:like being in a dream

OK, it’s been more then a year dear friends. I know I have a lot of followers here, and I really respect all of u but somehow this year was not conceptual at all for me. Well, in a way it was, but in real life, that’s why I was gone from this little and very important space for me.

.we’ve seen so many good things this year so it’s basically pretty hard to mention what was good and what was not. I’m very, very happy that in my stream I recognize a lot of d things/ art pieces that I already have here and maybe that was d spot that demotivate me to share other (new) things. any way is good to know that u have good eyes and good sense for art in general, that shows to me personally that it’s maybe time to return myself here and at least once in month to share d art that I appreciate.

:my year was like “curiosity cloud” I tried so many new things, start working on so many other interactive projects and that’s why today I’ll share with u this beautiful, amazing project that is named like these and is full of magic.

:this Viennese design duo Mischer’Traxler explain why they filled a room at London’s V&A Museum with hundreds of fluttering insects. Katharina Mischer and Thomas Traxler’s installation for Perrier-Jouët consists 264 suspended blown-glass bulbs, each of which contains a hand-made model of an insect.

.d installation contains 25 different varieties of insect, including a mixture of common, endangered and newly-discovered species. each insect is attached to a motor at d top of d bulbs with a thin wire. thermal imaging sensors around d installation trigger d motors when they detect visitors’ presence. d buzzing noises can be heard outside the space, enticing visitors inside the gilded room.

– intelligent and pretty modern and constructive way to connect d idea of nature and electricity (industrialization), to make relation between something small and colorful, that will give some warmth and d noise that they produce like u’re somewhere outdoor and listen d inner life of d planet.

.great concept, way to go in this 21 century confusing, open minded, not defined and wide diapason of art “attack” and showing something “different”. this is peaceful but in same time so noisy, like we are in our minds. do u like it?

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:celebration vol.II – hbd sir Duchamp

Bicycle Wheel (1913)

“Art is either plagiarism or revolution.”

The second celebration we have here on this blog today is about d birthday of one of d best/ main/ leaders/ ARTISTS of d modern/ contemporary era Marcel Duchamp who actually was a French artist whose work is most often associated with the Dadaist and Surrealist movements.

Tu M’ (1918) – Duchamp’s last full-scale venture in oil painting, expressing the shortcomings of traditional oil on canvas painting.

All in all, the creative act is not performed by the artist alone.. the spectator brings the work in contact with the external world by deciphering and interpreting its inner qualifications and thus adds his contribution to the creative act.

If u are here on this blog u probably know about this Monsieur and just continue toasting with me for all this beautiful occasions. Sir Duchamp left a lot for d historians of art, they can analyze his signature with days/ months even years. His works are structural, easy going maybe but pretty hard in d concept. Full with messages, thinkery machines I can say. I use to stay hours in front of some of his works/ masterpieces.

Duchamp’s 1926 film Anemic Cinema, presented with a new score by Modern Silent Cinema


Why Not Sneeze, Rrose Selavy? (1919)
Those “sugar cubes” are actually made of marble, making the whole thing surprisingly heavy. Anyone who lifted it would momentarily be forced to question either their expectation or their perception of the object’s weight.

Female Fig Leaf (1951)

Objet-dard (1962)

Three Standard Stoppages

“It’s not what you see that is art. Art is the gap.”

Traveler’s Folding Item (1916)

Hat Rack

Rotary Glass Plates (Precision Optics), 1920

urinal r mutt fountain 1917

“Destruction is also creation.”

“My idea was to chose an object that wouldn’t attract me, either by its beauty or by its ugliness. To find a point of indifference in my looking at it, you see.”

“D’ailleurs, c’est toujours les autres qui meurent.
(Besides, it’s always other people who die).”

:HAPPY BIRTHDAY Sir Marcel Duchamp … u Dear followers/ readers can leave ur comments below or on :d white b[l]og ::: #facebook page c h e e r s:

.digital tower

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.pretty short about this. once I had idea about d same installation with d same name except d visuals that are projected but finally I confirm my thoughts from then that probably this project exist. I think in my way it was before 2011 but still d project is already ON!

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Goran Hassanpour - Tower of Babel, 2011

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:TV Garden Then & Now

Nam June Paik, TV Garden, 1974 (2000 version). Video installation with color television sets and live plants.

TV Garden, one of his seminal installations, illustrates Paik’s profound grasp of technology’s capacity for composition and the new aesthetic discourse that he helped to create. To enter the piece is to experience an uncanny fusion of the natural and the scientific, as hidden amid an undergrowth of live plants are video monitors of various sizes. All are playing the artist’s 1973 collaboration with John J. Godfrey, Global Groove, which montages performers from around the world into a gyrating visual mix, and the videotape’s sound track serves as musical and spoken counterpoint to the monitors’ flickers of light. TV Garden set a new standard for immersive, site-specific video installations.

Description /

<TV Garden>(1974/2008) is one of the most important works of Nam Jun Paik, creating life beats from primordial force of tropical forest in tune with rhythm of video fantasy. The <Global Groove> on TV monitors shows the power of music and dance with imaginative video image. Firstly conceived in his private exhibition of Bonino Gallery in New York in 1974, it made its appearance as a title of <TV Ocean> due to the lack of money to buy plants at that time. Later, its variations were made according to the environment of exhibition including Aberson Gallery in New York, Contemporary Museum in Chicago, Pompidou Center in Paris, Whitney Museum in New York, Metro Hall in Tokyo, Litan Museum etc.

<TV Garden> in NJP Art Center is surrounded by small corridors to look around with a short-ranged view, and it also has a characteristic to make the audience take an outlook of the entire forest from the upper side. Installed as part of Now Jump, the opening festival of NJP Art Center, it was built up by Young Cheol Lee, the artistic director of NJP Art Center and Sang Su Ahn, landscape architect, with the advice of Keigo Yamamoto, Japanese video artist, during a week starting from the 2nd of October in 2008.

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:u like this time travel trough d forest and d video, there is not big difference in d pics, though . .. u can leave ur comments below or on :d white b[l]og ::: #facebook page

: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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