In 2010, Filippo Minelli started taking photos of smoke-bombs in romantic landscapes to juxtapose the beauty of nature with the violence of a medium devoted to create chaos with a stunning result. These powerful images, taken in various areas around Europe, had been featured in Art exhibitions like the Venice Biennale, published in various magazines and got a lot of visibility thanks to many Art and Design-related websites.
About Filippo Minelli
“Filippo Minelli forces the occasional viewer of his artworks, and the people fond of his artworks too, to an intellectual gym, stimulating scratching contrasts in our minds. Following conceptual tendences, Minelli pursues a non-objectual dimension of Arts searching relations between the work of art and reality, with culture and social behaviours […]. In Minelli’s interventions is investigated the theme of Arts as writing with a resolute “interventist” urge which charges the artist’s action with social-disobedience, instigating the viewer against the superficial and the commercial and cultural deadness of contemporary society. Sometimes Minelli organizes his interventions in series which evolve during the years.
The second essential element of the artistic production of Filippo Minelli is photography as a narration of the installations. Reflecting Walter Benjamin’s precepts, the point of view of the artist uses photography as a way to tell a story. The work of art is presented tracing contrasts and inconsistences between the location choosen and the linguistic-conceptual contribution. Language and image coincide in the photograph, gragging along conscious and sub-conscious thoughts.”
> More at filippominelli.com
Yesterday LA artist Saber hired five jet planes to skywrite with smoke over City Hall and downtown Los Angeles. He used this new approach to write his name and fellows artists and crews, like Revok, Tempt, MSK, LTS, Risky, Ayer and Dream, and also to convey his message which says Art is not a crime. End mural moratorium: twitter at end mural moratorium. With this 45min lasting action saber tries to bring awareness to the recent city’s efforts to ban public art and having it removed by using the money of taxpayers. The city of LA spends +10.000.000US$ to stop graffiti, but none to support legal mural programs. Furthermore, there has been a huge dispute about the practices of private graffiti removal companies, who sometimes illegally break into private property to cover commissioned murals by established artists such as Os Gemeos or Retna. The documentary Vigilante Vigilante: The Battle for Expression, released in cinemas worldwide last month, covers these illegal techniques and their practitioners, who essentially use graffiti to fight graffiti, in depth.
Saber, well-known for executing the world’s largest graffiti piece in 1997, furthermore claims, that the city is threatening owners of small businesses with fines if they don’t remove the murals painted on their stores, and therefore trying to earn money on graffiti by yet another method.
> more about the petition here
> sign the petition here
The CowParade calls itself the World’s Largest Public Art Event. At the annual CowParade in São Paulo in 2010, the two Brazilian artists Daniel Siarkovski and Rafael Grostein showed this QR cow.
Cyprien Gaillard – Neon Indian, 2011, neon tubes, steel construction, 10m, Haus der Statistik, Alexanderplatz, Berlin
Photo: Krzysztof Zielinski
Cyprien Gaillard (b. 1980 in Paris) put up the enormous Neon Indian on the Haus der Statistik at the Alexanderplatz in Berlin. The Indian is reminiscent of the logo of the US Baseball team Cleveland Indians. Gaillard often uses this in 1894 created image and refers to the use of indian names and mascots in the US, despite their extermination. Even though those images seem outmoded, they still continue to exist in mass culture, and although Indians were victims of exclusion, some part of their culture serves as marketing tools for American sport teams and others.
New site-specific acte-de-présence on a hill overlooking Hong Kong, playing with boundaries, symbols and (their) perceptions. Using an omnipresent and almost banal object, a flag, and disturbing its reception