Location: Russian village of Kamarchaga, Siberian taiga
Artist/Designer/Architect: Pensioner Olga Kostina
Material: 30.000 plastic bottle caps
Technique: conventional macrame technique of weaving and knit knots
via Demilked
Lullaby Factory – a secret world that cannot be seen except from inside the hospital and cannot be heard by the naked ear, only by tuning in to its radio frequency or from a few special listening pipes.
Welcome to our Lullaby Factory!
by Studio Weave
Our Lullaby Factory was founded in 1852 by my great, great, great, great grandfather. This is the oldest Lullaby Factory in the world still in operation. We’re very proud of our Lullaby Factory and the great lullabies it produces for the Sleepies in hospital and beyond. We hope you enjoy your visit and don’t forget to take advantage of the complimentary nap at the end of the tour!
How are the Lullabies Built?
Before any lullabies can be built, we need to collect the base ingredients. The two main collection tools are the Whistful Fillment Filaments, and the Satellite Lilters. The Whistful Fillment Filaments are very long invisible grasses that reach up from the rooftops and comb the air for wishes, the most important ingredients. The second tools are the Lilters that lie high up in the sky and listen to the planetary music. Planetary music is the undetectable basis for all music and dreams and it was the invention of Lilters that allowed the earliest dream factories to be set up. The Lilters can detect the planetary music and communicate it down to the factory by a sort of singing with their Lollips.
Whole story here
Hackney-based Studio Weave has constructed a network of listening pipes in a back courtyard of London’s Great Ormond Street Hospital to create a secret factory of lullabies for children. The architects were inspired by the messy pipes and drainage systems that already cover the surface of the brick walls. Instead of covering them up, they chose to add to them with a wide-spanning framework of pipes and horns.
“We have designed a fantasy landscape reaching 10 storeys in height and 32 metres in length, which can engage the imagination of everyone, from patients and parents to hospital staff, by providing an interesting and curious world to peer out onto,” explain architects Je Ahn and Maria Smith.
Whole project here
Found here
‘TIME SPENT THAT MIGHT OTHERWISE BE FORGOTTEN’ – cross-stitching technique & photographs
See more here
I began my ongoing series of altered Barbie dolls, “the Barbs”, in 1996. To date, I have created 160+ dolls ranging from the melted skin of “Nuclear Barbie” to a doll mummified by her own hair.
Alison Jackson is a contemporary artist who explores the cult of celebrity – an extraordinary phenomenon of our age made possible by the wide availability of photographic images in film, press, TV, internet and the interest in publicity.
Jackson makes convincingly realistic work about celebrities doing things in private using lookalikes. Likeness becomes real and fantasy touches on the believable. She creates scenarios we have all imagined but never seen – the hot images the media can’t get.
via Photographers Limited Editions
Moss graffiti, also called eco-graffiti or green graffiti, replaces spray paint, paint-markers or other such toxic chemicals and paints with a paintbrush and a moss “paint” that can grow on its own. As people become more eco-friendly and environmentally aware, the idea of making living, breathing graffiti has become a more green and creative outlet for graffiti artists. It can also be considered another form of guerrilla gardening.
Ingredients:
Steps:
via wikihow and true activist
It’s time for a music break!
Great Kerri Chandler! Enjoy!!!
“This song has been in my head since I was about ten-years old. It’s an old Steve Reich song and I found it just at random in my grandmothers stash. This record must be from the ’60s or ’70s, but this guy was a minimalist person and he literally took six pianos and he had a composition made up so they all fell on top of each other and they were all kind of looped after each other. And I thought that it was such an odd thing that it would stick to me that long and I thought, ‘That’s a hook and a half’. I don’t know if you guys have heard of an earworm in this room. An earworm is one of those things that you can’t get out of your head until you hear that song again. That song has been stuck in my head until I found that thing maybe early last year. And I said: “That’s it. I have to do something with it ’cause it’s such a weird song. It’s just too bizarre.” I thought it would make a really good house record.«
Step Into / Uskoči is a project that questions the relationship between architecture and fashion design, and aims at promoting serbian architects, fashion designers and photographers of the younger generation.
A series of projections is to take place across the wider area of Central Belgrade. The projected imagery is selected from various designs by young architects.
Once the projected images of spaces overlap with the spaces which they are being projected upon, a new imaginary spatial setting is created. This setting is intended to provoke a response from a fashion designer to pose his models against such a setting in a manner he/she sees it and thus they create entirely new aesthetic and conceptual relations.
Here are some of the photos. You can see rest of it here
Architect: Ivana Popovic; Fashion designer: Milan Zejak; Photographer: Marko Arsic
Architect: Nikola Andonov; Fashion designer: Sandra Lalovic; Photographer: Tina Maric
Architect: Nebojsa Stevanovic; Fashion designer: Ivana Stojanovic; Photographer: Branko Starcevic
Architect: Edin Omanovic; Fashion designer: DEERSPOTTER; Photographer: Andreja Miric
Architect: Aleksandar Ristovic; Fashion designer: Zorica Stojanovic; Photographer: Jelena Kostic
Architect: Aleksandar Hrib; Fashion Designer: Flora Goticcelli; Photographer: Andrija Rancic
Architect: Iva Cukic; Fashion designer: Aleksandra Ziravac; Photographer: Nemanja Maras
Architect: Pavle Stamenovic; Fashion designer: Ivan Ivanovic; Photographer: Jovana Cetkovic
Architect: Zarko Uzelac; Fashion designer: Monika Ratkovic; Photographer: Dejana Batalovic
Architect: Marija Mikovic; Fashion designer: Senka Kljakic; Photographer: Milica Kolaric
The aim of the project is twofold – the large, human-scale projections of building drawings enable the architects to visualise how their ideas might look once being built and even gives them a chance to take a walk through their designs while they are projected onto existing spaces. For fashion designers, this presents an opportunity to test their designs in a context other than the one they would normally envisage.
The recording of the collaborations forms an integral part of the overall idea. The photographer/video artist, with his/hers own interpretation is seen as an important contributor to the final state of the process.
WINNER at SLAMDANCE 2012 of the Special Jury Prize for Experimental Short
Directed by: Sara Vulovic
Director of photography: Vladimir Slijepcevic
Camera: Matija Munjiza Petrovic
Editor: Nikola Silic
Music: Cry – Schwabe (http://soundcloud.com/schwabe)
More here
Annoyed by unsolved burning issues in Serbian cultural policy as well as in society in general, Maja Pelevic and Milan Markovic, artists with no permanent job, came up with an unusual idea – to become members of almost all political parties at once and tackle them from the inside.
Their artistic performance resulted in a dramatic text, audio-visual materials, and a blog.
From February 13 to 21, these two screenplay writers applied for membership of the Democratic Party, the Liberal Democratic Party, the Progressive Party, the Democratic Party of Serbia, United Regions of Serbia, the Social Democratic Party, and the Socialist Party of Serbia.
As a cover letter for their application, they used a changed version of a 1928 speech by Goebbels called “Knowledge and propaganda”.
The text with a name “Idea-Strategy-Movement” was slightly adapted to suit political parties’ public image. Instead of “Hitler”, the artists inserted the name of the party leaders or ideologists. Instead of “National Socialism” they’ve used “democracy” or another suitable term. Instead of the word “propaganda”, which was frequently used by Goebbels, the artists came up with the word “political marketing”.
“It was exciting when we signed our Application Form, but when they called us to join and participate more immediately in councils, and boards for culture… I didn’t feel so good anymore.
I wasn’t sure who was using whom, because we didn’t have a clear plan of what to do after we joined parties as a part of our performance, so I didn’t have the need to bluff. To me, the value of what we do lies in the sole fact we are not bluffing, because this divides it from investigative journalism”
A quote by Milan Markovic from “They live”.
The feedback from the parties was surprisingly positive. Soon Pelevic and Markovic became members of the culture councils of most of the parties and got a chance to stand for election in various city and municipal party councils.
“[Parties] weren’t bothered with all of the ideological standpoints that the author [of the text, Goebbels] fought for, and which are apparently worth fighting nowadays: gaining power no matter the cost; spreading one’s idea into society’s pores, conducting ruthless propaganda,” Markovic said.
You can read more about They Live here (unfortunately most texts and additional material are in Serbian)
“When I needed to come up with brand name to give my dolls an identity, I decided to name them after Paul Gallico’s fictional, short story called “Enchanted Doll”, where a young woman creates dolls with so much love that they enchant people at first sight with their compelling, delicate, life-like beauty.”
Marina Bychkova
I am enchanted! What about you?
Here are my favorites:
A porcelain tribute to breast cancer fighters and the choices they face.
In the growing awareness of Breast Cancer, a disease which appears to be the inevitable side-effect of womanhood (though males can also develop it, but a lot less frequently), this doll was my attempt at working through my own personal fear of it, and facing up to the possibility that one day I could be amongst hundreds of thousands of women who develop it. I can only hope to be brave, like so many other women.
This doll is based on the main protagonist from the majestic and tragic novel Anna Karenina written by Leo Tolstoy. I tried to re-imagine Anna’s heartbreaking love story with a different ending where she survives her horrific suicide attempt at jumping under a slow-moving train, but sustains severe, disfiguring injuries, losing her left leg, mangling her left arm and breaking her back instead. read more…
This project was inspired by Mary Shelley’s Frankenstein, while the helmet in particular was inspired the Steampunk culture, as well as Camelia D’Errico’s and James Christensen’s work. The bridal gown is rendered in the style of Erte.
A Muse is an ancient goddess of inspiration and creativity. She is a personification of humanity’s relentless pursuit of beauty and self-expression.
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