Making Future Magic: IPad light painting

Check this out: making 3D texts, making an iPad display it slowly from the side, and shooting them in long exposure with a camera, by the group called Dentsu London. Not exactly what I would call genius, but a pretty damn good idea for light painting ^^ I love their concept and their name, “Making Future Magic“.

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Imaginism Studios

I love the characters from Imaginism Studios, which my friend Pınar told me about. (Check Pınar’s blog about asian dramas, by the way – the blog is in Turkish.)

“Imaginism Studios is made up of independent artists specializing in publishing, television, and movie pre-production. We produce some of the most fun and upbeat designs, concepts, and illustrations around.”

2009 Calendar by San-x

Remember San-x? The creators of Monokuro Boo (which I had previously mentioned here) and たれぱんだ (which I had posted about here)? I found out today, that they are the guys who designed my schedule book with the character kutusitanyanko as well (which is the cat featured below in the months March, May, August and October), but I want to mention san-x’s printable 2009 calendar of the past year. Here is the link to the calendar, but for people who don’t want to bother, here are the individual monthly pages. I am really looking forward to the calendar for 2010. Click to full-view.

11th Istanbul Biennal – What Keeps Mankind Alive?

I visited two of the 11th Istanbul Biennal locations on Saturday; at the Feriköy Greek School in Şişli and the Tobacco Warehouse in Tophane. I didn’t go to the third and largest location, Antrepo No.3 yet, because I had some other exhibitions that I wanted to visit that day. Funny thing is, I had thought that all of these locations were odd, but according to the Biennal Guide, The Top 5 venues wish list went like this:

1. Istanbul Museum of Painting and Sculpture

2. The ex-Istanbul U.S. Consulate General building

3. Ottoman Bank Archive and Research Center

4. Haydarpaşa Train Station

5. Park Hotel

These locations, unfortunately were not able to host the biennal due to bureaucratic, financial and security reasons, which is quite a shame because I really think that the Haydarpaşa Train Station would have been awesome.

I thought the most intruiging part of the Biennal within the Feriköy Greek School was Larissa Sansour’s short movie, “Soup Over Bethlehem” which according to the Biennal Guide, “depicts and ordinary Palestinian family, Sansour’s own, seated around a table on a rooftop overlooking Bethlehem. ‘Mloukhieh’, a national Palestinian dish is served, and what starts as a culinary discussion about the food soon evolves into a personal and engaging conversation about the politics and conditions of life under the restraints of occupation. Snatches of English occasionally interrupt the Arabic spoken around the table, indicating the ways in which fragmented identities are rebuilt through life in exile. The routine issues discusses amongst family members in the middle of the occupation counters clichés about victimhood and the stereotyped debates over identity.

‘I’m so occupied these days’, says one of the people at the table towards the end of the video. Someone replies, laughing: ‘Aren’t we all.’ Along with Sansour’s other projects, Soup Over Bethlehem breaks up ethnic stereotypes with a strategic dose of humour, and depicts Palestinian reality in a way that remains critical, yet steers clear of representational clichés”

I liked Sansour’s video because I think that might have been how conversations around my mother’s family table might have been when they first arrived at Istanbul. If you want to watch the video, it’s available here.

The other work I really liked – and found very amusing – was Siniša Labrović‘s Postgraduate Education. According to the Biennal Guide,

“Using different performative strategies Siniša Labrović challenges the limits of what is allowed, and the codependence between artist, audience and exhibition context. Postgraduate Education uses the rhetoric of self-help and ‘how to’ books, transferring it to the field of education. But this particular education teaches the ABC of typical criminal activities. The book is a continuation of Undergraduate Studies organized in 2008 in Zagreb as a series of workshops held by ‘experts’ from different fields of crime, with topics ranging from drug dealing and burglary, to ‘rules of conduct’ in criminal circles.

In the post-industrial context, Labrović challenges market and class demands for ‘life-long education’, which requires improvement in every aspect of the worker’s labour skills, and increasing ‘flexibility’. Commenting ironically on the increasingly blurred borders between business, politics and crime, the book offers an overview of different topics, ranging from debt collection and shoplifting to developing public-private partnerships, corruption and nepotism. The irony is taken to its extreme. The bold approach of Postgraduate Education follows the doctrine of the education system -preparing people for (more or less) successful servitude within the established systems, through opportunism, competition, deceitfulness, and highly structured rules of conduct. It suggests criminal behaviour as a prerequisite to both commercial and social success.”

I think you should see the text of Labrović’s work for yourself, it is really hilarious.

In the other Biennal venue I visited, the Tobacco Warehouse, I found the work of Vyacheslav Akhunov‘s work 1m2 very interesting. According to the Biennal guide,

1 m2 (2007) is an installation of one square metre of matchboxes, and is probably the largest retrospective exhibition displayed in such a small space. The matchboxes are filled with the artist’s small-scale reproductions, drawings and plans taken from his numerous journals and albums from 1976 to 1991. On a monitor available for detailed viewing there is an archive of Akhunov’s journals and artist’s books.
Akhunov’s works push the aesthetics of Soviet propaganda to the limits, and open up a number of questions that go beyond ironic subversion of the ideological apparatus. They form an archive that has a relationship to the past, beyond that of revisionism or nostalgia, and their relationship with communism remains open.”

1m2

1m2

Another work that I found interesting in the Tobacco Warehouse was Işıl Eğrikavuk‘s short documentary video,  Gül. The story of this young woman was truly interesting and captivating. According to the Biennal Guide,

“In Gül (2008), the main character, a woman, talks about her past and the arranged marriage she had to endure at the age of fourteen. As the young woman talks she is interrupted by scenes in which she takes on the role of an actor, commenting on the ‘character’ she is playing, and analysing the plausibility of her role. The almost voyeuristic interest in hearing the confessions of an abused woman is subverted as the story slides into fiction, questioning society’s reaction to violence.”

I really want to visit the third location of the Biennal soon, and I recommend everyone to go while the Biennal lasts (which is until the 8th of November).

The Biennal Guide I rant on about is only 2 YTL (which is not even a Euro) so it is very cheap and it’s not bad either if you want to have more information about the artists and their works. Here is the map for the Biennal venue locations, but I can say that the Feriköy Greek School is just at the top of the slope from the Osmanbey Metro station, and the Tobacco Warehouse is a short walk from the Galata tower (when you walk past it from the left, not the right), go down the slope, walk until the end of the road and it’s there.

eBoy

I have been following eBoy for a very long time since I really do like pixel art, and I wanted to share a few of  their works here. (And I am still very mad at myself for missing their “eCities” exhibition for the opening of the Milk Gallery in Istanbul, which I could have very easily).  For anyone who haven’t heard about them, they define themselves like this:

“EbOY is Steffen Sauerteig, Svend Smital and Kai Vermehr. We create re-usable pixel objects and take them to build complex and extensible artwork. And we make toys.”

(I recommend to click on the images since they won’t look as “wow” as they are when they’re this tiny)