My “Anxiety” installations begin with my own anxiety- the anxiety that makes me lose my breath, grasp for words, and feel that sudden uneasiness of an imminent event. In my paintings and installations I produce work that evokes this psychological quality in physical and environmental space. These spaces function as limits or boundaries of the physical realm. I see anxiety as a limitation, bounding me. The enclosed spaces that I either work within or represent function as limitations and confines as well. The forms I fill these spaces with are metaphorical in nature. I consume a space with a repetitive process of breathing into each paper bag, referencing an escape to anxiety through hyperventilation. Securing each bag to walls, ceilings, floors, and any other properties of the space, creating a place as I slowly envelop it. This piece constructs a surreal place that remains strangely comforting, in its scale and theatrics.
metal wall sculpture by Jonas Jungblut
Hermosa 7, 2009
Foam Core, Projection, Mirrored Plexi, Wood, Fabric
Burning Man and The Crucible, 2014
A collaboration with David Wright, Evan Glantz, Luke Wilson, and the Envelope Engineers
Projectors, Monitor, Camera, Steel, Fabric
30′ wide, 110′ deep, 20′ tall
“Between Dimensions” is an interactive live video feedback fractal generator based on experiments by James Crutchfield. Two 20’ tall by 30’ wide walls suspend 794 independent projection screens. A camera looks at a monitor while the monitor displays what the camera sees. This creates a loop of video feedback, which allows for the formation of structures. When mirrors are added to the monitor, the structures become increasingly complex. The user has the ability to rotate the camera as well as adjust the distance to the monitor. Depending on the rotation angle and distance, different fractals will be made.
Fractals and the beautiful images that can be made from their structures have captured the attention of the public mind. What differentiates fractals from regular objects is that fractals have non-integer dimensions. In other words, a fractal object has a dimension between the first and second dimension, the second and third dimension, etc. To play and experiment to gain a better understanding of fractals is invaluable; for from the scientific to the esoteric, fractals are woven into the fabric of our world.
Ethics of the Mothers/Prayer: poems by R’ Rachel Barenblat and January Gill O’Neil
documentation at Venice Biennale
In 2009 Brazilian artist Nele Azevedo carved 1,000 ‘Melting Men’ out of ice and placed them in Berlin’s Gendarmenmarkt Square to bring awareness to Global Warming. As part of the Festival of Queens in northern Ireland, she created a similar installation to visually remind people of the melting ice caps in Greenland and Antartica. She has installed the ‘Melting Men’ or ‘Monumento Minimo’, in cities across the globe and is becoming known internatinally for her climate change art. (via gblog)
Plant-in City is an art installation that takes terrariums to the 21st Century.
We are creating a large-scale interactive art installation, a “Green City,” where plants populate stackable structures inside a gallery space in Manhattan. Our goal is to raise funds to buy materials and develop technology needed to complete this project.
In our installation we envision a dense, lush skyline, where water flows from one terrarium to another. Visitors to the space enter an immersive environment. Sounds of plants echo in their ears. Vibrant rays of light articulate every nuance of beauty that the eye can see.
We’re creating a space where a community who loves architecture, technology and plants can meet. Our mission is to integrate these disciplines into a new paradigm that changes the way we live and interact with nature. We believe that interacting with plants will improve our lives.
scene without voice over
In this video, 8-Bit Philosophy explains Hegel’s concept of history.
G.W.F. Hegel was a German philosopher noted for his ideas on dialectics and phenomenology. His work has had a profound influence on continental philosophy, especially the works of Karl Marx.
Map head, 2013
Collage & mixed media, 50cm x 50cms
I walk my map every day; tracing and retracing the geography which, notwithstanding its familiarity, reveals something new every time. We are never far away from a reminder of the fine balance we live between water and land; as I look at the bridge out of my studio window, I often have the sensation that the map and the water are one continuum.
In this episode of Sound Builders, we went to Los Angeles, to meet with Mileece. She’s a sonic artist and environmental designer who’s developed the technology to give silent seedlings a portal to their own sonic expression.
Channeling a plant’s sentience into an instrument is no obvious feat. Mileece’s background as an audiophile and programmer dovetailed to turn a garden into an organic medium for music. She pulls this off by attaching electrodes to leafy limbs, which conduct the bio-electric emissions coming off living plants. The micro-voltage then gets sucked into her self-authored software, turning data into ambient melodies and harmonic frequencies.
It’s simply not enough for these green little squirts to just spit out noise. All this generative organic electronic music must sound beautiful, too. As a renewable energy ambassador, Mileece’s larger goal behind her plant music is to enhance our relationship with nature. And if plant music can have a pleasing aesthetic articulation then hopefully we all can give a greater damn about our environment.
While some may see the paradox in an organic medium generating electronic music, Mileece does not. She sees this as a symbiotic relationship, a vital one, and one that hints to a larger relationship she’s been trying to unify, which is that between humans and nature.
To learn more about harnessing the power of music, also check out “The Distortion of Sound,” a new documentary about the decline of high-fidelity sound: http://distortionofsound.com/
Jablonka Galerie, Berlin, Germany
The exhibition of works at the Jablonka Galerie features sculptures, lenticular lightboxes, and videos related to the fictional city of Kandor, the capitol of Superman’s home planet Krypton. According to the Superman mythos, Kandor is the only remaining vestige of the exploded Krypton, and the city is preserved, in a reduced state, in a bottle in Superman’s possession. Interestingly, the image of Kandor was never codified and the numerous representations of it in the comic book throughout the years vary widely in appearance. In this exhibition Kelley reconstructs ten unique versions of Kandor, with its enclosing bottle, which, despite obvious differences, purport to depict the same city. Thus, Kandor – as an eternally maintained, but constantly reconfigured, relic of Superman’s childhood – is an apt symbol of Kelley’s interests in the vagaries of memory, and relates to his own works that refer to Repressed Memory Syndrome, such as Educational Complex (1995), an architectural model made up of replicas of every educational institution that the artist ever attended, with the sections he cannot remember left blank. Such issues were foregrounded in an earlier work by Kelley that also focused on the theme of Kandor: Kandor-Con 2000, which was presented at the exhibition Zeitwenden at the Kunstmuseum Bonn in 2000.
In the exhibition, Kandors, Kelley shifts attention away from such themes to focus on the formal diversity of the various versions of Kandor. Ten images of the bottled city were selected from the hundreds of examples found in Superman comic books, and these have been recreated as sculptures scaled up to human dimensions. The original found images of Kandor were graphically altered to accentuate color and form then rendered as lenticular lightboxes, which gives the images the illusion of dimension and movement. The actual recreations of the Kandors’ enclosing glass bottles, some over forty inches in height (making them, probably, the largest glass vessels ever produced in this manner) were hand blown at the Kavalier Glass factory in Sazava in the Czech Republic.
The Kandors project is an exercise in the translation of graphic two-dimensional images into three dimensional sculptures. The flat areas of background color in the comic book panels have been rendered as illuminated Plexiglas walls. The various versions of Kandor are represented by under-lit resin sculptures in a variety of colors. The various bases and plinths that the Kandors sit upon have been constructed as actual furniture. But, in many cases, the bottles, bases, and cities have been separated and spaced apart, complicating their formal relationships. Kelley has described this process as an attempt to make an artwork as flat, colorful, and visually simple as a painting by Matisse which operates in three dimensions, yet still maintains an overall sense of graphic flatness. All of the works feature light or motion, and the exhibition is self-illuminated.
In addition to the lenticular lightboxes and sculptures there are three types of videos included in the exhibition. Large-scale videos, projected directly on the gallery walls, focus on the glass bottles, the interiors of which have been activated with swirling patterns of light or atmospheric effects. The second group features time-lapse videos of crystals growing in common household glassware such as simple jars and bowls, accompanied by soundtracks of “new age” music composed by the artist, and presented on small monitors so that they are close to actual scale and imbued with a sense of intimacy. The third group of videos consists of a selection of graphic depictions of Kandor that have been animated in the manner of popular cartoons. Each bottle emotes, performing a single emotional sound or bodily movement: screaming, breathing, cooing, giggling. These are presented on flat screen monitors that hang directly on the wall like paintings.
HUMOR, THEORY AND THEORISTS
UNDERSTANDING JEAN BAUDRILLARD WITH PUMPKIN SPICE LATTES
SEPTEMBER 24, 2014 EUGENE WOLTERS
It’s fall, and America is once again infatuated with pumpkin spice everything. What started as a simple fascination with pumpkin spice lattes has now spread – pumpkin spice is now a culinary cancer on otherwise fine food.
Pumpkin spice also offers the perfect opportunity to understand Jean Baudrillard, the thinker of simulation and inventor of the Matrix.
But first, some history.
Pumpkin spice lattes are the demon spawn of Starbucks, who concocted the beverage about 11 years ago. As of last year, the company had sold more than 200 million. Now, pumpkin and pumped-spiced themed items grace our shelves in the form of beers, cookies and other delectables. Starbucks even began peddling pumpkin sauce and US pumpkin-flavored sales amounted to $308 million in 2013, up from $290 million in 2012, Vox.com writes.
We live in a world where our globalized and industrialized agricultural system has erased seasons. Back in the day you were stuck with what was seasonal – you ate tomatoes and watermelon when it was summer, and when old man winter rolled in, you were stuck with nature’s shit bag – like potatoes and kale – a vegetable god intended you to hate and smite you with.