Sunday 21 October 2012

Monday 15 October 2012

Tim Etchells



Art Flavours 2010

Art Flavours reflects Etchells' interest in the encounter between different discourses and cultural frames, exploring the potential for communication and miscommunication between them. Produced for Manifesta 7, in Italy, Art Flavours sees Etchells organising a meeting between the Italian critic and curator Roberto Pinto and the ice-cream maker Osvaldo Castellari. Pinto was entrusted with summarising art historical practice through four main categories: The Body, Memory, Spectacle and The Archive. Castellari's role was to translate the concepts into four ice-cream flavours. The video shows the conversation between the two men in which the critic/curator attempts to convey the art historical themes to the ice-cream master, who for his own part grows more and more sceptical, anxious and daunted by the task ahead of him. As Etchells comments: "Staging an encounter between popular confectionery and art practice, Art Flavours plays with the possibility (and impossibility) of translating the academic/specialised language of the art world into new edibles for the public."

Anthony Gormley







BREAD WORKS, 1979 - 1982
BED started as a drawing. I lay on the floor and my wife drew around me. I made this silhouette into a contour map, making an approximation of the volume of my body divided into two identical halves, mirror images of each other.
The piece is roughly the same size as a king-sized double bed. I began a programme of eating that lasted three-and-a-half months, during which I ate my own volume in bread.
Before I began using my teeth I had been using bread to make marquetry collages within the crust of a slice. BREAD LINE is a loaf of bread laid out one bite at a time, taking a common object which is close to life and presenting it in the way in which we experience it. I used the most commonly bought processed white bread in Britain: 'Mother's Pride'.
Bread and settled human life go together. BREAD LINE is a measuring of life, the distance we go, the distance we travel in a body, a moment at a time. Bites of bread laid out on the floor, footprints in the snow, bites in bread, traces in time.
At the same time I was making simple silhouette pieces from a single thickness of bread pieces stuck on the wall. CONSUMPTION was a play on the Assumption, and a materialised reversal of transubstantiation. MOTHER'S PRIDE imposes the memory of the foetal body on a manufactured life-supporting material. MAN MADE is a late-20th-century version of Mantegna's dead Christ.
Sculpture has traditionally been about imposing mind over matter by an act of intelligence and will. I was looking for a more natural process, and eating is the primal process by which matter is transformed into mind.
BED started as a drawing. I lay on the floor and my wife drew around me. I made this silhouette into a contour map, making an approximation of the volume of my body divided into two identical halves, mirror images of each other.
The piece is roughly the same size as a king-sized double bed. I began a programme of eating that lasted three-and-a-half months, during which I ate my own volume in bread.
Before I began using my teeth I had been using bread to make marquetry collages within the crust of a slice. BREAD LINE is a loaf of bread laid out one bite at a time, taking a common object which is close to life and presenting it in the way in which we experience it. I used the most commonly bought processed white bread in Britain: 'Mother's Pride'.
Bread and settled human life go together. BREAD LINE is a measuring of life, the distance we go, the distance we travel in a body, a moment at a time. Bites of bread laid out on the floor, footprints in the snow, bites in bread, traces in time.
At the same time I was making simple silhouette pieces from a single thickness of bread pieces stuck on the wall. CONSUMPTION was a play on the Assumption, and a materialised reversal of transubstantiation. MOTHER'S PRIDE imposes the memory of the foetal body on a manufactured life-supporting material. MAN MADE is a late-20th-century version of Mantegna's dead Christ.
Sculpture has traditionally been about imposing mind over matter by an act of intelligence and will. I was looking for a more natural process, and eating is the primal process by which matter is transformed into mind.

Dieter Roth


The Bathtub for "Ludwig van" 1969
zinc bathtub, filled with worked-over Beethoven busts made of chocolate and hard fat,
 54 x 180 x 65 cm,

Ins Meer, Schimmelberg (Into the Sea, Mold Mountain) 1969
Plaster, molded food stuffs, folded paper ship, pyramid of 9 steps made of plaster, poured over with chocolate, yogurt and fruit juice, mounted on metal pedesta
l
7 7/8 x 11 3/4 x 11 3/4 inches; 20 x 30 x 30 cm

Friday 12 October 2012

Pinar Yolacan




Meat Dresses from the Perishables series
2002-2003

Thursday 11 October 2012

Flatten



Flatten,  2012
Hugo de Kok and Kay van Vree

Tuesday 9 October 2012

Rachel Whiteread


More Roni Horn


Asphere
1986
Solid Copper


Untitled
2009
Solid Cast Glass


Paired Gold Mats (for Ross and Felix)
1994
Two Pure Gold Mats

Monday 8 October 2012

Pae White


Porcelain popcorn with gold glaze

Sarah Gee



http://www.sarahgeeart.com/

Lisa Rodden


http://www.lisarodden.com/

Roni Horn


Pink Tons
2009
Pink Glass

Monday 1 October 2012

Light







slings