zoeyye

[zoeyye]

Focusing on the ‘furnituresque’ parts of her sculptural practice, quasi-functional objects become activated through performance. The introduction of performers to ‘use’ or be ‘used’ by objects, extends the artist’s long-running fascination with functionality as a mode of control. Much like in a BDSM contractual agreement, the body is willfully supported, entrapped, pampered and ultimately rendered useless, all while on view for the general public’s consumption in a ‘public disgrace’. Stuck in a feedback loop, the ‘Self’ resolves.

Uddenberg’s latest body of work explores themes of submission and domination in relation to the changing cityscape as Uddenberg directly responds to the immediate surroundings of the Schinkel Pavillon; the various encircling real-estate development and luxury housing projects, most uninhabited pieces of investment property. Uddenberg translates symbolic values of real-estate: textures, ‘skins’, rattan, veneer and other aesthetic components from their design into the new sculptural works’ surfaces. The sculptures produced through a process of 3D printing in this way become “fake” of their own materiality.

Anna Uddenberg FAKE-ESTATE

[zoeyye]

Fresh Love

Haruhiko Kawaguchi, also known as Photographer Hal, is a Japanese photographer.

He encase couples in vacuum plastic in "Flesh Love".

A love that can be preserved likes the goods in the supermarket. Before the product is opened, couples depend on each other. There is no air between them, only romantic body temperature remains. But when the plastic wrap is punctured, love will still meet 'withred' question.

https://www.p55.art/en/blogs/p55-magazine/who-is-japanese-artist-haruhiko-kawaguchi?srsltid=AfmBOooVb3LUSrgVDZ4xHnfK_6eYyI3Qn0UmDsYIM4NJyc7PKfH3fA3w

[zoeyye]

I think there are two levels to discuss under the topic of reification that I am currently studying. One is how architectural space is reified in the city and becomes part of the logic of commercialization; the other is how people are alienated in space and become symbolic existence. In modern society, consumer culture transforms individuals from "subjects" to "objects" through the mechanism of symbolization for consumption and scrutiny by others. People are no longer just active initiators of behavior, but passive roles under a certain design logic. The city or spatial environment becomes the "leader": these things dominate and shape people's behavior, posture and interaction methods, gradually transforming from "objects" to "subjects". This is the relationship between subject and object in the reality of commercialization: the body is both a subject and a designed object; the environment is both an object and a manipulator of the subject.

[zoeyye]

Self Comedy

#Sculpture Comedy

[zoeyye]

"You come home tired from a day's work and you find an uncomfortable chair. We must perfect each piece of furniture, not create thousands of variations; we must refine them in every way, and not follow fashion (see the hammer), but make them last at least until .... We could then say that we have worked for ourselves, for man (and for woman) and not just for creativity (or oddity). This kind of desire for the unique object is making its way into the field of vehicles. We have all seen thousands of bicycles, all different from each other. I have this one, you don't have it; mine is more beautiful, mine costs more. Come on kids. Children. Tell the truth. Wouldn't you buy a chair on which you are sure you will be able to relax even if everyone else has one? I think that interior design does not mean the invention of a new form of furniture, but rather the placement of a common piece of furniture, a vulgar chaise longue in the right place."

In 1944, Bruno Munari launched a provocation to the world of design in the pages of Domus, accompanied by an original photo report.

https://picturediting.blogspot.com/2017/11/quatre-postures-inconfortables-quatre.html

[zoeyye]

#PINA

#FURNITURE

#DANCE

[zoeyye]

#PINA

#FURNITURE

#DANCE

[zoeyye]

Bruce McLean first made this work as a performance. He repeated the poses from his performance for these photographs. They are an ironic and humorous commentary on Henry Moore’s monumental reclining sculptures, which McLean found pompous. The plinth in McLean’s work is also a pointed reference to another established British sculptor, Anthony Caro. Caro strongly rejected the use of plinths in sculpture. He taught at St Martin’s School of Art when McLean was a student there (1963–6). 

Pose Work for Plinths I 1971, Bruce McLean

[zoeyye]

The Substance - Coralie Fargeat

#film

[zoeyye]

Under the Skin - Jonathan Glazer

#film

[zoeyye]

Milk Mother in Mad Max: Fury Road by George Miller

#film

[zoeyye]

COMMERCIAL BUILDING TYPOLOGIES

#comercial space

[zoeyye]

Korova Milk Bar in Stanley Kubrick's 1971 film A Clockwork Orange

#film

Jones' pieces were also interpreted in Stanley Kubrick's 1971 film A Clockwork Orange, where forniphilic tables and milk dispensers furnish the Korova Milk Bar. Jones allegedly turned down Kubrick's offer to design the bar for free, forcing Kubrick to commission derivative designs.

[zoeyye]

Hatstand, Table and Chair(1969) by Allen Jones

"Fetishism and the transgressive world produced images that I liked because they were dangerous. They were about personal obsessions. They stood outside the accepted canons of artistic expression and they suggested new ways of depicting the figure that weren't dressed up for public consumption."

However, works that can spark public discussion seem to attract more attention from collectors from all sides. " Hatstand, Table, and Chair" has been successively collected by Tate Gallery and famous artists such as rock musician Elton John. The auction prices have also repeatedly set new highs. He was considered the most valuable British pop artist at the time.

It's sarcastic, he said that this was not a work made for public consumption, but it has attracted great public interest and became a best-selling artwork.

[zoeyye]

#reading

[zoeyye]

#reading

This helped me understand how commodification attracts people's attention to consumption, not in terms of marketing strategy, but in terms of urban space.

Commodification makes urban space a medium for communication systems.

[zoeyye]

Learn From Las Vegas _ Venturi

#reading #communication

how does commodification affect the urban space

it stresses communication more than space