstag at the Zurich Museum für Gestaltung (Museum of Design). Despite the troubled history of the structure built in the late 19th century under Kaiser Wilhelm II, Christo saw it as a symbol of freedom: the Republic was proclaimed there in 1918. Freedom had been a recurring theme in Christo’s art since his escape from communist Bulgaria in 1951.
Let’s have a break from all that, with news of an exhibition in London I’d love to see, Among the Trees: “By turns poetic, adventurous and thought-provoking, this group exhibition explores our relationship with trees and forests.” As we saw earlier, they can be remarkably eloquent.
Five things to know about Among the Trees – Southbank Centre
There are artworks that push at the very limits of the building, and celebrate the soaring scale of trees. Eija-Liisa Ahtila’s huge, cinematic portrait of a 30-metre spruce, for example, takes over almost the entirety of one of the lower galleries, while Guiseppe Penone’s Tree of 12 Metres (1980–82), a sapling painstakingly excavated from an industrially planed piece of timber, stops just short of the ceiling.
Among the Trees review – a knotty problem – The Guardian
Running the entire width of one floor at London’s Hayward gallery is a six-screen video which depicts, at about life size, a spruce tree swaying in the breeze in Finland. To accommodate its scale, the tree is projected horizontally, and at its foot stands the artist Eija-Liisa Ahtila, in a blue parka, dwarfed by the spreading conifer. The six projected sections of the tree tremble and sway out of sync with one another, adding to a growing sense of majestic befuddlement. You can’t take it in all at once, any more than you could if you stood before the real thing. Distantly, I hear the branches soughing and faint birdsong. Titled Horizontal – Vaakasuora, it makes you look and look some more.
Here’s some more artistic woodwork.
Trees at night: stunning Rorschach silhouettes from the 1920s – Brain Pickings
In his fifties, Young’s imagination fell upon a subject both wholly natural and wholly original — the expressive humanlike shapes, states, and emotions emanating from the silhouettes of trees at night. He began rendering what he half-saw and half-imagined in pen and ink — haunting black-and-white drawings full of feeling, straddling the playful and the poignant. These visual poems, replete with the strangeness and splendor of nature and human nature, become the kind of Rorschach test one intuitively performs while looking at the sky, but drawn from the canopy rather than the clouds.
Dancing twigs – Kottke
Artist Chris Kenny uses bits of twig from tree branches to make these interesting found art pieces that exploit the human tendency for pareidolia.
Wonderfully hypnotic wooden kinetic wall sculptures – Laughing Squid
A self-taught artist with a background in physics, David C. Roy has been creating mesmerizing wooden kinetic sculptures for nearly 40 years. Powered solely through mechanical wind-up mechanisms, pieces can run up to 48 hours on a single wind.
And finally, here’s a request for us to reconsider our view of trees within cities, and to appreciate the many benefits mature trees can bring to society. (via Sentiers)
Trees as infrastructure – Dark Matter Laboratories
[T]he ecological benefits of trees substantially start after 50 years of existence; we are currently building a deficient urban forest. Shifting our view to perceive public trees as assets rather than liabilities is an important aspect of maintaining and enhancing the benefits that trees provide in an urban setting.
I don’t know about you, but I’m very tempted.
Collectable Hieronymus Bosch figurines – Dangerous Minds
I’m not a big knickknack person. I like to keep my home sparse in the “tiny objects” departament. But I must admit I really do dig these Hieronymus Bosch figurines. They’re kinda cool-looking in their own obviously weird way. I especially like the ones from Bosch’s Garden of Earthly Delights.
Those not familiar with this strange Dutch painter from the 1400s should start here.
Hieronymus Bosch review – a heavenly host of delights on the road to hell – The Guardian
The public face of Bosch, walking the streets of this little city, was that of a good townsman and Catholic. His private thoughts emerge in the most unexpected and miraculous of all the treasures assembled – his drawings. … They show us the secret Bosch, a man with a mind full of monsters. One drawing is called The Wood Has Ears, The Field Has Eyes – a saying inscribed as on Goya’s Caprichos. Human ears hang from the trees. Human eyes stare out of the ground. It is like a Magritte. Only much scarier.
And for a spectacular, in-depth look at his most famous painting, check out this interactive, incredibly detailed version from the team behind the documentary Hieronymus Bosch, Touched by the Devil.
Extraordinary interactive hi-res exhibit of Bosch’s ‘Garden of Earthly Delights’ – Colossal
Teaching art history online can be tough, despite a wealth of tools and technologies it’s difficult to create an environment that compares to a great teacher who can make artworks engaging to a live audience. However, this new interactive exhibit of Hieronymus Bosch’s famous Garden of Earthly Delights completely nails it. This is the internet we were promised.
I have the pleasure (?) of living in a household with a number of brass instruments, but I’ve never seen anything like these.
Brass horns mounted in interactive sculptures by Steve Parker emit sound by touch – Colossal
Artist and musician Steve Parker’s latest interactive projects invite viewers to feel the music—literally. Activated by touch, “Ghost Box” plays randomized audio segments on a loop, including the ticks of Morse Code, the chorus of spirituals, and the blows of the shofar and Iron Age Celtic carnyx. Each time someone makes contact with a part of the wall sculpture, a new noise emits. Inspired by WWII era short wave radio, the mounted piece is constructed from a mix of salvaged brass, tactical maps, paper musical scores, wires, map pins, electronics, audio components, and an instrument case. The name even references the paranormal tool sometimes employed when people try to communicate with those who have died.
And whilst these may look loud, they’re actually listening devices that remind me of those concrete sound mirrors.
Tubascopes – Steve Parker
The Tubascope is a sculpture that works likes a telescope for your ears. Modeled after obsolete WWII acoustic locators, the Tubascope is made from reclaimed and repurposed brass instruments that have been augmented with tubing and headphones. When used, the Tubascope helps a person focus their listening on specific, far away sounds that may have been otherwise unnoticed.
Now, these mad trombone and trumpet shapes really reminded me of paintings I first came across at university (25 years ago now? goodness me), but I couldn’t for the life of me remember who they were by—murals, I think, in collaboration with school children, somehow. And for all I moan on about Google, it did come to the rescue with such vague search terms as painting, trumpets, children, mural.
Tim Rollins & K.O.S. – Institute for Research in Art
The history of Tim Rollins and K.O.S. (Kids of Survival) is a story of art and education triumphing over the hardships of life. It is a story which might have been torn from the pages of great literature. In fact, the group uses pages cut from classical literature as the groundwork for many of their paintings and as the source of imagery for their works.
Yes, that’s the one! He was a teacher in the 80s working with under-privileged kids to create art that would “transport his students from the tough streets of New York to the inner sanctums of major museums as celebrated artists”.
Tim Rollins, artist and activist whose work thrived on collaboration, dies at 62 – ARTnews
Tim Rollins, whose work bridged the gap between activism and art, bringing together strands of literature and art history, painting, Minimalism, conceptual art, and social justice, has died of natural causes, according to the Maureen Paley gallery, which showed him in London, and Lehmann Maupin, which showed him in New York and Hong Kong. He was 62.
Far too young.
From Madrid and Miami, art that asks us to reflect on the ongoing climate crisis in a visually striking way.
Paintings from Prado Museum Collection given climate change makeovers – Colossal
Museo del Prado (Prado Museum) recently collaborated on a project with the World Wildlife Fund (WWF) designed to coincide with the 2019 UN Climate Change Conference in Madrid. Paintings from the museum’s collection were digitally modified to reflect a future world destroyed by inaction. Rising sea levels, barren rivers, and refugee camps transform works by European painters into a campaign to save the environment.
A traffic jam of sand cars by Leandro Erlich is blocking Miami Beach – Colossal
Erlich’s installation, titled “Order of Importance,” is an effort to put conversations surrounding climate change front and center. Commissioned by the city of Miami Beach and curated by Ximena Caminos and Brandi Reddick, the installation features 66 life-sized cars and trucks erected on the beach at Lincoln Road. Made of sand, the vehicles blend in with the surrounding beach and highlight the temporary nature of their construction.
We’ve seen that the impact of AI on the art world has been quite transformative. Here’s how another new technology is changing what’s possible.
Umberto Boccioni: Recreating the lost sculptures
The destruction, in 1927, of a number of plaster and mixed-media sculptures by the Futurist artist Umberto Boccioni (1882-1916) was a tragic loss for avant-garde art. Of the many ground-breaking sculptures he created between c.1913 and 1915, only a handful remain in existence today. Now, using a combination of vintage photographic material and cutting-edge 3D printing techniques, digital artists Matt Smith and Anders Rådén have recreated four of Boccioni’s destroyed works: a volumetric study of a human face titled Empty and Full Abstracts of a Head, and three of the artist’s iconic striding figures. This ground-breaking display enables modern audiences to ‘see’ these lost masterpieces for the very first time.
Boccioni’s best-known three-dimensional work is Unique Forms of Continuity in Space, the original plaster version of which belongs to the University of São Paulo’s Museum of Contemporary Art. One of the most instantly recognisable of all modernist sculptures, it appears on the Italian 20c coin. Dating from 1913, the work represents an aerodynamic figure – part man, part machine – racing energetically towards the brave new world envisioned by the Futurist movement. It was preceded by three sculptures on the same theme: Synthesis of Human Dynamism, Speeding Muscles and Spiral Expansion of Muscles in Movement. Until now, all that remained of these earlier works were a number of photographs taken in Boccioni’s studio and at three exhibitions around the world from 1913 to 1917. Careful study and comparison of these images has now enabled the creation of highly accurate 3D reconstructions of the original works, which were entrusted to a sculptor named Piero da Verona following the artist’s death, who subsequently disposed of them.
Here’s more on his most famous piece, from New York’s MoMA. It’s very striking.
Umberto Boccioni. Unique Forms of Continuity in Space. 1913 (cast 1931 or 1934)
Unique Forms of Continuity in Space integrates trajectories of speed and force into the representation of a striding figure. It does not depict a particular person at a specific moment, but rather synthesizes the process of walking into a single body. For Boccioni, one of the key figures in the Italian Futurist movement, this was an ideal form: a figure in constant motion, immersed in space, engaged with the forces acting upon it.
It reminded me of Universal Everything’s Walking City, but I think I prefer this version they did for Hyundai. More dynamic, and the merging of figures with speed and transport is definitely a key Futurist theme.
Building upon Universal Everything’s series of films exploring human movement and digital costumes, Running Man is an expression of Resource Circulation, the automotive company’s eco-friendly production process – from steel to car to steel. The digital artwork’s sequence of costumes is inspired by this looping production cycle, as it evolves from scrap metal to molten and rolled steel, before being formed into a car frame, designed body and the fully realised car. The process is completed as the car is streamlined and recycled into the raw materials.
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.
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.
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.
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.
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.
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.
We’re continually fascinated by mirrors, the first selfies, regardless of what Borges might say. Wired 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.
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.
Matt Pyke’s design collective 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.
‘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”.
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.
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.’”
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…
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.
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.
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.”
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).
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.
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.
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.”
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.”
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.
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.
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.
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.”
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.”
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.
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.
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.