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Since the early 1980s, as a result of open policies, Beijing is undergoing an amazing structural transformation and tremendous growth. The huge changes in the Chinese capital gradually forced its residents to face the challenges of managing the structure and culture of the urban environment in order to meet the challenges of the new city. At the same time, emerging nationalism and the development of local and international tourism have made Beijing a showcase for national identity. Day after day, Beijing’s traditional dwelling houses (siheyuan) and hutong were destroyed, disintegrated and rebuilt, turning the capital into an international metropolis. This article focuses on Zhang Dali’s graffiti and performing art works in Beijing. He is one of the artists most concerned with urban transformation. The human head image that invaded Beijing's urban landscape in the 1990s was called "dialogue" and this image was often found on walls and buildings that were designated as demolition. This is a symbolic symbol that cannot escape attention. Investigating Zhang's works through theoretical methods, discusses the relationship between subject performance and spatial transformation, and puts forward the key issues of public space art agency.

In Gilding the City

Artist Sayraphim Lothian

At Gilding the City, artist Sayraphim Lothian recreated the debris and jewels found on the streets of the city, creating jewelry for the city.

Inspired by Melbourne jeweler Caz Guirney’s City ring work system, Melbourne street artists Daniel Lynch's Junky Projects and Madga Sayeg's graffiti weaving, Gilding the City lost earrings, necklaces, pendants, rings and other accessories, discarded and shattered into The city wears new clothes. From shamanism, rituals to humorous and cheeky projects are artists to her city, from artists to love letters for those who remember walking around the streets.

Artist Sayraphim Lothian

Here, the dragon will focus on the abandoned urban space and our fear of the unknown. The title refers to the magical creatures and beasts on the map depicting the edges of the known world for centuries. Beasts mark the unknown and unknown areas that people fear. According to the traditional tradition of this work, the installation site was not announced. Instead, the dragon was installed in a public place and waited for brave adventurers to discover it.

By placing a creature on the front fencing of abandoned buildings and residences, the dragon here dramatically restructures the community’s awareness of forgotten websites and reminds people that each of these sites is part of their community. Not an unknown place.

Sayraphim Lothian is a public artist who utilizes as many crafts as she can lay her hands on. She’s interested in craftivism and creative resistance in all its forms. Her main body of work revolves around kindness as a form of rebellion, craft as a form of subversion and games in public to overturn expected behaviors. She is inspired by street art, craft history and the rebellious in almost all its forms.

Her crafts are figurative, the shape of a bird or the image of a puppet. My pompon chose the abstract shape because I think I pay more attention to the texture of the device, and I hope it can add some fun to the city.

This research compared two public and site-specific art projects of the American artist Christo Vladimirov Javacheff and the Chinese artist Ai Weiwei. In the summer of 2016, Christo's Floating Piers opened in Lake Iseo, Italy. By consists of five kilometers of glittering golden orange fabrics, most of which cover floating walkways formed by interlocking plastic cubes, inviting participants to swing, swing and Walking on the water is not exaggerated. @LARGE: Ai Weiwei is a temporary exhibition (2014-2015) held on the former federal prison Alcatraz Island. The project showcased seven different art installations in four locations, including spaces normally off limits to Alcatraz tourists. These case studies involve, websites, history, media, sponsorships and artistic factors, intentionality plays an important role in shaping and developing contemporary public art project. Both artists challenge the physical and symbolic authority barriers to the border."

Comparing the two artists' practice in public space, we can find that our values and understanding of public space are different. Public space plays its own role in politics, economy, culture, and communication. Different understandings of public space emotions result in different emotions。

When I did the pompon puzzle, it was because I spent a lot of time walking in the community and saw that some streets were full of spider webs and there were a lot of broken bottles. I felt that needed some soft stuff to fill the alley. This is my understanding of public space.

This article focuses on "New Genre's Public Art". The author places community response and audience-oriented artistic practice in different sociopolitical and artistic historical contexts. Defining public art traditions as sculptures for parks and plazas, new types of public art allow artists to engage directly with audiences in order to handle the compelling issues of our time. This is where critics, artists, and curators use their own artistic practice to perceive public spaces. Lay introduced the history of public art, artists and their works offer a highly persuasive set of argument and pleas for imaginative, socially responsible and social responsive public art. New genre public art id distinguish it in both form and intention form, include combinations of different media which installation, performances, conceptual art and mixed-media art. Those ensuing public debate centered on artistic style rather than on public values. As the city deepens, artists want to explore the concepts of audience, relationship, communication and political intent, and have greater responsibility for the issues of race, gender, sexuality, ecology, and urbanization, which is not only for a Site-specific art but for aesthetic expression of activated value systems.

When I'm doing my own project, I often think why I did it? What do I want to convey? I use my own practice to understand public space。In the cities where we live, the streets of the suburbs are more able to show real life. He is not as glamorous as the city. He may be dangerous, dirty and rubbish, but it is closer to our lives. I use my own knowledge and understanding of the city. I use soft devices to fill in the missing cities.

The city provides a convenient and important introduction to a key idea of human geography. Although the majority of the world’s population lives in cities, the definition and theoretical norms of the city remain elusive. Hubbard studies recent intellectual developments in global urban research, such as studies on the comparison, mobility, planetary and relational urbanism. Traditionally, it has always been considered that one of the best ways to understand the city is to look at it from far and above, presenting the maps, plans, models, and abstractions of urban space through various ways. By walking to understand a city, it must stop for long enough to absorb what is happening around you. The only way is to immerse you in it and invest as much time as possible in the streets of the city. Although the city is a script, our performance does not always follow the script. That needs to explore the sensibility and poetic dimension of the entity the way in which cities are tactically occupied in everyday life.

Artists can change the city with their own feelings by changing the stereotypes of the city. There is a close connection between urbanization and daily life. The pure vitality and possibility that occur in daily life are sources of inspired art.

In my own practice, apart from using walking as my research method, I use my soft interventions in unlikely spaces to fill the streets of the city. In the alleys of the suburbs, it is not as glamorous as the city. It can be dangerous, dirty, trashy. I use my own way to communicate, dialogue, and communicate with the city. In the big puzzle of the city, we are part of it. Our daily life can be seen as leaving a unique mark in the city.

Belgian artist Francis Alys's video Guards (2005) documents sixty-four of the Queen of England's guards on a "walk" throughout the City of London. There is perhaps no more symbolically unemotional character than that of a bearskin-hat-wearing guard of the Queen of England. Yet even with no break in the guards' indifferent exterior, the tale still manages to be a powerful metaphor for the human condition. Many of the elements of Guards are found throughout Alys's work: walking, rhythm, the use of the street and bridges are all common tropes in his oeuvre. These strategies, evoking the poetic and sonic palette of the urban environment, involve a sometimes loose and other times overt relationship to social resistance and to the symbolic and often political implications of these actions.

Each guard finds one another and forms a whole, much like the concept of a puzzle I did. All of them can be seen as part of a puzzle and brought together as a whole.

The article discusses the meaning of walking and its influence on London's multifaceted identity and traditions. It explores artist artworks and practices in the city related to terms including videos, photographs, and performance. It also highlights the beginning of Alys terminology and its significance for validating walking as a survey process. In “Seven Walks” Alys open and suggests a new method of urban walks better suited to the 21st-century reality of the UK capital. When you walk, you can be aware of everything around, sight, smell, images, sounds, and so on. The fragments of these senses make up a more complete city. Each walk, apart from being recorded by video and photos, also a story left in the city. Those fragments of these senses make up a complete city. The video guard is a highly choreographed show. The video Guard is a highly choreographed performance. The method used in Alys's “Seven Walks” broke through the logic of its obvious reference, replacing the unplanned loitering with a precise organization.

My inspiration comes from my previous personal experience. As an international student, studying abroad is to improve me. There are new adventures and to achieve my own integrity. This reminds me of the game "puzzle", so at the stage A I did an installation "puzzle".

My own practice is to use walking as a method to understand the city better. Know what happened in the city and the Site-specific art.

For the group exhibition Inside at the Palais de Tokyo in Paris, design collective Numen/For Use–consisting of Sven Jonke, Christoph Katzler, and Nikola Radeljkovic–used the everyday material of scotch tape to create an extraordinary, sculptural tunnel that stretches across the top of the entrance hall

#tape paris

Design Director Hella Jongerius has designed two new elegant rugs for the Kvadrat Rugs collection.

'melting men' was meant to bring awareness to the world wildlife fund's warning, that melting ice could cause sea-levels to rise more than 3.3 ft by 2100.

melting materials

I think I have received inspiration in this work. With ice this element, it will melt. Representing this natural force also represents a passing away.

#materials

Exhibition. November 19, 2017–May 28, 2018. Stephen Shore encompasses the entirety of the artist’s work of the last five decades, during which he has conducted a continual, restless interrogation of image making, from the gelatin silver prints he made as a teenager to his current engagement with digital platforms. One of the most significant photographers of our time, Stephen Shore (/artists/5409) (American, b. 1947) has often been considered alongside other artists who rose to prominence in the 1970s by capturing the mundane aspects of American popular culture in straightforward, unglamorous images. But Shore has worked with many forms of photography, switching from cheap automatic cameras to large-format cameras in the 1970s, pioneering the use of color before returning to black and white in the 1990s, and in the 2000s taking up the opportunities of digital photography, digital printing, and social media. The artist’s first survey in New York to include his entire career, this exhibition will both allow for a fuller understanding of Shore’s work, and demonstrate his singular vision—defined by an interest in daily life, a taste for serial and often systematic approaches, a strong intellectual underpinning, a restrained style, sly humor, and visual casualness—and uncompromising pursuit of photography’s possibilities.

Associated with my puzzle project，defined by an interest in daily life, a taste for serial and often systematic approaches, a strong intellectual underpinning, a restrained style, sly humor, and visual casualness.

#practice

An installation of more than two million translucent straws provides the setting for a retrospective exhibition of work by designer Tokujin Yoshioka

An installation of more than two million translucent straws provides the setting for a retrospective exhibition of work by Japanese designer Tokujin Yoshioka (+ slideshow). The straws are arranged to look like a tornado, with swirling forms spanning across the exhibition spaces, which have recently undergone renovation work supervised by Yoshioka.

Device Art The size can give audiences differently feels.

#slideshows

Ernesto Neto has produced an influential body of work that explores constructions of social space and the natural world by inviting physical interaction and sensory experience. Drawing from Biomorphism and minimalist sculpture, along with Neo-concretism and other Brazilian vanguard movements of the 1960s & 70s, the artist both references and incorporates organic shapes and materials – spices, sand and shells among them—that engage all five senses, producing a new type of sensory perception that renegotiates boundaries between artwork and viewer, the organic and manmade, the natural, spiritual and social worlds.

Inspire with the materials

#social practice

Tony Feher

creates sculptures with generic objects and materials of the most humble nature, often drawn from the daily urban environment. He reinterprets rules of seriality, arrangement and scale from Minimalist sculpture into pieces charged with emotion and a sense of serene beauty.

Inspire with the materials

#materials

The next 'Party Aardvark' could be coming your way.

#practice

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