Archive: 2014
This is not America – Alfredo Jaar

This is not America – Alfredo Jaar

Alfredo Jaar - A Logo for America, 1987:2014, Times Square, New York

Alfredo Jaar - A Logo for America, 1987:2014, Times Square, New York 4
Alfredo JaarA Logo for America, 1987/2014, Times Square, New York, 1987

The Times Square in New York is characterized by an epic display of contemporary consumerism; it is flooded with tourists from all regions of the world and filled with numerous electric billboards displaying services and a range of products for sale. If you are going to install an art exhibition, and a successful one at that, there is no better location that offers as much visibility as the Times Square.

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Iconic video games on 490 meter high Hong Kong building

Iconic video games on 490 meter high Hong Kong building

Cao Fei - Same Old, Brand New, 2014, International Commerce Centre, Hong Kong
Cao FeiSame Old, Brand New (rendering), 2015, sound and large-scale led screens, 5min, size variable, Sound by Artist Dickson Dee, International Commerce Centre, Hong Kong, China

Same Old, Brand New is the labor of love of Chinese multimedia artist Cao Fei. It was a massive video installation that featured a multitude of different symbols, moving pictures and images as well as logos from well-liked video games such as Pac-Man and Tetris. At the time of the show, the images and symbols that were displayed had become integral elements of culture among the youth not only in Hong Kong but in other parts of the world as well.

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Remarkable: Entire Boeing plane painted in colorful graffiti

Remarkable: Entire Boeing plane painted in colorful graffiti

Os Gemeos - Boeing 737

Os Gemeos - Boeing 737
Os Gemeos (Otavio and Gustavo Pandolfo) on Boeing 737 in Belo Horizonte, Brazil, 2014

In 2014, Brazilian artist duo and twins Os Gemeos painted the whole exterior of a Boeing 737, which then transported the Brazilian national football group from city to city for the 2014 FIFA world cup.

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Life-sized human skull made out of cocaine

Life-sized human skull made out of cocaine


DiddoEcce Animal, 2004, compression molded Cocaine (street sourced) and Gelatin, 12x18x22cm

Ecce Animal by Dutch artist Diddo is an unusual artwork, crafted with cocaine mixed with gelatin, it was fashioned in form of a human skull. The gelatin was used to hold together the sculpture. The artwork, as strange as it is, calls for a lot of questioning as to what it stands for and what exactly it means.

Before making the sculpture, Diddo tested the purity of the cocaine in a laboratory where it was determined that it was about 20 percent pure. According to Diddo, he feels it isn’t his work to talk about the dangers of using drugs but with the artwork crafted in the form of a human skull, to some a symbol of death, it clearly shows the dangerous side of it. He says the work of art brings to the fore the dynamics of human behaviour. Human beings find it difficult to live together while at the same time cannot quite live without one another. Ecce Animal symbolizes bringing together man’s animal instincts and the modern world we are in today.

Ecce Animal was not made to emphasize on the dangers involved in drug abuse or addiction but rather is about man’s nature in the present world. Man’s nature specifically in the sense that he lives in a society which constantly throws at him situations he may be unable to control, hence the use of cocaine (a dangerous substance) to sculpt the human skull. In the poem that accompanied the work of art Diddo writes, “It is frightening to look at the face of our animal side laid bare by comfortable excess, the spoils of its aggression.”

Is this unorthodox way of passing across a message one that will create a lasting impression? The work of art is definitely a brilliant one and the way and manner it was crafted is ingenious. “Ecce Animal” is a commissioned piece so details about it are not available to the public but since pictures are available on the internet, we can simply view and deduce our own interpretations and just maybe, dwell extensively on it.

Diddo - Ecce animal
DiddoEcce Animal, 2004, compression molded Cocaine (street sourced) and Gelatin, 12x18x22cm

Diddo - Ecce animal
DiddoEcce Animal, 2004, compression molded Cocaine (street sourced) and Gelatin, 12x18x22cm

Diddo - Ecce animal
DiddoEcce Animal, 2004, compression molded Cocaine (street sourced) and Gelatin, 12x18x22cm

Diddo - Ecce animal
DiddoEcce Animal, 2004, compression molded Cocaine (street sourced) and Gelatin, 12x18x22cm

Diddo - Ecce animal
DiddoEcce Animal, 2004, compression molded Cocaine (street sourced) and Gelatin, 12x18x22cm

Diddo - Ecce animal
DiddoEcce Animal, 2004, compression molded Cocaine (street sourced) and Gelatin, 12x18x22cm

Diddo - Ecce animal
DiddoEcce Animal, 2004, compression molded Cocaine (street sourced) and Gelatin, 12x18x22cm


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“Hunger King” is artist’s fast food reply to social inequality and homelessness

“Hunger King” is artist’s fast food reply to social inequality and homelessness

Jani Leinonen - Hunger King, 2014, Hungary, Budapest 1
Jani LeinonenHunger King, 2014, Hungary, Budapest

Located behind a resplendent Opera House in Budapest on the same road as Louis Vuitton, sits Hunger King, a place that seems to be just like any other burger joint, however, it is anything but. Hunger King is a regular fast food outlet that is pushed onto the masses; Hunger King is a critical sociopolitical art installation serving to highlight Hungary’s significant crises of social inequality and homelessness.

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Spray paint & Old Masters create an interesting mix

Spray paint & Old Masters create an interesting mix

Miaz Brothers - Young Man 6, 130x99cm

Miaz Brothers - Master 8, 2013, 190x140cm, Acrylic on canvas
Miaz BrothersMaster 8, 2013, 190x140cm

The Miaz Brothers present a drastic new interpretation of portraiture, as the siblings, create large-format canvases using spray paint in a unique new way. Their series with the Masters focuses on the historic and notable figures from the time of the English Restoration, while evoking a new take on the Masters.

They explain that the use of spray paint is representative that we, as humans, “are composed of infinite particles in continuous evolution”. The spray paint creates a blurred effect that expresses the duo’s work: “dematerializing the lines, we gain a substantial indetermination of the picture. This skips any immediate reaction and provokes the viewer to use mnemonic associations instead for their own personal visual information encoding.”

The Miaz Brothers have a very particular method to their art; their style elements are dichotomized and further enact the concepts of temporality and transcendence. The Miaz brother’s paintings are made up of large haunting portraits, of ghostly figures that are only just visible. These works are based on the Old Masters, and with little more than that information, the viewers are given all that is needed to complete the narrative.

Their otherworldly work is without a doubt evocative and highlights our transitory actuality, and the interchange that is existence. The Miaz brothers also bring into conversation the many ideas surrounding perception and how each person’s perception varies from person to person so drastically. Every viewer sees precisely what they want or need to when viewing the portraits, whether they see a historical figure, or someone they know, each person projects their own associations and perceptions on to the blurred canvas. This is what is so refreshing about the Miaz brothers, they don’t tell you what to see, think, or feel- it is up to you to interpret the artwork, and no matter how you do, you are right.

Miaz Brothers - Young Woman 2, 163x130cm
Miaz BrothersYoung Woman 2, 163x130cm

Miaz Brothers - Young Man 6, 130x99cm
Miaz BrothersYoung Man 6, 130x99cm

Miaz Brothers - Young Man 2, 163x130cm
Miaz BrothersYoung Man 2, 163x130cm

Miaz Brothers - Old Master 16, 2014, 130x100cm, Acrylic on canvas
Miaz BrothersOld Master 16, 130x100cm

Miaz Brothers - Old master #31, 2014, 162x130cm
Miaz BrothersOld Master 31, 162x130cm

Miaz Brothers - Old master #30, 2014, 162x130cm
Miaz BrothersOld Master 30, 162x130cm

Miaz Brothers - Old master #19, 2014, 162 x 130 cm
Miaz BrothersOld Master 19, 2013, 162x130cm

Miaz Brothers - Old Man 4, 162x130cm
Miaz BrothersOld Man 4, 162x130cm

Miaz Brothers - Lady F, 2014, 162x130cm
Miaz BrothersLady F, 2014, 162x130cm


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This gruesome-looking installation is much more harmless than you think

This gruesome-looking installation is much more harmless than you think

Imran Qureshi – And They Still Seek the Traces of Blood, 2013 - Salsali Private Museum, Dubai, UAE, 2014

Imran Qureshi – And They Still Seek the Traces of Blood, 2013 - Salsali Private Museum, Dubai, UAE, 2014
Imran QureshiAnd They Still Seek the Traces of Blood, 2013, At Salsali Private Museum, Dubai, UAE, 2014
Photo: Salsali Private Museum

Imran Qureshi’s “And they still seek the traces of blood” (2013) has become renowned for its ability to invoke emotional responses from viewers as this intrinsic work is printed on thousands of crumpled sheets of paper and gathered to form a precipitous heap. The title of his work, “nd they still seek the traces of blood quotes a poem by Faiz Ahmed Faiz with reference to individuals who have been killed and buried without their lives honoured nor the events surrounding their deaths investigated.

The Pakistani artist Qureshi’s work is in reference to current events in Pakistan and serves to highlight the types of violence and discrimination that is imposed upon innocent people around the world every day. Qureshi’s work is visually striking while it calls forth profound imagery of violence. The use of light and darkness in the surrounding hall makes his work emotionally charged and as described by some viewers almost brutal.

Qureshi’s exhibition uses the binary combination of light and darkness. Qureshi utilizes the color of the rooms of the nighttime landscapes of Venetian painting, often depicting landscapes and interior courtyards in which every stone and leaf is pedantically arranged; each delicate painting is tainted by the blood red stains that impinges on the picturesque scene, uncompromisingly annihilating the delicacy and balance. In doing this, Qureshi creates a space of binary elements, beauty and violence.

Throughout these somber rooms you have to carefully feel your way slowly and cautiously; as Qureshi’s method of presentation causes for the make references to the colonial architectures and domains in which servants were kept in small compartments. Through the surrounding darkness the paintings burn into the viewers provoking them to reflect upon the conditions as they attempt to discover a way out of the labyrinth of depicted violence or to create a split second in which viewers can escape the perpetual succession of creation and violence.

Qureshi’s work reflects upon his own lived experience, expressing the memories of his living through decades of precarity, martial law, uprisings and massacres, terrorism, political. His artwork is without a doubt metaphorical expressing both life and death, darkness and light. His work is so completely profound as the metaphorical and binary nature of his work is infinite, depicting a teetering balance of beauty and life versus the dark blood red spattered imagery associated with violence and death.

Imran Qureshi, And They Still Seek the Traces of Blood, 2014
Imran QureshiAnd They Still Seek the Traces of Blood, 2013, At Eli and Edythe Broad Art Museum at Michigan State University, 2014
Photo: Aaron Word. Courtesy the artist and Corvi-Mora, London

Imran Qureshi – And They Still Seek the Traces of Blood, 2013
Imran QureshiAnd They Still Seek the Traces of Blood, 2013, At Ikon Gallery, Birmingham, UK

Imran Qureshi, And They Still Seek The Traces Of Blood
Imran QureshiAnd They Still Seek the Traces of Blood, 2013, At M HKA, Museum of Contemporary Art Antwerp, Belgium
Photo: M HKA

Imran Qureshi - And they still seek the traces of blood, Bibliotheque Sainte Genevieve, Nuit Blanche Paris 2014
Imran QureshiAnd They Still Seek the Traces of Blood, 2013, At M HKA, Bibliotheque Sainte Genevieve, Nuit Blanche Paris, 2014

Imran Qureshi - And they still seek the traces of blood, Bibliotheque Sainte Genevieve, Nuit Blanche Paris 2014
Imran QureshiAnd They Still Seek the Traces of Blood, 2013, At M HKA, Bibliotheque Sainte Genevieve, Nuit Blanche Paris, 2014

Imran Qureshi - And they still seek the traces of blood, Bibliotheque Sainte Genevieve, Nuit Blanche Paris 2014
Imran QureshiAnd They Still Seek the Traces of Blood, 2013, At M HKA, Bibliotheque Sainte Genevieve, Nuit Blanche Paris, 2014

Imran Qureshi - And they still seek the traces of blood, Bibliotheque Sainte Genevieve, Nuit Blanche Paris 2014
Imran QureshiAnd They Still Seek the Traces of Blood, 2013, At M HKA, Bibliotheque Sainte Genevieve, Nuit Blanche Paris, 2014

Imran Qureshi - And they still seek the traces of blood, Bibliotheque Sainte Genevieve, Nuit Blanche Paris 2014
Imran QureshiAnd They Still Seek the Traces of Blood, 2013, At M HKA, Bibliotheque Sainte Genevieve, Nuit Blanche Paris, 2014


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