IDEAS FACTORY | ORIGINAL THOUGHTS
IDEAS FACTORY | IDEAS
IDEAS FACTORY | definition of futurism
Concern with events and trends of the future, or which anticipate the future.
An artistic movement begun in Italy in 1909, which strongly rejected traditional forms and embraced the energy and dynamism of modern technology. Launched by Filippo Marinetti, it had effectively ended by 1918 but was widely influential, particularly in Russia on figures such as Malevich and Mayakovsky.Oxford Dictionaries | English. (2017). futurism | Definition of futurism in English by Oxford Dictionaries. [online] Available at:https://en.oxforddictionaries.com/definition/futurism
Futurism, the first avant-garde moment of twentieth century, was founded in Juanary 1909, in Milan, by the writer Fillippo Tommaso Marinetti. It was neither a school of painting nor of literature, but a revolutionary moment whose aim was to create a new sensibility and a new approach to the world in general and to art in particular.
Cubism + Futurism = Cubofuturism Didier Ottinger
Les Demoiselles d'Avignon, 1907
Luigi Russolo The Revolt 1911 abstracted figures pulling chevron shapes with grid-like patterns behind
What the Futurists proposed instead was an art that celebrated the modern world of industry and technology: 'We declare … a new beauty, the beauty of speed. A racing motor car … is more beautiful than the Victory of Samothrace' (the celebrated ancient Greek sculpture in the Louvre museum in Paris). From an original blend of elements of Neo-Impressionism and Cubism, the Futurists created a new style that expressed the idea of the dynamism, energy and movement of modern life. The chief artists were Giacomo Balla, Umberto Boccioni, Carlo Carrà, Gino Severini and Luigi Russolo.
Dynamism of Bodies in Motiont
The Futurists were particularly excited by the works of late 19th-century scientist and photographer Étienne-Jules Marey, whose chronophotographic (time-based) studies depicted the mechanics of animal and human movement.
Giacomo Balla, Dynamism of a Dog on a Leash, 1912, oil on canvas, 35 1/2 x 43 1/4 " (Albright-Knox Art Gallery, Buffalo)
Futurism and Fashion
Menswear – Mugler SS12
Gareth Pugh – AW11/12
Giacomo Balla is remembered as the founder of Futurist Fashion with his two collections ‘Futurist Manifesto of Men’s Clothing’ of 1914 and his ‘The Anti-Neutral Clothing: Futurist Manifesto’ where he experimented with volumes, density of material and animated objects incorporation with his clothes. He was influenced by the breakthrough of speed in society and further added speed and movement to his clothes by separating the body into fractions and dressing each part in fabric and lines which allowed the body free movement. He hoped that the speed lines and colours of the fabric would influence the individual to become a model of dynamism.
The idea of how clothing and the body will work together in the future is a fascination in the Fashion industry. Designers and artists are still inspired by Balla’s idea of shaping and moulding the body into different shapes and this idea has explored throughout the twentieth century and into the modern day. Designers such as Jean Paul Gaultier have developed this idea of speed and movement in the body by creating clothes as a ‘second skin’. For his Autumn/Winter collection of 2003 he designed body suits including one outlining the body’s arteries. The way in which clothing is laid onto the body has developed dramatically since the start of the twentieth century and will continue to change as society changes and adapts into the future.
What Is the Future of Art?
The 89plus project which I co-founded and co-curate with Simon Castets investigates the first generation to have grown up with the internet—a generation that currently makes up half of the world’s population, and whose voices are only now beginning to be heard. The project is not about predicting or creating the future, but rather about bringing practitioners in different fields together through panels, books, periodicals, exhibitions, and residencies to share their insights and ideas. Thousands of artists across the world have answered our open call, uploading information about their respective projects to our platform. Since we started in 2013, we have conducted onsite research in Singapore, Rio de Janeiro, Hong Kong, Mexico City, New York, Zürich, Stockholm, Dubai, Madrid, and Cape Town, among others, creating public panels out of our conversations with local practitioners.
The future will be...grains, particles & bits. The future will be...ripples, waves & flow. The future will be...mix, swarms, multitudes. The future will be...the future we deserve but with some surprises, if only some of us take notice.
IDEAS FACTORY | hide
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Mask: I believe this is an image of Jean Cocteau, but can't confirm it.
Jason Bear Durbin
When I saw these art work ,I felt like it was resemble to the melting progress of ice, and the circle is chronic and permanent, which is very intriguing.
FINE ART | Collection
Gas tanks, 1983 - 92 by Bernd and Hilla Becher
Hilla Becher put in a rare appearance at Paris Photo last week. The German artist, one half of one of the most important photographic duos in modern times, was taking part in Paris Photo Platform, a series of talks and discussions organised by MoMA's photography curator Roxana Marcoci, and helping oversee her two-part exhibition at the Grand Palais, covering the lifetime of work she undertook with her late husband Bernd who died in 2007.
The couple photographed all manner of industrial buildings, dubbing the gas holders, blast furnaces and water towers "anonymous sculptures" as they rendered each of them stark yet beautiful in large-format black and white prints.
"We didn't really see it as artists, we saw it as something like natural history," Becher says. "So we also used the methods of natural history books, like comparing things, having the same species in different versions. The Typology is nothing but comparing and giving it a shape, giving it some sort of possibility to be looked at otherwise it would just be heaps of paper."
Winding Towers, 1966-97, by Bernd and Hilla Becher
The White Chapel Gallery
Akram Zaatari, The End of Love 2012 [detail], 48 framed black and white inkjet prints on silver rag paper. Scanned from 4 × 5 inch negatives from the archive of Hashem El Madani, Studio Shehrazade, Saïda, 18 × 11.7 cm each. Image courtesy of Akram Zaatari and Sfeir-Semler Gallery, Hamburg / Beirut
In 2012, Akram Zaatari (b. 1966, Lebanon) brought together a collection of 48 portraits, including brides and grooms, taken by Hashem el Madani in the 1960s–70s at the Studio Shehrazade in Lebanon in The End of Love (2012). Lending its name to the title of the show, these images mark an important moment of transition in family lives but also of the private image into the social archive.
Contemporary portraiture – both real and imagined – and the relationship between self and other, or between artist, sitter and viewer, is further explored by nearly 30 international artists alongside Zaatari in this display.
GCD | Poetic Cardboard
Don't play with your food: At the Carpet Shop (1979) by Peter Fischli and David Weiss. Photograph: Courtesy Galerie Eva Presenhuber,Zurich.Spruth Magers Berlin London,Matthew Marks Gallery
Fischli and Weiss' THE POINT OF LEAST RESISTANCE
Installation view, 'Roman Signer. Installations', Dundee Contemporary Arts, Dundee, 2015
Kayak with rubber, 2015
Kayak, rubber band, rope, candle
Installation with wooden beams, 2015
Metal ladder, two rubber boots
RCA MA 2013 Show Studio
For Them Danny Treacy creates elaborate sculptural costumes from found clothes, he proceeds to wear the costumes and then photographs himself. What makes this project so interesting is the manner in which the clothes are gathered, the way they are constructed, the precise forensic way in which they are recorded and the uncertain narrative that is presented to the viewer. The clothes are discarded items scavenged from ‘fertile grounds’, they are the residue of incidents and accidents somehow lost along the way and they are imbibed with the imagined and sometimes witnessed energy of the previous owner. Back at his studio the artist intimately examines the clothes and dissects them. Treacy deconstructs and reconstructs the items putting aside their previous functions. He covers his body, dissolving into the fabrics. It is during this process – which could be called transfiguration – that the characters take shape. This practice, part performance, part experiment leads to the creation of fantastical creatures. The final pieces are captured using a large format camera, printed life-size every detail is laid bare in the sumptuous prints, from bloodstains to burns, from rips of passion to oily marks the real stories can only be imagined. The soiled underbelly of society is exposed with each figure held within the frame of a photograph, the viewer is safe to indulge and to fantasize, only to realize that we are Them and Them are us. – Rise Gallery, Berlin, 2012.
Diana Vreeland – ‘The Eye Has to Travel’ Directed by Lisa Immordino Vreeland
Balenciaga SS17 campaign, Photography Harley Weir, Set Design Gary Card
To call Gary Card a polymath seems too serious. It's true that his talents encompass many disciplines - think set design, illustration, sculpture and now zine-making - but the term neglects to acknowledge the unabounding and joyful creativity that characterises his work. Amongst Gary's impressive and diverse portfolio is the set for recent Balenciaga campaigns - including the one with the logo carpet, and the fetishistic images with draped mauve and red curtains, the pink-painted cardboard monsters from Charles Jeffrey LOVERBOY's riotous SS18 show and the headpieces from Comme des Garçons SS12 collection. For his latest project, Gary Card has turned his attention to zine-making, spurred on by the liberation that comes with working without a brief. We caught up with him to talk Happy Breakfast, dream collaborations, and the weird things we can find in his studio..
Peotic My thoughts
3DDA | WEAR IT suspend, support, surround
Maria Nina Vaclavek
These rectangular shoes by student designer Maria Nina Vaclavek play on the contrast between geometric forms and the curving shape of the wearers feet (+ slideshow).
Maria Nina Vaclavek said that the process used to make her Rectangle shoes was based on the way early humans formed their primitive leather footwear.
Anna Maria Saar
her interest lies in creating ethereal adornments to the body. Environmental influences such as shadow, wind and gravity create an experience of wonder and bewilderment for the adorned. The form of her work itself can never be its sole feature as the extra element is always seeking to transcend the expectations of the wearer as part of the work.
is a multi-award winning fashion artist based in London's East End. She specialises in hand crafting one of a kind sculptures for the face.
Her work goes beyond the definition of jewellery and can be determined more as a 'new breed of precious objects'. It was her collection 'Animal: The Other Side of Evolution' which initially turned heads and earnt her high acclamation. The collection then went on to win Accessories Collection of the Year at ITS (International Talent Support), 2012 in Italy. Nowadays, creating something genuinely original in regards to fashion is a challenge because, 'hasn't everything been done already?' Ana Rajcevic is proving that there's a lot more to be discovered...
Iris van Herpen's Wilderness Embodied collection included dresses and jewellery that combine 3D-printing technology and natural forms.
"My Wilderness collection explores the wilderness that we as human have inside us as well as the wilderness in nature," she told Dezeen.
London architect and artist Daniel Widrig recently showed off Kinesis, his line of customizable 3D wearable sculptures at Design Miami. As implied by the collection’s name, the undulating curves of the lightweight 3D-printed sculptures create a sense of dynamic movement. Widrig’s also built his wearable collection based on 3D scans of the model’s body to make each piece a unique and expressive extension of the human form.
Playing with the ideas of fluidity and motion, she created jewelry pieces made of dozens of steel cylinders placed on nylon thread. Once put on a body, they are secured with a elastic polyethylene strand. The jewelry’s motions, much like that of a school of fish, “swim” with the movements of the body.
Jewellery as body architecture
Tulip Finger Between illustrates a piece created to fit into the bones structure in between fingers, which has the similar essence as fittings in architectural structures. It is a fixture on body.
Shoulder Ball Lense (2007), exhibited at “Out of the Ordinary, The Spectacular Craft” at the V&A Museum in London. As a response to the theme, Naomi created an installation presenting 10 parts of the human anatomy as jewels in their own right. Each body part is set into glass spheres, which effectively function as a lens to focus on extraordinary details of ourselves. Body gesture is also being controlled when the piece is worn. So as the ones with toes and heel.
Her most famous piece was a series of images showing her wearing large-scale neckpiece, with projected light lines shined on her. The photograph was taken by her husband David Ward, who established himself as an expressive photographic interpreter of body and performance oriented jewellery.
Wear It | IDEAS
Fashion and Textile | Your Data
The Chauvet Cave is one of the most famous prehistoric rock art sites in the world. Located in the Ardeche region of southern France, along the bank of the river Ardeche near the Pont-d'Arc.
In Silence, by Chiharu Shiota
After the Dream, Chiharu Shiota, 2011. Photo: Birmingham Museums & Art Gallery
The artist reveals...
...how lace is significant to their work
“I am more interested in the lines, which are often represented
in my work through black string. These strings are woven into each other, which can make it look a bit like lace, which is also intricately woven. The difference is that my strings are in a random pattern, whilst lace follows set designs and patterns”.
...the ideas behind the work
“My installations with clothes always refer to the clothes as a second skin, which carry the memories of the people who wore these clothes”.
Fashion and Textile | Your Interpretation
FINE ART | 4D project re-edit
Christian Marclay's "Telephones" (1995), a 7 1/2-minute compilation of brief Hollywood film clips that creates a narrative of its own. These linked-together snippets of scenes involve innumerable well-known actors such as Cary Grant, Tippi Hedren, Ray Milland, Humphrey Bogart and Meg Ryan, who dial, pick up the receiver, converse, react, say good-bye and hang up. In doing so, they express a multitude of emotions--surprise, desire, anger, disbelief, excitement, boredom--ultimately leaving the impression that they are all part of one big conversation. The piece moves easily back and forth in time, as well as between color and black-and-white, aided by Marclay's whimsical notions of continuity.
oliver pietsch - tuned
This two videos both record the different reactions of different people . Everyone has different motions and calling may lead cases. Through the record of people's expressions, how their eyes, mouths changes, the motions has been displayed maximumly. I really like the way it shows dramatically.
Turner Prize 2012: Elizabeth Price
the turner prize owner Elizabeth talks about how she makes her work and this really makes me think of how my video could be if I works with the sound and different images and video cutting.
Candice Breitz use existing footage from Hollywood films to compose dense psychological vignettes through editing. Across the displays, numerous manifestations of the same actoress (Streep) jostle with one another for prominence, collectively suggesting, in their sameness and difference, strong metaphors for the schizophrenic internal dialogue that takes place within the mind of a single individual.
Anyone's personality is hidden behind his expressions, his words ,his gestures and ect.
n CNN Concatenated, death is signified by a compulsive staccato montage of words, phonemes and pauses for breath sampled from ten thousand hours of images recorded from the 24-hour news channel, all uttered by male and female presenters who are substituted one for another, in one long chain of identical links. A meta-discourse of breath and words takes force rather form in this montage, which builds the anxious rhythm of an urgent harangue, subliminal and paranoid, uttered in the first person and addressed to 'you', a spectator that is both specific and anonymous. With its look, its stars, its round-the-clock operations, its vocabulary, its intonation and its dramaturgy, CNN is news as theatre, a theatre here infiltrated by Fast. In his pirate compilation these talking heads, stiff while reading the teleprompter but not quite actors, succeed each other on screen in accordance with a mechanical rhythm. (Elisabeth Lebovici, "From Homer to Omer Fast", Afterall)
Actually my directly expression to this video is that the speed of the video could effect people's feeling . Fast speed makes people feel nervous, slow speed makes people feel relax. I could use this point to make my work more interesting.
FINE ART | 4D project re-edit
IDEAS FACTORY | ice
ice pattern boundary
ice in Platte Clove, NY in the Catskills
Giant Crystal Ice Sculpture
Makoto Azuma - Iced Flowers
John Littleton & Kate Vogel | Flickr: Intercambio de fotos
Soo Sunny Park : Vapor Slide
Points of Contention par Jonathan Latiano
Installation à la School 33 Art Center de Baltimore On doit cette incroyable installation à l'artiste américain Jonathan Latiano. Nous utilisons et stockon
Sunlight shining through hoar frost
Hide and Seek
IDEAS FACTORY | MY IDEAS
FINE ART | Collection
Workers Leaving the Factory (Harun Farocki, 1995)
The central theme of most of his works is the complex relation between power and visual techniques and technology, and the video-installation Workers Leaving the Factory in 11 Decades might be one of his most complicated works. This work incorporates 12 monitors simultaneously showing scenes of workers leaving the factory (except for one advertisement). These twelve scenes are selected from thousands of commercial movies, documentaries, reports and advertisements through eleven decades. Interestingly, Farocki made this video-installation in 2006 based on his film-essay called Workers Leaving the Factory (1995) which was also a combination of existing commercial and documentary movies.
The format of this multiplied cinema is such that, at first, it is difficult to know where to begin watching it. But with a bit of attention, one can recognize at least two time-frames. The first one is suggested by the orientation of uniform televisions. That is to say, from left to right these televisions depict a chronological order from Lumière's La sortie des usines Lumièr (1895) to Lars Von Trier’s Dancing in the Dark (2000) and invite the viewer to see the whole work as an analog film tape that is, however, combined of moving picture-frames rather than still photo-frames.
Collection | The Innocents
The Innocents (2002) documents the stories of individuals who served time in prison for violent crimes they did not commit. At issue is the question of photography’s function as a credible eyewitness and arbiter of justice.
The primary cause of wrongful conviction is mistaken identification. A victim or eyewitness identifies a suspected perpetrator through law enforcement’s use of photographs and lineups. This procedure relies on the assumption of precise visual memory. But, through exposure to composite sketches, mugshots, Polaroids, and lineups, eyewitness memory can change. In the history of these cases, photography offered the criminal justice system a tool that transformed innocent citizens into criminals. Photographs assisted officers in obtaining eyewitness identifications and aided prosecutors in securing convictions.
Simon photographed these men at sites that had particular significance to their illegitimate conviction: the scene of misidentification, the scene of arrest, the scene of the crime, or the scene of the alibi. All of these locations hold contradictory meanings for the subjects. The scene of arrest marks the starting point of a reality based in fiction. The scene of the crime is at once arbitrary and crucial: this place, to which they have never been, changed their lives forever. In these photographs Simon confronts photography’s ability to blur truth and fiction—an ambiguity that can have severe, even lethal consequences.
Installation view. The Innocents
KW Institute for Contemporary Art, Berlin, 2003
Scene of arrest, The Royal Inn, Gary, Indiana
Police found Mayes hiding beneath a mattress in this room
Served 18.5 years of an 80-year sentence for Rape, Robbery and Unlawful Deviate Conduct
The Innocents, 2002
Framed archival inkjet print and Letraset on wall
48 1⁄4 x 62 1⁄4 inches (122.6 x 158.1 cm)
Skeet shooting, Tulsa, Oklahoma
11 alibi witnesses placed Durham at a skeet-shooting competition at the time of the crime
Served 3.5 years of a 3,220-year sentence for Rape and Robbery
The Innocents, 2002
Framed archival inkjet print and Letraset on wall
48 1⁄4 x 62 1⁄4 inches (122.6 x 158.1 cm)
GCD | Lost Letters
Pinocchio ABC book
Nick Morley - Pinocchio
Japanese folk tales illustrated by João Fazenda, commissioned by Joao Paulo Cotrim at Abysmo
My ideas of the letter A
GCD | SITE SPECIFIC TYPE
Anamorphic definition: producing, relating to, or marked by intentional distortion (as by unequal magnification along perpendicular axes) of an image
Axel Peemoeller, Eureka Tower Carpark Wayfinding, 2006
Lost Letters IDEAS
3DDA | USE IT
Do hit chair by Marijn van der Poll for Droog
With the hammer provided and your own resources you shape the metal box into whatever you choose it to be. After a few minutes or hours of hard work you become the co-designer of Do hit. If you want, you can buy it with van der Poll’s design too. 7.800 € may be a little expensive, beut the product will be unique.
Plia Chair, Giancarlo Piretti 1967.
"The Symbol of a new era focused on plastic". That's how Plia chair was presented in 1967 at the Fiera del Mobile in Milan. During the Fair, the Plia got so much acclaim from audiences that many visitors moved away from the stand with some samples without asking for permission... As a result of this unhorthodox compliment the chairs were tied with chains for safety. With the Plia chair the designer, Giancarlo Piretti, has revolutionized the concept of folding chair, and his study on the "three-disc hinge" is considered a stroke of genius. The combination of steel and polypropylene frame has paved the way for Plia which has become a cult object. Plia represents the realization of "democratic design" and it is nowadays exposed at the design sector of the MoMA in New York. Thanks to this chair, which millions of copies have been sold, Giancarlo Piretti,
Mid Century Modernist Luxe Folding Chair Attributed to Giancarlo Piretti with Polished Chrome Frame and Newly Upholstered in Camel Mohair. Chair Features Square Seat Design with Comfortable Cylinder Backrests. Chair Has a Striking Profile, and Makes Great Side Chair or Desk Chair.
Herman Miller, Aeron Chair
While its iconic form has remained largely unchanged, the Aeron chair has been remastered from the casters up to meet the needs of today’s work. With the help of original co-designer Don Chadwick, we thoughtfully updated the chair based on the latest research around the science of sitting, and advancements in materials, manufacturing and technology.
Tom Dixon, Fresh Fat Chair
27 9/16 in. x 22 1/16 in. x 27 9/16 in. (70 cm x 56 cm x 70 cm)
Simon Hasan, Boiled leather Chair
Geno is a development of Simon Hasan’s earlier Bambi Stool (2008), developed for Gallery Libby Sellers.
Representing an evolution of materials and language, Geno is constructed from cold-formed brass tube and resin-laminated boiled leather.
Use It | IDEAS
3DDA | BUILD IT
Pavilion 21 MINI Opera Space
The task which we had to solve with our design was to create a space with 300 seats (or 700 standing spectators) for experimental performances of the Bavarian State Opera. The Pavilion should be dismountable, transportable and re-mountable and make the respective urban space distinctive through its shape.
Mass and therefore weight are the decisive criteria for good acoustics. The conception of the Pavilion 21 MINI Opera Space therefore had to overcome a contradiction: to design a lightweight construction which must allow to be dis- and re-assembled quickly, but which at the same time meets the acoustical requirements of a concert hall.
Hence how do we create the conditions for good acoustics despite a reduction of mass? Already the first considerations fixed in drawings show the basic concept of the Pavilion to introduce elements which are on the one hand the spatial transformation of sound sequences, and which on the other hand develop sound reflecting and absorbing properties through their pyramid-like shape: “Soundscaping”.
Build It | Development
Fashion and Textile | Your Sourrounding
Jaimee Mckenna A/W 2013
Knitted from lambswool, the fabric were felted to create a more rigid material that could be creased into tessellating pleats in various styles.
"I found an image from a 1950s Vogue of an elaborate pleated skirt that had such structure and presence," McKenna told Dezeen. "I then developed my own felt that would hold its structure but still have a beautiful drape once it was pleated."
Yohji Yamamoto, A/W 2001/2
yohji yamamoto fall winter 1996/97
1930s transparancies - Madeleine VIONNET
A Balenciaga evening cape that is art/function that rocked fashion in the 60's. Photo by Hiro, 1967.