:RIP Sir Mike Kelley [1ox for d madness]

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.I just heard this bad news from friend of mine L.P. Ponor about d apparent suicide of d famous contemporary artist Mike Kelley [1954 – January 31, 2012 or February 1, 2012]. He is/ was attractive with his works, controversial, as this last information is actually.

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Kelley’s work involved found objects, textile banners, drawings, assemblage, collage, performance and video. He often worked collaboratively and had done projects with artists Paul McCarthy, Tony Oursler and John Miller. Kelley was often associated with the concept of abjection.” [from wikipedia]

:Episode #117: Mike Kelley sets the record straight about being called a “bad boy” throughout his career, describing the shifting tastes of critics and artists towards abject art in recent years.

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Mike Kelley’s work ranges from highly symbolic and ritualistic performance pieces, to arrangements of stuffed-animal sculptures, to wall-sized drawings, to multi-room installations that restage institutional environments (schools, offices, zoos), to extended collaborations with artists such as Paul McCarthy, Tony Oursler, and the band Sonic Youth. His work questions the legitimacy of ‘normative’ values and systems of authority, and attacks the sanctity of cultural attitudes toward family, religion, sexuality, art history, and education. He also comments on and undermines the legitimacy of the concept of victim or trauma culture, which posits that almost all behavior results from some form of repressed abuse. Kelley’s aesthetic mines the rich and often overlooked history of vernacular art in America, and his practice borrows heavily from the confrontational, politically conscious “by all means necessary” attitude of punk music.

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.. I prefer in this case to make photo story, His work speaks more then what I can say in d moment.. big lost for d history of contemporary art, I don’t see reason why he’ve done this but anyway this are works that will stay as respected perspectives in d conceptual arts.
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:I don't know why but I specially like this. ..psychedelic! ;)

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.he deserves more words from me, but I am pretty sure that during this year I’ll make observation of his master pieces, there are a lot of missing projects here. .. this is just to show d respect for this artist! Rest In Peace Sir & thanks for all d art madness!

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. .. u can leave ur comments below or on :d white b[l]og ::: #facebook page

:push d ball _ADA [interactive installation]

This is amazing idea for interactive installation. I like the concept the most. d drawing that this air balls create on d walls is just wow. Like expression from some child, pretty naive though but strong as feeling.

Scratching d walls is like pushing the power of intelligence till the end, touching d wall or even looking on d other side trough d crystal bell. This vacuum/ helium inside is like all d knowledge that we getter on our life path. d awesome way of interaction with d people is d way of learning d kids to go trough d right way, to choose d best for them. I don’t know why I choose to compare this with kids but even when we push d ball with d best move she still do this naive lines..

ADA – Analog Interactive Installation, is a kinetic sculpture by German-based artist Karina Smigla-Bobinski. The installation is made form an enormous helium-inflated sphere trapped inside a small room that’s spiked with dozens of protruding charcoal pieces which scrape the edges of the gallery wall as participants push, toss, and otherwise manipulate it. Most recently it was on display at the Electronic Language International Festival in São Paulo this Summer that took place in São Paulo. It’s fascinating that given the constraints of the sphere and room, a single outcome (pictured at bottom) is destined to emerge, but yet requires the participation of dozens if not hundreds of gallery visitors.

photo by we make money not art
found at Colossal

from d youtube channel:
Similiar to Tinguely’s «Méta-Matics», is “ADA” an artwork with a soul. It acts itself. At Tinguely’s it is sufficient to be an unwearily struggling mechanical being. He took it wryly: the machine produces nothing but its industrial self-destruction. Whereas «ADA» by Karina Smigla-Bobinski, is a post-industrial “creature”, visitor animated, creatively acting artist-sculpture, self-forming artwork, resembling a molecular hybrid, such as a one from nano biotechnology. It developes the same rotating silicon-carbon-hybrids, midget tools, miniature machines able to generate simple structures.
«ADA» is much larger, esthetical much complexer, an interactive art-making machine. Filled up with helium, floating freely in room, atransparent, membrane-like globe, spiked with charcoals that leave marks on the walls, ceilings and floors. Marks which «ADA» produces quite autonomously, athough moved by a visitor. The globe obtains aura of liveliness and its black coal traces, the appearance of being a drawing . The globe put in action, fabricate a composition of lines and points, which remains incalculable in their intensity, expression, form however hard the visitor tries to control «ADA», to drive her, to domesticate her. Whatever he tries out, he would notice very soon, that «ADA» is an independent performer, studding the originaly white walls with drawings and signs. More and more complicated fabric structure arise. It is a movement exprienced visually, which like a computer make an unforeseeable output after entering a command. Not in vain « ADA» reminds of Ada Lovelace, who in 19th century together with Charles Babbage developed the very first prototype of a computer. Babbage provided the preliminary computing machine, Lovelace the first software. A symbiosis of mathematics with the romantic legacy of her father Lord Byron emmerged there. Ada Lovelace intended to create a machine that would be able to create works of art, such as poetry, music, or pictures, like an artist does. «ADA» by Karina Smigla-Bobinski stands in this very tradition, as well as in the one of Vannevar Bush, who build a Memex Maschine (Memory Index) in 1930 (“We wanted the memex to behave like the intricate web of trails carried by the cells of the brain”), or the Jacquard’s loom, that in order to weave flowers and leaves needed a punch card; or the “analytic machine” of Babbage which extracted algorithmic paterns.
«ADA» uprose in nowadays spirit of biotechnology. She is a vital performance-machine, and her paterns of lines and points, get more and more complex as the number of the audience playing-in encreases. Leaving traces which neither the artist nor visitors are able to decipher, not to mention «ADA» herself either. And still, «ADA’s» work is unmistakable potentially humane, because the only available decoding method for these signs and drawings , is the association which our brain corresponds at the most when it sleeps: the truculent jazziness of our dreams.

© Arnd Wesemann, 2011