JBL releases the “Pulse,” a wireless Bluetooth speaker with programmable LED lights that react to your music. The system comes with five light schemes with many up for download online, so your visual experience will never be dull. The Pulse will play for five hours with light show and 10 without, thanks to a rechargeable lithium-ion battery.
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Combining the media of photography, sculpture, and drawing, the works of Hungarian-born artist Attila Csörgõ offer viewers an intelligent and playful introduction to questions of science and technology. The results are often unexpected, amusing, or even poetic. In long-term experiments the artist explores branches of science such as kinetics, optics, or geometry to examine questions of perception; and on this basis he develops his theories about the construction of reality.
Recent kinetic constructions of the experimental Clock-work series, Clock-work from 2011 and Clockwork (Made in Poland) from 2012, continue his examination of light and motion combined. At the interface of visual arts and science, his work on phenomena of perception finds its focus in the lemniscate, the figure eight lying on its side. Both mathematical symbol and poetic shape, the lemniscate is a symbol of infinity shaped like a horizontal 8. What Csörgõ has built is a ‘time machine’ which can be read as a sculpture or a three dimensional drawing, a moving picture or simply a scientific experiment.
‘Squaring the circle’ was originally one of the famous – unsolvable – mathematical tasks coming from the ancient Greek world. It fascinated people during centuries until the final conclusion in the 19th century when mathematicians proved it is unsolvable. Nowadays, metaphorically, we use this phrase for describing a task that is impossible to carry out.
Exhibition runs through to October 26th, 2013
Galerija Gregor Podnar
Lindenstrasse 35
D-10969 Berlin
Germany
In The Present Is Just a Point, Michelangelo’s David has been extruded to a single point. Standing 9-ft tall and made from half a ton of 150-micron marble dust, the apotheosis of human perfection is reduced to zero, the impeccable curves and relaxed contrapposto of David stretched to their endpoint. The horizontal extrusion is stood erect balancing on its tip, supported by a boulder in the same way historic figures are braced by adjacent rocks or conveniently placed tree trunks. In an inversion of the process of carving (removing) to a gesture of modeling (adding), Hornby commissioned a traditional stone carver from Carrera, Italy, to come to London and model a rock in terracotta at his studio.
David’s face appears in a second work, this time mirrored upon itself at a degree angle to make a new compound face. The result is an anamorphosis, the face skewed so severely that it is recognizable only from an acute angle. This Pinocchioesque head is suspended in a bronze cage, much like that of Giacometti’s Nose. In both the resin and bronze versions, the profile becomes an unsettling moment of aggression, not quite the gun-shaped sculpture of Giacometti, but a startling disfiguration of beauty.
Finally, Hornby departs from his more typical gleaming white curves with nine photographs. Hornby has digitally manipulated Matisse’s The Backs (1909-31) in order to extrapolate hypothetical future iterations beyond Matisse’s works, themselves a progression further and further into abstraction as the modeling of flesh gave way to geometric forms. In Hornby’s simplification, the relationship between figure and ground, already at stake in Matisse’s production, falls away, and the compromised forms collapse not into difference but repetition. Unlike the exclamation point of The Present Is Just a Point, the grammatical comparison here would be the ellipses, a subtle fade to black. The trickster makes this world.
Exhibition runs through to November 2nd, 2013
Churner and Churner
205 10th Ave
New York
NY
10011
“Today, I limited myself to a single, wide and long red brushstroke. A workload only akin to the twelve Labors of Hercules. These brushstrokes bring to mind big ships with excess weight at the bow, risking sinking as soon as they set sail but finally managing to go their way.” I wrote these lines in a recent (and lengthier) email to a friend of mine, telling him about what I was doing. If I start by quoting my own words it is because they accurately describe the way I’m now working.
Each one of these brushstrokes arises from a particular place, different from all others, and the dimension they acquire essentially depends on the ballast of pigment and oil they carry within. Black is important because it behaves as a catalyst; for example, as it tangentially approaches a red, it intensifies it, rendering it redder. This red – I could have used any other color in this example – is more intense at its center and diffuse at its margins, almost forming a halo. Apparently immobile, these colors fluctuate and never really touch each other, even when they overlap.
Color and brushstroke are a single entity, inextricable. As such, there is time and duration, beginning and end. It is between these two points, and in a scale ranging from disaster to epiphany, that everything is played out. Colors are served in tubes we can buy at the store. We open one of these tubes and become ecstatic with what we see. Only later we understand that colors are like sharp ramparts, so closed in upon themselves that they can only be taken by storm, and with immense effort. We don’t even have exact names for them; despite the fact that they’re always so impeccably labeled. Having one color, we just need to change its place so that it’s no longer the same. Colors communicate between them in an indecipherable code, impervious to the most powerful algorithm. They are as slippery as eels, and sting like urchins. We’ll never discover the Rosetta Stone of colors.
José Loureiro
Exhibition runs through to November 13th, 2013
Cristina Guerra Contemporary Art
Rua Santo António à Estrela, 33
1350-291 Lisbon
Portugal
Heritage sportswear label Patrick presents the ATP 1987, a fresh iteration to the classic running model. Crafted with a blend of suede and mesh on its upper, the ATP 1987 employs navy and grey hues for a subtle make-up, while the sole design, consisting of a EVA shock absorber and synthetic rubber sole
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Adidas teams up with renowned Japanese fashion designer Yohji Yamamoto on a limited-edition adizero F50 cleat. Featuring bold graphics, the front of the cleat includes a pair of imperial lion-dogs who, in ancient times, guarded the emperors of Japan who lived on sacred ground. This traditional design has been placed in the context of Japan’s modern sci-fi culture creating a connection between the past and the future.
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