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Le carnet de Villard de Honnecourt

XIII siècle

#drawingbook drawings villarddehonnecourt

David Hockney

drawing

#david hockney #drawing

aqqindex

Scott Burton

DANIEL DEWAR & GRÉGORY GICQUEL

10 October - 8 November

Galerie Micheline Szwajcer

#contemporaryart #dewargicquel #brussels

ANGELA BULLOCH | Archetypes and Totem Antidotes

30 October - 5 December

Galerie Micheline Szwajcer - Brussels

#contemporaryart #angelabulloch #scupture #brussels

Louise Bourgeois, Female, Male, 2005

#louise bourgeois

evokesart

Pablo Picasso - Baigneuses, 1918

#picasso

The Forgotten Art of the Phenakistoscope

the psychedelic predecessor of the animated GIF

http://www.anothermag.com/art-photography/7982/the-forgotten-art-of-the-phenakistoscope

#phenakistoscope

Dora Budor, Mental Parasite Retreat 1, 2014, original-production cyborg chest prosthetics from the movie Surrogates, cinema chairs, dragon-skin silicone, assorted hardware, animatronics, 41 x 27.5 x 28”. As with any good flick trafficking in the alien, one likely hears the thing before seeing it. The thing, in this case, is a cinema chair in the middle of the gallery. Its back gently, almost imperceptibly, expands and contracts in motored respirations. A robotic chest plate pierces the skin of the upholstery—not cloth, neither leather nor vinyl, but something fleshy and moist—revealing its mechanical core. It wants to be touched. This work, Mental Parasite Retreat 1 (all works 2014), introduces Dora Budor’s exhibition, which gleefully cloaks itself in the trappings and tropes of science fiction and fantasy. But the show also probes such conventions, breaking their surfaces as though to see what really lies beneath. Wounds are the central figures of Budor’s critical method, blistering across exposed electrical panel works and puncturing glossy resin picture planes. Such tactile effects seduce. This same desire to touch and to demolish distance is shared by memorabilia hounds. Indeed, much of the material Budor incorporates into these works was manufactured for major film productions and then purchased through a collector’s market that thrives on translating cinematic artifice into covetable artifact. The attraction of both these commodities and their afterlives as artworks lies in the appropriation of technologies that films engineered to meld with the body. The props and prosthetics subsumed into