Making a Beautiful Beat by Buci

SAND&SOAP by Claudio Parentela

Born in Catanzaro, Italy (1962) Claudio Parentela lives and works as an illustrator, painter, photographer, journalist, and much more..

nickeays x vngnc

E.V.E: data leak reveals collective consciousness current state of brain rot 🧠

Wax Casting with Isadora Vaughan by ACCA Education

ACCA Art Kitchen #1: Wax Casting with Isadora Vaughan is the first in our new series of artist-led video workshops that aim to give educators and students insights into a particular technique and the thinking process of each artist featured. In this workshop, artist Isadora Vaughan demonstrates an economical and highly adaptable process for creating sculptural forms through wax casting. Vaughan talks students through the process, with key vocabulary highlighted throughout. Students have the opportunity to hear directly from the artist and discover how the wax casting process aligns with core concepts that guide her creative practice. Vaughan’s process highlighted in this workshop has also informed her contribution to ACCA’s forthcoming exhibition 'Overlapping Magisteria: The 2020 Macfarlane Commissions'.

Artist Walkthrough with Paul Yore: WORD MADE FLESH

'Paul Yore: WORD MADE FLESH' is an extensive survey exhibition encompassing the full scope of the artist’s work, including appliquéd quilts and needlework, banners and pendants, collage and assemblage, and large-scale mixed media installation. The exhibition, which continues ACCA’s contemporary Australian solo series, is constructed maximally as a 'gesamtkunstwerk', presenting work over the past fifteen years, alongside a major new room-scaled sculptural installation developed especially for the exhibition. Curators: Max Delany, in collaboration with Devon Ackermann and Paul Yore Advisory note: This exhibition contains adult content of a sensitive nature. Viewer discretion is advised. Some parts of the exhibition also contain flashing lights and sound. Video produced by Gatherer Media

STANIAK in Ca'n Vivot

Michael Staniak: Wall art Michael Staniak's work, at first glance, lends itself to misunderstanding. The seemingly abstract compositions, dominated by vivid color gradients, seem to tell a story of the digital world, about the flat surface of the screen and the frivolity of our lives on social media. The work of the Australian artist (born in 1982 in Melbourne) is often identified with Post-Internet art, a term that was released in the early 2010s to identify the work of a group of young artists whose works denote a profound influence of the content they consume on the web. Although Staniak fits this label, both generationally and at the level his dominant aesthetic, as well as himself acknowledging the influence of this fleeting and controversial artistic movement, other deeper references cast a new light on his work. “I am part of the generation that went from primitive computers, with black screens covered in green text” says the artist, “to the hyper-digital world we live in today.” Discovering the possibilities of image editing programs like Photoshop transformed his perception of what could be created with a computer, despite the limitations of early graphical interfaces and primitive drawing programs like MS Paint. His attention, however, soon focused on color, specifically electric blue, which is established as the normative color to designate hyperlinks on a web dominated by texts and with very few images, due to bandwidth limitations. of telephone connections. His painting is thus characterized by the prominence of color, in monochromatic compositions or with subtle gradients of two or three tones. Although these expanses of color are not flat, as might be expected from an artist trained in front of the screen and who, by his own admission, identifies his compositions with the filters of image editing software, so characteristic of the work of other artists such as Cory Archangel or Artie Vierkant. In the practise of Michael Staniak, some enigmatic textures are imposed that prevent us from detaching ourselves from the materiality of the pieces and produce a visual effect that, being contradictory, is shockingly revealing. “I have created most of my work with the intention that there are two ways to see it: in person or on a screen. When people who attend the exhibition see the pieces, they assume that they are flat, and that the texture is an effect of the software used. However, when you see the same pieces on a website, they immediately look like paintings with a physical texture to which pigments have been applied.” Staniak finds in this reverse trompe l'oeil an example of how the consumption of content on the Internet has transformed our perception of images, which can be more illusory in real life than on a computer screen. This contradiction has also marked the way in which the artist has observed his own work from the point of view of digital culture, ignoring the influence of his surroundings and the cartographic aspect of his compositions. If we consider these paintings as aerial views instead of screens, the textures that emerge from them take on new meaning that brings us closer to the notion of landscape. The shape of the sculpture itself is significant, since it is a 3D scan of a cave wall. Staniak says he is fascinated by cave paintings and how they constitute a first way of recording mankind’s own existence and belonging to a community, something that links our online presence and our digital selves on social networks. With this huge time jump we come to the disconcerting presence of Michael Staniak's work in the patio of Ca'n Vivot, a sober, cavernous and stately space transformed by brightly colored pieces giving it an illusory appearance. In this particular context, the paintings and sculptures acquire a renewed force by escaping from the white cube and impose their presence in a stylized urban cave that they occupy just like parietal art of the Internet age. "For me, the Internet is more of a mirror than a window," says the artist, "what we see is a reflection of our interests and our personality, a mental mirror." With its reflection multiplied by the mirrors on the pedestals and the wall sections that house the works, the courtyard of Ca'n Vivot, which once served as an interface between public and private life, is once again transformed into a meeting point between two realities. Pau Waelder filmed this in Ca'n Vivot, Palma, Spain. March 2022

Esther Stewart at Heide Museum of Modern Art

UnravelingResonance

A wildly bizarre and hallucinatory film that catapults you into the absurd day in the life of a few orchestra members. Brace yourself for a journey through a dimension where melodies warp, reality distorts, and the laws of physics unravel like a twisted knot. In this bewildering dystopia, the musicians find themselves trapped in a symphonic nightmare, where harmonies turn into cacophonous nightmares. Witness their desperate struggle to maintain sanity as their instruments transform into sentient creatures, conducting themselves with a life of their own. Prepare to be astounded as the orchestra members navigate through surreal landscapes, battling surreal adversaries like giant metronomes and rebellious sheet music.

Blockade Line by Johnson Tsang

Parasite in Paradise | uglysiumai

Parasite in Paradise is a holiday advertisement reflecting on the materialism in ritual practice. In Chinese culture, Zhizha (紙紮) is used in ancestral worship to ensure that the spirit has sufficient needs in the paradise. Zhizha are usually substitutes of basic necessities such as shelters, transportation and food. As materialist culture took over China, Zhizha became more extravagant. This animation questions whether we should bring materialism to the afterlife.

Ego Speech: never enough

P TO P

“Perhaps besides San Fransisco, Rio or Cape Town, not many metropolises have the geographical attributes of an urban downhill like the crusty slopes of Hong Kong. Join the journey from Peak to Pier with Xander Yeadon being chased by Patrik Wallner and his trusty VX1000 on this project for Victoria hk 🇭🇰🏔⛴