LEPLI/THEFOLD

thèmedma22012-2013

thomasschneider

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Définition - Le Trésor de la Langue Française Informatisé

PLI1, subst. masc.Double épaisseur obtenue en rabattant sur elle-même une matière souple (étoffe, papier, etc.). Plis d’une carte routière, d’un dépliant, d’un éventail; pli propre, régulier (v. pliage ex. de Schott, Morin). [L’accordéon] roulait dans ses plis le sanglot des eaux vives ou le rire matinal des enfants (AYMÉ, Rue sans nom, 1930, p.151). Augustin, élève de troisième (...) portait un sarrau noir bien tiré, à trois plis, une ceinture de cuir (MALÈGUE, Augustin, t.1, 1933, p.61):

pli vivant pli voilant pli générique multipli

autres

DÉFINITION COMPLÉTE

PLI1, subst.masc. PLI1, subst. masc.I. A. Double épaisseur obtenue en rabattant sur elle-même une matière souple (étoffe, papier, etc.). Plis d'une carte routière, d'un dépliant, d'un éventail; pli propre, régulier (v. pliage ex. de Schott, Morin). [L'accordéon] roulait dans ses plis le sanglot des eaux vives ou le rire matinal des enfants (AYMÉ, Rue sans nom, 1930, p.151). Augustin, élève de troisième (...) portait un sarrau noir bien tiré, à trois plis, une ceinture de cuir (MALÈGUE, Augustin, t.1, 1933, p.61): 1. ... des bouquets étaient en ligne sur toute la longueur de la table, et, dans les assiettes à large bordure, les servi-ettes, arrangées en manière de bonnet d'évêque, tenaient entre le bâillement de leurs deux plis chacune un petit pain de forme ovale.FLAUB., Mme Bovary, t.1, 1857, p.55.1. COUT. Double épaisseur de tissu disposée d'une manière déterminée et maintenue par des points de couture ou par repassage. Plis doubles, nervurés, ronds; plis espacés, larges, serrés ; plis (à la) religieuse*; jupe à plis piqués; bâtir des plis sur une étoffe. Rarement vit-on, en effet, autant de plis, de plissés et de plissures que dans les collec-tions de printemps (Le Figaro, 27 mars 1952, p.11, col. 1-2). Pli couché. Pli formé par le tissu replié une fois sur lui-même et couché vers la droite ou vers la gauche. (Ds ROB., Lar. Lang. fr.). Pli creux. Ensemble de deux plis couchés en vis-à-vis et formant entre eux un creux. Pour le doublage, dans le cas de plis creux dits «Watteau», les plis de la doublure sont pris avec le tissu (DREYFUS, Manuel apiéceur, av. 1953, p.75). Pli plat. Ensemble de deux plis couchés en sens opposés. Un corsage de satinette rose à plis plats (COLETTE, Mais. Cl., 1922, p.139).2. Manière de plier une lettre afin de la fermer; enveloppe renfermant une lettre. Envoyer, recevoir un pli. Vous trou-verez sous ce pli le manuscrit de La Femme de trente ans (BALZAC, Corresp., 1832, p.692). À porter des plis, trans-mettre des consignes, attendre les courriers de province, de mission en mission, il accomplit dans Paris trente kilomè-tres par jour (VAILLAND, Drôle de jeu, 1945, p.24): 2. Une nuit, il rêva que son portier lui remettait un large pli avec cette suscription: «À M. le baron Levrault». Il brisait le cachet d'une main tremblante et il trouvait sous l'enveloppe un brevet de pair. Le lendemain, encore tout ému, il donna cinq francs à son portier...SANDEAU, Sacs, 1851, p.1. Pli cacheté*, scellé*. Je devais recevoir prochainement des papiers qu'elle avait mis sous pli cacheté à mon nom (GIDE, Porte étr., 1909, p.580). Sygne, montrant un pli scellé: Voici la soumission de Turelure et la capitulation de Paris (CLAUDEL, Otage, 1911, III, 2, p.280). P. méton. La lettre elle-même. Synon. missive. Pli officiel. Chaudval venait d'extraire de sa poche une large envel-oppe, d'où s'échappa, sitôt rompue, un pli ministériel qu'il ramassa fiévreusement (VILLIERS DE L'I.-A., Contes cruels, 1883, p.220).B. Ondulation, mouvement sinueux que présente un tissu flottant ou trop ample. Pli(s) d'une draperie, d'une tenture; plis d'une tunique, d'un voile. On rejette son bras gauche en arrière de manière à faire faire à son manteau des plis pleins d'une dignité tempérée par la grâce (MUSSET, Lorenzaccio, 1834, II, 4, p.147). Françoise en revenant dé-rangeait sans le vouloir les plis des grands rideaux (PROUST, Fugit., 1922, p.479): 3. Si j'ai habillé un corps véritable, je n'ai pas à me soucier de la vérité des plis de la robe. Lorsque la femme est belle, si elle marche, les plis se détruisent et se recomposent, mais ils se répondent les uns aux autres nécessairement. Je ne connais point de logique des plis de la robe. Mais tels, et non d'autres, font battre mon coeur et m'éveillent au désir.SAINT-EXUP., Citad., 1944, p.945. P. métaph. J'attendais que la neige entassant pli sur pli M'eût du linceul glacé vivant enseveli! (LAMART., Jocelyn, 1836, p.654). Pas un nuage, pas un pli dans l'azur; une brise délicieuse précède la chaleur du jour (THARAUD, Fête arabe, 1912, p.280).1. En partic. Mouvement disgracieux que fait un tissu mal ajusté, mal disposé. Faux pli, mauvais pli. En mettant l'habit, je me suis aperçue qu'il faisait un gros pli, là, sur l'épaule gauche, vous voyez... c'est très laid, ce pli; il semble que j'ai une épaule plus haute que l'autre (ZOLA, Curée, 1872, p.405). Les arceaux [d'une caravane extensible toile] doivent être réglables dans tous les sens (cliquets ou vis de serrage). Il s'agit d'éviter les faux plis et de contrôler l'éventuelle apparition d'une poche d'eau (Le Caravanier, avr.-mai 1984, p.86, col. 1). P. métaph. Mme de Maintenon dit et écrit en perfection. Tout tombe juste, il n'y a pas un pli dans ce style-là (SAINTE-BEUVE, Caus. lundi, t.4, 1852, p.387).2. BEAUX-ARTS. Représentation plastique des sinuosités d'une draperie. Son dessin [de Cimabue] offre un moins grand nombre de lignes droites que celui de ses prédécesseurs; il y a des plis dans les draperies (STENDHAL, Hist. peint. Ital., t.1, 1817, p.80): 4. Il est de consentement qu'une draperie à l'antique est plus aisément belle dans le marbre que ne peut être une veste ou un pantalon. Or la différence entre le pli antique et le pli moderne, c'est que le pli antique retombe sur la forme et la recouvre, toutes les lignes s'accordant alors pour rappeler l'esprit du costume et détourner l'attention de toutes les faiblesses du corps; au lieu que le pli moderne suit l'action, et même en conserve la trace, en sorte qu'il y a aisément de la bonhomie dans le costume moderne, mais difficilement de la majesté.ALAIN, Beaux-arts, 1920, p.226.3. Loc. verb. fig. [P. réf. à une étoffe, à un vêtement qui tombe bien, qui forme toujours les mêmes plis]a) [Le suj. désigne une pers.] (Avoir, prendre...) un pli, son pli; prendre le pli de (qqc.), de (faire qqc.). Adopter un

comportement, une attitude morale, et ne plus en changer. Synon. (avoir, prendre) l'habitude de. Prendre le pli de mentir, d'obéir. Qu'il fasse la fortune d'une très-jeune personne; je dis très-jeune, parce qu'il faut qu'elle n'ait encore pris aucun pli (SÉNAC DE MEILHAN, Émigré, 1797, p.1832). J'ai pris le pli d'une existence régulière, laborieuse, et je m'en trouve très bien (MARTIN DU G., Devenir, 1909, p.91): 5. ... la foi étant perdue, il ne m'était pas possible de garder un masque auquel tant d'autres se résignent. Mais le pli était pris. Je ne fus pas prêtre de profession, je le fus d'esprit. Tous mes défauts tiennent à cela; ce sont des défauts de prêtre.RENAN, Souv. enf., 1883, p.148.b) [Le suj. désigne une réalité concr. ou abstr.] Fam. Ne pas faire un pli. Ne présenter aucune difficulté; p.ext., être sûr, ne pas manquer de se produire. Synon. ne pas faire l'ombre d'un doute*. Si je le saisissais d'une demande de mise à la retraite en faveur de M. Letondu, le Conseil d'état m'enverrait coucher, ça ne ferait pas un pli (COURTELINE, Ronds-de-cuir, 1893, 3e tabl., III, p.120). Si tel braconnier de village trouvait cette place, ça ne ferait pas un pli. Un collet bien posé, et la bête serait prise (MOSEL-LY, Terres lorr., 1907, p.115).4. P. anal. Ce qui présente un aspect, un mouvement sinueux. Les serpents aux plis hideux (BANVILLE, Exilés, 1874, p.66). Je m'en allais (...) vers des terres maraîchères qui se réfugiaient dans le pli étroit de la rivière (COLETTE, Sido, 1929, p.27). Spécialementa) Ondulation des cheveux. Synon. boucle, frisure. Mèche qui prend un mauvais pli. Le soir, le sang lui montait à la tête et elle ne pouvait supporter la chaleur de sa perruque; elle l'ôtait pour jouer aux cartes avec ma grand'mère (...) sa perruque (...) sou-vent était par terre, ou dans sa poche, ou sur son fauteuil, elle assise dessus. On juge quels plis étranges avaient pris toutes ces mèches de petits cheveux frisés (SAND, Hist. vie, t.2, 1855, p.321). Étudiez le menton, le cou, le pli des cheveux, les fortes mains (ALAIN, Propos, 1931, p.1037). COIFF. Mise en plis. Opération consistant à enrouler des mèches de cheveux mouillés sur des bigoudis, puis à les sécher à l'air chaud. La concierge du théâtre français (...) a l'honneur d'assister à l'arrivée et au départ des grands premiers rôles de l'établissement et de les voir déposer (...) leur perruque sur la table afin qu'on y fasse une mise en plis pour le lendemain (FAR-GUE, Piéton Paris, 1939, p.95). Région. (Belgique). Raie de cheveux. Synon. ligne. Voir PIRON Belgique 1978, p.547.b) Accident de terrain formant un bourrelet, une dépression. Un petit coin de la Brie perdu dans un vaste pli du terrain dont, à la première vue, il n'eût pas soupçonné l'existence (BALZAC, Méd. camp., 1833, p.15). Le châtaignier et même l'amandier s'avancent jusque dans les plis des vallées d'Alsace (VIDAL DE LA BL., Tabl. géogr. de Fr., 1908, p.45): 6. ... pendant toute mon adolescence, (...) Méséglise était pour moi quelque chose d'inaccessible comme l'horizon, dérobé à la vue, si loin qu'on allât, par les plis d'un terrain qui ne ressemblait déjà plus à celui de Combray...PROUST, Swann, 1913, p.134. GÉOL. Déformation des couches de terrain résultant de la contraction de l'écorce terrestre, et présentant des courbes de niveau. Pli droit, déjeté, déversé; axe d'un pli; pli convexe, concave. Dans bien des cas, cette poussée avait été assez forte pour incliner les deux flancs du pli dans le même sens (...) de manière à engendrer ce qu'on appelle des plis couchés ou isoclinaux (LAP-PARENT, Abr. géol., 1886, p.399). Le pli peut être une ride, comme celle d'un tissu sur un meuble, on l'appelle techniquement: anticlinal. Entre deux plis, le creux s'appelle: synclinal. Les forces tangentielles s'accentuent, le pli peut devenir un pli-faille (COM-BALUZIER, Introd. géol., 1961, p.124).c) MAR. Chacun des anneaux d'un cordage enroulé sur lui-même. (Dict.XIXe et XXes.).C. Marque demeurant sur une matière souple (étoffe, papier, etc.) qui a été pliée, volontairement ou non. Synon. pliure. Pli d'un drap, d'une feuille de papier; replacer une lettre, un vêtement dans ses plis. Il s'assit philosophiquement sur une marche et com-mença de repasser, avec méthode, le pli de son pantalon (BERNANOS, Crime, 1935, p.837). M. Chasle s'essuya les yeux avec son mouchoir. Puis il replia soigneusement le mouchoir dans ses plis (MARTIN DU G., Thib., Épil., 1940, p.780): 7. Gervaise occupait à elle seule la moitié de l'établi, avec des rideaux de mousseline brodée, sur lesquels elle poussait son fer tout droit, les bras allongés, pour éviter les faux plis.ZOLA, Assommoir, 1877, p.544. Loc. fig. Le pli d'une feuille de rose. [P. allus. au Sybarite qui ne pouvait dormir lorsque l'un des pétales de rose qui jonchaient son lit était plié en deux] Inconvénient minime, insignifiant. [Thérèse] ne savait quoi imaginer pour lui arranger une existence où il ne sentirait pas le pli d'une feuille de rose (SAND, Elle et lui, 1859, p.102). Je compris ce qui chagrinait le marquis dans son bonheur, et je découvris quel était le pli de rose dont soupirait ce sybarite sur sa couche de volupté (GAUTIER, Fracasse, 1863, p.195).1. P. anal.a) Partie de la peau qui forme une rainure, un creux (à la pliure d'une articulation, ou provoqué par le vieillissement de la peau) ou un bourrelet, un repli (inhérent à certains organes, ou provoqué par la graisse, le relâchement des tissus, etc.). Pli(s) de la bouche, du cou, du front, entre les sourcils; pli du bras, du jarret; pli(s) de dédain, d'inquiétude, de tristesse. Le petit être rose, gros, jouf-flu, avec des plis de bonne santé tout autour des cuisses et des reins (ERCKM.-CHATR., Hist. paysan, t.2, 1870, p.370). Il s'abat sur mon bureau, le visage dans le pli de son coude, sanglotant comme un écolier puni (DUHAMEL, Journal Salav., 1927, p.46): 8. ... des rides, que la lumière, dans ce blanc, fait paraître noires; et de chaque côté de la bouche, un sillon creux en forme de fer à cheval, qui se rejoint sous le menton, qu'il coupe d'un grand pli de vieillesse.GONCOURT, Journal, 1867, p.348. ANAT. ,,Tout relief linéaire de la surface cutanée dont l'origine ou la signification est très variée`` (Méd. Biol. t.3 1972). Pli de l'aine. ,,Sillon cutané concave en haut qui sépare la région inguino-crurale de la région inguino-abdominale`` (Méd. Biol. t.3 1972). Pli fessier (v. fessier). Pli de flexion. ,,Pli cutané correspondant à la flexion de structures anatomiques, comme les plis de flexion des doigts ou de la paume de la main`` (Méd. Biol. t.3 1972). Pli de passage. ,,Segment de circonvolution cérébrale qui occupe généralement une surface très restreinte et qui unit deux lobes ou deux circonvolutions entre elles`` (Méd. Biol. t.3 1972).b) Domaine sc. et techn. ) BÂT. Angle rentrant d'un mur. (Dict. XIXe et XXes.). Anton. coude. ) BOT. Ligne saillante située sous le chapeau de certaines variétés de champignons (Dict. XIXe et XXes.). ) HIPPISME

Pli de l'embouchure. ,,Endroit de la brisure du mors de bride`` (Ac.). Pli du paturon. Cavité située à la face postérieure du paturon. La quantité d'eau ne doit jamais dépasser la hauteur de la cou-ronne pour que la solution de sulfate de cuivre n'irrite pas le pli du paturon (GARCIN, Guide vétér., 1944, p.168). Mettre un cheval dans un beau, un bon pli. Synon. de plier* un cheval. (Dict.XIXe et XXes.).2. Au fig. Les plis du coeur. La partie la plus intime, la plus secrète du coeur. Ovide n'était rien encore en comparaison des mod-ernes et de d'Urfé, qui a comme découvert le monde du coeur dans tous ses plis et replis (SAINTE-BEUVE, Portr. littér., t.3, 1846, p.30). Une envie inavouée, ignorée d'elle-même, cachée dans ce pli dernier du coeur où l'on ne veut pas, où l'on ne peut pas descendre (BOURGET, Geôle, 1923, p.16).II. JEUX. Synon. de levée. J'ai vu aussi deux ivrognes soûls jouer aux cartes. L'un, en tournant le roi, dégueulait des tas de choses (...) l'autre, soûl comme lui, faisait le pli (RENARD, Journal, 1891, p.102).Prononc. et Orth.: [pli]. Homon. plie. Att. ds Ac. dep. 1694. Étymol. et Hist.1. a) Ca 1130 plei «partie mobile formant articula-tion dans une armure» (Gormont et Isembart, éd. A. Bayot, 94); b) 1197 «partie d'une matière souple rabattue sur elle-même et formant une double épaisseur» (HÉLINANT, Vers de la mort, VI, 11 ds T.-L. [dans une expr. fig.]); début du XIIIes. pli (RAOUL DE HOUDENC, Vengeance Raguidel, 3642, ibid.); c) 1266 ploi «endroit de la peau qui forme une sorte de rainure» (Vers de la mort, 165, 1, ibid. [dans une loc.]); 1393ply (Ménagier de Paris, éd. G. E. Brereton et J. M. Ferrier, p.138, 11); d) ) fin du XIIIes. «papier replié formant enveloppe» (JAKEMES, Castelain de Couci, 3222 ds T.-L.); ) 1874 «message, lettre» (Lar. 19e); e) 1549 «marque qui reste à ce qui a été plié» (EST.); f) 1690 «endroit froissé ou mal ajusté; pliure qui ne devrait pas exister» (FUR., s.v. faus: faus pli); g) 1690 cela ne fait pas un pli (FUR.); 2. a) ca 1185 mettre en ploi «mettre en oeuvre, préparer, fabriquer» (ALEXANDRE DE PARIS, Alexandre, III, 410 in Elliott Monographs, 37, p.152); b)1er quart du XIIIes. «état, situation, disposition d'âme» (RENCLUS DE MOLLIENS, Carité, 108, 7 ds T.-L.); c) ca 1424 prendre un ploy «prendre une habitude» (ALAIN CHARTIER, Complainte, 119 ds OEuvres poét., éd. J. C. Laidlaw, p.325); 3. a) 1461 ply «pan (d'un vêtement)» (VILLON, Testament, éd. J. Rychner et A. Henry, 1544); b) 1684 «ondulation d'un tissu flottant» (R. DE PILES, Remarques sur l'art de peinture ds BRUNOT t.6, p.710); c) 1824 «mouvement (de terrain) qui forme une ondulation» (SÉGUR, Histoire de Napoléon, IX, 3 ds LITTRÉ); d)1848 géol. (ÉLIE DE BEAU-MONT ds Dict. universel d'hist. nat., t.12, p.252b); 4. 1807 «levée (dans les jeux de cartes)» (MICHEL (J.-F.) Expr. vic., p.153). Déverbal de plier*, ployer. Fréq. abs. littér.: 3108. Fréq. rel. littér.: XIXes.: a) 3877, b) 6311; XXes.: a) 4792, b) 3645.Bbg. QUEM. DDL t.16.

clarekenny

L’artiste anglaise vivant à Bâle Clare Kenny clôt la saison 2011-2012 de doll en inter-rogeant les limites de l’espace d’exposition et en proposant une réflexion originale sur le processus de l’acte artistique. Quels sont les éléments constitutifs d’une œuvre d’art ? La ligne ? La couleur ? L’espace ? Peut-on vraiment les définir, les décomposer et les classer comme un laborantin le ferait avec un échantillon X ? Clare Kenny fait de cette quête presque utopique la partie centrale de sa dé-marche, en essayant tel un alchimiste d’en dégager l’essence au travers de trans-mutations quasi magiques. Le résultat n’est pas un énième travail autoréflexif et conceptuellement froid, mais est plein d’un humour secret et délicat, avec une conception de l’espace presque baroque de par son côté spectaculaire. Ce travail de décomposition se retrouve non seulement dans les œuvres exposées, mais aussi dans sa démarche expositive et curatoriale. « The Frame » est le deuxième volet d’un projet plus global d’expositions qu’elle décline en cinq parties successives (la première ayant été présentée à Zürich du 9 au 24 mars 2012), reprenant les cinq qualités attribuées au “parfait photog-raphe” selon John Szarkowski, ancien directeur du département de photographie du MOMA : The Thing Itself, The Frame, The Detail, The Vantage Point and Time. Mais même si l’on rend évident un ma-tériel, une couleur, une composition, le résultat n’aboutit pas à une plus grande simplicité mais au contraire à une pièce plus complexe et mystérieuse. Ce n’est plus finalement une mise en abîme de l’acte créatif, mais aussi un rapproche-ment de celui-ci à l’évanescence des souvenirs et des représentations : on ne se souvient que de fragments, que l’on recompose selon qu’on leur attribue une plus ou moins grande importance. Les souvenirs sont aussi l’autre matière de prédilection de Clare Kenny, qu’elle essaye d’attraper et de transformer. Au-delà de la déconstruction de l’acte photographique, « The Frame » pro-pose aussi une réflexion de l’espace d’exposition comme cadre. En exploitant l’architecture de doll, Clare Kenny plonge le visiteur au cœur d’un dispositif qui l’intègre : le visiteur entre dans le cadre, les photographies en sortent…

Screwed, 2011Lambda print, spraypaint

95 x 65 x 30 cm

http://clarekenny.comhttp://espacedoll.ch

True Blue, 2009-2011Inkjet print, spraypaint, glass

98 x 70 x 25 cm

(Untitled), 2012

thomaskönig

Swiss artist THOMAS KOENIG weaves sculptural installations developped from an intuitive process of playing with any-thing that catches his eye and triggers a sculptural response; having the right shape, color or volume. As a result, his working materials and subject matter are to be found everywhere; his aim is to divert materials from their prescribed functions, inventing ways of making these things improper again and thus, inhabiting a new reality.

THOMAS mainly works with sculpture although he also realizes performances, drawings and paintings, which are often incorporated in his installations.

http://thomaskoenig.tumblr.com/

Wooden Textiles, 2009

elisastrozykI.

“Wooden Textiles” convey a new tactile experience. We are used to experience wood as a hard material; we know the feeling of walking across wooden floors, to touch a wooden tabletop or to feel the bark of a tree. But we usually don’t experi-ence a wooden surface which can be manipulated by touch.“Wooden Textiles” is a material that is half wood-half textile, between hard and soft, challenging what can be expected from a material or category. It looks and smells familiar but feels strange, as it is able to move and form in unexpected ways.

The processes to transform wood into a flexible wooden surface is its deconstruc-tion into pieces, which are then attached to a textile base. Depending on the geometry and size of the tiles each design shows a different behavior regarding flex-ibility and mobility. There are various pos-sible applications, for example as floorings, curtains, drapes, plaids, upholstery or parts of furniture.

Wooden Textiles, 2009

elisastrozykII.

The lights and cabinets of the “accordion collection” are the result of a collaboration between designer Elisa Strozyk and artist Sebastian Neeb. The combination of wood and textile in an accordion-like folded surface generates a new experience of the material wood.Using this wooden textile allows a free and sculptural form.

http://www.elisastrozyk.de

Accordion Lamp, 2011

Accordion Cabbinet, 2011

NUNA - Form Follows Taste, 2012

neubau(berlin)

Artist & Architect Manu Kumar together with Stefan Gandl of Neubau Berlin devel-oped the completely new frozen popsicle called, “Nuna”.

After 3 years of development it is now time to give the first visual insight to the revolu-tionary design of Nuna.

With Nuna, Neubau implemented for the first time a food-design that goes beyond the formal visual plane. “Four years ago we first came up with the idea of Nuna. From the beginning we wanted to make something entirely new to revolutionize the purely marketing-driven products currently flooding the ice cream market”, said Manu Kumar, now the CEO of Nuna World Ltd.

To meet this proposal Stefan and Manu have organized and structured over a long period of time an international team of specialists to meet the requirements of producing such an influential product.

Heiko Antoniewicz, a Master Chef and a worldwide operating food developer, who aside to his many excellent published books, his special knowledge and skills generating constant talk about him in the public eye, is one of Nuna’s proud special-ists behind the project.

Heiko Antoniewicz skills combined with Neubau design for Nuna will not only give a visual aesthetic, but is a guarantee that it will also have the taste buds of the con-sumer yearning for more.

The product design of Nuna was regis-tered in 2010 nationally and internationally as an independent 3-D brand.

Neubau Berlin is responsible for the overall product appearance, corporate image, logo and corporate typeface.

http://www.neubauberlin.com/NunaForm-FollowsTaste.html

#101. Lodown magazine #70, 2010

loladupré

Lola Dupré is a multicultural collage artist and illustrator currently working in Portu-gal. Lola creates surreal and fragmented portraits, she uses multiple prints of the same image in different sizes that are combined in one piece. The collage work is handmade with paper, scissors and glue and the process takes a long time, 20 to 30 hours per image.

http://www.loladupre.com/

#115. Lodown magazine #70, 2010

ronan &erwanbouroullec

French designers Ronan and Erwan Bour-oullec have designed a modular room-dividing system called Clouds for textile manufacturers Kvadrat.

Clouds consists of textile pieces held together with elastic bands to make free-standing or hanging structures, which can be used to divide space and absorb sound.

The project is a continuation of North Tiles, designed in 2006 by the Bouroullec broth-ers for Kvadrat’s Stockholm showroom.

The Clouds system is available in two fabrics and seven colour combinations; components are sold in packs of eight or twenty-four pieces.

http://www.bouroullec.com/http://www.kvadratclouds.com/

Clouds, 2008

platonovpave

The photographer known on flickr as platonov pavel has created a series of images which showcase his talent as a photographer and designer. the series depicts models adorned with unique creations which are sculpted around their heads, obscuring their facial features. these mask-like creations range from folded paper to large-scale constructions made using small pieces of wood. each one is a different material and arranged in such a way, as to complement the portrait.

http://platonovpavel.com/http://www.flickr.com/photos/platonov_pavel/with/5606485989/#photo_5606485989

Folding/prototyping Workshops held by Platanov Pavel: http://workshopper.ru/

HRT, 2011

michaelbeutler

Michael Beutler’s expansive sculptures are usually created directly on site in relation to the given architectonic arrangements. In an experimental process that concentrates more on the logical sequence of mutually conditional decisions than on preconceived planning, Beutler develops structures and forms from conventional building materials - such as wood, plaster or glass - that question standardization. His methods range from do-it-yourself strategies, the compilation of (playful) rules for action, to the fabrication of machines that contribute to deformations. His work recurrently centers around an interest in conceptualizing the properties of various fabrication processes and material structures so that a content-based understanding of the materials and interventions takes precedence over a material-functional understanding.

Michael Beutler’s interest is concentrated primarily on one of the high points of this kind of construction: the Kibble Palace (Crystal Palace) in the Botanical Garden in Glasgow. It was constructed in 1872 by the engineer and architect John Kibble, and Michael Beutler visited it several times during his stay in Glasgow. The Kibble Palace has not only gone down in history as a masterpiece of glass and iron construction, but also still stands for a radicalization of standardization in industrial building production today.

“At once ... the status of bourgeoisie forces of productivity is demonstrated as a whole: the domination of nature and appropriation through the application of industrial procedures based on the methods of natural science.”

These considerations were among the impulses that led Michael Beutler to explore the methods of glass construction, resulting in the decision to make a glass, dome-shaped structure on site in the Grafisches Kabinett. As in earlier works, the experimental construction process follows his interest in questioning processes of standardization, e.g. in glass and glass house production, as well as integrating new forms and methodological coincidences. Consequently, a pleasure in ornamentation is always also present in the sculptural spatial intervention at the same time.

The glass sculpture is conceived as a work that encompasses the space, so that

Installation “sculptural acts”, 2011

visitors are not confronted with a model-like perspective, but rather find themselves part of the spatial arrangement. The experience of different ways of building recalls historical attempts of alternative and utopian architecture and thus of forms of living, which the details turn into thematic components.

In recent years, Michael Beutler’s works have been included in, among others, the exhibition New Heimat at the Kunstverein Frankfurt, where he built a “zig-zag bridge” made of European standardized pallets. It was modeled on Chinese bridges between the mainland and temple islands, which were supposed to prevent evil spirits from entering the sacred places. In September this year, he developed a project for the offspace kjubh in Cologne in collaboration

with Henning Bohl. Under the title “Florenz”, he deconstructed a conventional party tent by “bending” the four round, metal side poles into an ornamental surface, so that the statics of the tent changed, leading to further interventions, all the way to cutting the roof into a plane like a canopy of leaves.

http://michaelbeutler.com/http://www.secession.at/art/2002_beutler_e.htmlhttp://www.frieze.com/shows/review/michael_beutler/

piawüsten-berger

Processed Paper began as a research into using materials that surrounded me. My background as a cabinet maker led me to shaping the material with traditional wood working techniques.

Paper and PVA glue are rolled up and worked into these trestles.The process of turning the paper rolls reveals the different layers of colour on the paper and creates different patterns.

http://piadesign.eu/piadesign.eu/Processed_paper_Trestle_1.html

Trestle ‘Monochrome’, 2010Recycled watercolour paper and PVA

garykoutsoubis

http://gakout.tumblr.com/

The Wave, Arizona’s Coyote Buttes North.2007

briankhek

Brian Khek is a young digital artist from Chicago, who, if his website’s links are any indication, seems to run in the same circles as some of my favorite denizens of that windy, windy city–Brad Troemel, Micah Schippah, and Carson Fisk-Vittori. They’re all graduates of SAIC–the new RISD? Discuss. What kind of crazy cyber-drugs are they putting in the water up there? Khek’s pieces rise to the surface from deep chambers of the virtual world’s collective unconscious, blithely challenging the ancient eminence of all things organic. Primo.

http://briankhek.com/http://www.futureshipwreck.com/2010/08/brian-khek/

CD, 2007

andreasn.fischer

Andreas Nicolas Fischer (*1982, Munich, Germany) concerns himself with the physical manifestation of digital processes and data through generative systems to create sculptures, videos, prints and installations.He holds an MA from the Berlin University of the Arts, where he studied in professor Joachim Sauter´s class. The artist lives and works in Berlin.

http://briankhek.com/http://www.futureshipwreck.com/2010/08/brian-khek/

PLII, 2011, Video loop; 2:21; 1920 x 1080px

PLIII, 2011, 1:00 excerpt of 4:00 Video loop; 1920 x 1080px

Indizes is a data sculpture visualizing the stock market indices S & P 500, Dow Jones Industrial and NASDAQ in the year 2008 from january to november. The values are shown on the three peaks of the five rows of polygons. Data Source = Google Finance.

Indizes, 2008, poplar plywood, paint; 46 × 140 × 120 cm

mathiasbengtsson

Si on vous demandait de prendre le papier déchiqueté de votre poubelle et nous faire une chaise (si belle et peut-être zèbre) serait savoir par où commencer? Le designer danois Mathias Bengtsson a trouvé un moyen. C’est ce qu’on appelle le président du papier: papier 100% recyclé pour un objet de design artisanal de l’ère numérique.

Mathias, un designer freelance basé à Londres, n’est pas étranger à ce genre de défis. À son crédit, il ya une série de meubles de l’utilisation faite de matériaux et de procédés innovants. Passionné par l’informatique et de la technologie de la découpe laser, a rassemblé des morceaux à partir de modèles qui seraient impossibles à réaliser sans sa technique ad hoc. Et c’est pourquoi sa dernière création participera à l’exposition Mindcraft10 (14 à 18 Avril) à l’espace vide à Milan: une invitation à réfléchir sur les habitudes et les déchets absurde de la vie.

Pour atteindre la chaire du papier, Bengtsson il est équipé d’électronique de commande de coupe de fraisage numérique, la colle et de 2,000 profils de papier empilées et mis sous pression. Après avoir falsifié deux prototypes, l’un blanc et un noir, les chaises étaient repliées pour obtenir la texture zébrée qui souligne les formes. Pas mal, si vous pensez que, grâce à son flash de ressorts génie peut s’asseoir sur le contenu de votre panier.

http://www.bengtssondesign.com/index.html

Paper chair 2010, 2007

thaddeuswolfe

Thaddeus Wolfe (b.1979) studied art and design with a focus in glass at the The Cleveland Institute of Art where he received a BFA in 2002. He has held artist residencies at Pilchuck Glass School, The Creative Glass Center of America in New Jersey and the Tacoma Glass Museum. His work has been exhibited in New York at E.R. Butler and Co., Heller Gallery, Matter, and The South Street Seaport Museum, and in Chicago with Volume Gallery. Thaddeus lives and works in Brooklyn

Assemblages (2012), 2012,

Mold blown/ cast glass, cut and polished

surfaces

Installation view of show at Andrew

Rafacz Gallery Chicago, 2011

Facet Vases, 2012, blown glass, cut and

polished, variable dimensions

Facet Lamps, 2009

Blown Glass, cut and ground

each approximately 7.5 x 5 x 5 in.

winderienstra

Le 26 Janvier, la Fashion Week d’Amsterdam, la conceptrice Winde Rienstra a présenté la nouvelle collection “Reflets dans facettes.” Silk, le bois, le carton et le verre fabriqué avec précision et a inspiré le peintre JC Van Schagen.

La nouvelle collection confirme l’identité de la jeune designer hollandaise qui allie rigueur et la délicatesse, le radicalisme et la rigueur. Et pour véhiculer les valeurs que votre marque résume la naissance: la durabilité, l’unicité, la qualité, la rapidité et à la main.

“Réflexions dans facettes” est une collection de bodypieces construits en fibre de bois et de carton incrusté facettes. Modèles graphiques qui sont inspirés par les peintures géométriques de peintre hollandais JC Van Schagen, qui pendant des années a travaillé sur une série d’images basée sur l’hyper-dimensionnelles cubes.

Winde a distillé ce nouveau graphique des modèles dall’ipertrofia Van Schagen et les faire traduire dans les architectures

Assemblages (2012), 2012,

Mold blown/ cast glass, cut and polished

surfaces

Installation view of show at Andrew

Rafacz Gallery Chicago, 2011

rigoureuses encore expansive, croissante sur le corps comme une armure élégante futuriste.

lorenzodicola

http://dicola.tumblr.com/

untitled, 2012

yukawakita

Abstract oil paintings by japanese artist Yu Kawakita, lives and works in Kyoto, Japan.

http://www.yukawakita.com/about/

Quiet Conversation, 2007

camillastorgaard

Danish artist/photographer, Camilla Storgaard, living in Berlin. ...separates the soul from the body. By doing so, she follows closely the blurry contours of our messy existence. Her work captures the attempts, transitions, changes, internal (r)evolutions. Desire, happiness, sex, love...

http://camillastorgaard.tumblr.com/http://www.flickr.com/photos/camillastorgaard

Come Here Or Back Off...,2012

snijlab

dutch digital manufacturing company snijlab has developed new possibilities of working with wood. using laser cutting technique they make tiny cuts in wooden sheets that allow it to be flexible. once processed the wood can be fully bent in both directions without breaking. snijlab makes wooden booklets with the bendable wood technique. the cover is a single sheet of wood cut from a beautiful birch plywood and finished with a clear varnish. cuts in the middle allow the cover to be flexed open and really; it’s only wood! a tiny clamp, made of the same material, holds a standard a7 writing block inside. with this design we want to show the great possibilities of digital manufacturing. by using manufacturing techniques like this in products it is possible to make all product features in only one production step and a single material. only one machine is needed and material supply is easy. this cuts down production effort and logistics and also makes for a beautifully simple product. because a laser cutter is a fairly common tool these products could also be manufactured locally, all over the world. that saves transport. by working from flat materials the products can also be flat-packed, saving even more resources

Folded Wood, 2011

and costs on shipping. these kind of advantages make digital production a great new way of making things.

http://www.snijlab.nl/nl/p/30/productenhttp://www.designboom.com/weblog/cat/30/view/17124/folding-wood.html

lornamacintyre

The idea of moonlight emerging amidst darkness to reveal a situation from a different perspective parallels the way that the gradual exposure to light is used as an artistic process for Macintyre’s works. Dark blue crystals encrust the steel tubes of Midnight Scenes, a sculptural work whose tactility is a result of a process where light is used to alter the composition and appearance of materials. Macintyre uses cyanotype, a photographic technique requiring a photosensitive solution and exposure to sunlight. A monitor placed amongst Macintyre’s cyanotype collages and photographs displays a digital animation. At intervals, the blue appearing on its screen alters to another shade. Whilst pointing to the range of blue tones within the gallery space, its inclusion makes visible the contrasting production techniques, from a highly controlled digital format to one that reveals the effects of chance, light and time on materials, to create silhouettes of different intensities.

http://dailyserving.com/2012/05/lorna-macintyre-midnight-scenes-other-works/http://www.marymarygallery.co.uk/index.php/artists/lorna_macintyre/

Everything merges with the night (detail)

2012, Cyanotype collage, glass, wood,

44 x 30 x 6 cms

julianmayor

Julian Mayor is an artist and designer based in East London. His work is inspired by the sculptural possibilities of computers combined with industrial and craft making processes. After graduating from the Royal College of Art in 2000 he worked in California as a designer for IDEO design consultancy. On returning to London in 2002 he worked for Pentagram and other design studios before teaching 3D modelling at the London College of Communication and starting to exhibit his own work. Julians work has been exhibited at the V&A London, Rossana Orlandi Milan, FAT Galerie Paris and 21st21st New York.

http://www.julianmayor.com/

Fernando Bench (mirror stainless), 2012

Edition Size 8 105 x 68 x 78 cm

Folded Chair, 2009

valentina g.wolers

VAL is an Award Winning London based design studio created by independent designer Valentina Gonzalez Wohlers in April 2009, specializing in furniture and accessories for the high-end market. Trained as an industrial designer and with 10 years of consistent work experience designing, making and selling furniture.The concepts behind VAL furniture are functionality, aesthetics and surprise factor..Valentina’s design fuses conceptual thinking, artistic approach and usability. What is unique about her work, is its originality, boldness, narrative and outstanding quality.Valentina offers furniture and accessories created in the line of emotional design: pieces made to last, to grow older with their owners, becoming into much more than just a material possession to them. The designs are not based in disposable transit trends. This particular take in furniture and accessories invites the user to interact with it, to play, to question, to surprise, to enjoy..Not only VAL offers a fresh new approach to a typical designed product through its knowledge of materials, quality and experimental working methods, but also proposes a new look into the area of conceptual furniture: a combination of great design and contemporary approach without compromising true functionality.

The Ghost of a Chair is a sculptural free-form furniture piece, handmade out of a single 4mm transparent polyester sheet. Each chair is unique due to its unconventional manufacturing process, using a combination of high-end technology and craft, in a labour of love. Volatile and unpredictable, each Ghost chair is a One-off.

The Ghost of a Chair embodies signature aesthetics with its originality and functionality in a statement furniture piece. Its transparency enables the chair to exist in any environment. The material itself is a light conductor and can easily function as an outdoor fixture; its versatility goes as far as your imagination can take you.

The Ghost of a Chair is presented as a Lady version -without armrest- and Gentleman style – arm chair. Both with a weight allowance up to 150 kls.

Ghost Of A Chair, 2010

http://www.valentinagw.com/about/http://yatzer.com/Valentina-Gonzalez-Wohlers-@-Designersblock-2009

mattshlian

As a paper engineer my work is rooted in print media, book arts and commercial design. Beginning with an initial fold, a single action causes a transfer of energy to subsequent folds, which ultimately manifest in drawings and three dimensional forms. I use my engineering skills to create kinetic sculpture which have lead to collaborations with scientists at the University of Michigan. We work on the nanoscale, translating paper structures to micro origami. Our investigations extend to visualizing cellular division and solar cell development. Researchers see paper engineering as a metaphor for scientific principals; I see their inquiry as basis for artistic inspiration. In my studio I am a collaborator, explorer and inventor. I begin with a system of folding and at a particular moment the material takes over. Guided by wonder, my work is made because I cannot visualize its final realization; in this way I come to understanding through curiosity.

Ghostly 10, 2010

Me and Maxine 1, 2010

Old Money, 2010

This Could Be You, 2010

We Are Building This Ship As We Sail It, 2010

Verona, 2010

http://www.mattshlian.com http://www.ignant.de/2011/02/21/matt-shlian/

anneboenisch

Anne Boenisch is a product designer, living in Berlin. The journeyman’s piece for her apprenticeship to become a carpenter, a multifunctional piece of kitchen furniture, called ‘Standby’ is still standing in her appartment in Berlin Mitte, where I visit her. Anne always enjoyed to perform handicraft work and when she gave a mixtape to a friend as a birthday present it always came in a home made cover. During her studies of product design at Potsdam University, she learned, additionally to her work with all types of wood, to work with other materials, like plastics or metal. She made her first product designs, while attending different workshops and explored how to work with various materials as well as developing new avenues of approach. Today Anne translates her ideas into functional products like lamps, kitchen accessories, sideboards or a wardrobe. Her inspiration often comes by self-interest, she explains. Thus she is currently working on a bathroom furniture, because she was lacking one in her own appartment. For Anne, developing a product means to develop an idea by planing, testing, building and constant improvementExcept for the table mat ‘Myria’, which went in production, her pieces are all still individual items. Especially the sideboard called ‘Plissée’ drew my attention and although Anne admits that the doors are not perfectly working yet, it would be awesome to find a producer for this beautiful piece of furniture.

http://www.ignant.de/2012/07/02/anne-boenisch/http://www.anne-boenisch.com/

Plissée, 2012

danielmichel

Can a stereotype be regenerated? For example, is the lampshade really destined to disappear along with the incandescent light bulb? Or will designers like Daniel Michel surprise us? It would indeed appear so.

At the end of 2011, German designer Daniel Michel introduced a number of new pieces to his repertoire. His mission is to explore stereotypes in design through new processes able to renew shapes, practices and functions.

http://www.daniel-michel.comhttp://www.lanciatrendvisions.com/en/601/take-nothing-for-granted

Converted Lampshades, 2011

stephaniebaechler

“Starting point for my project are formations, shapes and material combinations that result from the rather accidental than conscious every day actions of human life. I was inspired by curtains, fabric pleats, plastic bags, fabrics that happened to be spread on the floor, wrapped objects and creased blankets. The sheer fascination that fabric drapery can evoke! I was equally absorbed by mass production of clothes, their usage (consumption) and wastage.” See more;

“Realising this project I am interested in various approaches: Paper or fabric installations in 3D, the processing into a two dimensional pieces of fabric and the creation of a textile object that turns into a symbiosis of 3D and 2D.First I produced installations using plain coloured fabrics. The guidelines for my formations were the above mentioned pleats and colour moods (ranges). I printed these onto fabric. This lead to a new perception (point of view) of the different composed pieces of fabric.Working on these installations an idea struck me. To new shapes, away from rolls of fabric! The fashion designer receives fabric objects and not just rolled up fabric! No yard goods! The designer’s challenge is to use these new conditions to create something new.”

http://stephaniebaechler.comhttp://www.lanciatrendvisions.com/it/506/dipende-dai-punti-di-vista

FABRIC Project, 2011

FABRIC Project, 2011

studiodmtw

After the fire of the church in 2009, the Våler community needs a new church building. For this reason the Våler Parish Council invited architects for an open architectural competition. The new building should accommodate 350 people and provide many secondary spaces. The new building designed by Studio DMTW is to be placed next to the ruins of the old burned down church. In general, compared to the design of a secular building, where the focus primarily lies on the programmatically and functional aspects, a church has additive characteristics which need to be considered. Therefore the design of the new church Våler derives from two major factors.

First, the classical Christian symbolism plays a large role in the shape. Secondly, the atmosphere within the church should be designed for a place of rest, worship and communal gathering. The deliberate use of openings, to separate from the outside and the play of natural light are of great importance. The basic elements of Christian symbolism, the circle, the square and the cross, are reflected in this draft. So in term of forms, the perimeter of the church in the spatial as well as in the lyrical sense is a circle. The circle symbolizes unity, the absolute, the perfect and the divine order. It is a symbol of heaven and the All-One. Each point has an equal distance from the centre. For humans, the circle acts as something warm and comforting. We look forward to our circle of family and community. We have a circle of friends. The circle emphasized an atmosphere of „togetherness“. It also provides the framework for all secondary functions, divided thematically into three distinct groups: the public spaces, private rooms for the pastor and his acolytes and all storage / technicals rooms. The shape of the circle is underscored by the realization of a ring of equal sized elements.

Depending on the internal use and its contact with the outside space, the elements consist of precast concrete, U-shaped glass or U-shaped translucent glass. Within this circumscribed circle and in the middle of the secondary functions is the church room. Its outline is described by a square. Unlike the circle, the square stands for the earthly existence, points to static perfection and consequent immutability. It is the human cosmos, with its limitations and the epitome of order and

stability. It curbs the chaos. Its absolutely uniform structure speaks of justice. With the square as a projection on the ground, the space transforms its outline to the roof surface which forms a cross. The vertical beam of the cross symbolizes the relationship between God and man. The horizontal beam of the cross links the relationship between people. Its outer walls extended well beyond the ring, are made of narrow wooden elements. They fold like a cape around the sculpture.

http://www.studio-dmtw.de/http://www.archdaily.com/218560/new-church-in-valer-proposal-studio-dmtw/

New Church in Valer, 2009

Folding diagramms, 2009

kenmihara

We are dealing with a Japanese master of ceramics: Ken Mihara, class of 1958. We are talking about him to amplify the faint voice of his works. An internal chanting, albeit a powerful one if you know how to listen. Come closer and enjoy the music of these forms.Mihara Ken is one of the most creative Japanese ceramic artists. His works, like benevolent Pandora’s vases, appear to guard a primordial, delicate and sublime force, which immediately evokes the idea of Japanese spirituality.Elegant and simple lines, a blend of purple, grey and blue: it is an explicit visual ode to his native land, Izumo, which is also called the capital of the gods, a land steeped in ancient myths and Japanese legends.But perhaps the most interesting aspect in the body of Mihara’s works is his modern sensitivity, combined with the forms of the past. The ability to meet the needs of touch and texture, which are typically contemporary, with revisited ancient forms. An art of archaeological rediscovery.

Stoneware, 2006

Stoneware, 2008

http://www.lanciatrendvisions.com/en/217/ken-mihara-between-art-and-archaeology

martinschöller

Martin Schoeller is a New York based photographer whose style is distinguished by similar treatment of all subjects whether they are celebrities or unknown. His most recognizable work are his portraits, shot with similar lighting, backdrop, and tone. His work appears in The New Yorker, Outside Magazine, Entertainment Weekly, Rolling Stone, GQ, Esquire, and Vogue.

http://martinschoeller.com/

Jack NIcholson, 2004

Iggy Pop, 2005

christopherguberan

Hydro-Fold by ECAL/Christophe Guberan

The ECAL/University of Art and Design Lausanne is very pleased and honoured to be invited on the occasion of the 15th anniversary of the Salone Satellite in 2012.

Under the given topic «Design-Technology» we decided to present a very innovative yet extremely straight-forward project: Hydro-Fold.

Christophe Guberan, 3rd year Product Design student at the ECAL conceived and developed the Hydro-Fold project. It is a project combining modern technology (ink-jet printer) and a very well known and accessible material (paper).

Hydro-Fold is a project that aims to explore the properties of paper or how a liquid may bend its structure.

The project consists on bringing modifications on a simple contemporary desktop ink-jet printer by replacing the regular ink contained in the cartridge by a very specific mixture of ink and water.

Different patterns, grids and shapes can be printed on paper using this specific liquid. While drying, the paper contorts, folds and retracts around the printed and humid areas, transforming it self from a 2-dimensional paper sheet to a 3-dimensional structure where lines become edges and surfaces become volumes.

http://www.dezeen.com/2012/04/13/hydro-fold-by-christophe-guberan/http://www.christopheguberan.ch

Hydro Fold, 2012

Chimera, 2012

leyrevalentine

A fantastic and metaphorical journey from fetus (when we all are pure and simple) to chimaera; the complicate yet beautiful monster we get to be when we grow up.

C H I M AE R A (From lat. chimaera, and this from gr. cimaira, fantastic animal)

1 Greek Mythology a fire-breathing female monster with a lion’s head, a goat’s body, and a serpent’s tail.

2 something hoped for but illusory or impossible to achieve.

3 Biology an organism containing a mixture of genetically different tissues, formed by processes such as fusion of early embryos, grafting, or mutation.

http://www.leyrevaliente.com/

La Fabrique Sonore, 2012

hyoung-gul kook.

The project is installed at “Pommery” champagne factory in France, part of the largest underground systems of corridors and caves in the area. It combines computational design techniques with ancient paper folding techniques, resulting in a 345 cubic-meter suspended structure which acoustically amplifies sound. The Sound Factory project was designed in cooperation between artists Ali Monemi and Robin Meier and architect Hyoung-Gul Kook.

The structure is made of 285 flat sheets of aluminium/polyethylene composite. The idea of modulation and systems for actual construction was developed into combinations of basic geometry, with a specific visual and acoustic impact on the immediate surroundings. The form itself was inspired by mathematician and origami expert Taketoshi Nojima, especially his work reproducing organic forms from folded paper. It acoustically amplifies the sound form a single speaker-driver in order to create an enclosed space that overflows the listener in its center. Using the actual sounds of effervescence picked up by a special microphone immersed in the champagne vessel, a real-time analysis/synthesis audio system creates a continually evolving sound environment, diffused downward from above.

“La Fabrique Sonore”, as this project was originally titled, uses contemporary computer-aided design techniques in a program-specific fashion, avoiding the common trap of reducing it to formalistic experimentation.

http://livecomponents-ny.com/http://www.archdaily.com/191889/la-fabrique-sonore-exhibition-hyoung-gul-kook-ali-momeni-and-robin-meier/

Luminescent Limacon, 2011

La Fabrique Sonore, 2012

andrewsaunders

The award winning lighting design is based on the effects of the Dutch ruff, a decorative linen collar considered fashionable in the 1600s. The collars required several yards worth of linen, and had to be starched and ironed into pleats, or even supported on wires, in order to achieve their voluminous appearance. Inspired by the way Flemish baroque painter Cornelis de Vos illuminated these items, Andrew Saunders created the similarly shaped Luminescent Limacon. The design integrates historical referencing to the contemporary fabrication techniques, transforming the traditional piece of garment into a vehicle for manipulating light.

This occurs at two levels, both as an ephemeral reflective source and as a figural volume with a material presence. This dense accumulation of light is achieved through a combination of the chiaroscuro painting technique, which uses dramatic contrast of light to build volume, and by trapping light through a process of periodic folding that creates a deep translucent ruffle. The geometry of the structure is determined through use of the polar equation-based Limacon curve. Rolling of the curve at different speeds generates self-similar profiles. Two levels of geometry appear simultaneously: the primary one is combined vertically, while the secondary, following similar geometric progression, creates folds that are nested diagonally and can be interconnected when they meet flush. For fabrication and assembly, these surfaces are embedded with a number of parameters including placement of apertures for connection points, material thickness, tabbing and indexing. Each individual unrolled developable surface contains a unique and specific location and assembly instruction.

http://www.evolo.us/architecture/luminescent-limacon-integrates-equation-based-geometry-with-17th-century-fashion/http://www.arch.rpi.edu/2011/10/saunders-andrew/

The Iteration, 2012

The Iteration, 2012

lisashahno

Lisa shahno is a russian fashion designer based in moscow who creates clothing using high tech materialsand geometric forms

The collection is inspired by the Fractal Cosmology theory which maintains the structure of the universe to be of the fractal nature and the universe itself to be infinite in any direction. A fractal is a kind of geometric shape which can de divided into parts, each at least approximately a reduced-size semblance of the whole, or a self-similar shape. According to the theory, there is a hierarchical organization (or nesting) of matter - from the elementary particles to the clusters off galaxies, with three main levels: atomic, astral and galactic. So the central issue of Fractal Cosmology is that the universe may consist of infinite number of levels which are similar to each other but different in scale - thereby there could be no “smallest” nor “largest” scales - the whole observable universe can be enclosed inside a molecule of some larger-scale universe and at the same time an atom

may contain another world with its own galaxies, stars and inhabited planets...

Models of the collection represent a variety of matter levels in the universe. All pieces’ patterns are composed of the one repeating basic element - the square divided by diagonals - an elementary particle, but each model has a different scale and number of particles involved.

http://lisashahno.com/the-iteration-2012/http://www.lanciatrendvisions.com/it/642/the-iteration-di-lisa-shahno

Cape, two-seater, 2011

Cape, one-seater, 2011

konstantingric

Munich-based designer konstantin grcic draws on the natural way that fabric drapes over a piece of furniture,as means of protection or preservation, for his ‘cape’ chair created for british design and manufacturing brand established & sons. growing from the challenge to develop a casual covered seat that still has a luxurious feel, the result is an upholstered seating unit (available in one and two seat options) that features an overlay cover - literally a cape for your sofa or chair. multiple types of fabric and color options are available to suit the seasons: heavier fabric for fall and winter, and lighter ones for spring and summer.

http://www.designboom.com/weblog/cat/8/view/14372/konstantin-grcic-cape-for-established-sons.htmlhttp://konstantin-grcic.com/http://www.establishedandsons.com/forcehtml/Type-Seating-CapeNEW/#1

inked bracelet, 2009

long dollar necklace, 2009

tinerysser

Banknote jewellery is a collection of paper jewellery designed by tine de ruysser which uses actually currency from different countries. each piece is made by folding the banknotes into intricate patterns, linking them together to create necklaces, bracelets and other wearable art.

http://www.designboom.com/weblog/cat/10/view/11549/tine-de-ruysser-banknote-jewellery.htmlhttp://www.tinederuysser.com/

Simple Complexity Complex Simplicity, 2012

Simple Complexity Complex Simplicity, 2012

arenapage

Arena graduated with a 1st class (Hons) degree in Fashion Design from the University of Huddersfield. She went onto study an MA to develop her skills as a creative pattern cutter with focus on tailoring and experimental methods of cutting.Arena’s collection is inspired by the single sided surface (The Mobius Strip) through the study of Topology.Exploring the region between art and mathematics and finding beauty in geometry.

She used computer technology for a new approach to design. Complex, minimal surfaces were generated using a 3D modelling computer program to which a ‘flattening’ process was applied.The flat 2D patterns transferred to paper and fabric for further manipulation and experimentation in relation to the body.

This design process changes the design methodology; going from 3D surface to 2D and then back to 3D.This collection is a true celebration of creative pattern cutting and was produced solely by the designer, in its entirety, from start to finish..

http://www.lanciatrendvisions.com/it/604/simple-complexity-complex-simplicityhttp://showtime.arts.ac.uk/arenapage

Creased, 2009

Resin filled Kelvar & glass fibres and fabric.

200 x 118 x 74

Creased (deatil), 2009

hennyvannistelroy

Henny van Nistelrooy (1979, the Netherlands), has studied product design at the Royal College of Art, where he received his Master degree in 2007. Before opening his studio he has worked freelance at various design studios including Tord Boontje. He is part of nomadic teaching collective “the Mobile Workshop Group” and has been initiator of a number of acclaimed design exhibitions.

When a piece of fabric is going through the process of lamination, it is expected to be flat, smooth and creaseless. But what happens when the fabric is all crumbled up? ‘Creased’ highlights the constructive and expressive quality of fabric by introducing what we normally wouldn’t want to see/feel in fabrics, a combination of random creases and wrinkles. An industrial process has been altered into a hands-on approach: a flat sheet of resin-filled fabric is creased by hand into a table (or any form one could make out of a piece of cloth). The shape of the object is defined by the interaction between the material and the maker (Henny), where a constant negotiation between his control over the material and the nature of the material itself presses on until the final product is achieved.The process of ’Cloth’ allows the creation of a variety of furniture pieces, be it a table, a chair, a shelf…, and each piece would be unique.

http://www.studiohvn.com/865775/738806/products/creasedhttp://www.designboom.com/weblog/cat/8/view/7577/li-edelkoorts-wish-list-at-pierre-berge-associes-part-2.html

Iwen Swirl Table, 2009

ANOTHERARCHI-TECT

Anotherarchitect is a multidisciplinary design studio based in germany and russia.the studio is involved in design commissions of all scales from urban design studies, architecture, interior and product design.they recently created ‘iwen swirl table’ an outdoor kitchen table, made with wood and fibreglass. the design of the swirl table consists of two paired colors and are generated from a flat rectangular piece - the shape is generated by simply folding it along predefined lines.

http://anotherarchitect.net/http://www.designboom.com/weblog/cat/8/view/6303/anotherarchitect-iwen-swirl-table.html

Origin Part I: Join, 2009

bcxsy

Join consists of a series of three space-dividers. In each piece two lined frames, representing the humble integrity inherent to the craft, are visually merged to create a moment that deviates from the conventional Tategu aesthetic, and introduces angles and shapes that are not commonly used in the craft. Because the ‘merged’ element within each piece diverges from the traditional process and the conventional aesthetic, the screens become a natural division in the interior. Each piece is made from Hinoki (Japanese Cypress), an elegant and pleasantly scented wood that is highly rot-resistance and does not require any additional oils or waxes. Hinoki is the most luxurious wood used in the craft of Tategu.The three screens in the Join series are available in a limited edition of 8 pieces each and are all handcrafted by Mr. Tanaka in his workshop in Tokyo. Mr. Tanaka’s work, and the other works we were exposed to, made a deep and lasting impression. We found the process, the extreme skill and accuracy required by the craft fascinating. We were also inspired by the personal touch each Tategu master applies to his work. Every piece requires a variety of different tools that are often custom made by the craftsman to address a specific task. There is a hidden dialog between the Tategu master and the work he creates – there is a reason for every step, a story behind every pattern.Our challenge manifested itself in developing a project that was innovative yet still honored the traditional aspects of the craft.

http://www.bcxsy.com http://www.designboom.com/weblog/cat/8/view/9983/bcxsy-join-folding-screen.html

Carlton Cabinet, 1981

ettoresottsass

Le groupe fut fondé en Italie par Ettore Sottsass le 11 décembre 1980, et ses membres résolurent de se réunir une nouvelle fois avec leurs projets en février 1981. Le résultat en fut un début chaleureusement acclamé au Salon du mobilier de Milan de 1981 ; “on y vit les meubles les plus prestigieux du monde”. Le groupe a par la suite compté parmi ses membres Michele De Lucchi, Matteo Thun, Marco Zanini, Aldo Cibic, Andrea Branzi, Shiro Kuramata, Michael Graves, Javier Mariscal, Barbara Radice, Martine Bedin, George J. Sowden, Masanori Umeda et Nathalie du Pasquier. Il s’est dissout en 1988.Nommé d’après la chanson de Bob Dylan Stuck Inside of Mobile With The Memphis Blues Again de l’album Blonde on Blonde, le mouvement était une réaction contre les conceptions de « boîte noire » du post-Bauhaus des années 1970. Il possédait un sens de l’humour qui manquait à l’époque dans le design. Imaginé pour mélanger les styles, les couleurs et les matériaux du xxe siècle, il se positionnait comme une mode plutôt que comme un mouvement académique. Il espérait faire disparaître le style international où le post-modernisme s’était engagé, préférant faire renaître purement et simplement le modernisme et le continuer plutôt que d’en faire une relecture.Tandis que des designers comme Philippe Starck ont été influencés par Memphis, l’essor continu du minimalisme au cours des années 1990 a vu un retour au « sérieux ».

http://designmuseum.org/design/memphishttp://www.guardian.co.uk/culture/2001/sep/06/artsfeatures.arts

Orishiki Suitcase, 2010

naokkawamoto

Naoki Kawamoto presented Orishiki, an origami-meets-furoshiki collection, at DesignTide Tokyo 2010. The prototype collection consists of a clutch purse, spectacle case and suitcase.

From the designer:“Orishiki” is a hybrid word composed of “Ori,” taken from Origami, Japanese paper-folding art, and “Shiki” taken from Furoshiki, Japanese traditional wrapping cloth which is large enough to wrap and transport goods and gifts, as well as wearing them as scarves. “Orishiki” is a new carrying device consisting of a single piece of two dimensional structure, constructed of triangular segments which can be folded like origami, and can wrap things like furoshiki. The geometric bag is not only idiosyncratic in its appearance but also in its highly specialized production process. The unique process can be applied to just about any productions without losing its unique product identity.

http://www.naokikawamoto.com/index.htmlhttp://www.journal-du-design.fr/index.php/design/design-valise-orishiki-par-naoki-kawamoto-11869/

Pata, 2010

hiroyuki morita

Japanese designer hiroyuki morita has designed ‘pata’ an unconventional folding chair.when not a chair it appears like a floor mat and can be folded into a compact bundle.it becomes a seat the moment the connecting cord is pulled and tightened.the chair changes shape according to the sitter’s act.

http://www.pleatfarm.com/2010/04/05/hiroyuki-morita-pata-folding-chair/http://www.selectism.com/2010/04/12/hiroyuki-morita-pata-chair/

Oly paper bracelet, 2010

goncalcampos

Disposable bracelet to make you feel special and noticed. To be printed, assembled and after use, it can be disposed of with no regret.Blank version Striped version

http://www.goncalocampos.com/filter/Accessories

johannamborn

Wheat Gluten Composite – A Renewable Material Made of Wheat Gluten and Glycerol

3 parts wheat gluten1 part glycerol A pinch of color concentrate

Instructions:

Set the hydraulic press to 120 degrees and 80 bar.Measure out glycerol, add the color and mix together thoroughly with the glycerol until the consistency is even.Pour the wheat gluten into a bowl, add the glycerol and work in a mixer/processor until the dough is homogenous.Remove the dough as quickly as possible and place in a greased compression mould.Place the mould in the hydraulic press and bake for 12 minutes. Allow the wheat-gluten composite to cool under a baking cloth.Use the product.Compost.

http://www.renewablematerials.blogspot.nl/http://www.konstfack2008.se/interior-architecture-and-furniture-design/johan-amborn.html

Wheat Gluten Lamp, 2008

nendo

Cabbage Chair is a new product by Japanese designers Nendo made of waste paper from the pleated fabric industry.The paper is wrapped into a cylinder and cut vertically halfway down one side so that the layers can be peeled back one at a time.Nendo designed the chair for the XXIst Century Man exhibition curated by Issey Miyake, which will be at 21_21 Design Sight in Tokyo from 30 March to 6 July 2008.

The following information is from Nendo:

Nendo designed the cabbage chair for the XXIst Cetury Man exhibition curated by Issey Miyake to commemorate the first anniversary of 21_21 Design Sight in Roppongi, Tokyo.Miyake asked us to make furniture out of the pleated paper that is produced in mass amounts during the process of making pleated fabric and usually abandoned as an unwanted by-product.Our solution to his challenge transformed a roll of pleated paper into a small chair that appears naturally as you peel away its outside layers, one layer at a time.Resins added during the original paper production process add strength and the ability to remember forms, and the pleats themselves give the chair elasticity and a springy resilience, for an overall effect that looks almost rough, but gives the user a soft, comfortable seating experience.Since the production process is so simple, we thought that eventually the chair could be shipped as one compact roll for the user to cut open and peel back at home.The chair has no internal structure.It is not finished and it is assembled without nails or screws.The primitive design responds gently to fabrication and distribution costs and environmental concerns, the kind of issues that face out 21st century selves.Thus, the cabbage chair fits active, optimistic and forward-moving “21st century selves,” the kind of people who, to borrow a concept Miyake expressed during a meeting with us, “don’t just wear clothes, but shed their skin”.

http://www.nendo.jp/works/detail.php?y=2008&t=111http://www.dezeen.com/2008/03/06/cabbage-chair-by-nendo/

Cabbage Chair, 2008

Wedding, 2004

folded paper dress

polly verity

http://www.polyscene.com/

leosalom

La chaise pliante est une question de longue date entre efficacité de l’espace, portabilité et la réalisation technologique qui relie les deux. Leo Salom a donc voulu se plier à ses caractéristiques et réaliser ce type de chaise, le résultat est plus que concluant, il signe une chaise conçue dans un unique morceau de contreplaqué de bambou !

Non sans difficulté et après de multiples tentatives, il en résulte la Folding Chair, pratique à porter et prenant aucune place car totalement plate une fois pliée ! Un beau travail, inspiré tout de même grandement par la chaise pliante « Desile » chez Vange de Christian Desile.

http://www.monstrans.com/http://www.journal-du-design.fr/index.php/design/folding-chair-par-leo-salom-23471/http://www.desile-design.fr/projets.html

Folding Chair, 2012

lavanchy&marguet

Photography and art direction duo Matthieu Lavanchy and Jonas Marguet have joined forces once again for the latest Muse issue of Verities magazine. Theirs is a visual essay which, as is their way, tells a strange fiction concocted between objects and colour and set in a hyper-surreality. The extraordinary appeal in the images lies in the close association they have with meticulously observed still life paintings and/or a noir, Lynch-ian set piece. Both of which pose cinematic intrigue about the precise meaning of their composition and sequence but, for the most part, are just spectacularly aesthetic.

http://verities.co.uk/http://matthieulavanchy.com/

Verities Magazine, Muse issue, 2012

Swiss Federal Design Awards catalogue, 2011

Aggregates,Installation View,2011

johnhouck

John Houck studierte Architektur sowie Bildende Kunst und bewegt sich mit seinen fotografischen Arbeiten an eben jenen Schnittstellen. Seine dokumentari-schen als auch seine abstrakten Bilder en-tstehen vornehmlich aus topografischem Interesse. Er lenkt unseren Blick auf eine Welt, die sich in mannigfachen Wieder-holungen einzelner Elemente zu größeren Strukturen zusammensetzt und sich über dieses wiedererkennende Sehen von Mustern definiert. Deren Diktat zu durch-brechen, dem strengen Rhythmus sanftere Töne zu entlocken, geht als Idee auch der Serie „Aggregates“ voraus. Mittels selbst geschriebener Software generiert John Houck die höchst mögliche Anzahl an Kombinationen eines rasterförmigen Mus-ters und druckt dies als Kontaktabzug auf Fotopapier. Dem Moment des mathema-tischen Konstruierens folgt der physische Eingriff.

Immer und immer wieder werden dem Blatt Falten zugefügt, um es dann abzu-fotografieren, zu falten, abzufotografieren. Als Resultat offenbart sich der deutliche

Verweis zu den Grundlagen der digitalen Fotografie: Eine von Fehlern durchsetzte Rastergrafik. Die eigentliche Kritik am Mangel fällt in ihrer ästhetischen Erschein-ung aber dann doch positiv aus: Schatten und Wellen entlang der Falten umspielen die Farbverläufe zu einer lebendigen plas-tischen Komposition.

http://www.johnhouck.comhttp://www.ignant.de/2011/07/04/john-houck/

florianschmid

a chair and bench have been added to german designer florian schmid’s ‘stitching concrete’ works which are constructed from a material called ‘concrete canvas’ (CC).each seating object is formed by folding the concrete canvas medium which is impregnated with cement when drenched in water. to create just the right forms and proportions, schmid first produced a number of rubber foam mock-ups to create patterns which were then transferred onto rolls of the fabric. following cutting and seaming, the substance is then sewn together to achieve the correct shape and volume. the furniture object is then hung on a wooden rack to create tension, and is watered, hardening and drying out completely within 24 hours. the ‘stitching concrete collection’ series of seating are ideal for both indoor and outdoor use as the material resists agains UV and chemicals, is fire proofed and water resistant.

http://www.dezeen.com/2011/09/30/today-at-dezeen-platform-florian-schmid/?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+dezeen+%28Dezeenfeed%29&utm_content=Google+Reader

http://www.concretecanvas.co.uk/Download.html

stitching concrete, 2011

the concrete canvas is folded to create each of schmid’s forms which are then placed over a wooden rack to dry

tsewing together the seams of the ‘stitching concrete’ chair

stitching concrete' chair drying

rubber foam models were first made to create the right propor-tions and form

aaronfarley

Photos by Aaron Farley. He achieves these looks by printing and re-shooting images multiple times. Lots of cutting, re-assembling, folding and flattening.

http://www.trendsnow.net/2009/02/folded-chair.html

untitled, 2012

rvtr

Developed by US and toronto-based design research practice rvtr, ‘resonant chamber’ is an interior architectural paneling system that uses the techniques of rigid origami to transform the acoustic signature of a space. composed of reflective (solid bamboo inserts), absorptive (of pointillated porous expanded polypropylene), and electroacoustic panels, the pieces can dynamically adjust their shape to expose or hide these surfaces, thus altering sonic conditions. a central electrical panel contains sensors as well as controls for linearactuation and amplification of one or more distributed mode louderspeakers (DML) that is also mounted into any of the electroacoustic panels, allowing sound to not only be reflected but also produced by the units themselves (by introducing vibrations through an electroacoustic exciter).

the designers reflect: ‘our aim is to create an instrument at the scale of architecture, flexible enough that it might be capable of being played.’

Resonant Chmaber, 2011

the combination of reflective, absorptive, and sound-generating panels was developed via materials testing in collaboration with arup acoustics. the models also ‘learned’ via computer simulations to predictively arrange panels into optimum acoustic variants based on input like ideal reverberation time and directional data. in vivo, this software can translate such modeling into the optimization of the displacement and positioning of the panels’ tessellated surface.

http://rvtr.com/research/resonant-chamber/http://www.designboom.com/weblog/cat/16/view/20884/rvtr-resonant-chamber-origami-architectural-acoustic-panels.html

Resonant Chmaber, 2011, closer view of assembled panel components and circuitry

ilvy jacobs

for her graduation project, product de-signer ilvy jacobs has created a collection of handbags from unconven-tional, fibrous materials suchas crumpled up paper and tyvek. inter-ested in exploring the notion of transforming the disposable paper bag, jacobs aims to give more valueto both the material and the user through her body of work.

by pinching and folding a normal brown paper bag into a new silhouette, ‘foldbags’ was designed with the intention of giving a new view on the commonly disposed item.

http://www.ilvyjacobs.nl/index.php?/tas-sen/paper-fold-bags/http://www.designboom.com/weblog/cat/8/view/11995/ilvy-jacobs-graduation-collection-bags.html

Folding bags,2010

Folding bags,process,2010

kutarq

Kutarq is a multidisciplinary office that focuses on architecture and product design. It arises from the hand of Jordi López Aguiló, architect from Valencia who has worked and collaborate with several prestigious architectural firms. Each pro-ject is the result of a methodical process, in which tests and formal research have a very important role. In product design pro-jects, there is a special interest in creating objects that interact with users and affect their mood, promoting the use of recycled materials and re-use culture.

Just Fold It is flexible, easy to assemble and disassemble, and the individual mod-els fold compact making them convenient to store or transport. The length of the screen can be adjusted by adding or sub-tracting the number of modules. Perfora-tions on the surface increase stability by counteracting wind resistance in addition to varying the porosity which creates a nice visual effect that varies depending on the angle and distance from which it is viewed.

http://kutarq.com/index.php?/product-design/just-fold-it/http://www.designjuices.co.uk/2011/09/kutarq-just-fold-it/

Just Fold It, 2011

Just Fold It, principe, 2011

doshilevien

ondon-based studio doshi levien (nipa doshi and jonathan levien) has designed ‘paper planes’ for italian furniture manu-facturer, moroso, which was presented on milan’s fairgroundsnduring design week 2010.

‘paper planes arose from the creation of a design for a new fabric incorporating swarovski crystal elements. the underlying idea of the fabric came from folded graph paper, which brings to mind mathematical and scientific images, in total contrast to the festive, joyful, superficial characteris-tics associated with crystals. we cre-ated a checked pattern using thin black and white lines, each with its own line of crystals. the idea is that the crystals are integrated into the design, so as to become almost invisible, hidden by the checked lines, and reappear only when the light gleams off them. in creating this fabric, we found we were working with a visual language that is architectural and spatial, ornate but not ornamental. as the name suggests, our approach to design-ing the chair involved creating shapes by folding and forming darts with the paper

Paper Planes, 2010

illustrating the checked fabric. we made a cosy, comfortable reading chair that was nonetheless visually light, as if to defeat gravity.’ - doshi & levien

http://www.doshilevien.com/projects/furni-ture/page005/5http://www.designboom.com/weblog/cat/8/view/10092/doshi-levien-paper-planes-for-moroso.html

production process

production process

jamesdieter

The name of this piece is Origami Chair. The construction of the photographed prototypes is from polycarbonate and polyester mesh- polycarbonate stiffeners sandwiched between 2 layers of mesh. The chair folds together from a single sheet into a structural volume. Due to the semi-transparent nature of the materials, the internal fold structure re-mains visible. The strength of the piece is in the clever series of folds that provide the structure and crisp angularity of the finished form.

http://www.designboom.com/lon-don03/973.html

Origami Chair, 2003

levimandel

The series ‘Good Morning!’ Art student shows Levi Almond, similar to the mirror in the morning, wrinkled faces. Levi photo-graphed for the show people on the street, spontaneously and without being noticed. He then deform the finished portrait, wrinkled and edit it to scan it again against a black background. The resulting portraits seem to show an alien species and range from humorous and bizarre.

‘In Good Morning! Good Morning! Good Morning!, portraits are conceived in ano-nymity rather than determined by a direct interaction with the subject. To replace the model’s physical presence within the studio, Mandel photographs unsuspect-ing persons and reshapes their printed, cropped images by hand before shooting them again against a black background.’

http://levimandel.comhttp://www.ignant.de/2012/04/25/good-morning/

Good Morning!,2012

Good Morning!,2012

http://www.veryboy.fr/

from left to right:A Time to remember (2012), acrylic on

canvas, 200 x 135 x 20 cmThat would be telling (2012), acrylic on

canvas, 160 x 80 x 14 cmRule 143 (2012), acrylic on canvas, 126 x

66 x 7 cmSophiebueno-boutellier

Embarcadère, 2011120x100x 23 cm

plaster, wood, rope

aljaffee

Abraham Jaffee (born March 13, 1921), known as Al Jaffee, is an American cartoonist. He is notable for his work in the satirical magazine Mad, including his trademark feature, the Mad Fold-in. As of 2012, Jaffee remains a regular in the magazine after 57 years and is its longest-running contributor. Only one issue of Mad has been published since 1964 without containing new material by Jaffee.[3][4] In a 2010 interview, Jaffee said, “Serious people my age are dead.”[5]

In 2008, Jaffee was honored by the Reu-ben Awards as the Cartoonist of the Year. New Yorker cartoonist Arnold Roth said, “Al Jaffee is one of the great cartoonists of our time.”[6] Describing Jaffee, Peanuts creator Charles Schulz wrote, “Al can cartoon anything.”

http://www.madmagazine.com/http://www.nytimes.com/2010/10/02/books/02jaffee.html?_r=1

Fold-ins, 1968 - 1982

Petit + Grand Trianon, 2010

Grand Trianon (detail), 2010

paulaarntzen

Dutch Artist Paula Arntzen, born in 1980, is currently working in Arnhem where she has her own design studio. Arntzen studied traditional furniture making at HMC in Amsterdam before she studied Product Design at ArtEZ Academy of the Arts in Arnhem. Paula’s Designs represent a combination of the lightness, color and monumental shaping. Her designs find their origin in a fascination for grand forms and qualities of a material. After constant study and observation she managed to obtain a deep knowledge and understand-ing of the material and it unique character-istics. This is a procedure through which the designer decides not only on the form and shape but also on the elements that will determine and lead to a multifunctional object creation. A creation that will serve both decorative and functional roles in a space.

Named after the palace of King Louis XIV, Grand Trianon is a large, lightweight chandelier made of post-consumer coated Tyvek. When lit up, the Grand

Trianon emits a soft checkerboard glow from behind its surface of folded slits. The impressive size and surface texture are a modern reference to the opulent decor found in France’s Palace of Versailles. “Everything about the art and architecture of the Versailles is made with the greatest intensity. That inspired me to start this col-lection of lamps.”

http://www.paulaarntzen.nlhttp://www.artecnicainc.com/Designers/Designers#Designers/Paula_Arntzen

aakashnihalani

Aakash Nihalani is doing tape art in urban space. His work consists mostly of isomet-ric rectangles and squares. He selectively places these graphics around New York to highlight the unexpected contours and elegant geometry of the city itself. He wants to offer people a chance to step into a different New York than they are used to seeing, and in turn, momentarily escape from routine schedules and lives.

The Opera House, 2010, Bordeaux

Untitled (dog), 2010

Inside Out, Bicyclist, 2010

Olympic Information Pavillon, 2010

Olympic Information Pavillon (Concept), 2010

dowlingduncan

Placing 3rd at the London 2012 Olympic Games Information Pavilion Competition, the proposal introduces a recognizable and engaging form to London’s Trafalgar Square. A folded athletic track starts at the higher level of the square in front of the National Gallery, traversing a stairway and leading visitors to a lookout point. At the middle of its length a folded segment creates a separating track which descends towards a live event display screen. The fold itself shelters the pavilion’s main entrance and facilities such as the cafe, souvenir shop and information stand, along with necessary technical facilities.

http://dowlingduncan.com/http://www.evolo.us/architecture/the-london-2012-olympic-games-information-pavilion-an-track-made-of-recycled-run-ning-shoes/

problème ducavalier

Le problème du cavalier (ou encore polygraphie ou algorithme du cavalier) est un problème mathématico-logique fondé sur les déplacements du cavalier du jeu d’échecs (une case en avant puis une case en diagonale dans la même direction). Un cavalier posé sur une case quelconque d’un échiquier doit en visiter toutes les cases sans passer deux fois sur la même.

“Il existe des milliers de solutions dont certaines, telle celle d’Euler, forment de surcroît des carrés magiques. Dans le cas particulier de La Vie mode d’emploi, il fal-lait trouver une solution pour un échiquier de 10 x 10. J’y suis parvenu par tâtonne-ments, d’une manière plutôt miraculeuse. La division du livre en six parties provient du même principe : chaque fois que le cheval est passé par les quatre bords du carré, commence une nouvelle partie.” Georges Perec

http://fr.wikipedia.org/wiki/Probl%C3%A8me_du_cavalierhttp://classes.bnf.fr/echecs/litt/perec.htm

Untitled, Dan Thomasson, 2002

Une solution du problème

Untitled (dog), 2010

Incènse, 2012

pq design

italian design studio pq design has created ‘incènse’. the simple design, directed by the art of origami, was developed to promote the use of fragrant incense sticks and made entirely of cardboard. the kit’s aesthetic takes on the craft of oriental minimalism, with dominating red graphics and cream detailing.

http://www.pqdesign.it/http://www.designboom.com/weblog/cat/30/view/21763/pq-design-incegraven-se-cardboard-incense-holder.html

francois azambourg

Award winning french designer françois azambourg has created ‘grillage’ for con-temporary companyligne roset. the collection of armchairs - which will soon see the addition of new forms - was recently on show at maison et objet in paris, france

the all-metal chair employs a mixture of techniques and applied arts to create the origami-like form. one piece of sheet metal is drawn through a milling machine to create a wire mesh which is then delicately folded and creased to create the seat. bent steel legs follow the lines of the reclin-ing seat and are finished in either black or blue to match the body. an optional quilted cover features hidden magnets that allow the cushion to securely hug the face of the chair for extra comfor

http://www.azambourg.fr/index.php?article_id=128&img=00pid.jpg&pos=3 http://www.designboom.com/weblog/cat/8/view/13091/francois-azam-bourg-grillage-for-ligne-roset.html

Grillage, 2010

Grillage, 2010

Crystallographia, 2009

irinashaposh-nikov

Arrivé dans le design, la déco, et la création en générale, la tendance origami s’invite depuis quelques temps sur les po-diums haute couture. Avec un look plutôt futuriste, la styliste Irina Shaposhnikov a présenté au festival de mode d’Anvers sa collection « Crystallographica », entière-ment articulée autour des plis, de pointes et de formes géométriques aux angles obtus.

http://sonnyphotos.typepad.com/son-ny/2009/06/ir.html

daisukemotogi

Daisuke Motogi (daisuke motogi architec-ture) has designed ‘sleepy chair’ whose form looks like a plush duvet folded-up and neatly placed on four wooden legs. the simple concept provides warmth and comfort to its user

http://www.dskmtg.com/work/futon.html http://www.designboom.com/weblog/cat/8/view/12078/daisuke-motogi-sleepy-chair.html

Sleepy Chair, 2010

Sleepy Chair, 2010

Fold II, 2011

riyonemeth

Fold II by Riyo Nemeth, a Photoshop gradient effect printed and folded along the line.

http://www.riyonemeth.com

karstenschmidt

V&A Ornaments Installation, is the latest great project by Karsten Schmidt. The exhibition took place at Victoria & Albert Museum consisting in an interactive instal-lation as part of their activities around the Cult Of Beauty Aestheticism exhibition. Like Karsten says, he keeps the William Morris as a loose source of inspiration, as well as addressing the museum’s upcom-ing Power Of Making collaboration with the Crafts Council, Schmidt proposed to create a modern, stripped down interpre-tation of his pattern work mixed with clas-sic islamic/indian geometric influences and then realised this project using different digital fabrication techniques. See more;

“The result is a Victorian-esque, orna-mental, laser-cut, 2-panel room divider, covered in 620 hand folded paper cones, mounted on the front surface as projection canvas. Visitors can create their own pat-tern using an iPad hidden in a small table (also laser-cut) standing nearby.

The generated tiling pattern is based on a central octagon surrounded by other polygons (4,5,6,7-gons). It forms the guiding topology for both the panels and the table. I developed a number of small software tools to create the tessellations by dissecting these polygons into sym-metrical smaller shapes. Using several levels of symmetry, only 18 unique shapes are needed to create the full pattern. These are then arranged, unfolded and used to generate the cut paths for both the paper elements as well as the MDF frames. The paper cones were designed in such way that their elevation varies with their distance from the centre of each parent polygon, thus creating a secondary superimposed pattern in the relief of the tessellation. All of the paper shapes were fabricated by myself using a Craft Robo cutting plotter (and 200+ sheets of paper).

The room divider was manufactured by Metropolitan Works on their large-scale laser cutter. All color palettes which can be interactively applied to the polygons via the iPad UI are sampled from Morris’ original wallpaper designs.”

http://postspectacular.com/http://www.triangulationblog.com/2011/06/v-ornaments-by-karsten-schmidt.html

Sleepy Chair, 2010

V&A Ornament, unilluminated, 2011

V&A Ornament, illuminated, 2011

hwangkim

Korean product designer and student of the royal college of art hwang kim seeks to help the homeless population by distribut-ing a folding portable urban shelter made from cardboard. The project entitled ‘cocoon’ is made from pre-folded single ply cardboard with plastic buttons that can be reduced to a smaller, flattened and more transport friendly shape.

The ‘cocoon’ project is a practical solution to providing a basic human need that comes from kim’s philosophical backing in universal design: valuing people first and creating products that enable people to live a better life. the private shelter aims to give a little pleasure while facing the hash conditions of being homeless.

http://www.hwangkim.comhttp://www.designboom.com/weblog/cat/8/view/13478/hwang-kim-urban-homeless-cocoon.html/

Cocoon, 2011

V&A Ornament, unilluminated, 2011

Cocoon, folding, 2011

philippaduatz

Folded Chair and Folded Stool artisti-cally contain and freeze the movement of draped linen.The downward cascading drapery is artificially stabilized so that the aesthetics of the folded linen is perma-nently on display. What makes the Folded Chair and Folded Stool even more fasci-nating is their surreal and magic touch, for there always remains the question of what is hiding underneath the sheet.

http://philippaduatz.com/gallery2/folded_chair.html

Folded Chair, 2010

abigailreynolds

Un excellent projet du photographe Abigail Reynolds basé à Londres, avec le concept “Collider Series”. Des créations entière-ment découpés et pliés à partir de photos du monde entier, où chaque surface et chaque collages apporte un point de vue et un rendu en 3 dimensions.

abigailreynolds.comhttp://pitchdesignunion.com/2010/03/abigail-reynolds/

Cocoon, 2011

Centrepoint, 2011

Double Cube Room, 2010

kawamuraganjavian

kawamura-ganjavian, also known as studio kg, is an architecture and design studio based in Madrid, Spain + Lausanne Switerland.kawamura-ganjavian have developed projects in different parts of the world. Their work ranges from ephemeral experi-ments such as Locutorio Colón, through a range of building types like the Aravaca psychiatric clinic, all the way to large scale territorial studies. Several of their projects are spaces dedicated to exhibiting art such as Iniciarte. They are also known for developing a line of design products which includes pieces of furniture and small ac-cessoriesContemporary domestic spaces tend to be sleek and cool but often miss cosy intimate corners. Oyster is a versatile piece of furniture. When folded it is a cushion, when unfolded it creates a cosy and com-fortable private shelter.

http://www.studio-kg.comhttp://www.core77.com/blog/furniture_de-sign/oyster_chair_by_kawamura_ganja-vian_17838.asp

Oyster, 2010

andreeannedupuis-bourret

Depuis dix ans, j’aborde la notion d’espace géographique par l’exploration et la rencontre de divers paliers de représen-tation : cartographique, topographique, architectural, paysager, géométrique. J’explore le seuil entre l’espace réel et l’espace conceptuel. Je m’intéresse à ces deux moments d’espace comme à un mouvement entre extériorité et intéri-orité, une circulation entre le dehors et la pensée. Mes projets peuvent s’incarner sous diverses formes : installations in situ, oeuvres en papier, livres d’artiste, photographies et images en mouvement. L’hybridation se situe au centre de ma pra-tique. Ce processus induit des ambigüités entre les notions de surface et d’interface, entre l’espace de l’image et celui de l’objet. Mon travail entretient également une relation particulière avec l’imprimé, au-

Cocoon, 2011

Le debacle, 2010

tant par sa matérialité que par sa manière d’investir l’espace en se multipliant et en se modulant.

http://www.aadb-art.comhttp://www.designboom.com/weblog/cat/10/view/8638/andree-anne-dupuis-bourret-la-debacle.html

La débâcle 2, 2010, vue générale, 2000 modules en papiers sérigraphiés, pliés et assemblés, structure en matériaux mixtes

thiennguyen

this light by designer thien nguyen is simply made from folded craft paper and can be molded into a variety of shapes. nguyen designed the light while studying under professor sylvain allard at UQAM in montreal. The light’s form is its own packaging, protecting the light bulb inside. once the small paper sleeve is removed, the lampshade can be stretched and compacted into the desired shape. the paper is folded with a complex geometric pattern that allows it to take on any shape with enough structural integrity. the simple design elevates the humble paper material. the design was awarded first place in the student category of the young pack-age 2009 design contest from the czech republic.

http://www.designboom.com/weblog/cat/8/view/7345/thien-nguyen-flexy-light.htmlhttp://www.core77.com/blog/furniture_de-sign/oyster_chair_by_kawamura_ganja-vian_17838.asp

Oyster, 2010

Flexy Light, 2009

thomas feichtner

Thomas Feichtner was born in Vitória, Bra-zil. After attending school in Düsseldorf, Germany, he graduated at the University of Art and Industrial Design in Linz, Aus-tria. After completing studies in industrial design, he founded his own design office. Feichtner initially designed industrial goods and numerous products for the Austrian industry, and was honoured with interna-tional design awards like the Design Award of the Federal Republic of Germany, the European Design Award, the Josef Binder Award and the Designpreis Schweiz. Besides his activity as a product designer for Head, Tyrolia, Fischer and Blizzard, Feichtner also worked in the area of visual communications for the likes of Swarovski Optik, Adidas Eyewear or the British-Israeli designer Ron Arad.

The table is folded from polished sheet steel. It is self-supporting due to its folding and has no base. At the head (foot) the ta-ble becomes narrower and finally pointed. One table-leg has a maximum foot print, the other one a minimum foot print. The structure of the table is not static but off balance. The table has a heavy side and a light side. It is an Unbalanced Table. It was produced by the upper Austrian Manufac-turer Schinko GmbH.

http://www.thomasfeichtner.comwhttp://www.designboom.com/we-blog/cat/8/view/5805/folded-steel-designs-by-thomas-feichtner.html

An unbalanced table, 2009

Josef Linschinger, organizer of the Gmunden Symposia for Concrete Art and an internationally accepted leading exponent of concrete art in Austria, was Thomas Feichtner's professor at University of Arts Linz. The Landesgalerie Linz (State Gallery Linz) presented a documentation of the symposia in 2008. The symposia, which have been organized since 1990, have been documented in 20 publications so far. These publications were presented by Thomas Feichtner within the framework of an exhibition installation. Five sitting platforms in mirror-inverted arrangement offer the visitor a chance to study the 20 volumes. The function of the platforms is not reduced to the presentation of the books but to invite the visitor to sit and linger. The so-called podestal seats are hollow and self-supporting through the precise, computer-supported miter cuts. The inside of the hollow bodies is purple - a blend of cyan and magenta, the colors of the mural texts.

Podestalseat, 2008

billdurgin

Bill Durgin’s photographs reflect his fascination with the figure as a sculptural entity. His complex arrangements of the body require extreme contortion to achieve an austere effect, as if the figures have been abstracted. The gestures examine his own corporal boundaries as well as those of the performers he works with and are impressive in their ability to seemingly defy physical limitations. Transforming the body into an amorphic object, Durgin uses a large format camera and film to capture the figures so that they appear to be without appendages. Recognizable as bodies, they remain detached from com-mon perceptions of the human form.

http://billdurgin.com/http://acidolatte.blogspot.nl/2011/07/bill-durgin.html?zx=34f6d1c8f96f0e3a

from the series “nudes still life”, 2008-on-going

Cyc-15, 2008

Cyc-15, 2008

Cul is cool, 2010

Laight, 2008

greatthings to people

Great things to People (gt2P) launched their Gudpaka Lamp this year at imm cologne. Made of alpaca hair woven onto alpaca felt and plywood, the lamp is a play of opposites: hard and soft, vegetable and animal, smooth and flat, digital and tradi-tional manufacturing, and even North and South (in the Chilean materials used).

GUDPAKA lamp represents the concept of Digital Crafting in its maximum expression. It brings together manufacturing processes and production from both the field of digi-tal and technological to that of the artisan and low tech. It is a game of opposites. Besides merging digital and traditional (in its manufacturing process), meets also the global and the local (in its design process), vegetable and animal (in its appearance), smooth shapes and flat faces (in its geom-etry), northern and southern (in the Chilean materials used).

The manufacturing process involved the development of a low cost mould of cut and routed mdf by CNC machinery for thermoforming the structure that supports the materials that converge on the lamp. The inner faces of Coigue plywood were cut by laser cutting machine as well as the alpaca felt strips. Then, the outer covering was woven by hand from wasted hair in the process of obtaining Alpaca wool.

http://www.gt2p.com/en/gudpaka/http://www.dezeen.com/2012/01/17/gudpaka-lamp-by-great-things-to-people/

Gudpaka, 2012

piotrlakomy

http://www.piotrlakomy.com/

Untitled, mixed media on aluminum, 2011

Untitled, mixed media on aluminum, 2011

Lucid dreaming I & II’ (diptych), 2011

stella imhultberg

Stella Im Hultberg is a painter based in Brooklyn, NYC. She was born in South Korea, lived in Seoul, Hong Kong, Taiwan, and then in California. She has studied Industrial Design and worked as a product designer before starting art in late 2005

http://stellaimhultberg.comhttp://www.designboom.com/weblog/cat/10/view/16521/made-in-polaroid-polaroid-50-50-50-exhibition.html

cécile manz

Reminiscent of a supersized origami struc-ture, this intricately engineered and ex-ecuted, crisp white limited edition seat has been created in 2011 by the acclaimed Danish designer Cecilie Manz. Made of the environmentally-friendly, high-quality uncoated 400 gram Arctic Paper Munken, the complex form of ‘Lots of Paper’ was achieved through the process of tessella-tion.

http://www.dailytonic.com/lots-of-paper-limited-edition-seat-by-cecilie-manz-dk/

Lots Of Paper, 2012

Lots Of Paper (detail), 2012

akihisahirata

L’architecte japonais Akihisa Hirata a con-çu un pavillon fait de triangles équilatéraux, comme un arbre semble croître. La sym-bolique Bloomberg Pavillon est à l’entrée du Musée d’Art Contemporain de Tokyo et sert de lieu pour les jeunes artistes. Akihisa Hirata essayé avec sa structure, la structure d’un arbre empathie. Pour les architectes japonais de l’arbre n’est pas seulement une forme symbolique, mais une fonctionnelle. Les arbres fournissent de l’ombre et un abri pour les humains et les animaux et est donc pour la vie.

En outre, ce concevable de n’importe quel angle peut être trouvée dans le monde. L’architecte a profité d’une armature en métal et les plia peu à peu au cours de la structure de la paroi triangulaire. Un design organique avec de fortes impressions visuelles. Le pavillon, le blanc, et abstraite, qui rappelle un origami froissé ou cumulus. Une interprétation de la diversité dans l’œil du spectateur. Si quelqu’un a prévu un voyage à Tokyo: Le Pavillon Bloomberg tient toujours à Octobre 2012, le musée.

http://www.hao.nu/http://www.studio5555.de/2012/02/08/bloomberg-pa-vilion-project-von-akihisa-hirata/

Bloomberg Pavilion, 2012

Bloomberg Pavilion (detail), 2012

christopher marc johnson

Christopher Mark Johnson is a 24 year old, American designer from Morrisville, North Carolina. He graduated from Rhode Island School of Design in 2010 with a BFA in Furniture Design. He is currently based out of London and studying at the Architectural Association.

http://www.christophermarkjohnson.comhttp://www.coroflot.com/christo-phermarkjohnson/Folding-Chair

Folding Chair, 2011

edwardburtynsky

Flowers gallery in east london is currently showing an exhibition of photographs by the canadian photographer, edward burtynsky. the ‘quarries’ series showcases rock and mineral quarries from around the world. the works all showcase burtynsky’s signature epic style of photography full of intricate details. the works also demon-strate burtynsky’s interest in documenting industry’s impact on the natural environ-ment.

http://www.edwardburtynsky.com/http://butdoesitfloat.com/filter/edward-burtynsky

carrara marble quarries # 25,1993

carrara marble quarries # 32, 2006

carrara marble quarries # 16, 2005

alexisharding

Since graduating from Goldsmiths in the 1990s, Harding has been exploring the fundamental properties of paint as the medium for his work. In layering a calculated grid of household gloss upon a base of oil paint, the surface is allowed to slide around the canvas, collapse and fall in upon itself – at times reaching a state of complete destruction as the work crum-ples to the floor.

In his latest exhibition at Mummery + Schnelle, Harding has traded in the dichromatic grid that dominates many of his earlier works for a spectrum of colours, but the process is still the same. While the medium he works in may be paint, the act is a very sculptural one. First laying the paint on its canvas while flat on the floor, the artist then picks the work up and moves it about his studio – intermittently tilting, turning and adjusting as the paint slides around – only after a period of time fixing into place. While there is a great deal of intervention from the artist, the results are largely dependent on chance – how the work will react and how it will fall can be highly unpredictable.

This process is exceedingly visible in the work – glacial in the way that the path the paint has travelled can be traced through the ridges and scars it has left on the surface below. The lines of colour in these works closely resemble an artists’ colour wheel, or the scientific spectrum of light – a bonafide rainbow collapsed by the forces of gravity.

Whether the works are actually moving, or just perceived to be, the push is for dyna-mism, and any artistic intention is at the mercy of the molecules. Here, as a partner in crime for the failure of Modernism, the structures fall into disarray, unable to hold up against external forces. In Harding’s cross-disciplinary, post-minimalist prac-tice, stringent order gives into chaos and chance – and the results lie somewhere between the quietly compelling and the forcefully disrupting.

http://dailyserving.com/2012/06/alexis-harding-substance-and-accident/http://www.alexisharding.com/

Folding Chair, 2011

Substance and Accident, 2012, installa-tion view

Hood II, 2012, oil and gloss on MDF

Grey, 2010

torbengiehler

Torben Giehler was born in 1973 in Bad Oeynhausen, Germany, and lives and works in Berlin and New York City. He is a graduate of the School of the Museum of Fine Arts, Boston. He has been awarded the Falkenrot Preis from the Künstlerhaus Bethanien, Berlin, is the recipient of the James William Paige Fund and the Clar-issa Bartlett Scholarship.

Giehler is known for his geometric abstrac-tions. “He is fascinated by virtual spaces which, even from the outset, always illustrate realities that are just possibili-ties – imaginary worlds floating between planning, construction, and unconstrained fiction.” (Jens Asthoff, 2008)

His work has been widely exhibited in many prominent galleries and museums around the world, including the Kunst-museum Wolfsburg and Wilhelm-Hack-Museum Ludwigshafen in Germany, the Centro de Salamanca in Spain as well as the Cleveland Museum of Art, PS 1/MOMA NY, New Orleans Museum of Art, the Carnegie Art Museum in Oxnard, CA and the Museum of Fine Arts in Boston. In 2005, Giehler was included in the Prague Biennale 2. His work can be found in the permanent collections of the Museum of Fine Arts, Boston, MA, the Hirshhorn Museum and Sculpture Garden, Washing-ton, DC, the Deste Foundation Centre For Contemporary Art, Athens, Greece, the Wolfsburg Museum, Wolfsburg, Germany, and Kunsthaus of Zurich, Switzerland.

http://www.torbengiehler.com/http://www.booooooom.com/2011/12/13/artist-painter-torben-giehler-2/

books, films, music. The Third Mind was a nod to William Burroughs/Bryon Gisin and the cut-up technique, but at the same time describes the process of intervention between the mind of the creator of the

untitled, 2012

image and the mind of the recipient. In this scenario, I become the third mind, distort-ing or corrupting the signal on its journey.

You just exhibited your first solo show at Public House Projects – since then, are there particular types of work you found were more suited to exhibition format?Yes, the ‘Haunted’ series of works involves illuminating a single page from a magazine to highlight juxtaposition, so it is important that the viewer witness the transformation of the image. When exhibiting, I try to push this sculptural element further by enlarging the work to wall-size and attempt to let the workspill over into the space.

Why did you choose to focus your recent work around the waywomen are portrayed

edwardburtynsky

What originally drew you to collage and found imagery over other mediums?Monetary concerns are the primary reason, but I also enjoy the limitations imposed using just one medium. As more and more art relies on digital techniques, I get a perverted kick from reverting to older methods of working.

At Camberwell [College of Art] I was experimenting mixing mass media images and painting. I was interested in portraying the white noise felt by this oversaturated image culture. I began to realise that the images themselves were so preloaded with meaning that I should try and ma-nipulate them as I found them. This led to simply folding the images onto themselves to create a narrative that was divorced from the original.

Could you tell us a little bit about your creative process?Serendipity. On occasion, I have found that a piece that is not working can be left, and at some point it will make perfect sense when found resting upon a different image. All of the works I have made so far feel like small pieces in a bigger picture. Images I have collected over the past few years seem like they are waiting for something new to trigger or unite them.

Are there particular qualities you look for in an advertisement or a piece of mass media when searching for source material to re-envision?The images I’m currently using are primar-ily found in high-end glossy fashion/lifestyle magazines. Typically banal portrayals of fantasy, beauty, and aspiration which are essentially unachievable.

Why do you believe “minimal intervention is key” when it comes to making your col-lages?I am drawn to simplicity. Feeling the way I do about saturation, it seems appropri-ate to comment on images that already exist rather than creating new ones. As I mentioned, most of the images I use come hardcoded with meanings. A simple fold or overlap can completely change the mean-ing and hand control back to the viewer, who is free to interpret the image as they see fit.

You reference William Burroughs’ The Third Mind, also the title of your latest exhi-bition. Do you often look to literary sources for inspiration?I try to draw inspiration from everywhere –

in the media? Do you hope your work will promote media literacy and self-accept-ance?Absolutely. When I was beginning to experiment with the folded collage tech-nique, I stumbled upon a documentary series entitled ‘Killing Us Softly’ by Jean Kilbourne, which examined the irresponsi-ble attitudes towards women in advertis-ing. This became instrumental in the way I approached the work. It seems that most people are aware that advertising abuses its power and can be misrepresentative, and yet it is widely accepted.

What can we expect to see at Sum of Substance, and what’s coming up for you next?A mixture of old and new works. I am happy to be exhibiting the lightbox plinth, as it has that interactive element. With the new work, I have focused on the fractured nature of the viewer and viewer by collag-ing different pieces of the face together to create Frankenstein’s monster-type visages. Visually engaging yet horrifying, I feel these images portray the way advertis-ing promises empowerment and freedom and yet in reality creates a fractured sense of self.

http://www.paulgallagherart.com/http://www.saatchion-line.com/paulgallagher

untitled, 2011

untitled, 2011

untitled, 2011

victorenrich

Le créatif Victor Enrich aime s’amuser à imaginer une architecture urbaine plus vivante et fantaisiste. A l’aide de manipula-tions photographiques, ce dernier nous plonge dans son univers où certains bâtiments sont surréalistes. Un rendu à découvrir dans une série de visuels.

http://victorenrich.com/harding-sub-stance-and-accident/http://www.fubiz.net/2012/03/05/victor-enrich-architecture/

Shalom 2, 2010

Tnago 2, 2012

Grey, 2010

torbengiehler

Torben Giehler was born in 1973 in Bad Oeynhausen, Germany, and lives and works in Berlin and New York City. He is a graduate of the School of the Museum of Fine Arts, Boston. He has been awarded the Falkenrot Preis from the Künstlerhaus Bethanien, Berlin, is the recipient of the James William Paige Fund and the Clar-issa Bartlett Scholarship.

Giehler is known for his geometric abstrac-tions. “He is fascinated by virtual spaces which, even from the outset, always illustrate realities that are just possibili-ties – imaginary worlds floating between planning, construction, and unconstrained fiction.” (Jens Asthoff, 2008)

His work has been widely exhibited in many prominent galleries and museums around the world, including the Kunst-museum Wolfsburg and Wilhelm-Hack-Museum Ludwigshafen in Germany, the Centro de Salamanca in Spain as well as the Cleveland Museum of Art, PS 1/MOMA NY, New Orleans Museum of Art, the Carnegie Art Museum in Oxnard, CA and the Museum of Fine Arts in Boston. In 2005, Giehler was included in the Prague Biennale 2. His work can be found in the permanent collections of the Museum of Fine Arts, Boston, MA, the Hirshhorn Museum and Sculpture Garden, Washing-ton, DC, the Deste Foundation Centre For Contemporary Art, Athens, Greece, the Wolfsburg Museum, Wolfsburg, Germany, and Kunsthaus of Zurich, Switzerland.

http://www.torbengiehler.com/http://www.booooooom.com/2011/12/13/artist-painter-torben-giehler-2/

TitusKaphar

artist titus kaphar creates sculptural paint-ings that reference and comment on ca-nonical representations of history. kaphar uses traditional materials to recreate or mimic great western artworks found in gal-leries around the world. after painting on his canvases kaphar slices, obscures or shreds the works, often selectively remov-ing elements leaving a void in the piece. the gaps in the work suggest alternative histories that may have been ignored in the original artworks from the time period. these untold histories often deal with race, class and sex, revealing the bias of art form the past. beyond their narrative, kaphar’s work is also quite sculptural, working within the confines of the canvas to create new forms.

http://tituskaphar.blogspot.com.br/http://www.designboom.com/weblog/cat/10/view/9963/titus-kaphar.html

Finding folding and fondling our first forefather, 2007

Slippage, 2008

linusbill

Linus Bill creates exciting combinations of colours and shape with such seem-ing ease as to put a rainbow to shame. Another mark to the life time list is to own a Linus Bill piece of art now and have it hanging proudly in the studio. His wonder-ful mark making maybe brings together some kind of amalgamation of Warhol and Picasso but with something else delicious thrown in the form of his own personal tone and humour which almost comes across as otherworldly.

http://www.linusbill.comhttp://www.weoccupy.co.uk/blog/2012/07/18/linus-bill/ torben

Oh, Oh, Oh, Biko, 2010

matthewstone

Stone’s work emerges from a personally defined philosophy of Optimism, which he defines as being “The vital force that entangles itself with and then shapes the future”. In a series of new works Stone has portrayed his fellow creatives; artists, club-kids, dancers and activists at play. Thestunning black and white works, have a timeless, classic and yet highly original feel to them. At first glance they resemble archaic etchings or fevered drawings, but upon closer inspection reveal themselves as photographs, created with a slow shut-ter speed. Stone was in front of thecamera dancing and painting on his sub-jects with lasers.

A group of wooden sculptures, composed of birch plywood and brass hinges, fold photographic images across their sur-faces. Stone’ss photos of entangled limbs become a texture on the surfacegrain of the wood along with images of veined marble and cloud-strewn skies. A series of wall based works on oak, walnut and beech veneered MDF, similarly combine the natural, the industrial and the digital to create romantic depictions of bodies in unison. Here Stone has re-photographed his own images, draped as fabric and created new works that occupy a space between dimensions. His beautiful and formal works are evidence of a living and social sculptural processthat addresses culture as a whole. His title “Unconditional Commitment to Sacred Love” forms a micro manifesto expressing his sincere belief in art’s potential to con-nect and illuminate.

http://www.whatspace.nl/nieuws/mat-thew-stone.htmlhttp://www.matthewstone.co.uk/

Polymorphous Love Diagram, 2011

Polymorphous Love Diagram, 2011

Polymorphous Love Diagram, 2011

assemblynew york

Started in 2008, an artisan hub for de-signer information and fashion resource, Assembly New York is a mens and wom-ens boutique focusing on international and otherwise hard-to-find luxury labels along-side curated vintage and art d’objet. Many of the articles are the result of collabora-tions with designers and are exclusive to our New York location and website.

In 2009 Assembly introduced the in-house collection, designed by owner Greg Armas. This collection is a unisex and uni-form range, combining exclusively natural and historic fabrics in a spirit of a future-primitive instinct; utilizing the organic tech-nology of those survivalists before us. Gar-ments of linen, cashmere, and fine cotton with leather and pure silk details (fur-lined pockets, suede-lined waistbands..) are intended to create comfort and durability, allowing each piece to stand on its own and achieve archival quality. Subtlety is paramount and design details are con-cealed and personal, available only to the wearer. All garments are handsewn in New

Terrariums, 2012

York City and are available year round in varying and appropriate fabric selections.

-> Hand welded metal and glass terrari-ums

http://assemblynewyork.com/objects/assembly-new-york-mini-geometric-terrar-iums-3.htmlhttp://sbvr.tumblr.com/post/20718569843/noexs-geometric-terrarium-by-assembly-new-york

michaelstrasser

The focus of the photographic works and installations by Michael Strasser (b. 1977) oscillates between space and body analysis and translates them into artistic processes. Here, he contextualizes the physical body between sculpture and architecture and the design and residential function of architectural space in general deciphered. Strasser, in his researches in his artistic work how the relationship be-tween space and human changes, when space is removed from the the living room or when the found material is compacted to be a sculpture

http://www.michaelstrasser.net/index.html

Innerberg, 2010

lesgraphi-quants

Floating, affiches de l’atelier Les Graphi-quants avec François Kenesi a désormais atteint la gare-terminus sncf du Havre, originellement dessinée par Juste Lisch en 1882, architecte de la gare Paris-Saint-Lazare. Les bombardements de 1944 n’ont que partiellement endommagé la verrière supportée par une armature métallique, précédemment sauvegardée lors d’une reconstruction, afin de réamé-nager le hall, en 1932 par Henri Pacon. Ce nouvel édifice était accompagné d’une tour horloge qui bien qu’épargnée par les bombardements, sera détruite lors de travaux d’élargissement des voies dans les années 1960.

Le bâtiment, d’une signature art-déco, accueille en 6 emplacements l’objet floating. Si l’affiche, déclinée en vert et en bleu, est dite sur le site des auteurs, “non-publicitaire”, elle désigne pourtant un espace; celui d’un lieu laissé vacant. En ef-fet, floating prend place là où une réclame en 4/3 ne s’est pas installée. Elle indexe son cadre, écrin ouvert à la face des utilisateurs, spéculativement à celle des annonceurs, de la régie des transports. On peut regarder floating dans un tel con-texte comme un travail révélant la mesure, peu tangible mais tant criée, d’une crise des annonceurs. Il s’agit ici, de manière assez fine, d’un rendu de représentation statisticienne d’espaces à réactiver dans le périmètres des gares sncf et ratp.

http://www.les-graphiquants.fr/http://www.webdrama.org/?tag=graphiquants

Floating, 2010

Pedestal of Imitation Jade, 2010

brodycondon

Brody Condon is a pioneer in the use of videogames as a starting point for the creation of sculptures, performances and video-installations. With a hacker’s logic and a recombinant attitude, this New York-based artist modifies existing titles or mixes a part of their elements with refer-ences to popular culture, contemporary art and events from recent history.

Condon explores the terrain between the fiction of games and authentic collective experiences. The obsession with violence, both in the games and in the media, is processed and reflected back through a distorted mirror. It is not a parody, but actually the complete opposite: what is at stake is the possibility of provoking a short-circuit between the representation of violence and the perception of real violence.

http://www.michaelstrasser.net/index.htmhttp://onstellarrays.com/artists/brody-condon/ l

aquacreations

Elaborate origami sculptures diffuse the light from these lamps by Tel Aviv studio Aqua Creations and origami artist Ilan Garibi.Single sheets of white paper are pinched into geometric patterns to create the tex-tured shades.Each lamp has a smooth mahogany base with a power switch on a projecting branch-like stump.

http://aquagallery.com/http://www.dezeen.com/2011/11/26/mol-ecules-by-aqua-creations-and-ilan-garibi/

Floating, 2010

Molecules Lamp Collection, 2011

Tropics Displacent Prism, 2012

Digitally altered photograph, sintra

mounted archival inkjet print

brook-hartjonquil

Brookhart Jonquil works sculpturally across a wide range of materials, trans-forming banal objects and architectural situations into uncanny perceptual experi-ences.

While his sculptures and installations are certainly tangible, they are in constant dialog with the virtual and formless. In his work, Jonquil uses reflective surfaces to open up perceptual spaces within architecture, and solid forms to visually collapse physical spaces. Mirrors, glass, digital photographs, and everyday objects have qualities that he uses to probe the relationship between the physical and the immaterial. By accessing this paradoxical duality, his work creates uncanny situ-ations in which a space, an object, or a moment in time, seems to contradict its own existence.

Brookhart Jonquil was born in Santa Cruz,

CA in 1984 and has lived in Portland, Tuc-son, and most recently Chicago, where he received his MFA in 2010 from the School of the Art Institute of Chicago. He has exhibited nationally and internationally, with recent solo shows in Chicago, Saint Louis, Miami, and Los Angeles.

http://brookhartjonquil.comhttp://www.legalartmiami.org/2011/10/01/brookhart-jonquil/

Lumber Icosahedron,

2011,

Acrylic mirror, paint, lumber, and custom hardware, 96 x 90 x 48 in.,

243.84 x 228.6 x 121.92 cm

Mail Slot, 2008

Wrinkle (3), 2007

danielarsham

Dans l’espace, la même impression de mystère sortie des murs même des lieux investis persiste. Dilatation des parois blanches du white cube devenues rideau, voile ou tissu anthropophage, la sculpture de Daniel Arsham s’attache à démontrer le potentiel dramatique du lieu, d’une manière presque cinématographique, invitant à la fiction, voire à la farce, sans que l’apparente absurdité de ses pièces ne perde le fond d’angoisse de son es-sence. Icebergs architecturés ou murs factices artificiellement troués sont autant d’invitations oniriques au songe de cet artiste résolument protéiforme.

Si Daniel Arsham s’attache à décrire des mondes peints ou sculptés, il s’intéresse aussi à la danse et la performance. Ainsi en est-il de sa collaboration avec l’illustre chorégraphe Merce Cunningham : pour eyeSpace, il est chargé de la création des costumes et du décor.

Aujourd’hui, à seulement 29 ans, il présente ses nouveaux travaux à la galerie Emmanuel Perrotin, 10 impasse Saint Claude à Paris. Animal Architecture est cet ensemble de deux sculptures, deux agré-gats suspendus de balles peintes collées entre elles. Evocation de prises de vue pix-ellisées de nuages dont l’artiste retranscrit dans l’espace la nuance des pixels, ces deux Pixel Clouds marquent une nouvelle étape de la recherche plastique de leur auteur ; avis aux amateurs de rêve...

http://www.danielarsham.com/http://www.gouru.fr/index.php?option=com_content&view=article&id=124%3Afocus-daniel-arsham-une-architecture-du-fantastique&catid=40%3Aarts&lang=fr

Theatre, 2010

roderickhietbrink

Roderick Hietbrink (Gorssel, 1975) is a Dutch visual artist. He grew up near Deventer, where he studied engineering. He studied fine art at the Art Academy St. Joost in Breda, followed by a masters program at the Piet Zwart Institute in Rot-terdam.

In his work, Hietbrink’s personal experi-ences are given shape through objects, spatial installations and photography, using architectural and cinematic elements. During RijksakademieOpen 2011 Hietbrink made an impression with the one-channel video The Living Room. In this work, that had previously been exhibited as a three-channel video installation, the mundane interior of a Dutch living room functions as the stage for an unexpected encounter with a huge oak tree. The sober way this event is captured starkly contrasts with its absurd character; an idiom that character-izes Hietbrink’s production.

http://roderickhietbrink.nl/http://www.rijksakademie.nl/NL/resident/roderick-hietbrink

Bistro LIght, 2010

dittehamerstro-em

Une armature de chaise aux proportions déformées, de la petite corde et des bandes de mousse pour cette collection Bistro Light par le designer danois Ditte Hammerstrom (femme).

Simple, rude et raffinée ces chaises ficelées ou rembourrées semblent nues, presque bruts avec une assise démesu-rément grand par rapport au dossier, comme une nouvelle proposition, éton-nante, on ne peut s’empêcher de vouloir tester.

http://www.hammerstroem.dk/bistrolight/bistrolight2.html

Bistro LIght (detail), 2010

rabear

http://www.ra-bear.com/

Not Flaccid, 2007

Geometric Aesthetic, 2011

harrisonjohnson

The stark contrast between black and white in the Geometric Aesthetic photo series lends a very dramatic effect to the entire shoot. Closely following that is the bold fashion designs created by Harrison Johnson, which puts the entire series into a futuristic theme.

Stunningly sculptural and surreal, the Geometric Aesthetic photo series will cap-tivate you from beginning to end. Inspired by the origami-inspired gowns that were created for Johnson’s senior project col-lection, the photo shoot took a simple and direct route, allowing the fashion to shine through.

Shot by Philadelphia-based photographer Andre Rucker, Geometric Aesthetic photo series boasts great use of lighting as well as an obvious mastery of Photoshop. The model is made to look as sculptural as the fashion she wears.

http://www.behance.net/andrerucker/frame/1354535http://designyoutrust.com/2011/05/harrison-johnson-x-andre-rucker/

rafaëlrozendaal

Rafaël Rozendaal is a visual artist who uses the internet as his canvas. His artistic practice consists of websites, installa-tions, drawings, writings and lectures. Spread out over a vast network of domain names, he attracts a large online audience of over 25 million visits per year. His work researches the screen as a pictorial space, reverse engineering reality into condensed bits, in a space somewhere between animated cartoons and paintings. His installations involve moving light and reflec-tions, taking online works and transform-ing them into spatial experiences. He also created BYOB (Bring Your Own Beamer), an open source DIY curatorial format that is spreading across the world rapidly.

http://www.fromthedarkpast.com/http://www.newrafael.com/

From The Dark Past, 2011

monotono

The human eye is conditioned to seek out rational shapes and forms, constantly bringing order to a world that is anything but.

This series of posters explores the para-digms of shape and shapelessness, lulling in the eye with seemingly familiar shapes and then challenging it to rethink that which is perceived.

http://www.behance.net/gallery/Mo-notono-The-Absurdity-of-Form-Poster-Study/4180489

The absurdity of form, 2011

Upack, 2010

patrick sung

Innovations in cardboard boxes come along about as often as innovations in mouse traps, or perhaps even less. But designer Patrick Sung thinks you can make a better cardboard box, and if you pay attention, you might even be able to make the same box twice.

The Universal Packaging System or UPACKS, is a flat sheet of corrugated cardboard with triangulated perfora-tions that allow it to fold around unusual shapes. The UPACKS system could also be used as internally inside other boxes to protect goods as they are shipped, and as a replacement for Styrofoam peanuts or other plastic packing materials. Sure the UPACKS system might be ideal for protecting valuable, irregular-shaped ob-jects, but those oblong corrugated blobs don’t make for very efficient stacking. For traditionalists, however, the box can also be bent into rectangular forms for stacking and shipping.

http://patricksung.com/http://earthandindustry.com/2010/05/upacks-form-fitting-cardboard-box-innovation-or-over-engineering/

nerholMisunderstanding Focus is a series of 27 portraits, shot by the creative unit Nerhol, composed of Yoshihisa Tanaka who plans the ideas, and Ryuta Iida who sculpts them. ‘Nerhol’ i a mash up of two words, ‘neru’ to plan ideas and ‘holu’ to sculpt and carve.

The series evolves through the idea that humans cannot stay still. It is by instinct that the consciousness manages to find a way to arrive at the surface of a subject. Even when a human body stops for a given period and the muscles that sup-port the body begin to stiffen, the blood continues to circulate causing the slightest wavering in one’s center of balance. Our consciousness, sending electric signals endlessly throughout our body, reveal the effect of this energy, which results in motion. The attempt was to ‘freeze’ time on paper by shooting a subject during a three minute period. Minimizing the entire process by shooting and stacking, the inevitable movements of the body and facial expressions are captured revealing the subtle differences in motion.

http://www.nerhol.com/

Misunderstanding Focus, 2012

house ofarchitectsmillinery

House of Architects Millinery are a serious-ly elusive design house but they produce some crazy and wonderful hat designs.

These origami-inspired hats by House of Architects Millinery are pretty much as big as a hat can get before making you fall over. Looking like many little boxes stacked on themselves, some of these hats look like they could all come crashing down

http://www.behance.net/gallery/Mo-notono-The-Absurdity-of-Form-Poster-Study/4180489

House of Architects millinery, 2009

Pop Faces, 2010

joshuascott

For the second year in a row Joshua Scott takes the title of First Place winner for Food & Still Life photography at the 2010 APA/NY Awards, with his Pop Faces series. In the series Scott finds images of pop culture icons which he crumbles up and then photographs. A photograph of an improvised photograph.

http://www.joshuascottphoto.comhttp://trendland.com/pop-faces-by-joshua-scott/

qiu hao x matthieu belin

When two talented people meet, an edgy fashion designer and an unconventional photographer, an astonishing project, intriguing in many levels, originates. The Serpens collection lookbook is the product of the collaboration between the Chinese fashion designer Qui Hao and the Shang-hai based, French photographer Matthieu Belin.

Named after the constellation of the northern hemisphere – the reptile, the mythological symbol that represents both good and evil – Serpens is as mysteri-ous, futuristic and compelling as its name implies. An extravagant collection in which the size is the absolute dominant. Over-sized clothes touched by the magic wand of minimalism. The use of black and white (evil / good) and the absence of colours add an extra dramatic dimension while emphasizing the simple, geometric lines that hide behind the original idea. An unfin-ished game between textures and sizes.

Serpens, 2011

http://www.qiuhaoqiuhao.com/http://www.matthieubelin.com/http://minimalissimo.com/2012/01/serpens-collection-by-qiu-hao/

domusmagazine

These two fold-in magazine illustrations are from the March 2009 Intersections part of the Domus Magazine.

http://www.domusweb.it/Mohttp://pichaus.com/photos-designers-network-intersections-@b872840dd-f107aa25779b295a68552bd/

Fold-in Illustration, 2009

leifpodhajsky

“Coagulated Physique” is one of the last works by the Melbourne based artist Leif Podhajsky. His work explores themes of connectedness, the relevance of nature and the psychedelic experience. By utiliz-ing these subjects he attempts to coerce the viewer into a realignment with them-selves and their surroundings.

http://www.leifpodhajsky.com/COAGU-LATED-PHYSIQUEhttp://www.triangulationblog.com/2010/09/coagulated-physique.html

Coagulated physique, 2010

Coagulated physique, 2010

tobiaskrafczyk

anders krisar is a swedish artist currently based in stockholm, his work deals with a variety of subjects including the human body. in his recent body of work, krisar has concentrated on photography and sculptures, especially modified faces and body parts. in this series of piece you can see how he takes realistic casts of the torso, arms or face and modifies them in ways that lend them a surreal quality. there is the basket weaving of skin in ‘cuirass’ a commentary on leather goods, and ‘the birth of us (boy)’ a young man’s torso with hand prints firmly embedded in the skin

http://www.anderskrisar.com/http://www.designboom.com/weblog/cat/10/view/11079/anders-krisar.html

Cuirass, 2005

morgane tschiember

Paul TheK est une figure majeure lorsque l’on essaye d’intégrer du “sensible” dans du “minimal” ou du “conceptuel”. L’idée de la chair cristallisée au coeur d’une matière froide fait écho dans ma pratique. J’aime beaucoup l’oeuvre de Donald Judd, comme celle exposée au Centre Pompi-dou qui conserve les traces de doigts in-délébiles des curators ou assistants (rires!). L’idée que quelque chose échappe formel-lement à un artiste m’intéresse ! d’autant plus avec une oeuvre comme celle de Judd !Et pour contre balancer, Mickael Asher, mais mes influences ne s’arrêtent pas là, et ne viennent pas que de l’art…Je suis donc sur un fil entre d’un côté un Paul Thek et de l’autre un Michael Asher….Mes pièces en métal s’inscrivent et sont réalisées dans un contexte précis. ( 3 vecteurs de Carl André: subjectivité indivi-duelle + objectivité matérielle + ressources économiques = Oeuvre d’art) Pour citer quelques exemples, la série “Iron Maiden” à la galerie Loevenbruck ou encore la série des Folded space et unspecific space qui ont été réalisées à New York lors de ma résidence grâce à Culture France. Ces pièces ont été par la suite dévélopées au Japon. Une des spécificités de ces oeuvres : les soudures sont apparentes et réalisées sur la peinture laquée. Le métal en fusion secrète une laitance noire, cette matière devient un élément à part entière dans mon travail, un motif et révèle les qualités intrinsèques du matériau et son système de fabrication. Tout ce qui est caché en général, lorsque l’on conçoit une pièce, est ici révélé et mis à nu. Ainsi ce que l’on nomme des défauts et des contraintes est ici visible et utilisé pour développer la relation physique à l’oeuvre. C’est d’ailleurs souvent ce qui lie les pièces entre elles qui est camouflé, le liant. Mais ce liant m’interpelle.

http://www.mtschiember.com/works-2/folded-space-4/http://www.revue-diapo.org/in-dex.php?option=com_content&view=article&id=314:morgane-tschiember&catid=64:session-2&Itemid=168

Folded space, 2010

Folded space, 2010

olemartinlundbo

Untitled, 2006

http://olemartinlundbo.com/

olafnicolai

Olaf Nicolai’s work is conceptual in nature and often characterized by (socio) political references, in which multiple antipodal as-pects (socialist and capitalist, hedonist and idealist) merge and overlap. Aspects such as production processes and the genera-tion of commodities are reflected in his work as well as the realm of aesthetics and the role of the observer, i.e. participant. This issue of WAT appears in conjunction with his installation ?Warum Frauen gerne Stoffe kaufen, die sich gut anfühlen” (Why women like to buy textiles that feel nice) at the Arbeiterkammer Wien in 2010, for which he designed a silk cotton curtain which lines the walls of the new building’s reception hall. The publication is conceived as a textual system of references to this work in the form of an annotation appara-tus with index of names and subjects. The title of the installation quotes a study by Elias Smith from 1937 on consumer be-haviour regarding the purchase of textiles. Elias Smith is the pseudonym Paul Lazars-feld used after his emigration to the USA. His studies are still seminal in market and opinion research today. Together with Ma-

Warum Frauen gerne Stoffe laufen, die sich gut anfühlen, 2010

rie Jahoda and Hans Zeisel he compiled the first long-term study on the effects of unemployment in the 20 th century: “Die Arbeitslosen von Marienthal” (The Unem-ployed of Marienthal), 1933. The research work on the demise of a former location of the textile industry was supported and co-financed by the Arbeiterkammer Wien and serves here as the starting point to unravel a complex web of references spanning from the decline of the textile industry to sociological opinion research, the develop-ment of consumer desires and psychologi-cal studies on tactile perception of fabrics, creating an intricate textural web.

http://www.eigen-art.com/index.php?article_id=82&clang=0http://www.theoffice.li/projects.html

jimlambie

Jim Lambie’s fifth solo-exhibition at Anton Kern Gallery feels like a living organism with different parts of one body fulfilling a variety of functions while reverberating in bright colors. The gallery’s white walls are penetrated by several circular multicolored Vortex cut-outs; a large belt sculpture balances on a circle of cast metal chairs; crushed and disassembled pieces of metal armature are encased in blocks of con-crete; an entire wall is covered in layered and brightly colored sheets of metal, called Metal Boxes, their corners folded like craft paper; cast belts of differing sizes and materials are hovering on the walls; and a disarmingly brilliant and simple wall sculp-ture consisting of rolled-up t-shirts in glass jars occupies one entire corner.The astonishing variety of materials, none of which are traditional art materials, rang-es from found charity shop and household items (t-shirts, jars, belts, posters, chairs) to industrial materials (paint, MDF board, sheet metal, cement), including their inher-ent transformative properties such as cut-ting and casting. Lambie’s approach to art making is informed by a few fundamental ideas. A rock musician before he became a visual artist, the artist uses color in a way that is deeply rooted in color theory and specifically relates to the concept of synethesia, an analogous experience between music and the color spectrum in which the stimulation of one sensory or cognitive pathway leads to automatic, involuntary experiences in a second sen-sory or cognitive pathway. Different from his rather esoteric predecessors, Lambie’s choice of color composition is determined by a sense of directness and everyday availability. The modern world seems his source and palette. Which sheds light onto Lambie’s other basic feature, his Glaswe-gian origin.Lambie is deeply immersed in the history of a place characterized by the tension between industrialization and libera-tion movements such as William Morris’ utopianism and socialism and the Arts and Crafts movement at large. The Glasgow School of Art, designed by Scottish archi-tect and fellow Arts and Crafts member Charles Rennie Mackintosh, and also Lambie’s place of study, is an incarnation of such utopian ideas. Echoing Mackin-tosh, Lambie’s concern is to build around the needs of people: people seen, not as masses, but as individuals who needed not a machine for living in but a work of art. Lambie shows how we can maintain a sense of self in an over-commodified world of sameness.

Metal Box, 2011

Metal Box, 2011

http://artnews.org/antonkern/?exi=30332http://www.antonkerngallery.com/exhibi-tion.php?page=11&eid=179

hansbellmer

Explorant le thème de l’« anatomie du désir », concept au cœur de la création de Bellmer, l’exposition rassemble des prêts exceptionnels issus de prestigieuses collections privées ainsi que de grandes institutions comme le MoMA qui prête La Mitrailleuse en état de grâce (1937).

A l’arrivée au pouvoir d’Hitler en 1933, Hans Bellmer a arrêté tout travail sociale-ment utile pour construire une poupée grandeur nature. Si elle constitue au dé-part un dispositif de rébellion contre toute autorité (politique, paternelle), la provo-cante Poupée devient l’instrument d’une toute autre ambition et d’une toute autre investigation : une réflexion inédite sur le corps, qui fait de l’objet fétiche de Bellmer la création de référence pour l’expression érotique contemporaine.

Cette créature artificielle aux multiples possibilités anatomiques qui, selon Bellmer, est capable de « rephysiologiser les vertiges de la passion jusqu’à inventer des désirs », va permettre de pousser toujours plus loin l’investigation de l’artiste d’une anatomie de l’inconscient physique. Cette entreprise ambitieuse traverse l’œuvre de Bellmer : depuis la prise de vue par l’appareil photographique jusqu’à l’expression graphique, qui va du dessin miniaturiste le plus confidentiel à l’épure agrandie quasi abstraite. Sa démarche peut être comprise comme la quête d’une forme vivante permettant de matérialiser l’image du désir et du fantasme.

D’un grand raffinement et pleins d’audace, les dessins de Bellmer retranscrivent les pulsions secrètes, les transferts des sens, les ambivalences du corps érotique. L’artiste montre ainsi les harmonies et la cruelle beauté de la mécanique du désir.

http://www.centrepompidou.fr/Pompidou/Manifs.nsf/0/A90DCCC5AB92A1C5C125706100340212?OpenDocumenthttp://mondo-blogo.blogspot.nl/2012/03/hans-bellmer-unica-zurn.html

Metal Box, 2011

“Tenir au frais” (“Keep cool”), 1958

Tenir au frais (Keep cool), 1958

The doll, 1983

taubaauerbach

In Tauba Auerbach’s work traditional distinctions between image, dimensionality and content collapse. Surface, specifically the larger issues surrounding topo¬logy, has been a central concern in her recent paintings, drawings, photographs and art-ist books. Auerbach interweaves discord-ant positions such as disorder and order, readability and abstraction, permeability and solidity – phenomena that are usually viewed as incompatible – into unified sur-faces and volumes.

http://www.taubaauerbach.com/http://www.triangulationblog.com/2011/12/tauba-auer-bach-at-bergen-kunsthall.html

untitled (fold), 2011

untitled (fold), 2011

baltasarportillo

Art, sculpture, furniture, all three terms are important in the description of the Arma-dillo chair, part of a series of unique pieces by Salvadorian artist Baltasar Portillo. The architectural form, brings to mind a span-ning bridge which enhances the view with-out blocking it. The chair becomes a part of its environment by allowing the viewer to see through the chair, thus framing the scene in a new way. It is imposing, yet airy and light. The elegant shapes are inspired by organic forms. Though a native of San Salvador, Baltasar is currently working and living in Europe. Armadillo and Lodge are suitable indoors or out.

http://baltasarportillo.com/http://www.outdoorzgallery.com/bp_arm

Metal Box, 2011

Armadillo Stuhl (côté), 2012

Armadillo Stuhl (arrière), 2012

gerritrietveld

Visuellement, la Zig-Zag chair est en contradiction absolue avec l’idée que l’on se fait habituellement d’un siège utilisable. Les différents éléments qui la constitu-ent semblent, en effet, tenir en équilibre et vouloir se rabattre sur eux-mêmes dès qu’on y prend place. Mais, contrairement aux apparences, des assemblages à queue d’aronde entre l’assise et le dossier, toute une série de vis et d’écrous ainsi que des pièces de renforcement en bois dans les angles aigus, confèrent une bonne stabilité d’ensemble au siège.

Bien que Rietveld ait été conscient de la contradiction entre simplicité de la forme et la relative complexité de la construction et déclarait lui-même qu’il ne s’agissait pas là d’un « siège mais d’un pied de nez au design », la Zig-Zag chair représente dans son oeuvre l’exemple le plus mini-maliste d’une forme qu’il voulait fonction-nelle, qui ne modifie pas l’espace mais l’intègre dans une certaine continuité. Il apparaît comme la réponse pratique et sans compromis à des exigences mini-males. Le siège est en effet marqué par

chaise zig zag, 1934

une telle économie de moyens que déjà les simples vis sont perçues comme élé-ments décoratifs.

http://deco-design.biz/chaise-zig-zag-par-gerrit-thomas-rieveld/1170/

isabellewenzel

German photographer Isabelle Wenzel sets up surreal scenes in which she requests her sitters to engage in a very physical pose: they hang upside down, contort like acrobats or stick their high-heeled legs out of homemade cardboard constructions. Their faces don’t matter.

Taking the body as a responsive form, she uses it to capture movements or postures of anonymous posers in a figural moment. The result is an ensemble of ironically and humourously charged images, in which the models are suspended between object and subject, alien and known.

http://www.isabelle-wenzel.com/http://www.we-find-wildness.com/2012/07/isabelle-wenzel/

Model #1, 2011

Bum #1, 2011

hans jörg glat-tfelder

Hans Jörg Glattfelder, peintre et auteur constructiviste, est né à Zurich en 1939.

Au debut son art a ressenti l’influence du mouvement artistique dit «art concret Zurichoise », mais bientôt il a pris son propre chemin : vers la fin des années ‘60 ses recherches portaient sur les possibilités de créer des œuvres d’art par les moyens de la production industrielle et anonyme (« reliefs à pyramides ») ; dans les années ‘70 Glattfelder a thématisé la géométrie « non-euclidienne » comme base de ses recherches artistiques (« métaphores non-euclidiennes »).

Dans nombreux articles, interviews et contributions théoriques Hans J. Glattfelder prend position pour un exercice de l’art basé sur l’esprit d’invention rationelle (le « méta-rationalisme » 1983) et il demande une ouverture réciproque et une communication interdisciplinaires

Explorations topologiques, 1988- 1994

entre les nombreuses expressions du « constructivisme » en science et art(« constructivisme méthodique »).

http://www.glattfelder.eu/

erictestroete

This Papercraft Self Portrait was Eric Testroete‘s Halloween costume. Eric is a 3D artist in the Vancouver game industry and he was inspired by the big-head mode seen in videogames. It was probably quite fun for him to do an offscreen project with his 3D skills.

http://testroete.com/index.php?location=headhttp://blog.makezine.com/2009/11/02/big-head-mode-papercraft-costume/

Papercraft Self Portrait, 2009

Papercraft Self Portrait, making, 2009

tissuthermo-chromic

Entre la fabrication de vêtements qui changent de couleur grâce à des cristaux liquides ou des colorants thermochromes microencapsulés.Ce tissu peut trouver son application dans le domaine du “beachwear” ou dans des uniformes portés dans des environnements où la température doit être constamment mesurée (centrale...).Le changement de couleur pourrait être ainsi un soit un caractère ludique du vêtement soit un réel outil de mesure de l’environnement.

http://www.glattfelder.eu/

# RSA0423TC , American Apparel, 2008

# RSA6101TC , American Apparel, 2008

# BF-COTFAB-OY , bodyfaders, 2009

henriqueoliveira

Artist Henrique Oliveiraa was a student in São Paulo, Brazil when the plywood fence outside his window began to peel and fade into different layers and colors. The wood, called tapumes in Portuguese is ubiquitous in the Brazilian city, serving as enclosures and barriers for various sites. When the fence was dismantled, Oliveira harvested the remains and used them as materials for his senior show. The result propelled him into his current work: undulating, swirling, bulging peels of wood layered onto hallways and walls in daunting forms. His most recent show will be called, fittingly, Tapumes.

Oliveira begins with a PVC skeleton, tacking curls of scrap wood around established bends and tucks. He finds the bulk of his material in the dumpsters of São Paulo, choosing pieces that are splitting and decaying — affected by city life, then utilizes those aesthetic elements in each artwork. The laminate element of the wood is stripped from its basebord and arranged on a work like a brushstroke. Each massive, writhing art piece represents a combination of techniques used in architecture, sculpture and painting.

The artist seeks to address issues of perception and decay in his work — while stunning us with the glory of dumpster scrappings. His stormy pieces dissolve the barrier of order and swirl into expressive, dynamic forms.

http://henriqueoliveira.com/http://inhabitat.com/eco-art-urban-peels-henrique-oliveiras/

Tapumes, 2006

Denatureza, 2011

Tapumes, 2006

Tapumes, 2005

Boxoplasmose, 2011

yoy

Imagine a story unfolded in a room. The japanese design unit YOY by space designer Naoki Ono and product designer Yuuki Yamamoto creates products that tell a hidden story. Peel is a wall lamp, but it looks as if wall paper was peeling of the wall and it feels like it can lead you to another world, where you will start imagine your own stories.

http://www.yoy-idea.jphttp://www.ignant.de/2012/08/06/peel/

peel, 2012

lethawilson

My artwork uses images and materials from the natural landscape as a starting point for interpretation and confrontation. My work creates relationships between architecture and nature, and the gallery space and the American wilderness. In the photo-based sculptures the ability for a photograph to transport the viewer is both called upon, and questioned; sculptural intervention attempts to compensate for the photograph’s failure to encompass the physical site it represents. Landscape photography as a genre is approached with equal parts reverence and skepticism. In another body of work, site-specific installations juxtapose re-claimed wood and drywall material in innovative ways that respond to both interior and outdoors environments, and comment on the glut of material discarded in the contemporary art exhibition cycle.

http://www.lethaprojects.comhttp://momaps1.org/studio-visit/artist/letha-wilson

Hoodoo Pyramid, 2011

Sunset Airplane Wilderness Ranch, 2010

Hug Grand Tetons, 2011

Vertical Horizon (White Sands), 2010

Angled Aspens, 2010

manray

L’Enigme d’Isidore Ducasse, 1920, remade 1972, consists of a sewing machine, wrapped in a blanket and tied with string. Man Ray’s idea of using a sewing machine was inspired by a simile used by the French writer, Isidore Ducasse (1809-87), better known as the Comte de Lautréamont, ‘Beautiful as the accidental encounter, on a dissecting table, of a sewing machine and an umbrella’. It was a phrase that was greatly admired by the writers in Paris with whom Man Ray was close friends and who formed the nucleus of the Paris dada and later surrealist groups. They saw it as paradigmatic of a new type of surprising imagery, as well as replete with disguised sexual symbolism. (The umbrella was interpreted as a male element, the sewing machine as a female element, and the dissecting table as a bed.). Man Ray’s wrapped object, however, was a mystery, and suggested not so much a sewing machine as some utterly undefined, and therefore potentially more disturbing, presence. The word ‘enigma’ in the title echoed some of the titles of paintings by Giorgio de Chirico (1888-1978), also much admired by the proto-surrealist group, while its image of something wrapped and hidden can be seen as a forerunner of images of disguised or concealed objects by the Belgian surrealist René Magritte (1898-1967), as well as the later wrapped works of Christo (born 1935).

A photograph of the original version of the work was reproduced on the first page of the first issue of the surrealist periodical La Révolution surréaliste in December 1924. The accompanying text was a manifesto statement about the importance of dreams within surrealism. It would seem that the photograph of this mysterious object had been selected to encapsulate the surrealists’ vision of what lay beyond rational apprehension and the norms of daily reality. In 1932 the surrealist painter Salvador Dalí (1904-1989) recalled this particular image when he wrote about the early days of the movement: ‘The semi-darkness of the first phase of surrealist experiment would disclose some headless dummies and a shape wrapped up and tied with string, the latter, being unidentifiable, having seemed very disturbing in one of Man Ray’s photographs (already, then, this suggested other wrapped-up objects which one wanted to identify by touch but finally found could not be identified; their invention, however, came later).’

l’Enigme d’Isidore Ducasse (detail), 1920

l’Enigme d’Isidore Ducasse, 1920

(‘The Object as Revealed in Surrealist Experimentation’, in Haim Finkelstein, ed. and trans., The Collected Writings of Salvador Dalí, Cambridge 1998, p.237.)Like so many of Man Ray’s early objects, the original work is lost. It was exhibited, however, at the Exposition surréaliste d’objets at the Galerie Charles Ratton, Paris, in 1936. In 1969 the Moderna Museet, Stockholm, made a replica with the artist’s permission. An edition of ten examples, made without using sewing machines, was produced in 1971 by the Galleria Schwarz, Milan. According to Man Ray’s assistant, Lucien Treillard, Man Ray

was dissatisfied with the Schwarz edition and in 1972 he authorized the making of a new piece, using a sewing machine, and intended this example to be an exhibition copy of the work. Treillard assembled and made the work under Man Ray’s instruction, using a Pfaff sewing machine of the period 1920-5 owned by his wife’s grandmother, and a storage blanket and string that were in Man Ray’s studio (letter to Tate, January 2003). The string has been replaced subsequently. According to Treillard, this unique remade piece is closer to the original work than other existing

replicas. It is listed in the 1983 Paris catalogue of Man Ray’s objects.

Despite Man Ray’s status as one of the pioneering figures of interwar art, his objects are not particularly widely known. This is largely due to his greater fame as a photographer; but it is also in part due to the complex history of many of his objects. A number of the earliest works were lost or accidentally destroyed (the same is true of many of the early classic objects by his friend Marcel Duchamp, 1887-1968).

Others are known primarily as photographs reproduced in surrealist magazines and their status as objects has been obscured by the celebrity of the photographic images. In fact, Man Ray sometimes made objects in order to photograph them, and then discarded them, or reused them in other ways. He also remade some works, thereby creating new originals, and when, in the 1960s and 1970s, there was a greater commercial interest in the objects, he, like Duchamp, arranged for some of his objects to be produced in editions.

http://www.tate.org.uk/art/artworks/man-ray-lenigme-disidore-ducasse-t07957

Venus Restaured, 1936

josephbeuys

L’artiste et pédagogue allemand Joseph Beuys 1 devient, au début des années 1960, le principal représentant en Europe du mouvement Fluxus et, poursuivant l’élan donné par Marcel Duchamp et Dada, déborde le cadre de la sculpture classique avec son concept « d’art élargi ». Il pose, avec de plus en plus de clarté, l’œuvre comme un processus de réflexion ouvert à de nombreux domaines de la recherche et « capable d’interpréter l’homme et l’activité humaine au sens d’une théorie globale du travail ». Il est l’auteur du concept de « sculpture sociale » et toute son œuvre est un projet de réconciliation de l’individu avec son environnement. Il associe puissamment l’homme, l’art et la vie jusque dans ses engagements politiques 2.

Aviateur dans la Luftwaffe pendant la seconde guerre mondiale, il fut abattu en Crimée et il ne dut son salut qu’aux nomades Tatars qui l’avaient enduit de graisse, roulé dans des couvertures de feutre... Ses écrits nous éclairent sur ses matériaux de prédilection pour la sculpture et l’installation : le cuivre, le bois, le feutre, la graisse, le miel, qu’il utilise pour leurs qualités plastiques, énergétiques et métaphoriques. Dans son œuvre se mêlent des domaines apparemment hétérogènes : animal, végétal, minéral.

Synthèse d’une quarantaine d’années de travaux, Plight 3 est l’avant-dernière œuvre de l’artiste, décédé en 1986. En acquérant cette production, le musée national d’Art moderne a respecté le plan qu’elle avait dans la galerie londonienne où elle avait été créée en 1985 et lui a consacré deux salles dont l’accès unique oblige le visiteur à se baisser pour passer sous des rouleaux de feutre. Il peut être profitable de laisser les élèves pénétrer seuls dans cet espace, de recueillir le témoignage de leurs sensations après leur sortie et de retrouver la situation pédagogique chère à Beuys, l’encouragement au débat.

À l’intérieur, le dispositif paraît immense ; une odeur sui generis immobilise, celle du feutre dont la double rangée habille toute la hauteur des cimaises. Matériau mou, il s’affaisse un peu, animé de plis horizontaux irréguliers, rythmé par les verticales d’ombre à la juxtaposition des rouleaux gris. On est tenté de diverger hors de propos vers tant d’éléphants qui vous tournent le dos. Après les autres salles, climatisées, du musée, le visiteur est accaparé physiquement

Plight, 1958-1985

dans un espace à vivre autrement. Isolant thermique, le feutre fait éprouver rapidement une sensation de chaleur. L’œil aperçoit, posé sur un piano à queue à côté d’un tableau noir replié, un thermomètre médical.

Le feutre est aussi un isolant phonique. Sans doute n’est-il pas aussi radical que les pyramides de laine de verre qui tapissent les murs de la salle anéchoïque de l’IRCAM 4 installé tout à côté sous la Fontaine de Jean Tinguely et Niki de Saint-Phalle. Pourtant les sons « sont feutrés » et incitent au silence. Des visiteurs qui connaissaient Infiltration homogène pour piano à queue, 1966, de Beuys, exposant également un piano à queue « dépôt de son » enveloppé dans une housse de feutre, interprétaient leur situation dans Plight comme une manière de se glisser entre la housse et le piano. Autant le feutre est une matière mate, brute, autant le piano est noir, lisse, brillant, lourd de symbolique culturelle 5. Le tableau noir, lui aussi lourd de référence, posé sur le piano irrespectueusement, n’incite pas à ouvrir celui-ci et à jouer librement.

Dans l’interview qu’il donna au moment de la présentation de l’œuvre 6, Beuys précisa : « Ce côté positif – protéger les hommes du danger – est un autre pôle de

signification de la pièce. C’est ainsi qu’apparaît l’idée de la salle de concert, sans résonance, c’est-à-dire totalement négative, conçue comme la démonstration de l’existence d’une frontière où tout s’articule autour d’un point critique. Si ce point se déplace, tout change, même la signification de l’art, qui tient, comme on le sait, au changement radical et complet de l’homme, à commencer par la conscience qu’il a de lui-même. »

Pour Beuys, son affirmation « tout homme est un artiste » ne veut pas dire que « chaque homme est un peintre ou un sculpteur mais qu’il y a de la créativité latente dans tous les domaines du travail humain ». « Tout homme peut, et même doit, prendre part à la transformation du corps social pour que nous puissions la mener à bien aussi vite que possible 7. »

http://www2.cndp.fr/magarts/heterogeneite/lyc_beuys.htm

johnchamber-lain

John Chamberlain’s working process is based on the use of found objects or common materials, assembled into a unique ‘fit’ that is expressive of a spontaneous gesture. Le molé is a multiple created during an experimental phase of Chamberlain’s career which saw him temporarily abandon his large-scale scrap-metal sculpture. Instead, Chamberlain looked towards the chance structures of scrunched-up tissues, crumpled cigarette packets and burst paper bags for inspiration:

My work with paper bags started with me blowing up and popping a bag … I started making the sculptures. Then I felt someone might look at these … paper sculptures and think someone had merely wadded them up and forgotten to throw them away. How was I going to retain the delicacy of the paper and the delicacy of the little watercolours I put on them? So I dripped clear plastic resin down the creases, and I thought that was one of the most marvellous pieces of engineering I’d seen for a long time.[1]

Le molé is derived directly from a scrunched-up paper bag, the profile of which was cast in polyester resin and vacuum coated with an aluminium and silicon oxide. For each work in the edition,[2] the artist manipulated the thickness of the oxide and the angle from which it was applied to create nuances in the surface patina. This manual transformation of the ‘molecular’ structure of the coating may provide a clue to the work’s title. Believing that ‘You can do the same thing with words or with metal’[3], Chamberlain composes his titles by rearranging language scraps. In this way, Le molé is deliberately cryptic, a humorous word contraction that is typical of the artist.

Despite its small scale and experimental material, Le molé contains a similar sequence of detailed ‘actions’—compressions, expansions, twists, angles and stress points—that are the hallmarks of Chamberlain’s larger scrap-metal monuments.

http://nga.gov.au/Exhibition/SoftSculpture/Default.cfm?IRN=102102&BioArtistIRN=18276&MnuID=3&GalID=5&ViewID=2

Le Molé, 1971

Le Molé, 1971

angelade la cruz

Angela de la Cruz’s iconoclastic approach to the history of painting turns a repertoire of destructive acts into a creative process. Loose fit (blue) 2002, for example, may have started its life as a monochromatic canvas―a work of heavily applied blue paint, neatly framed within a thick white border―but it is brutally transformed by the artist’s physical intervention. The series of punches, kicks and folds inflicted upon its surface make it into an animated sculptural object which hangs from the wall in a crumpled and dejected mess.

Loose fit (blue) looks both beaten and winded―it is, after all, the colour of new bruises; a victim of artistic bullying that celebrates the unheroic and the abject, reinstating, as a result, a connection to, and interest in, the visceral and the bodily. Defiantly anthropomorphic, the sagging folds of the work’s paint-laden canvas hang like skin on a body that has lost a dramatic amount of weight far too quickly. It is this sense of movement in de la Cruz’s fleshy surfaces―their ability to

Loose fit (blue), 2002

White (nothing), 2010, print

evoke the physical and emotional tension of a continual and somehow thuggish struggle―that consciously works against the clean, rarefied and self-contained ambitions of modernist abstraction. The artist’s violent and potentially cathartic practice may also be interpreted as a contemporary reworking (and, possibly, reclaiming) of the machismo of action painting. Even when these works leave the wall, and indeed their stretchers, they remain integrally connected to painterly tradition.[1] They feed off each other (many works combine the elements of previously separate canvases) but also from the lineage of painters and paintings that have come before them.Angela has been nominated for the Turner Prize in 2010.

http://www.lissongallery.com/#/artists/angela-de-la-cruz/http://nga.gov.au/Exhibition/SoftSculpture/Default.cfm?IRN=184231&BioArtistIRN=34377&MnuID=3&GalID=5&ViewID=2

robertmorris

Après des études aux beaux-arts, Robert Morris commence sa carrière artistique dans les années 50 en tant que peintre, pratiquant un style inspiré de Pollock. Il restera toujours fidèle à cet artiste qui a, selon lui, su jouer avec les qualités de la matière et inventer un type de tableau adapté à la fluidité de la peinture.

Au début des années 60, il réalise des objets qui interrogent la perception des formes dans l’espace, dans un sens très proche de ce qu’on appellera l’Art minimal. Il participe aussi à des performances, s’intéresse à la musique et à la danse, et reprend des études en histoire de l’art qui le conduisent à la rédaction d’une thèse sur Brancusi en 1966. A cette époque, il réalise, par exemple, ses Trois poutres en L (1965, reconstruite en 69), une œuvre qui révèle les différentes manières de percevoir une forme selon le point de vue que l’on a sur elle.

A partir de 1967 Robert Morris commence à travailler avec le feutre. Matière qu’il

3, 1970

untitled, 1976

untitled, 1976untitled, 1976

untitled, 1976

untitled, 1976

entasse, empile, plie, découpe, suspend, drape dans une agréable progression de formes. Avec la complicité de la gravité le feutre se laisse aller dans l’espace. Un travail en transition, transformation, évolution qui implique physiquement le spectateur. Entre minimalisme et post minimalisme, Form et « Anti-Form ».

Mais c’est précisément ce type de démarche qu’il dénigre dans son article intitulé « Anti Form » de 1968, voyant dans ces formes créées par lui-même les derniers avatars d’une pensée idéaliste et rationnelle, héritière de Platon. A partir de sa théorie, il crée des œuvres molles, faites de grandes pièces de feutre suspendues, qui manifestent le sentiment d’entropie : l’intuition d’une autodestruction imminente.

http://www.centrepompidou.fr/education/ressources/ENS-antiforme/ENS-antiforme.htm

césarbaldaccini

César Baldaccini, dit César, est un sculpteur français, né le 1er janvier 1921 à Marseille (Bouches-du-Rhône) et mort le 6 décembre 1998 à Paris. Il fait partie des membres des Nouveaux réalistes, mouvement né en 1960. Il est également le créateur du trophée en bronze de la cérémonie des césar du cinéma français.

En 1967, César découvre la mousse polyuréthane et sa capacité d’expansion. Le fait de pouvoir faire des œuvres de grande dimension très légères le séduit aussi. Ce médium va donner lieu à une nouvelle série : les Expansions. cette série s’oppose à la serie des Compressions. Il laisse couler de la mousse polyuréthane sur le sol, ou bien à partir d’un support. Il joue sur les mélanges, sur les temps de solidification, et, à l’instar des compressions, il peut aussi diriger la coulée. Il fait aussi des coulées en fonte de fer, destinées a être mise à l’extérieur. Dans un dernier temps, il peut tailler les masses figées ou bien se livrer à un long travail de finition en trois étapes afin

des coulées en public, happening qu’il coupe comme un gâteau pour donner un morceau de l’œuvre à chaque invité. Il réalisera ces performances jusqu’à la fin de sa vie.

http://www.moreeuw.com/histoire-art/cesar.htm

de pérenniser les œuvres : nappage au moyen de résine de polyester, ponçage et masticage puis application de couches de laques acryliques de plus en plus transparentes. Les Expansions déclinées en plusieurs dizaines de variantes, montrent encore une fois l’attrait de César pour l’expérimentation. Il réalise aussi

Expansion n°35 rose, 1971

Expansion n°14, 1970

ronarad

Ron Arad est un designer israélien né en 1951 à Tel-Aviv et reconnu depuis les années 1980. Il étudie l’architecture à l’Architectural Association School of Architecture de Londres où Bernard Tschumi est son professeur et Zaha Hadid sa collègue. Il découvre le design en Italie.Il fonde son premier studio One Off Ltd en 1981 avec Caroline Thormann. Ensuite, la réussite ne se fait pas attendre. Il signe ses premiers succès avec, entre autres, les fauteuils Rover (1981) et Well-Tempered Chair (1986), puis avec l’emblématique étagère Bookworm (1993) originellement en acier puis fabriquée en plastique par Kartell.

Ron Arad utilise des technologies et des matériaux avec des modalités et des formes tout à fait nouvelles. Manipulation, transformation et expérimentation sont les maître-mots de l’esprit de ses créations. Son design se caractérise par des formes pures, non conventionnelles et un goût pour les courbes qui le place dans la lignée des designers sculpteurs. Sa démarche est en effet plus celle d’un artiste que d’un designer industriel, en

Ron Arad Box in Four Movements, 1994

Ron Arad Box in Four Movements prototype, 1994

Ron Arad Box in Four Movements prototype, 1994

témoignent le côté objet unique de ses créations, et le fait que leur fonction n’est pas un critère de premier ordre dans le processus de création.Il a collaboré, entre autres, avec Vitra, Cassina, Driade, Fiam, Kartell, Artemide, Alessi, Flos.

http://www.ronarad.co.uk

erwinwurm

Erwin Wurm, one of Austria’s most important and internationally famous sculptors, has been preoccupied with expanding the concept of sculpture since the 1980s. Wurm is primarily a sculptor, and traditional sculptural concerns such as the relationship between object and pedestal, the function of gravity, the fixing of form, and the manipulation of volume, play through all his work.

Increasing, remodeling or removing volume – the habitual interests of many a sculptor – are given a new twist in Wurm’s work. Volume and adding volume are treated as sociocrital issues. In 1993, Erwin Wurm wrote an instructional book on how to gain two clothing sizes in eight days. Eight years later, he made his first “Fat Car” by plumping up an existing car with styrofoam and fiberglass, which resulted in a pitiful, chubby version of the original sportsy model. By taking the question of obesity, Wurm probes the link between power, wealth and body weight. He also wants to offer a sharp criticism of our current value

system, as the advertising world demands us to stay thin but to consume more and more.

http://www.dsgnwrld.com/fat-car-by-erwin-wurm-1049/

Fat Car Convertible, 2005

Fat Car , 2004

Fat House, 2003

xavierveilhan

Qu’il emploie la photographie numérique, la sculpture, la statuaire publique, la vidéo, l’installation ou même l’art de l’exposition, Xavier Veilhan architecture ses œuvres autour d’une même colonne vertébrale : les possibilités de la représentation. L’un des marqueurs les plus visibles dans sa pratique polymorphe est le recours à un traitement par la version générique de formes et d’objets, lissée, sans détail ni psychologie. Depuis les années 1990, le bestiaire animalier occupe une place de choix dans ce processus ; entre autres, pingouins et rhinocéros sont réalisés en résine teintée dans la masse, de coloris non naturalistes. Le Rhinocéros (1999), réalisé à échelle réelle, fut laqué en rouge Ferrari, modifiant instantanément la perception du mastodonte « carrossé ». En 2008, il façonne un grand requin de métal rutilant qu’il dote d’un titre générique, Le Requin. On compare souvent l’animal à une machine puissante à la précision redoutable. Il y a de cela aussi dans la sculpture animalière de Xavier Veilhan, l’idée d’un perfectionnement ultime. Déjà en 1995, avec La Garde Républicaine, il avait réalisé un ensemble de quatre gardes à cheval totalement génériques. Les statues se tenaient comme des figurines de jouets à taille réelle. Les sculptures anthropomorphes de Veilhan sont des archétypes réduits à l’essentiel, préparés pour que le spectateur puisse s’y projeter immédiatement et dépasser le stade de l’anecdote. Sans rechercher un mimétisme virtuose, elles parvenaient immédiatement à établir un intimidant rapport d’autorité sur le spectateur. Elles ont souvent des prénoms ces dernières années, mais rien de permet de parler de portrait pour autant. Même lorsqu’il réunit son panthéon personnel de bâtisseurs du 20e siècle, il nomme ses sculptures monochromes, The Architects.

Fasciné par les questions de modernité et de progrès technique, Veilhan s’intéressa parallèlement aux systèmes mécaniques, à la construction de machines. Avec La Ford T (1997-1999), il contraria même le fordisme en faisant réaliser à la main cette voiture des années 1910, symbole des premières productions à la chaîne. Du stéréotype au prototype, l’artiste a brouillé les cartes et les repères en s’attaquant aux standards : les bicyclettes, un scooter-tour de potier, un coucou suisse au mécanisme hypnotique et précis. Cet énorme ouvrage d’art machinique de cinq mètres de long, doté de rouages colorés et laqués, mesure un temps énigmatique lorsqu’il actionne

une boule métallique dans son système. Le goût et l’art de l’invention, la fascination pour l’aérodynamisme, l’histoire de l’art cinétique depuis le Futurisme jusqu’aux années 1960, irriguent ses sculptures et ses installations du carrosse déformé par la vitesse aux grands mobiles monochromes à la lenteur savamment régulée. Le Balancier (2007) accorde justement ces principes à celui d’une exigence de marquer le temps, d’inscrire les gestes atemporels posés par l’artiste dans l’exercice d’un décompte inexorable, d’une révolution. La présence des horloges, sabliers et autres lithophanies ont introduit ces dernières années cette dimension particulière d’un compte-à-rebours dont l’issue reste hypothétique et cependant inéluctable. Ainsi, comme le bestiaire, la modernité et le progrès transposés dans l’inventivité mécanique traverse la carrière de Xavier Veilhan, commencée à la fin des années 1980, et se poursuit dans les expositions les plus récentes.

http://www.veilhan.net/home.php

Sir Norman Foster, 2009

The Shark, 2008

belaborsodi

photographe

http://www.belaborsodi.com/

Asphyxiation, 2012

ronmueck

Parmi les artistes contemporains, il en est un qui aime tout particulièrement représenter notre société à travers des sculptures époustouflantes de réalisme. L’arrivée de Ron Mueck au sein du monde de l’art contemporain est assez récent, une douzaine d’années seulement. Mais en réalité cet artiste n’est pas novice en la matière. Retour sur le parcours de cet homme à part.

Rom Mueck est un artiste australien, né à la fin des années 50 à Melbourne. Tout petit déjà, il passe son temps à fabriquer des objets. Faut dire qu’avec un père sculpteur de jouets en bois et une mère créatrice de poupées de chiffons, il avait toutes les cartes en main pour bricoler et surtout, laisser parler sa créativité.

Une fois adulte, Ron Mueck construit des marionnettes. En 1979, il trouve un emploi à la télévision pour créer les marionnettes d’animaux de l’émission australienne pour enfant, Shirl’s Neighbourhood. À partir de 1983, il part pour Londres et collabore aux shows du célèbre Jim Henson (Muppet Show & Sesame Street). L’expérience se poursuit avec deux longs-métrages (Dreamchild puis Labyrinth, avec David Bowie) pour lesquels Ron Mueck gère la partie effets spéciaux et marionnettes.

En 1990, il décide de créer sa propre entreprise qui produit des mannequins pour les publicités. Il se spécialise dans la création de personnages assez réalistes qui sont ensuite photographiés sous un certain angle afin de créer une illusion. Mais notre homme veut aller plus loin en cherchant à produire des sculptures offrant une sensation parfaite de réalisme, qu’importe l’endroit depuis lequel on les regarde.

C’est à la demande de sa belle-mère, l’artiste peintre Paula Rego, que Ron Mueck réalise pour elle un modèle de Pinocchio petit garçon. Le résultat est saisissant. C’est à cette époque que Charles Saatchi, célèbre collectionneur d’Art, découvre cette sculpture. Aussitôt conquis, il commande quatre nouvelles œuvres à l’artiste australien.

Cette première exposition artistique et médiatique, durant l’exposition Sensation (1997) à la Royal Academy of Arts, marque un véritable tournant dans sa carrière. Dès lors, Ron Mueck n’est plus simplement vu comme un technicien doué de talent mais comme un véritable artiste.

Parmi les œuvres présentées, l’une fait légèrement polémique. Avec Dead Dad, Ron Mueck nous montre à voir, dans un format réduit au 2/3 de la taille réelle, la sculpture de son père mort. Cette sculpture est terrible de réalisme et c’est ce qui choque une partie des visiteurs qui trouvent impudique de montrer à tous l’intimité la plus profonde de cet homme sans vie. C’est aussi une façon de mettre les gens face à certains tabous de notre société comme la représentation de la mort.

Depuis, son travail a été exposé un peu partout dans le monde : Biennale de Venise en 2001, à Paris en 2005 lors de l’exposition Mélancolia au Grand Palais puis en 2006 à la Fondation Cartier, au Musée des beaux-arts du Canada d’Ottawa en 2007 puis au Brooklyn Museum of Art, au British Museum fin 2008-début 2009…

Le travail de Ron Mueck s’inscrit dans le courant d’art contemporain de l’hyperréalisme. Ses sculptures tentent de reproduire à la perfection

certains moments de la vie des hommes (naissance, vieillesse, mort) tout en offrant à l’œuvre une personnalité et une place dans notre société. Mais malgré un réalisme flagrant, un détail vient placer la sculpture dans un autre univers que le notre : la taille de la sculpture. Aucune d’entre elles ne fait la taille qu’elle devrait avoir dans la vraie vie, elle est soit beaucoup plus petite soit gigantesque. L’artiste créé aussi bien un petit garçon de 5 mètres de haut qu’un couple d’environ 40 centimètres. Faire des œuvres de taille “réelle” ne l’intéresse pas puisque, et il le dit lui-même, ” on voit des gens de taille humaine tous les jours ! “.

Voici par exemple son autoportrait. À la différence de la majorité des œuvres, il est préférable de prendre en photo l’environnement qui entoure la sculpture, afin d’avoir un rapport de taille avec les visiteurs présents.

Son travail se rapproche un peu des personnages de Duane Hanson, avec une approche tout de même différente puisque la plupart des corps sont nus, comme

A Girl (detail), 2006

dans le travail de John De Andrea. Le travail de Ron Mueck est malgré tout plus précis, plus réaliste encore, comme dans les portraits de Chuck Close. L’émotion qui se dégage de ces sculptures peut se rapprocher en partie de certaines toiles de Lucian Freud, Stanley Spencer ou encore Jenny Saville.

Pour créer ses sculptures, Ron Mueck doit procéder par plusieurs étapes : croquis, ébauches, structure métallique, sculpture en terre, moulage en silicone ou en résine polyester, peinture à l’huile pour les détails (grains de beauté, rides, veines…). Certaines œuvres sont réalisées en fibre de verre, plus adaptée selon le format final.

Notons que Ron Mueck représente généralement des personnages dans leur ensemble et s’il ne montre qu’une partie, c’est systématiquement le visage car c’est cette zone qui façonne la personnalité.

Les œuvres sont placées dans des situations bien précises et libre à chaque visiteur d’interpréter, voire d’imaginer des liens entre les différents personnages. Ron Mueck a traité à peu près tous les moments de la vie, de la naissance à la mort mais l’ensemble est teinté d’une touche de mélancolie. Aucun “personnage” ne sourit et on perçoit souvent une solitude, une souffrance ou une tristesse sous-jacente. Le visiteur peut à la fois se retrouver dans certaines situations et en même temps il reste spectateur de cette représentation qui n’a pas lieu d’être dans la réalité puisque trop petite ou trop grande.

http://www.macultureconfiture.com/2010/02/27/ron-mueck/

In Bed, 2005

Untitled (Boy), 1999

Wild Man, 2005

christo &jeanne-claude“ ...L’urgence d’être vu est d’autant plus grande que demain tout aura disparu...Personne ne peut acheter ces œuvres, personnes ne peut les posséder, personne ne peut les commercialiser, personne ne peut vendre des billets pour les voir...Notre travail parle de liberté “.

Christo s’est fait connaître par la réalisation de projets de grande envergure, intervenant de façon directe et éphémère sur des édifices, des monuments ou des paysages entiers. Il utilise du tissu pour créer des œuvres éphémères en « emballant » des paysages, des constructions, des lieux. Il entend intervenir sur des sites naturels, dans le paysage et le modifie de manière provisoire ou durable. Parmi ses constructions les plus importantes, Valley Curtain (1970-1972) - un rideau safran barre une vallée californienne, Surrounded Islands (1980-19830) - les îles de la baie

de Biscayne à Miami sont encerclées d’une ceinture en polypropylène rose fuchsia, Emballage du Reichstag (1995) - le Reichstag de Berlin est emballé dans un tissu argenté, cinq millions de personnes se sont déplacées pour admirer l’œuvre. The Gates (2004-2005) a été présenté durant seize jours du 12 février au 28 février 2005. C’était un parcours de 37 kilomètres à travers Central Park à York, ponctué de 7 500 portiques, hauts d’environ cinq mètres, placés à 4 mètres d’intervalle et tendus d’un rideau de tissu vinyle de couleur orange safran.

Il réalise ses “empaquetages” et travail de couturier soit dans des sites naturels soit dans la ville, sur des monuments. Une des caractéristique de son travail la plus évidente et de révéler en cachant : un vêtement comme une peau extérieure devient une promesse et une invitation au rêve et au désir. Pourtant le travail de Christo semble s’inscrire dans un acte simple et rejoint les théories du suprématisme qui, par les désacralisations successives de l’art veut faire de l’artiste un ingénieur et un entrepreneur. Il gère une véritable entreprise de travaux qui élabore les projets, en assure la promotion, obtient les autorisations, acquiert et finance les matériaux, réalise le projet avec des hectares de tissu, des kilomètres de câbles, fait travailler des dizaines d’ouvriers, pour un événement de quelques jours ou de quelques semaines, qui sera entièrement démonté,

les matériaux recyclés, le site restitué. Tout cela crée un souvenir, un supplément d’histoire pour le lieu et ceux qui l’auront vu.

Cet aspect du travail a souvent soulevé de violentes polémiques. Mais ces réalisations s’assurent ainsi un caractère provocateur par leur démesure. Ces évènements spectaculaires avaient souvent un sens politique. Citons le recouvrement du Reichstag qui suivait sa destruction par le feu et précédait sa remise en état et l’installation en son sein du nouveau gouvernement allemand.

Au cœur du mouvement du nouveau réalisme, Christo change le support. Il n’est plus question de l’espace pictural matérialisé par la toile, le papier, le mur... c’est-à-dire une surface sur laquelle le peintre intervient pour l’animer. De plus en plus facilement, le monde lui-même, l’environnement de l’artiste devient un plan de travail. Et c’est le choix que l’auteur peut en faire qui va lui donner son statut d’œuvre d’art.

Ensuite, le geste n’est plus un geste pictural mais un geste d’appropriation, décidé par l’artiste pour prendre un morceau du réel et le transformer en œuvre. Christo remet en cause le traditionnel langage plastique : “chaque protagoniste s’affirme au départ par un geste extrême d’appropriation du réel sur lequel il fonde ensuite tout le système

Wrapped Reichstag, 1995

Pont Neuf emballé, 1985

Wrapped Trees, 1998

syntaxique de son langage” (Pierre Restany, “L’autre face de l’art”).

Cependant, on ne pourrait limiter le travail de Christo seulement à une appropriation des objets et des paysages. Son audace immense se trouve excusée par l’aspect mystérieux qu’il entretient autour de l’objet sur lequel il travaille. Il arrive à créer une connexion spéciale qui fait penser a une sacralisation : il transforme de façon à mettre en valeur et non pas à dénigrer. Il laisse au site toute sa grandeur, le reformulant sans continuer de le respecter.

Christo cache : il fait des empaquetages aussi bien d’éléments de faible dimension, dans un premier temps, que la dissimulation et l’emballage, par la suite, d’architectures considérables comme le Pont-Neuf à Paris et de paysages entiers. Empaqueter - modifier - enrober - détourner - effacer sont autant de verbes qui justifient la problématique de Christo. L’aspect tactile, l’occultation des volumes, la fragilisation de cette peau tendue sur l’objet nous font percevoir différemment ce qui était avant très banal.

L’acte d’appropriation de Christo prime le résultat et les interventions picturales sont totalement évacuées. Les œuvres deviennent des “actions” face à une réalité qui est elle-même une œuvre d’art et dans laquelle il suffit de puiser pour en extraire une parcelle signifiante et expressive.

Asphyxiation, 2012

Christo, s’approprie des lieux avec son acte d’emballage. Il amène le spectateur, par le biais de la toile, à regarder ce qu’il a déjà vu, à regarder le réel revisité. Si, lorsqu’il emballe un monument, Christo l’enveloppe de mystère, il le restitue aussi au public dans un paquet cadeau et de ce fait lui donne de la valeur. Il se rapproche du travail de l’architecte en donnant une nouvelle dimension à quelque chose de trop connu. Il bouscule les habitudes et redonne un essor au sujet. Un rapport singulier est installé entre l’artiste et sa « toile » et le travail qui en ressort témoigne clairement d’un sens du respect profond.

http://www.laboratoiredugeste.com/spip.php?article27http://christojeanneclaude.net/

michaelargov

Michael Argov, born as Michael Zinger, in 1920, Vienna, to a family of Zionist

marchants, who moved to Berlin in 1929. On 1933 the family imigranted to Palestine

and sattled in Haifa. On 1942, As his interest in art grows, he studied in Avni Studio, the major art center in Tel Aviv, where he meets Yehezkel Streichman

who was to have a significant influence on Argovs’ work. 1945- Argov leaves the Avni

Studio and moves to the Streichman art studio - where he helps with administration

and spends most of his time painting out of the studio. On 1947 Argov presents

hid one-man show receiving enthusiastic reviews.

One of his works was acquired by the Tel-Aviv Museum. On that same year he leaves for Paris and studies at the Ecole

des beaux-arts, specialising in fresco painting. 1948s’ independance war in

Israel, drows him back to serving as an intelligenc officer in the Navy.In september,

as he was released from military service, he returns back to Paris to complete his

studies. While staying in Paris he became very much involved with the Artistic

scene and on 1951 he holds a one-man exhibition evokes possitive reactions.

1952- receives first prize of paintings from Deauville in the composition category. A

year later he presents his second one-man exhibition, again, highly praised. in

that same year he participated in an Israeli artists exhibition in Paris and wins the 2nd

prize. 1955 wins the Othon Friesz Prize. from than onwards, he participated in

many other group exhibitions, and one-man exhibitions, spending most of his time in Paris and in Israel. argove was drawn at first to a decorative and flattened synthesis

of Matisse and Buffet, but, later, in time, he had immersed himself in material-lyrical abstract full light , later switching to shape

formats of geometric abstract employing novel materials. From 1977, he served as chairman of the national committee of the

Artists Association in Tel Aviv, and within this framework, he tried to alter the public

status of the association. Argov died in 1982 after a heart operation.

http://rogallery.com/Argov/argov-bio.htmlhttp://www.picnicmagazine.net/

untitled series, 1970-1972

martinogamper

The Process of Making One Hundred Chairs by Martino Gamper

I didn’t make one hundred chairs just for myself or even in an effort to rescue a few

hundred unwanted chairs from the streets. The motivation was the methodology:

the process of making, of producing and absolutely not striving for the perfect

one. This kind of making was very much about restrictions rather than freedom.

The restrictions were key: the material, the style or the design of the found chairs and the time available — just a 100 days. Each

new chair had to be unique, that’s what kept me working toward the elusive one-

hundredth chair.

I collected discarded chairs from London streets (or more frequently, friends’

homes) over a period of about two years. My intention was to investigate the

potential of creating useful new chairs by blending together the stylistic and

structural elements of the found ones. The process produced something like a

three-dimensional sketchbook, a collection of possibilities. I wanted to question the

idea of there being an innate superiority in the one-off and used this hybrid technique

to demonstrate the difficulty of any one design being objectively judged The Best.

I also hope my chairs illustrate — and celebrate — the geographical, historical and human resonance of design: what

can they tell us about their place of origin or their previous sociological context and even their previous owners? For me, the

stories behind the chairs are as important as their style or even their function.

I wanted the project to stimulate a new form of design-thinking and to provoke

debate about the value, functionality and the appropriateness of style for certain

types of chair. What happens to the status and potential of a plastic garden

chair when it is upholstered with luxurious yellow suede? The approach is elastic,

highlighting the importance of contextual origin and enabling the creative potential of random individual elements spontaneously

thrown together. The process of personal action that leads towards making rather

than hesitating. Taken from the book 100 Chairs in 100

Days, published by Dent-De-Leone, 2007.

http://martinogamper.com/project/a-100-chairs-in-a-100-days/

http://www.picnicmagazine.net/

100 chairs in 100 days, 2007

tillmankaiser

Born in 1972 in Graz, Austria. Lives & works in Vienna.

http://www.honorfraser.com/?s=artists&aid=9

http://www.picnicmagazine.net/

Big Raushole, 2007

Flies, 2007

Maggot Dream, 2007

Halluzination Engine (Paravent), 2006

AndersKristar

Anders Krisar is a swedish artist currently based in stockholm, his work deals with a variety of subjects including the human body. in his recent body of work, krisar has concentrated on photography and sculptures, especially modified faces and body parts. in this series of piece you can see how he takes realistic casts of the torso, arms or face and modifies them in ways that lend them a surreal quality. there is the basket weaving of skin in ‘cuirass’ a commentary on leather goods, and ‘the birth of us (boy)’ a young man’s torso with hand prints firmly embedded in the skin.

http://www.anderskrisar.comhttp://acidolatte.blogspot.nl/2010/07/anders-krisar.html?zx=b93e7172387ecded

Cuirass (front), 2005

OronOhayon

israeli designer oron ohayon has sent in images of his project ‘MDFO’, experimenting with MDF and hot water. he produced 3 pieces of furniture that are made from MDF, wrapped with a flexible coating that swells with the board. the table legs were inserted into the table board corners then dipped in hot water. both the chest and shelves wereproduced using the same technique.

http://www.designboom.com/weblog/cat/8/view/7390/mdfo-mdf-experiments-by-oron-ohayon.html

MDFO, 2012

MDFO, Corner Detail, 2012

MDFO shelf, 2012

The making of MDFO, 2012

MDFO, Corner Detail, 2012

AndersKristar

Copenhagen-based studio iskos-berlin (aleksej iskos and boris berlin) has designed the ‘bunny chair’ for danish manufacturer normann copenhagen. the furniture piece is an interpretation of the classic ear chair, its enveloping form embracing whoever sits within it. the cheeky, sybaritic design is emphasized by tightly-strapped strings that are wrapped around its soft, upholstered body.‘we have always felt that the ear chair has somewhat been forgotten as a style of furniture. most people associate it with grandpa sitting with his newspaper or with granny and her knitting. it was therefore exciting to reinterpret the chair in a fun way, with recollections of the cute cuddly toys we had as children and of the soft ‘bunny’ now also for adults!’ - boris + aleksej of iskos-berlin

http://iskos-berlin.dk/bunny/http://www.designboom.com/weblog/cat/8/view/18742/normann-copenhagen-

Bunny Chair, 2012

Bunny Chair, rope detail, 2012

JohnCoplan

En se prenant lui-même comme modèle, John Coplans choqua par ses photographies d’une nudité inattendue, dans les années 1980. Aujourd’hui exposé à la galerie Anne de Villepoix, le photographe livre son corps à l’objectif, en présentant à nouveau ses premières séries d’autoportraits Self portrait, réalisées entre 1984 et 1988.

Le corps anonyme et tronqué, telle est la vision personnelle de John Coplans. L’œil du visiteur glisse sur le papier photosensible comme l’air sur la peau tachetée de l’artiste lui-même. Malgré ses soixante-cinq ans, il n’hésite pas à jouer de sa chair, de ses articulations, pour produire chez le spectateur une forme d’intimité à partager avec lui-même. Les plis et replis de noir et de blanc deviennent les vagues d’une mer laiteuse, constellée de grains de beauté et autres imperfections qui confèrent à chaque photographie une sensibilité honnête. Capté de manière frontale, le corps de l’artiste est aussi le lieu de la déformation. En effet, comme aurait pu le faire John Baldessari, Coplans joue de la malléabilité de ses chairs et de ses organes, génitaux ceux-ci, en les étirant, les froissant. Le caractère sexuel n’est alors plus indécent, ni brutal mais proche d’une certaine forme d’acceptation de l’âge, du temps, qui, parfois grotesque, ramène l’adulte vers l’infantile. De plus, puisque dépossédé d’identité (par l’absence de figure), le corps ici photographié peut être (ou devenir) celui auquel songent chacun des visiteurs. La communication, le transfert s’opère alors entre l’image et le témoin de celle-ci. En observant le corps de John Coplans, le visiteur est moins voyeur que confident.La familiarité se dégage peu à peu de ses membres, en évitant cependant l’auto-contemplation. Il semble aussi que la photographie prenne un rôle introspectif dans l’œuvre de l’artiste, qui tente à travers le regard de l’autre, de mieux saisir la globalité de son propre corps. Rappelant les anatomies désarticulées et tortueuses que photographiait volontiers Hans Bellmer à travers ses séries sur la poupée, les œuvres de Coplans traduisent une architecture des corps, une codification des attitudes que ce dernier s’attache à brouiller.Pourtant, tout reste lisible. On reconnaît bien les coudes et autres membres anguleux du corps, qui prennent leur source dans une sorte de quête anthropologique. John Coplans,

Self Portrait, 1984

s’emploie “à une sorte d’archéologie qui transcenderait le temps et retournerait aux origines premières de l’humanité” affirme-t-il. Ainsi se dressent au cœur de sa démarche une mise à plat, une certaine démonstration où la vanité, la sculpture académique, la peinture héroïque et les nombreuses odalisques s’emparent du corps-sujet.Faisant face à l’œil du spectateur, sans vraiment le convoquer, John Coplans laisse sa morphologie parler, divulguer l’ « autre » à sa place. Ses mains et ses bras se substituent aux mouvements de ses lèvres, poings serrés, coudes arqués, pour énoncer l’histoire d’un corps commun à tous, où la peau devient parchemin et ses gestes les paroles d’une vie..

http://www.pixelcreation.fr/graphismeart-design/photographie/john-coplans/http://www.mocp.org/collections/permanent/coplans_john.php

EmilAlzamora

Emil Alzamora’s figural sculptures challenge our conceptions of the classical body. At once beautiful and grotesque, his figures writhe sensually in space, seeming to defy gravity as limbs extend and contort beyond their natural limits. Alzamora works primarily in gypsum and bronze, creating unorthodox forms that range from brobdingnagian and life-size to miniature.

http://www.emilalzamora.com/http://www.karinsanders.com/AlzamoraBio.htm

Voluptuary, 2008

Orlan

Dans le décor gothique de la salle des religieuses, trois sculptures de plis s’inscrivent dans la filiation du travail d’ORLAN sur le drapé baroque. Remix d’oeuvres historiques, ces trois sculptures - ressemblant à des robes et dont l’aspect de surface diffère - soulèvent la question de la copie et du clonage, de la différence et de la répétition. Simulacres de l’hyper luxe, elles relient les époques et la permanence des représentations ; le corps absent est à la fois celui des religieuses ayant séjourné à l’abbaye, de l’artiste et des mannequins se produisant dans les défilés de mode.

http://www.orlan.net/download/ORLAN_MAUBUISSON_DP.pdf

Sculpture de plis, 1983-2008

GiuseppeSanmartino

Giuseppe Sanmartino doit principalement sa renommée à une sculpture en marbre appelée Le Christ voilé réalisée en 1753 pour la Cappella Sansevero, connue aussi sous le nom de Pietatella.

Chef-d’œuvre de la sculpture européenne du xviiie siècle, la statue représente le Christ qui gît inanimé sur un matelas avec la tête posée sur un coussin. Son corps admirablement voilé de marbre (d’où son nom), rendu léger comme de la soie, est saisissant de réalisme. Le magistral rendu du voile, que l’on doit à la virtuosité de l’artiste, a donné aux cours des siècles naissance à une légende selon laquelle le prince commanditaire, fameux scientifique et alchimiste Raimondo di Sangro, aurait enseigné au sculpteur la calcification du tissu en cristal de marbre.

Sanmartino eut une longue et féconde carrière. Parmi ses dernières œuvres se distinguent le groupe avec Saint Augustin qui écrase l’hérésie à l’église Sant’Agostino alla Zecca selon un dessin de Ferdinando Fuga, le monument de Ferdinand Ier, fils de Charles III, dans la basilica di Santa Chiara. Ses dernières œuvres connues sont les anges et les têtes ailées, en marbre, de l’église San Lorenzo delle Benedettine à San Severo, dans les Pouilles, sculptures qui remontent à 1793 et qui sont partie intégrante de trois importantes autels marmoréens projetés par son frère Gennaro, architecte et ingénieur royal.

Giuseppe Sanmartino fut aussi actif comme sculpteur de figurines pour les crèches de Noël. Quelques unes d’entre elles sont exposées au Museo di San Martino à Naples.

http://fr.wikipedia.org/wiki/Giuseppe_Sanmartino

Voluptuary, 2008

Cristo Velato, 1752

KevinFrancisGray

Kevin Francis Gray (b. 1972) is a London-based sculptor working in cast resin, bronze and marble. His works merge classical forms of old masters with a gritty, urban aesthetic. Figures cloaked in modern-day street wear are given a meditative, somber quality. Gray’s sculptures project a sense of nobility and admiration for an often marginalized and consciously melancholic inner-city youth subculture.

http://haunchofvenison.com/artists/kevin_francis_gray/

Tomb, 2008

TaraKeensDouglas

Trinidadian architect Tara Keens Douglas presented a series of carnival costumes made from folded paper and twisted rope as part of her masters thesis.The Ecstatic Spaces collection is based on the process of transformation that masqueraders experience at a carnival.The four costumes are described as four operations: appropriation, exaggeration, submersion and sublimation.Keens Douglas says the costumes are “ephemeral architecture”, adding: “They temporally distort the true nature of the body.”

Last year she completed her Master of Architecture thesis at the University of Waterloo in Ontario, Canada.Other fashion collections we’ve recently featured on Dezeen include dresses inspired by a Japanese novel and garments made from translucent lambskin.

http://www.dezeen.com/2012/08/21/ecstatic-spaces-by-tara-keens-douglas/http://tkd.slackerzgroup.com/

Polyhead, 06.09.2012, 20:16

polyhead.tumblr.com

Polyhead, 06.09.2012, 20:16

Polyhead, 06.09.2012, 20:16