Chinese creative agency

A giant canvas becomes both a work of art and a physical reminder of the impact our actions have on the environment.

Chinese creative agency, DDB, created this effective campaign to draw awareness to our carbon footprint and encourage people to use their two pins instead of wheels with motors. Creative Jody Xiong was the driving force behind DDB’s project which took their campaign to the street. Conducted on seven busy pedestrian crossings in downtown Shanghai, DDB’s campaign for China Environmental Protection Foundation engaged the public with a monumental white canvas bearing a leafless tree, with two giant ‘stamp pads’ filled with green, environmentally friendly, washable, quick drying paint on either side of the crossing. As each pedestrian traversed the street, their footprints created leaves on the bare tree, a symbol of their individual contribution to cutting down on carbon emissions made by the 500 million cars China has put on the roads. Initially carried out in seven of Shanghai’s main streets it was then rolled out on 132 roads in 15 cities across the nation.

Designed to encourage people to walk instead of drive, creative agency DDB, engages the public

http://mintstylestudio.com

The Bug “Function / Void” By Factory Fifteen

Ninja Tune and The Creators Project present The Bug’s “Function / Void” video short, directed by Factory Fifteen in collaboration with production company and digital studio Nexus.
For more on the making of the video: thecreatorsproject.vice.com/blog/video-premiere-function-void-the-bug-factory-fifteen
The Bug – Function ft Manga
The Bug – Void ft Liz Harris (of Grouper)
Taken from the new album by The Bug, ”Angels & Devils”
Download The Bug’s Angels & Devils:
Ninjashop – smarturl.it/angelsanddevils
iTunes – smarturl.it/angelsanddevilsit
Amazon – smarturl.it/angelsanddevilsaz
CREDITS
Artist: The Bug
Director: Factory Fifteen
Production Company: Nexus
Label: Ninja Tune
Commissioner: Maddy Salvage
Producer: Beccy McCray
Production Manager: Caroline Milsom
Director Of Photography: Luke Jacobs
Lead Actor: Gary Grant
Lead Actress: Ani Lang
Focus Puller: Tom Mcmahon
1st AD: Dan Precious
2nd AD: Alex Paterakis, Carmen de Witt
Gaffer: Joel Rainsley
Focus/ Gaffer Assistant: William del Rivero
DIT: Prince Yemoh
VFX Supervisor: Matt Townsend
Animation / VFX: Alexey Marfin, Jonathan Gales, Paul Nicholls, Prince Yemoh, Isaac Eluwole, Carl Kenyon, Ares Simone, Roberto Brichese,
Matt Townsend.
Tracking: Tom Carter, Kibwe Tavares
Rotoscoping: Sinjarajan Studios
Kinect Character Development: Eran Amir
Offline Editor: Paul Hardcastle
Edit House: Trim
Post Production Consultant: Dave Slade
Studio Manager @ Nexus: Natalie Busuttil
Art Director: James Hatt
Art Dept Assistant: Rebecca Carey, Michelle Renee
Art Dept Runner: Arthur Menezes
Stylist: Crissie Aranda
Hair & Make Up: Bobbie Ross
Hair/MU Assistant: Maggie Forrest, Sharon Chagger
Production Assistant: Billi Hatfield
Production Runner: James Alexander
Unit Minibus Driver: John Targgart
Security: Per Doda
Extras:
Kimberley Goldsmith, Mark Craddock, Silvia Ferreira Santos, Susete Furtado, Justinas Vilutis, Eran Amir, Patrick Dishman, Freny Pavri, Roberto Brichese, Konstatin Zhukov, Peter Efe

With thanks to:
Kate Michelson
Pete Spence and all at Walthamstow Pumphouse Museum Trust
5 Merchant Sq
Jimmy, Wayne & Godfrey at Robin Hood Estate
Michelle Myrie & The Film Office
Vince, Rhian & Team at Film Fixer

Craft Design for Flat Design and build:
Designers: Armando Elias, Hugo D’Enjoy
craftdesign.co / info@craftdesign.co

Hong Sungchul

http://www.hadacontemporary.com

Oil (Experimental Video Art Piece)

ECVP Vol.2 >> Reminiscences

The Exquisite Corpse Video Project (ECVP) is a unique video collaboration among artists from all over the world, inspired by the Surrealist creation method, the “Exquisite Corpse”. Coordinated by Brazilian artist Kika Nicolela, invited participants create video art in response to the final seconds of the previous member’s work. Each artist is asked to incorporate these seconds into their piece, creating transitions as they please, until everyone’s vision is threaded together into an instigating final “corpse.”

The ECVP Vol. 2 was made in 2009 and was based upon 12 different themes.

REMINISCENCES is a collaboration between the following artists:

Arthur Tuoto (Brazil)
Hans Manner-Jakobsen (Denmark)
Renata Padovan (Brazil)
Gabriel Soucheyre (France)
Jake Selvidio (USA)
Katja Bjorn (Denmark)

CHOP CUP

How to eat your Apple • Erick Oh

Abstract Video • Ashleigh Liszt

Forgotten • Michael Cameneti

Rachel Whiteread

RACHEL WHITEREAD
FOLDED, 2004
Plaster
4 x 11 1/2 x 15 1/4 inches (10.3 x 29 x 39 cm)

Madir Eugster

http://www.thisiscolossal.com

robots paint art while they track your sleep

First they invaded our factories, and now it’s our hotel rooms. Is nowhere safe from the robots? In truth, Ibis’ upcoming Sleep Art project is very slick, even if it smacks of robot voyeurism. Ibis hotels in Berlin, London and Paris will let 40 successful applicants sleep on beds that each have 80 sensors translating movements, sound and temperature into truly unique acrylic paintings by robotic arms connected through WiFi. You don’t have to worry that the machines are literally watching you sleep — there’s no cameras or other visual records of the night’s tossing and turning, apart from the abstract lines on the canvas. All the same, if you succeed in landing a stay in one of the Sleep Art hotel rooms between October 13th and November 23rd, you’re a brave person. We all know how this ends.

http://www.engadget.com

Vide-Uhhh! • Jesse England

A VCR holds on in the face of adversity.

Produced using a VHS VCR and a digital camcorder, Vide-Uhhh! is an exploration into the use of VHS as a recording medium with a degraded but desirable image, much like hand-processed Super8 film or PXL2000 video.

As the usage of movie film declines, the “film look” of wiggly, vibrating scratch lines and film grain is replaced with the rolling horizontal bars and multicolored blotches of old video. The current generation of young adults probably grew up with video, removing the nostalgic feeling from watching chemical film.

On another level, Vide-Uhhh! was an experiment to “scratch”video much like one can scratch the emulsion of waste 16mm film. Experiments with magnets on prerecorded tape were conducted, but the magnets could not produce visually compelling interference. The best results came from altering video by physical force as the content was being recorded; in this case it was a live image of the VCR itself, provided by a video camera.

pyotr pavlensky

Agelos Papadakis

For the Birds

Tommy Ingberg

http://www.ingberg.com

Kevin Corrado

http://www.kevincorrado.com

Subodh Gupta

hugh kretschmer

http://www.hughkretschmer.net

Joseph Kosuth

Joseph Kosuth, One and Three Chairs (1965)

One of his most famous works is “One and Three Chairs”, a visual expression of Plato’s concept of The Forms. The piece features a physical chair, a photograph of that chair, and the text of a dictionary definition of the word “chair”. The photograph is a representation of the actual chair situated on the floor, in the foreground of the work of art. The definition, posted on the same wall as the photograph, delineates in words the concept of what a chair is, in its various incarnations. In this and other, similar works, Five Words in Blue Neon and Glass One and Three, Kosuth forwards tautological statements, where the works literally are what they say they are.

A sign is anything that can be used to tell a lie.
–Umberto Eco

Anila Quayyum Agha

Intersections, Laser-cut Wood, Single Light Bulb, 6.5′ Square Cube, Completed: December 2013, Cast Shadows: 32’x34′.

Exhibiting at GRAM (Grand Rapids Art Museum) for ArtPrize in Grand Rapids in September/ October 2014

In the ‘Intersections’ project, the geometrical patterning in Islamic sacred spaces, associated with certitude is explored in a way that reveals it fluidity. The viewer is invited to confront the contradictory nature of all intersections, while simultaneously exploring boundaries. My goal is to explore the binaries of public and private, light and shadow, and static and dynamic by relying on the purity and inner symmetry of geometric design, and the interpretation of the cast shadows. The form of the design and its layered, multidimensional variations will depend both on the space in which it is installed, the arrangement of the installation, and the various paths that individuals take while experiencing the space.

The Intersections project takes the seminal experience of exclusion as a woman from a space of community and creativity such as a Mosque and translates the complex expressions of both wonder and exclusion that have been my experience while growing up in Pakistan. The wooden frieze emulates a pattern from the Alhambra, which was poised at the intersection of history, culture and art and was a place where Islamic and Western discourses, met and co-existed in harmony and served as a testament to the symbiosis of difference. For me the familiarity of the space visited at the Alhambra Palace and the memories of another time and place from my past, coalesced in creating this project. My intent with this installation was to give substance to mutualism, exploring the binaries of public and private, light and shadow, and static and dynamic. This installation project relies on the purity and inner symmetry of geometric design, the interpretation of the cast shadows and the viewer’s presence within a public space.

http://anilaagha.squarespace.com

mark newport

These characters are childhood memories of the ultimate man – the Dad every boy wants, the man every boy wants to grow up to be. My hand knit acrylic re-creations of these heroes’ costumes combine their heroic, protective, ultra masculine, yet vulnerable personas with the protective gestures of my mother – hand knit acrylic sweaters meant to keep me safe from New England winters. The costumes are life-size, my size, wearable objects that hang limply on hangers challenging the standard muscular form of the hero and offering the space for someone to imagine themselves wearing the costume, becoming the hero. They become the uniforms I can wear to protect my family from the threats (bullies, murderers, terrorists, pedophiles, and fanatical messianic characters) we are told surround us.

The Sweatermen, Every-Any-No Man, and Bobbleman are heroes of my own invention. They push the image of the hero by highlighting knitting materials, textures, and traditions (cables and the use of “ends” to make a sweater) in the form of the costume. Some of the color and texture choices are based on the sweaters my mother made, her love of cables and her color choices. In these I work to forge the link between childhood experience and an adult understanding of protection, masculinity, and heroism.

Performances, prints, and photographs are my opportunity to expand the narratives the suits suggest to me. While earlier works in print and photography focused on the hero in the costume, where and how he functions, these pieces start to explore the alter ego within the costume and the connotations of knitting in relation to various roles and activities. Knitting remains the questionable activity for the protagonist while costumes change to more socially accepted garb. In each scenario the knitting seems out of place or defensive. Is the man in “Pick-Up” attracting or repelling the woman speaking to him with his knitting? How do these different stereotypes of men relate to an activity like knitting?

www.marknewportartist.com