Vanamie Art and Info Blog

I must admit I had no idea Polish design (well, design-related sculpture would be the more correct term I suppose) can be anything like this.
While I'm at it, I must also admit that the moment of becoming a little less ignorant, this moment of moving from a state of nothingness to the sudden illumination by something of this caliber is something delightful.



Last Supper (2003)

Porcelain Carpet (2002)


from the Hygiene series (1995)



from the Hygiene series (1995)

from the Eroticism series (2005)


from the Scatology series (1993)


It does not necessarily make sense. It does not necessarily say something, as in, a thing, as in, a message. It prefers to wink at us, like someone sitting in a waiting room winks at us, right after we finally managed to get our eyes of a gorgeous neighbor. Is that the "I know how you feel" wink? Or is it showing you he knows something both of you know he shouldn't and yet both of you know he certainly does? Is this something you share? A common interest? A common feeling of guilt? A feeling of risk, maybe? This winking, the one I feel when seeing Cecuła's works (not touching them, unfortunately, although that seems a perverse desire), is one of recognition, but also one of daring sensitivity, if not always sensuality. Touching is key? No, come to think of it, the not-touching, here, is what drives the senses right to the matter.
More on Marek Cecuła at his site.

(via)

Once again, Peter Fuss (remember his "For the Laugh of God"?) manages to poke the finger in the right spot.
His most recent work, exhibited at the Out Of Sth exhibition in Wrocław (Poland) (which also has blu's animation on display) plays on our sense of reality.
What I like most about this work is something I didn't notice at first. The first reading, to me, was simple: knowing the fate of the liberal Americans who came to positions of power, it is difficult not to think of the risk Obama is facing. This also might be seen as a cool and lucid way of looking at politics. Can any ideal manage to survive? Isn't Obama, the Obama we know as fighting for "change", somewhat dead, already? Who killed him?
But what I really like about this work is not this seemingly political message. It is the way it portraits us and our own patterns of looking at reality.

The problem is not that Obama may get killed. The problem is our thinking of it as a fact. It is not Fuss's work that is cynical. We are.
Seeing the work on a billboard makes it even more obvious: we take it for granted that things are the way they are, and even if they aren't, too bad for the facts. The billboard is there, so Obama is dead. Who killed him? Guess who.


update/ps: A couple of months ago an Israeli designer created a shirt with a similar text. I think the differences between the two projects prove my point. Having/seeing this on a T-shirt and seeing it on a billboard are two completely different experiences. (Not to mention the completely different level of design). And that's what sets apart a good artpiece from a, well, another one. (Also notice the context - one is set in NY, the other- in Wrocław). Suffice it to say that already a few days after the opening of the exhibition two French tourists entered the gallery (you can see the entrance to the right on the second picture) saying they haven't had the chance to follow the news and they were quite terrified. Now, just to add another level of artsy-fartsy commenting, the person attending them answered they weren't to worry because it was "just an art installation". Ouch, now that's not what I would call effective art guidance. Or what she being ironic?

More stuff by Blu here.

BOOB JOB



Boob Job by Liv Films - The funniest home videos are here
Geem Atkinson bikini Video's




Women are better kisser than MAN

...there is enough machine within our eyes
to fill a thousand junkyards full
to make the stone break into plastic clouds
of colored dust
and happy play

...there are enough straight lines that bound a shape
to make us speak right to the point
to get us thinking we are right or wrong
beneath the clouds

See more of Jan Vormann's Dispatchwork here.