CHERNOBYL

I just read an amazing account of an author’s [Henry Shukman] exploration of ‘Europe’s strangest wildlife refuge, an enchanted postapocalyptic forest from which entirely new species may soon emerge.’

For anyone interested in Chernobyl, wildlife, subversive spaces, architecture, or even psycho-geography and art, this is a must read.

I saw the link on Twitter thanks to bldgblog << who you should follow if you're not already.

Find the text HERE, and let me know what your thoughts on it are.

flats at Chernobyl exclusion zone

Photo thanks to Pedro Moura Pinheiro.

THOMAS DEMAND

In an effort to garner some inspiration for a series of prints (that will also be transferred onto t-shirts) I’ve been mooching through one of my favourite books; Collage: Assembling Contemporary Art.

Collage: Assembling Contemporary Art

It’s a great book for anyone interested in Contemporary Art and Collage, so check it out if you can.

It’s got plenty of artists and examples of their work, but I’d totally forgotten about an artist who was a massive inspiration for my practice when I was at uni. THOMAS DEMAND creates highly technical and elaborate architectural locations and interior structures – using just paper and card. Often creating the illusion of reality, (since his work is made, photographed and then destroyed) meaning the viewer can only see each piece as a photograph.

There is a juxtaposition of mundanity and the uncanny which creates an unsettled reading of the image. The 3D model/structure becomes flat, a plane, an image of a place that was built intentionally to be seen in 2D. It is this denial that makes the viewer aware of a ‘set’; the photograph offers the viewer an answer to what they see as an ‘uncertain reality’, allowing them into the image and a chance to pull apart the illusion.

Simulator by Thomas Demand

TURNING THE PLACE OVER

By Richard Wilson. “The most daring piece of public art ever commissioned in the UK” – www.biennial.com

Love this. You can see my (quite rubbish) phone video HERE or an ‘official’ one HERE.

Why can’t every city have something like this? Go and have a look if you’re around in Liverpool, it’s well worth it.

And because no one likes a ‘text only’ blog:
Richard Wilson, Turning the Place Over

PRISM

A short while ago (ages ago in fact) I took exhibited work at PRISM, in Sheffield.

I like to think of Prism as a nomadic event, it has no base, no home. Travelling around Sheffield it gives participants a good chance to play with their surroundings and make use of unusual/alternative exhibition spaces. Yet at the same time it does have structure. Even though the place/space it is held in may differ, something about the event/night seems strangely familiar. There is always a fleeting sense surrounding Prism; each event only lasts for one night. A collectiveness and at the same time disparateness, a strength and a fragility.

With this in mind I presented a projected image. The image was from my previous piece BRACE.

Let me know what you think, cheers!

Jacob De Graaf

Enjoying the work of Jacob De Graf at the minute. I saw his work in issue 10 of ArtBox.

Particularly his older pieces – architectural paintings of small homes in mostly nocturnal landscapes. His more recent work is concentrated on form and composition rather than feelings/mood.

I love that De Graaf explores the idea of psychogeography of the home in a 2D format rather than 3D/installation.