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lucas muñoz builds delhi lung installation to emphasize poor air quality

The public art installation by Lucas muñoz was developed for the city of new Delhi during the month of January 2016. The Spanish artist based in the Netherlands, travelled to the city to construct the ‘delhi lung’ as a locally-sourced bamboo structure which held 21 domestic fans that drew the air and filtered it through the thin ‘muslin cotton’ fabric. for a month, the installation displayed the visible pollution particles during a record-year of toxicities in the city. new Delhi's air is not only contaminated due to its heavy traffic but also due to wood burning for household heat. it has also been well documented that a 12 year old child living in the city’s downtown atmosphere is equivalent to a heavy smoker’s lung.

When invited to develop a piece to be exhibited on public space for a month, Lucas Munoz immediately decided to work on the air subject. he developed this machine in close collaboration with local craftsman and sourcing all the materials from community bazaars. ‘delhi lung’ worked as a printer, where the ink was the pollution particles in the air and the paper was the fabric. the 36-meter piece was marked with its geo-location and exposure time. after the installation’s use, every piece of material, including the fans and bamboo, were reused. the main objective of this installation was to create a visual witness of the city’s air pollution causing harm to its residents. Lucas Munoz will continue with these installations in other cities, to get prints of similar situations. since 2012, Lucas muñoz works on his own from the Netherlands where crafts pieces that magnify the problems surrounding society. using basic raw materials, his body of work includes a wide range of typologies that span from boats and speakers to chairs and lamps.

via:designboom

Honorable Agression

HONORABLE AGGRESSION A PERFORMANCE ART PIECE PRESENTED BY ONYX GALACTIC

(January 29, 2015, Los Angeles, CA) – Performance art duo Onyx Galactic brought visual art, dance and theater to the LA Art Show as guides through the unseen, internal struggle of people of color in present-day society. Challenging the public fear of conversations regarding race, Onyx Galactic utilize their bodies as messengers to shift us from a realm of comfort into one of vivid truth.

“Honorable Aggression” aims to address today’s fear-based reality that leads to the over-policing, under-serving and abysmal treatment of people of color. Challenging what is only visible to the naked eye, this piece provides an even deeper perspective on how this fear binds those most affected by it. Shacole Hamlett states, “our installation features our bodies bound by elastic restraints to represent the varying degrees of internal and external limitations, all while illustrating an unending reach for evolution”. Observing the duo’s struggle for freedom and connection prompts questions such as: Where does the fear of aggression come from? How does fear manifest as restraints on human beings? Can anything productive be birthed from a righteous anger created by this fear?

Boldly shedding light on the fear of Black aggression, Andres Copeland and Shacole Hamlett have created a catalyst for conversations that challenge the common understanding of what it means to be Black in 2016.

“Honorable Aggression”, a courageous piece that evokes thought, feeling and expansion of the socially conscious mind.

Do Art Presents Jana Cruder ‘THE WAY OF THE MODERN MAN’

The path of the modern man is lit by the glow of his smartphone screen. The manner in which today’s human exists in the world is increasingly mediated, truncated, and flattened out despite its illusion of depth. We no longer communicate directly, and we no longer walk upright. Our minds and our spines are literally bending toward the pull of the handheld machine. As inherently social beings, we are both emotionally disconnected and digitally hyperconnected within the new norm of technological dependency. While the cognitive downsides of this dynamic are decried in certain quarters, contemplation of its physical effects remains relatively rare. But what about what this does to our bodies? When our attention is on the small screens, how does our psyche inhabit our flesh?

Jana Cruder’s “Way of the Modern Man” represents an investigation into the sociological, physiological, and consciousness-adaptive experience of how we live now. Cruder remembers being in Hong Kong observing and people watching, scanning an ocean of humanity, “I saw seas of people hunching over, never looking up…” It reminded her of those evolutionary charts that show fish growing legs, then in stages becoming homo sapiens and walking upright – except that it was like the far side of that, as though we’re devolving back to a place of crouching and grunting. Determined to document this shift, she set up a conceptual and formal structure – both a physical space and a method by which to explore the contrast between the projected and observed self.

During Cruder’s isolation/observation booth portraiture process, each participant spends about 30 minutes in a private session with the artist. The subjects are alone in a confined, featureless space, furnished only with a single chair, and permitted to enter only with his or her mobile device. Communication between the subject and the artist takes place exclusively via text message, with Cruder outside the enclosure, not visible or audible to the subject. Conversations are captured in multiple layers – text message, still image, and video. Clothes are all or mostly removed not to create vulnerability, although that certainly occurs, but rather, to better study inflections of posture and spinal stance. But it’s worth noting the people soon forgot they are nude – evidence perhaps of how absorbed they are in texting with the artist. Cruder collaborated with a sociologist to produce questions that she could control for, adopting a more scientific methodology to measure emotions and physicality against each other.

The final images are presented in a series of back-lit panels, whose lightbox qualities recreate the luminosity of a smartphone itself. Large-scale typographical emoticons both inform and interfere with the image, obscuring and contextualizing the subject’s character at the same time. Like a mashup of Muybridge and Baldessari with the cool detachment of Arbus, the earthy, sepia tonality visually links the portraits to art history and to documentarian pursuits as well as to tropes of conceptual art. Stylistically, the series’ naturalism marks a break from the artist’s well-known high-gloss Barbie-based works, but this also represents a jump from deconstructing personal relationships to technological ones. “They know I’m observing them, and they add these smiley faces, even to the saddest stories. I’m watching them, how they are standing while they’re texting with me, and there’s this disconnect between the stories, the bodies, and the language – because what they are saying isn’t really what they are feeling. My goal is to show how the smartphone phenomenon is literally – on both a social and a physiological level – changing what it means to be human.”

Do Art Featuring Doron Gazit

Red Line/ Burt Trees: Drawing the Line

Statement: Burnt Tree: Drawing the Line is intended as a warning, as a metaphor for the arteries of life, and a call to awareness. This artwork calls attention to the repetitive drought conditions in California that will certainly result in a dramatically changed landscape in the cities.

Burnt Trees: Drawing the Line is an installation featuring actual branches burnt in forest fires in the Los Angeles vicinity. The branches are reconfigured on aluminum truss supports, creating an overall effect of burnt trees in vanishing forests. In stark contrast to the black branches and aluminum towers, a ‘red line’ pierces the installation. The streak of red acts as an ‘emergency signal’ urging visitors, as they walk through the installation to consider the need to avert the dark reality of this ‘burnt forest.

Bio: Doron Gazit is an environmental artist and designer whose installations engage the landscape. With nature as his canvas, he reveals invisible currents of nature. Using nature and urban environments as his canvas. They create a dialogue of air, wind, and sun.

Gazit is now focusing his attention on serious ecological issues of the climate change that challenge our generation and are a threat to generations to come. So far, he has dramatically installed 500 feet long red AirTubes in the sinkholes of the Dead Sea, and drought and devastation in the San Joaquin Valley. Plans to go next summer with the red line to the melting glaciers of Iceland and Alaska, floating islands of trash in the oceans and more. His brightly colored three-dimensional lines in such bleak landscapes create haunting images that alert observers to the urgent need to remedy and protect our endangered environment.

Brandalism: 82 Artists Install 600 Fake Ads Across Paris to Protest the COP21 Climate Conference

Just days before the start of the UN COP21 Climate Conference held in Paris and during the French state of emergency following terrorist attacks earlier this November, 600 posters were covertly distributed and hung within the city. The posters were not taped to poles or distributed in public grounds, but secured behind glass at bus stops around the city. The large-scale posters were advertisement replacements, fake corporate ads designed by 82 artists across 19 countries to satirize messaging found throughout the Parisian streets.

Organized by the Brandalism project, the citywide sweep is meant to challenge the corporate takeover of the Paris climate talks, forming ads that target the link between corporations’ advertising with consumerism, global warming, and fossil fuel consumption. The posters reference many of the climate talks’ corporate sponsors including Air France, Dow Chemicals, GDF Suez (Engie). Many of the Photoshopped images use the same branding and voice as the original advertisement, forcing the audience to take a deeper look at the content of the hundreds of posters dotting their daily commute.

“By sponsoring the climate talks, major polluters such as Air France and GDF-Suez-Engie can promote themselves as part of the solution – when actually they are part of the problem,” said Brandalism’s Joe Elan

Escif, Jimmy Cauty, Neta Harari, Bansky-collaborator Paul Insect, and Kennard Phillips were just a few of the dozens of artists who created posters for the Parisian installation. You can see many more of the 600 posters created to challenge the UN COP21 Climate Conference over on Street Art News and Brandlism’s own website here.

Do Art Partners w/ CD9

We did outreach at community events in Council District 9 to gather information on what Public Art the residence would like to see created in this district. We were at 'A Place Called Home' as well as 'Expo Center' celebrating community gathering and the holiday cheer! Thank you to everyone who participated! To fill out a survey go to thenewninthpublicartplan.tumblr.com

A Giant LED Star Pierces the Floors of a 4-Story Building in Malaysia

Malaysian artist Jun Hao Ong constructed this bright LED star that appears to shoot through the floors and ceilings of a 4-story concrete building as part of the 2015 Urban Xchange public art festival. The piece is comprised of steel cables that help suspend a network of over 500 feet of LED lights that grows seamlessly in 12 directions. “The Star is a glitch in current political and cultural climate of the country, it is a manifestation of the sterile conditions of Butterworth, a once thriving industrial port and significant terminal between the mainland and island,” shares Ong.

The Star was curated by Eeyan Chuah and Gabija Grusaite from the Penang-based contemporary art centre, Hin Bus Depot. You can see more of Ong’s elaborate installations using LEDs and flourescent lights on his website.

via: thisiscolossal.com

Upcoming Art Project - With Shrine!!!

A focus of the South Park District - is the continued celebration and development of art. The South Park Business Improvement District are creating solutions and unique approaches to beautifying construction fences that are sites of tagging and vandalism in the community. Do Art & Shrine On’s creative approach is to incorporate a range of textures in the artwork placed on the fence as well as celebrating community artwork from children in the District and using the fence as a place to publically display their work. Shrine On will be working with METRO CHARTER School to create images and shapes & objects that we will decorate & place on the fence.

ABOUT SHRINE ON

Contemporary folk artist Shrine On was born and raised in Los Angeles and is well-known to the community for his incredible mural and installation works. As a native of LA, he has been commissioned to paint over 55 murals on buildings, freeway passages and many other areas - adorning the City in the earlier part of his art career. As his work and style developed, Shrine moved into installation and sculpture creating many pieces at festivals internationally, nationwide and throughout Southern California. The artist creates balanced patterns and motifs that become more complex as the work develops. In both murals and sculptures, he uses unique elements to inform his art.

Audiovisual Tricycles by ‘VJ Suave’ Project Animations on the Streets of Rio de Janeiroby Christopher Jobson

Pay attention folks, interactive public art doesn’t get much better than this. Artist duo Ygor Marotta and Ceci Soloaga of VJ Suave designed these pheonomenal audiovisual tricycles lovingly called “Suaveciclos” that they use to project original animations on almost any nearby public surface. The São Paulo-based artists pack these hefty trikes to the gills with all manner of batteries, laptops, speakers, and high-powered projectors so they can roll through the night with crowds in tow as their animations spring to life against the urban backdrop. Using the on-board computers, Marotta and Soloaga are able to manipulate the videos in real-time to play certain animations tailored to different environments, creating unpredictable moments between space, audience, and art.

Over the last year or so VJ Suave have pedaled their bikes through Russia, Germany and Switzerland, but I think a few more cities are in order? Make it happen. (http://bit.ly/1NBNuSd)

LA folks! Come out to #SPOOKFEST our Halloween party on Saturday! Featuring a cardboard mask making all ages party from 5-7, with music, dancing, and drinks onwards. Interested in volunteering? Contact [email protected]

#spookfest

daniel gonzález turns milanese courtyard into an animated, architectural pop-up book

- article by design boom, photography by carola merello / courtesy the artist & marsèlleria

within milan’s marsèlleria permanent exhibition space, daniel gonzález has transformed the courtyard’s internal architecture into an animated cardboard environment, where a a play of unexpected geometries, textures and motifs surprise visitors encompassed inside. the argentinian artist has built ‘pop-up building milan’ using hand-cut cardboard, tape, zip ties, wood, glue, nylon wires and electric engines, turning the 250 square meter façade into a monumental intervention derived from the interactivity and spirit of children’s pop-up books.

in the making of the ephemeral architecture project, gonzález has adopted techniques such as japanese kirigami (a variation of origami that includes cutting of paper, rather than solely folding it) to form folded lines that extrude from the two-dimensional space of the cardboard sheet. these sculptural paper cuts create abstract interpretations of renowned local landmarks like the pirelli skyscraper, lambrate quarter industries and the torre velasca, as well as escher’s paradoxes and impossible buildings’ projects.

drawings marked onto the surface of the cardboard represent architectural landmarks

folded lines extrude from the two-dimensional space of the cardboard sheet

the sculptural paper cuts create abstract interpretations of renowned local landmarks in milan

the ephemeral intervention takes over the 250 square meter façade of the existing building

Houda has been hunting public art in France and she came across these super fun public works by Clet Abraham.

Clet Abrahams is a French street artist currently based in Florence, Italy. A subversion master, he transforms the street signs of the Renaissance city into witty and whimsical icons that blend perfectly into the urban environment

More images from our favorite international public art investigator Houda Lazrak. Houda came across this very cool wall installation in Florence. It is called "Spoon - I Eat Earth" by artist Simone D'Auria, who used recycled materials to create 63 large-scale red and white teaspoons on a wall facade.

Our international eye and ear Houda Lazrak captured some of David Cerny’s public work in Prague this July. The Czech artist is known for his poignant yet humous and politically charged art. His works hail around the medieval city and find their place in odd yet relevant spaces. Whether faceless babies, water pipe embryos, or men hanging from electrical lines, Cerny lets his art speak for itself and invites the public to interpret the outdoor works.

Lightning in a Paint-Can 2015 by Maayan Dembo

For the ninth year at Lightning in a Bottle, the Do Art Foundation sponsored Lightning in a Paint-Can, a program throughout the festival featuring live painting, murals, installation art, and an opportunity to purchase these unique one of a kind works at the festival ArtWalk. We’ve sat down with three artists, Miles Toland (live painting), Ngene Mwuara (mural program), and Jeremy Yuge (string installation) who participated in this year’s Lightning in a Paintcan to discuss their experiences and impressions from the event.

Miles Toland has been live painting for quite some time. Most recently, he painted throughout India for eight months and headed back to Lightning in a Bottle as his first stop in the US. Talk about culture shock! For Lightning in a Paintcan, Miles painted by the Temple of Consciousness throughout three days, creating a faceless portrait with a mandala aura.

The words around Miles’s painting were inspired by an encounter at the event with the spiritual teacher and healer Astarius Miraculii. Miraculii approached Miles while he was painting the mudra in his portrait on Saturday morning. Miles shared how Miraculii, “gifted me his book at the end of our encounter and I found a passage in his writing that I painted in a circle around my faceless portrait. Miraculii's words read, ‘In time we always travel, in eternity we are already there.’ I felt this embodied the spirit of transcendence... I am really grateful for this spontaneous moment of connection and co-creation.” Miles appreciated the love and support shared by participants admiring his work. While at first Miles did not enjoy these adorations as he wanted to focus on his piece, later he became “a hug junkie soaking in love chlorophyll... Thinking back on the experience I can only smile and say, WOW. The LIB art studio is unlike any other.”

Hailing from Kikuyu, Kenya, Ngene Mwuara collaborated with Aly Kourouma in Lightning in a Paintcan’s newly minted mural program. Stationed at the bass heavy Thunder Stage, the two created a mural celebrating Thomas Sankara, a positive African leader, through the identifiable and global image of currency.

Ngene especially enjoyed painting during Phutureprimitive’s Friday night set. He shares, with DoArt, “Phutureprimitive’s music is the most inspiring for me... His music helps me take journeys through my mind seeing images that I have come across and others I do not recall... This was the greatest experience I have had painting live... This was a dream to me.” After the music ended on Friday night and the stage was cleared, Ngene and Ali “sat down in front of the piece in pain and excitement from a full night of painting. We had lengthy discussions about the ideas that other greats had from different parts of Africa We talked about Julius Nyerere, Ken Saro Wiwa, Wangari Maathai, and Dr. Obel amongst others. This was the greatest part of the collaboration, as there we mapped out the rest of our journey.”

Adorning the DoArt Foundation’s area were fences aglow with string Bezier curves made by Los Angeles based artist Jeremy Yuge. Jeremy has been fixated with string art and Bezier curves for many months now, with his project at Lightning in a Paintcan being his first public installation. Jeremy shares how he, “made one before in my apartment that lives on my wall now. I wanted to test out how to do it before I had the great opportunity at LIB to make the idea come to life. I have a pretty vivid imagination and I must have thought about this 100 times replaying the outcome.”

During the day, the piece looked like funky cobwebs strewn on the entrances to the DoArt area. However, at night is when people really loved the installation. Once it got dark, Jeremy, “hit it with black lighting. It shape shifted. The nylon string I used was neon so it took to the light like your bedroom in the 1990's. You know what I’m taking about...”

To see more of the paintings and art created by Lightning in a Paintcan artists at this year’s Lightning in a Bottle, click here.

P.O.L.E. by Houda Lazrak

Sunday was the last day of a two week long participatory pole dancing performance at the New Museum. Two Brothers was part of a larger initiative by artists Gerard & Kelly entitled P.O.L.E. (People, Objects, Language and Exchange). The choreographed performance is no different than the unsanctioned subway dancing shows in the New York City's MTA, except viewers make their way through museum doors rather than train stations... Executed by two highly energetic and talented youngsters, the performance is embedded in a larger discourse about race, gender, performance art and museum spaces - as part of the routine, the dancers incorporate the Ferguson "die-in" lying down position to protest the recent events. The two dancers, Tyty Love and Roz "The Diva" Mays, ask viewers to partake. By inviting one person from the audience to play a chosen song from their personal mobile device while standing dangerously close to the poles, trusting that the dancers' acrobatic skills will keep them safe from the swinging feet and arms! (I was chosen for the first part of this particular performance!) Interestingly and funnily enough, the NYC MTA just began putting signs inside the subway trains banning pole performances. Here is a link to their campaign where you can view the new signs:

http://blogs.villagevoice.com/runninscared/2015/01/poles_are_not_for_your_latest_routine_says_mta.php

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