We were lucky enough to be at the right place at the right time last week end to see Shepherd Fairey and his team at work. The team worked on a huge piece which we went and see again today. Enjoy the pictures below.
Sheperd Fairey’s “Sound and Vision” show opens this Friday at Stolen Space by the way… And it looks like to be one a kind.
The final piece
“It is undoubtedly continuity which defines the compossibility of each world; and if the real world is the best, this is to the extent that it presents a maximum of continuity in a maximum number of cases, in a maximum number of relations and distinctive points.” Gilles Deleuze
This quote by Deleuze is a very complex statement on a very natural state of continuity and it is a state we are becoming readily familiar with through social media communication. Simply put, at the centre of each ‘world’, which is each of us, is collected a series of things (perceptions, object, memories, experiences etc.) which expands in all directions colliding and mingling with other worlds, (everyone else). This mingling is compossibility and we are fast becoming experts in it without really realising it.
This statement also suggests that our perceptions now are being formed by more than direct sensory experiences but also by data input in a compossible world, a world we don’t actually experience first-hand, but by proxy through the experience of others. The trouble with this is we are easily fooled, as discussed in ‘How fake images change our memories and behaviour’ by Rose Eveleth for the BBC’s Future magazine.
In my interview with Sandra Crisp, Memory Surfaces, I asked her about the implications of Deleuze’s statement:
JB: “It is undoubtedly continuity which defines the compossibility of each world; and if the real world is the best, this is to the extent that it presents a maximum of continuity in a maximum number of cases, in a maximum number of relations and distinctive points.”[1] This quote by Gilles Deleuze from Difference and Repetition suggests it’s a collective consciousness in perception which allows us to comprehend our world, do you feel our digital age helps or hinders our sense of continuity (memory) and ultimately our sense of self when information appears and disappears so rapidly online? Is it possible this rapid change in information thrusts us back into the ‘truth’ of physicality?
SC: What we have online at the moment is the continuous and rapid shift of information: Text, images, video and even entire web pages suddenly appearing then disappearing. Deletions with no warning – error 404 messages: ‘Page not Found’. Continual updates; all these create a sense of fragmentation and impermanence, and discontinuity. Printed books in the physical world are fixed and unchanging, we can rely on their information stability, each time we take them from the shelf they are the same as before. So this state of information transience is very much a modern phenomenon connected to the information age. In the past, a shift from oral to book cultures required people to process information differently; today many people now communicate and receive information via TV, radio, and Internet, electronic media rather than books. Therefore, I am not sure that any more ‘truth’ can be said to reside in the physical world than virtual, that this is any more contiguous. As with any new technology, it will change us and we need to learn how to use such new communication media wisely, to adapt to the apparent discontinuity, to interact with, and process the information bombarding us in meaningful ways. At the moment digital online communication is nascent, we are living in really interesting times where things are still developing. At the moment it may thrust us back into the continuity of the physical world but eventually in the future it may not.
You can find this exchange with Sandra in the full version of our interview, available in the This ‘Me’ of Mine companion book. Find out more about the book on our blogsite. Read our excerpted interview here.
[1] Difference and Repetition, Giles Deleuze, Continuum Books, 2004, pg.58
Here is the second set of selected works from this year’s London Art fair which for the sixth year includes Art Projects, now a major part of London Art Fair.. 31 Galleries feature emerging artists and new work.
Established as one of the most exciting sections of the Fair, it features solo shows, curated group displays and large-scale installations with galleries from across the world. Pryle Behrman has worked on Art Projects as curator since its inauguration in 2005. Continue reading London Art fair – in its 23rd year but still going strong, part2
Remi/Rough and Steve More are leading a new school of post-graffiti artists and this will be the first UK exhibition to showcase the movement.
A is an exhibition at the forefront of an urban abstract movement whose roots come from a time before the hype of street art. Interest in this movement is steadily gaining momentum and Remi/Rough and Steve More are amongst its finest exponents. Continue reading Remi/Rough and Steve More at Blackall studios: urban abstract
Slinkachu takes figures from miniature train sets and painstakingly modifies them so that they can be used as part of his almost invisible world.
He creates comical, satirical and sometimes slightly dark scenes with these figures, places them all over the world, shoots them with spectacular quality and then leaves them to become part of the scenery.
The first of this series was “the little people project” the photos were formed into a lovely little hard cover book produced in 2008. I purchased a copy of it and was suitably impressed with the content and quality of print.
This left us very excited for the new show “Concrete ocean”, hosted by the Andipa Gallery in South Kensington. It had been two years since Slinkachu hosted a show in London and when it comes to most artists after such a period of time you would expect to see significant progression in their body of work. This however was not the case with the Slinkachu show, but it really didn’t matter. The gallery was laid out with huge high quality prints showing the detail of the characters and the photographs almost bring them to life. The large prints were accompanied by very small location shots to show you just how much they disappear into their surroundings.
Andipa Gallery is a large space located in a very upper class area, totally different to the Hackney / Shoreditch spaces we are used to attending, yet it seem more than suitable for this body of work, it was extremely well organised and the 3d installations were well spaced so you could appreciate the minute detail.
It would come as a surprise to us if this show did not make you smile, laugh and sometimes feel just that little bit sad.
Check out our huge collection of shots from the evening here:
Sweet Toof and the Burning Candy crew as a whole (Sweet Toof is part of it) are heavy-weight champions when it comes to street art in London. If you have ever wandered around East London, you must have come across these ‘bubble-gum’ faces with protuberant teeth characters always bursting with flashy colors but this is not what it is about here or not quite. Continue reading Sweet Toof at ARCH402 gallery: have a mouthful of it!
I have been looking forward to this new exhibition by the guys at Gazelli Art House, not just because of the promising line-up of artists but also about the venue this show is held at – Rochelle school. This is one of those venues any artist would love to have at disposal for shows – it is on two floors, airy, high ceilings, great light, several rooms. It just works for art shows and shall leave up to the expectations for this show which is installation based sculpture focused.
‘Air I breathe’ is the 4th show of a series of 5 exploring the classical elements, and in particular the contradictory nature of air.
Mila Askarova, curator of this show and founder of Gazelli Art House has gathered top talents for this show and John Wynne’s sound installation(whose speaker installation in Saatchi’s ‘Newspeak’ exhibition was critically acclaimed) will resonate throughout the venue . Hyper-real sculptures of people from the duo Little Whitehead (AKA Craig Little and Blake Whitehead) will also provoke reactions
Add to this, Kate Terry‘s work of dramatic, tense, thread installations and Yoonjin Jung‘s site-specific installations marrying oriental painting with a desire to explore the idea of ‘Seeing the Unseen’ and you know you will be up for a fine evening of must-seen art.
PV 8/9 6-9pm | Show: 9 till 7/10/11
Rochelle School, Arnold circus, London E2 7ES
RSVP at RSVP@GAZELLIARTHOUSE.COM
Here Today, Reflections on and Remnants of the Past, is the new show at The Outside World gallery, London.
This show should bring its lot of surprises and wonders, from neon artwork to box installation, everybody should find something to their taste and liking. Continue reading Here today at the Outside World gallery
What Nikita Nomerz needs to make his art are walls but not just any wall. His preference goes towards dilapidates ones with broken windows or any sort of holes which he will use in his compositions often depicting a laughing face.
Along a few pictures of his work, I have included below a time lapse video which shows Nikita Nomerz painting one of his now recognizable face somewhere in Russia
He says: “I started in school with classic hip hop graffiti but became more interested in street art and began all sorts of experiments. Now basically I like to play with space and objects. I am inspired by the place itself. I love watching the city and finding an interesting point. Usually I do not spend so much time to create one work, sometimes less than an hour. But it all depends on the size of the object and my ideas. (source: The Telegraph)
Liu Bolin is a Chinese artist who studied art (Bachelor of Fine Arts in 1995 and Master of Fine Arts in 2001). He exhibited on a few museums and galleries around the world but what caught my attention are his “Hiding in the City” series; photographic works that began as performance art in 2005 and which has given him the nickname of “The Invisible Man”
These series was a direct response/reaction to the destruction of his village – Suo Jia, by the Chinese government in 2005. Obviously affected by this event, Liu decided to use his art as a means of silent protest, calling attention to the lack of protection Chinese artists had received from their own government. Through the use of his own body in his practice of painting himself into various settings in Beijing, Liu created a space for the Chinese artist, preserving their social status and highlighting their often troubled relationship with their physical surroundings.
