This is the Alésia Museum designed by Bernard Tschumi Architects. The museum commemorates a battle that occurred between Julius Cesar and the Gauls some two thousand years ago where the museum now stands. Although the scheme for the museum includes two buildings, these images are of the Interpretive Center. According to the architects:
The interpretative center is built of wood, much as the Roman fortifications would have been at the time of the siege. The roof of the building is a garden planted with trees and grass, camouflaging the presence of the building when seen from the town above. Visitors may look onto reconstructions of the Roman battlements from the roof garden, or stroll down a path to experience the reconstitutions first-hand.
I found these really incredible space suit motion tests through the Flickr of the San Diego Air & Space Museum, which is a veritable trove of space goodies. I’m not entirely sure what the back story is on these but it would seem to me that they were testing the mobility of the suits, making sure the people who wore them could move adequately to do their jobs (aka play golf on the moon). I doubt these images were never meant to be seen as “artsy”, but I can’t help but think of how cool they look.
Dear San Diego Air & Space Museum, if you own the rights to these photos you should blow them up to a giant size and sell them as art prints, make your fine organization a little money!
Earlier this morning world class illustrator Tom Gauld announced that he’s started a Tumblr for all of his weekly Guardian pieces called You’re All Just Jealous Of My Jetpack. He says that, “some will be old ones but most will be new. The cartoons appear in the Review so they will often be about the arts.” There are only six cartoons up so far but they all made me laugh, so I’d say he’s off to a really good start.
I think there are a lot of opinions on Banksy, but one thing I’ve always believed is that he truly is a remarkable artist. I mean, I think he really does have genuine artist talent. If you look at some of his re-appropriated paintings, or even the proportions to the stencils he makes, you can see he must have had some sort of fine art training.
I think a bit of that comes through in this recent piece he posted to his site, a ballerina on the back of a painting, walking the string you would normally hang it from. Dare I say this piece is elegant, or even beautiful? Could I be bold enough to say that if Degas had used spray paint rather than oils it may have looked like something like this? I could, but that might rile too many people up. Instead I’ll simply say how nice this looks, and that it’s interesting to see Banksy making commentary on fine art culture in such a lovely way.
When I came across the work of Belgium based artist Nick Ervinck, I immediately started to think of biological masses being strung together. There’s something so organic about his work. There’s his smaller work, which look like nerve clusters being strung together in some mysterious form. Then there’s his larger pieces, like the ones you see above, which look like giant melted cheese monsters are invading your city… And I mean that in the best way possible.
A lot of different media are used by the artist such as: prints, video and digital drawings. They lead to the making of sculptural forms made of painted plaster, polyester and wood. In his digital prints and animations Nick Ervinck creates a surrealistic space by strange combinations of forms and by playing widely with volumes, proportions and colours. At least, one can say the virtual world of this artist is strange. Polymorphic, synthetic forms invade ‘seemingly’ authentic rooms, monumental buildings are detached from the ground and become living sculptures or daring combinations of ships, churches and skyscrapers float over an endless sea. This world is a fiction, constructed and deconstructed by an almighty creator. Tired of playing games by others, Nick Ervinck created his own world.
In his installation, reverse of volume RG, Yasuaki Onishi uses the simplest materials — plastic sheeting and black hot glue — to create a monumental, mountainous form that appears to float in space. The process that he calls ?casting the invisible? involves draping the plastic sheeting over stacked cardboard boxes, which are then removed to leave only their impressions. This process of ?reversing? sculpture is Onishi’s meditation on the nature of the negative space, or void, left behind.
I’ve said it before and I’ll say it again. Most of the coolest shit out there is made with simple materials presented in an interesting and creative way. It’s fantastic how it looks like upside mountain ranges, with rocky crags and snow capped peaks. It would be fantastic to see this in person, though thankfully they made a video walk through of the installation as well as a time-lapse video of the set-up process, which you can view below.
Of all the string installations that have appeared on the site, this is the first one that moves. Artist David Letellier‘s installation Caten is housed in the Saint Sauveur chapel in Caen, France. The strings-hanging-on-strings are controlled by four motors and the entire assembly moves slowly to the resonate sounds of an abstracted hymn. David studied architecture, and in his own words: “the curves of the wires, created by the gravitational force, reflect the shapes of the church arches.”
The sound composition is inspired by the medieval solmisation prayers, especially the first verse of “Ut Queant Laxis”, also known as the “hymn to St John the Baptist”, used in the eleventh century to determine the names of the notes of the scale used in latin countries.
At each turn, the engines emit one of the first 4 notes of the scale (Ut, Re, Mi, Fa), creating a sequence of intervals, constantly reconfigured. Low frequencies resonate in the space and emphazise the transcendental character of a place once dedicated to faith.
The name is derived from the term catenary, which describes the plane curve formed by a rope hanging between two points.
Sometimes skepticism can easily be mistaken for narrow-mindedness. Those who have accepted skepticism into the current of their daily ritual will tell you that it is systematic and functions on the belief that inquiry will always rule out over blind faith. Sound of My Voice, the collaborative brainchild of budding talents Brit Marling and Zal Batmanglij, is built upon this argument, and raises the question how can we tell the difference between fact and enlightened personal experience?
Peter (Christopher Denham) and Lorna (Nicole Vicius) have a vested interest in being accepted into a secretL.A. cult that meets nightly in an undisclosed location in the valley. The target of their pursuit is Maggie (Brit Marling) the elusive female leader, who dresses as a contemporary Virgin Mary and who claims to be a prophet from the year 2054. Orchestrating a type of psychotherapy environment where the faithful abandon their individual souls to be part of the group, Maggie presents herself as savant time-traveller who has come back to bring a select few to a ‘safer’ place. Wanting to expose Maggie as a fraud and con-artist through a DIY documentary film, Peter and Lorna immerse themselves into this ritualistic cult life. As the couple falls deeper into Maggie’s hypnotic trance-like hold, a shift occurs and those who are traditionally governed by reason and logic begin to question if they are on the right side.
Premièring at the 2011 Sundance film festival, Sound of My Voice, has received well deserved critical acclaim and has since, gained momentum as a leading film in the genre of sci-fi realism. Parallels can be drawn between Sound of My Voice and Another Earth, which also premièred at Sundance the same year. The two films not only share their main star, Marling, but also a comparable mental state of disconnection and anxiety over the inevitable, i.e the future and how we all fit into it.
The beauty of Sound of My Voice is its ability to remain thrilling in the face of ambiguity. Events transpire, and our faith as viewers is tested, as it employs an intentional disregard for dramatic irony. The greatest thrill would come for those who delve into Sound of My Voice knowing little about the plot, but who are open to experience a film that questions blind faith, loyalty and awareness. In addition to the trailer, the first 12 minutes of the film are also by clicking here.