Jan Kampenaers
From the ‘Spomenik‘ series (2006-2007) of communists monuments in Ex-Yugoslavia which have been build in the late 60s and 70s. More information in this article. It’s all about the object not the subject. Go climb these.
Reclaiming the streets
Reclaiming the Streets
June 13 – July 25
Rot(t)terdam, Meent 119-133
In the past month students, artists, skateboarders and designers from around the world have submitted more than 80 concepts for the ‘Reclaiming the Street’ competition. MAMA invited ideas and designs for an object or an adaptation to the urban public realm in order to allow skateboarders and others to playfully make use of public space.
Visit Showroom Mama for further info and to see the winning submissions soon.
The skatepark in Helsinki is a good example of an official playground which still has a nice atmosphere.
Marshmallow Cosmos
‘Marshmallow Cosmos’ (2007) by Kristin Posehn. Photographs offset printed on breakfast cereal cardbox. Edition of 1000, signed, numbered and sealed.
These boxes document the supporting columns of the I-280 freeway in San Francisco. All graffiti and painting was done by artists who frequent that site. 10% of the sale price of each box is donated to SF Connect, a local charity.
In here, out now
Pre-Summer Sunday in Dolores Park / SF. Via ‘Tiny mental palace’. California is the place. For some.
Eva Davidova
Eva Davidova (b.1969, Sofia, Bulgaria)
“… works with the displacement and manipulation of elements – spaces, words, and bodies. Dissociating meanings, and playing with visual paradoxes and unnatural movement, she tries to question the origin and purpose of an image or an action, to take events out of their routine, and to confront viewers with their own, not previously digested, interpretations.”
Andreas Gefellers Supervision series
The Supervisions series, begun in 2002, are based on images of urban areas revealing both views of public sites and their surfaces, as well as offering insights into closed areas from a bird’s-eye perspective.
By means of an elaborate photographic technique, Gefeller creates these »possible« and »impossible« view-points. Hundreds of individual shots are digitally joined, giving rise to the impression that the overall sight has originated from a much higher perspective. The uncommon formation process is betrayed by the detail-richness resulting from the high-resolution quality of the images of »scanned« surfaces and the optical breaks between single segments originating through perspective shifts. Yet this only becomes apparent to the observer through close inspection.