How I meet your Alien..

Or cyberpunk art.

Giger is one of the best artist in this genere...

hope you enjoy it...or be afraid of it.

Christo and Jeanne Claude.

Look at this videos, some of them are the artists works, but we also have an interview with them...so you can know exactly what they were thinking.

This will have only your opinion, do not answer to the others...how ever you will, as a group, wrap some part of the school in the next class. AGAIN: WORK AS A GROUP.

En el aire...

to understand life, we have to understand dead. To understand modern art we have to notice that it not the object, but the concept, the idea behind the object,

Teresa Margolles

MUSEUM FÜR MODERNE KUNST, FRANKFURT, GERMANY

In the museum’s soaring hall children play under bubbles that come from Teresa Margolles’ piece En el aire (In the Air, 2003). Running, laughing, catching, they are fascinated by the glistening, delicate forms that float down from the ceiling and break up on their skin. A common motif in art history, the bubble has long been used as a memento mori, a reminder of the transitory nature of life. The children’s parents, meanwhile, studiously read the captions. Suddenly, with a look of disgust, they come and steer their offspring away. The moment of naive pleasure turns into one of knowing repulsion: they have learned that the water comes from the Mexico City morgue, used to wash corpses before an autopsy. It’s unimportant that the water is disinfected; the stigma of death turns the beautiful into the horrific.

This is the ploy at work in most of the pieces on display in Margolles’ first large-scale European solo show. Despite the show’s title, ‘Muerte sin fin’ (Endless Death), death itself is not directly visually displayed; it is only in the viewer’s psyche that the silent, minimal, often quite beautiful work is transformed into something appalling. In Aire (Air, 2003) the viewer simply moves through a humid room; in Llorado (Wept, 2004) water drips from the ceiling. In the former, it is the same disinfected morgue water moistening the room; in the latter, it is plain tap-water. We are appalled at the idea that we have absorbed the tincture of death. How are we, then, not appalled that the same water washes from autopsy rooms into the drains and is recycled into tap-water?

The artist herself is clearly haunted by the production of these works. They are not a catharsis for the poverty and violence she witnesses; they are the production of mourning. Modern psychiatry defines normal grief as a process of emancipation from the bondage to the deceased, of readjustment to the environment in which the deceased is missing; acute grief, on the other hand, is the inability to make these adjustments. Margolles suffers from acute grief for her country. At her own avowal it would be impossible to make representative images to describe her reality; it would simply be too appalling.

By Amanda Coulson (http://www.frieze.com/issue/review/teresa_margolles/)

En el aire:

I promise a happiest post next week.

The people....

don't want art, they just want shit.

This idea by Piero Manzoni make him produce a very special piece of art...well 90 of them. They cost their weight in gold, but now a days they are nearly the 200,000 euros. Yes..this post will be shit.

The Artist's Shit

The ninety cans of "Merda d'artista" ("Artist's Shit, content 30 gr., freshly preserved, produced and tinned in May 1961"), were first exhibited in the Galleria Pescetto (Albisola Marina) on 12 August 1961. 

Manzoni calculated the value of the ninety cans - all numbered, each with a net weight of thirty grams - in accordance with the daily exchange rates for gold.

Manzoni's cans of Artist's Shit have some forerunners in the twentieth-century art, like Marcel Duchamp's urinal ("Fontaine", 1917) or the Surrealists' coprolalic wits. Salvador Dalì, Georges Bataille and first of all Alfred Jarry's "Ubu Roi" (1896) had given artistic and literal dignity to the word "merde". The link between anality and art, as the equation of excrements with gold, is a leitmotiv of the psychoanalytic movement (and Carl G. Jung could have been a point of reference for Manzoni).
Manzoni's main innovation to this topic is a reflection on the role of the artist's body in contemporary art.