Massive Fabric Sculpture is Life-Size Home within Home
“One of our favorite contemporary artists has just come out with his largest work to date. Do Ho Suh is a Korean sculptor and installation artist who’s known for his thought-provoking sculptures that often have to do with migration and personal space. These themes reflect his own move from his homeland of Seoul, South Korea to New York.
At the National Museum of Modern and Contemporary Art (MMCA) in Seoul, you’ll find Home Within Home Within Home Within Home Within Home, a 1:1 scale replica of two houses the artist had previously lived in, one inside the other. Created in purple fabric, his traditional Korean home, where he lived in when he was a child, is enveloped and suspended within a more modern building, his first apartment building when he came to the United States, located in Providence, Rhode Island.
The work is so massive, measuring 12m x 15m, that Suh had to use a 3D scanning machine for precision and detail. While you see two homes in this piece, Suh calls it Home Within Home Within Home Within Home Within Home because he wants the viewer to see the installation on a larger level. “As you approach the gallery space, my translucent piece is between the viewer and the longer view, so it becomes five homes-within-homes: my two homes inside; the museum; the palace; and then Seoul.”„
Do Ho Suh Suh was born in Seoul, Korea, in 1962. After earning his Bachelor of Fine Arts and Master of Fine Arts in Oriental Painting from Seoul National University, and fulfilling his term of mandatory service in the South Korean military, Suh relocated to the United States and received a BFA in painting from the Rhode Island School of Design and a MFA in sculpture from Yale University.
Suh leads an itinerant life, hopping from his family home in Seoul (where his father is a major influence in Korean traditional painting) to his working life in New York. Migration, both spatial and psychological, has been one of Suh’s themes,manifested through biographical narrative and emotionally inflected architecture.
Best known for his intricate sculptures that defy conventional notions of scale and site-specificity, Suh’s work draws attention to the ways viewers occupy and inhabit public space. Interested in the malleability of space in both its physical and metaphorical manifestations, Suh constructs site-specific installations that question the boundaries of identity.
“I am interested in space that moves along with me, or that I move with me; the space I try to move with me because I want to, because it is important to me; or the space I have to move with me because I am forced to; or the space that just tags along with me without my being conscious of it–the space that I create for myself and the space that is imposed on me; the space in/through which I feel good, protected, comfortable, liberated, and the space that is imposed on me and therefore oppresses, confines, and alienates me. I explore the personal space as the combination of tension between these two force fields, and how the boundaries of the personal space are drawn.”
( Do-Ho Suh, 1997 )
His work explores the relation between individuality, collectivity, and anonymity.
In 2001, Suh represented Korea at the Venice Biennale and subsequently participated in the 2010 Venice Architecture Biennale, the 2010 Liverpool Biennial, and the 2012 Gwangju Biennial. Recent solo exhibitions include Wielandstr.18, 12159, DAAD Galerie, Germany (2011); Asian Art and Do Ho Suh, Seattle Art Museum, Washington (2011); Home Within Home, Leeum Samsung Museum of Art, Korea (2012); Blueprint, Hiroshima City Museum of Contemporary Art, Japan (2012); In Between, Hiroshima City Museum of Contemporary Art, Japan (2012); Perfect Home, 21st Century Museum of Contemporary Art, Kanazawa, Japan (2012). The artist’s work is represented in numerous museum collections including the Museum of Modern Art, New York; Whitney Museum of American Art, New York; Solomon R. Guggenheim Museum, New York; Walker Art Center, Minneapolis; Tate Modern,London; Artsonje Center, Korea; and Mori Art Museum, Japan.
The artist lives and works in New York, London, and Seoul.
I M P O S S I B L E IS N O T ETIENNE
This man here is Etienne Russo, 55, founder and head of the Brussels-based production company Villa Eugénie, which is responsible for helping to conceive shows by labels including Kenzo, Hermès, Lanvin, Moncler, Chanel, Dries Van Noten…
The spectacular flashmob at Grand Central Station for Moncler Autumn/Winter 2011? That was Russo. The elaborate and theatrical Thom Browne shows? Russo again. In total, Etienne Russo has produced more than 800 fashion shows.
∞ ∞ ∞
But what exactly does he do?
“I’m kind of a usurper, I don’t have a title”
He gives a little hope to everyone aiming to enter the fashion business (you know… that army of creatives crowding the european capitals these days, they usually introduce themselves as fashion designers, photographers, stylists). His job is strategic just like something you cannot define †
Born in Belgium to Italian parents, Russo’s love affair with fashion first began when a friend asked him to model in a show he was styling. Russo reluctantly agreed.
“On the set I was more interested in what was happening around me, the styling, the make-up, the hair, the lights”
And although he later went on to work as an international model, it was always the production that affected him most deeply.
Russo was also involved in Brussels nightlife, working as a bartender at the trendy Mirano nightclub, where he later became artistic director.
“There were fantastic parties with huge sets, performers, things you don’t see very often nowadays”
And indeed, it was working at the club that opened new doors for Russo.
“There were these totally unknown young designers that we later called ‘the Antwerp Six (referring to an influential group of designers who graduated from Antwerp’s Royal Academy of Fine Arts between 1980 and 1981) I started working with them; Walter [van Beirendonck] and a little bit with [Dirk] Bikkembergs and Dries [van Noten].”
Indeed, for the fifth anniversary of the Mirano, Russo arranged what was his best event yet, featuring artists, musicians, performers — and five of the Antwerp Six.
In what would later prove to be a critical career move, Russo eventually deepened his collaboration with Dries van Noten. “After doing small photoshoots with them, I went on the road to work on sales.” Each season, Russo, van Noten and his sales director would drive all the way from Antwerp to Florence for the Pitti tradeshow, before heading onwards to the Milan and Paris fashion weeks.
“We would build the presentation set ourselves, take it down and then transform it into a showroom,” remembers Russo fondly. “I even cooked for Dries!”
But the turning point came in 1991 when van Noten approached Russo and said: “‘You know what? I’m going to do my first show in Paris, do you want to do it?’” recalls Russo. “I’ve been thanking him for 21 years now”
WORK WITH YOU H E A R T, YOUR H E A D AND YOUR G U T S, AND DON’T TAKE ‘NO’ AS AN ANSWER
visit http://www.villaeugenie.com ©
Non vi è intelligenza senza emozione. Ci può essere emozione senza molta intelligenza, ma è cosa che non ci riguarda.
a duo of developers from Brooklyn, New York, have built a sleeping mask designed to allow people to have lucid dreams that they can control. while it may look like a standard sleeping mask, Remee has been billed as a special REM (Rapid Eye Movement) enhancing device that is supposed to help steer the sleeper into lucid dreaming by making the brain aware that it is dreaming.
The goal of the product is to allow people to have the dreams of their choice, from driving a race car to flying to having lunch with Abraham Lincoln.
Ten years after Christopher Nolan’s idea (“Inception“… d’you remember that movie? a team of corporate spies enter a man’s dream to plant an idea into his subconscious, it is set in a world where technology exists to enter the human mind through dream invasion † ), the futuristic invention is the brainchild of Duncan Frazier and Steve McGuigan, both aged 30, who have started a company named Bitbanger Labs.
The inside of the sleeping mask features a series of six red LED lights that are too faint to wake the sleeper up, but visible enough for the brain to register them. The lights can be programed to produce a sequence designed by the user. Follow the light: Remee features six LED lights that produce a sequence allowing the user to have lucid dreams.
Sleep stages are divided into two main categories: non-REM and REM. People go back and forth between these stages throughout the night, with REM stages, where most dreaming occurs, lasting the longest towards morning.
Remee apparently notices these longer REM stages and ‘enters’ the dream via the flashing lights. The device will wait for four to five hours for the sleeper to get into the heavy REM stages before the red lights turn on.
The idea is simple: you are playing a perfect round of golf in a dream, and you see a pattern of red lights flashing in the distance.
Because the pattern is in a particular sequence, it would signal to you that you are dreaming, not unlike the totem object in Inception.
Once you realize you are in a dream, you can then decide what happens next, whether it be a quick trip to Antarctica or time travel.
Rather than encumbering the mask with buttons and controls, its inventors set up a website called sleepwithremee.com where users can adjust the setups, such as when to start the light sequence and when to repeat it. The intensity of the lights can also be changed.
Remee will display light patterns for 15 to 20 seconds, with a second delay of 15 minutes between each signal. During non-REM sleep, the lights are unlikely to affect the user.
He also added that LED lights are not known to cause seizures.
McGuigan said that he uses his Remee several times a week, but he admitted that reaching a state of lucidity can be ‘hard’ and does not happen every time.
The two inventors began working on the mask last February after reading studies focusing on lucid dreams that were conducted at Stanford University in the 1980s.
That is also when the first models of ‘dream machines’ were created.
McGuigan graduated from Lock Haven University with a degree in computer science.
Frazier studied film at Arizona State University, although McGuigan said that their technical skills overlap.
YES IS MORE
BIG is a Copenhagen and New York based group of architects, designers, builders and thinkers operating within the fields of architecture, urbanism, research and development.
BIG’s architecture emerges out of a careful analysis of how contemporary life constantly evolves and changes. Not least due to the influence from multicultural exchange, global economical flows and communication technologies that all together require new ways of architectural and urban organization.
We believe that in order to deal with today’s challenges, architecture can profitably move into a field that has been largely unexplored. A pragmatic utopian architecture that steers clear of the petrifying pragmatism of boring boxes and the naïve utopian ideas of digital formalism.
• ninos do brasil
• ninos do brasil • in action
Nico Vascellari (born 1976) is an italian contemporary artist. He comes from a tiny tiny town called Vittorio Veneto near Treviso and Venice, North East Italy. Coming out of a Punk scene, his work is a mix between performance art and sound exploration.
He seems to be a real good friend of the “grandma of performance art”, the most POPular artist at the moment: the one and only Marina (Abramovic).
Thumbs up for the VERY FIRST PR ARTIST, N-ico and N-etwork, it’s all about the N ✌
Sølve Sundsbø is one of the great innovators in contemporary image-making. His capacity for visual experimentation has brought him enduring respect within the industry. His advertising clients include Chanel, Cartier, Dolce & Gabbana, Gucci, Hermès, Armani, Louis Vuitton, H&M and Yves Saint Laurent. Sundsbø has also created editorials for Italian Vogue, Love Magazine, Visionaire, V, Interview, i-D, The New York Times, Vogue Nippon, and W Magazine.
If I’ve got a style, it’s that I’ve got no style
Sølve Sundsbø was born and raised in Norway and has lived in London since 1995. He is a defiantly modern photographer, creating images that are strange, skewed, manipulated, at times ethereal, at times uncanny, always interesting.
When he came to London from Norway to study at the London College of Printing. After four months he was discovered and snatched away from his degree by Nick Knight, who employed him as his assistant for the next four years. It was a formative education, working within the extraordinarily influential and inventive environs of SHOWstudio, alongside many of the key creatives of the era. And since then, he has continued to push the form of the fashion photograph far beyond the formula of girl-meets-dress, creating finely wrought, intelligent, beautiful images that always startle and intrigue.
How does living in the UK differ from Norway? What do you miss from your home town?
It is very different. Norway has the innocence of being provincial and quite pure. The energy and the pace and grit of the UK makes it so much more interesting for me as a photographer. But I miss the nature and the quiet lifestyle…
• He has also created artwork for several album covers, most notably Coldplay’s A Rush of Blood to the Head •••