Photographer working in Amsterdam.
Recordings of the planets, moons and planet rings.
Beautiful series of multi-racial women in Korea.
Zimoun + Hannes Zweifel
“The installation is comprised of 81 cardboard boxes of 70x70x70 cm which are suspended on the ceiling in a grid of 80×80 cm. The boxes hang between floor and ceiling and can be seen from two different levels. 20 dc-motors are mounted and distributed along the handrail of the first floor. When activated, they set the boxes in motion by means of thin nylon ropes connected vertically to the individual boxes, causing them to move with varying intensity and directions. Since the spaces between the boxes are small, the movement of one box is affecting neighboring boxes, leading to a very complex overall performance of the suspension, which constantly changes and progresses.”
“This series is an exploration of the modern gaze; of ambiguous figurative paintings that are revealed and transformed within the act of the individuals’ views. These portraits are not an attempt to render physical characteristics but rather create a language of underlying sexual subtexts. Using ambiguity as a tool demands the viewer’s exploration of their psyches and provokes self awareness.”
“[Paul] Van Hoeydonck is in a more nostalgic frame of mind… He wells up briefly on our computer screen over Skype. ‘I don’t like the story not being told truthfully. I don’t exist in history. I am the only human being who has been able to get a sculpture to the moon. Nobody can take that away from me.'”
An ego visible from space. A sculpture that manages to be entirely devoid of sentiment even with seemingly noble inspiration, Fallen Astronaut is, without question, interesting only in its earthly context, nicely contextualized in an article by Corey Powell and Laurie Shapiro on Slate.
“Ornamented objects appear truly unaesthetic if they have been executed in the best material, with the highest degree of meticulous detail, and if they have required a long production time… The Modern man who holds ornamentation sacred as the sign of artistic achievement of past epochs will immediately recognize the tortured, laboriously extracted and pathological nature of modern ornament.”
The ornament of a savage tribe, being the result of a natural instinct, is necessarily always true to its purpose; whilst in much of the ornament of civilized nations… the ornament is oftentimes misapplied, and instead of first seeking the most convenient form and adding beauty, all beauty is destroyed by superadding ornament to ill contrived form. If we would return to a more healthy condition, we must even be as little children or as savages; we must get rid of the acquired and artificial, and return to and develop natural instincts.”