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malformalady:

Jerusalem-based industrial designer Naomi Kizhner created a series of sci-fi jewelry than harvest kinetic energy from a human’s body and turns it into electricity. Called “Energy Addicts”. Each spike is inserted into a vein; the blood stream spins the wheel and creates movemen.The jewelry is made from gold and 3D-printed biopolymer. Each piece contains sharp stings that neatly pierce the skin and serve as bio energy harvesting devices. The energy is generated from the body’s subconscious movements, such as blood flow or blinks of an eye. Kizhner created several designs to be worn on different body parts and to draw energy from specific physiological functions. Via Reddit

malformalady:

Jerusalem-based industrial designer Naomi Kizhner created a series of sci-fi jewelry than harvest kinetic energy from a human’s body and turns it into electricity. Called “Energy Addicts”. Each spike is inserted into a vein; the blood stream spins the wheel and creates movemen.The jewelry is made from gold and 3D-printed biopolymer. Each piece contains sharp stings that neatly pierce the skin and serve as bio energy harvesting devices. The energy is generated from the body’s subconscious movements, such as blood flow or blinks of an eye. Kizhner created several designs to be worn on different body parts and to draw energy from specific physiological functions. Via Reddit

(via yeatme)

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thefabulousweirdtrotters:

A RARE ART NOUVEAU “BUTTERFLIES AND BATS” POCKETWATCH, BY RENE LALIQUE Of gilt-finished jeweled lever movement, the openface pocketwatch of circular outline with blued-steel moon-style hands and applied black enameled Arabic numerals, against the gold ground accented by blue and white enameled fluttering butterflies, within a polished gold case, the reverse depicting numerous flying purplish blue enameled bats, with scattered moonstone accents, further embellished by a sculpted gold serpent bow, circa 1899-1900, with French export marks.

thefabulousweirdtrotters:

A RARE ART NOUVEAU “BUTTERFLIES AND BATS” POCKETWATCH, BY RENE LALIQUE 
Of gilt-finished jeweled lever movement, the openface pocketwatch of circular outline with blued-steel moon-style hands and applied black enameled Arabic numerals, against the gold ground accented by blue and white enameled fluttering butterflies, within a polished gold case, the reverse depicting numerous flying purplish blue enameled bats, with scattered moonstone accents, further embellished by a sculpted gold serpent bow, circa 1899-1900, with French export marks.

(via astronette-silhouette)

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 Lipstick Museum Berlin

 Lipstick Museum Berlin

(via yeatme)

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grimeandshine:

so into it

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notes

Relational art = an art taking as its theoretical horizon the realm of human interactions and its social context, rather than the assertion of an independent and private symbolic space

B “What is collapsing before our very eyes is nothing other than this falsely aristocratic conception of the arrangement of works of art, associated with the feeling of territorial acquisition.” (15)

artwork as social interstice

"This is the precise nature of the contemporary art exhibition in the arena of representational commerce: it creates free areas, and time spans whose rhythm contrasts with those structuring everyday life, and it encourages an inter-human commerce that differens from the ‘communication zones’ that are imposed upon us. The present-day social context restricts the possibilities of inter-human relations allthe more because it creates spaces planned to this end" (16)

"social infra-thinnes" (l’inframince social) - "that minute space of daily gestures determined by the superstructure made up of ‘big’ echanges, and defined by it" (17)

"Relational aesthetics does not represent a theory of art, this would imply the statement of an origin and a destination, but a theory of form" (19)

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notes:
rather than shock-art, recent developments in contemporary art with political praxishave been “process-based organizational techniques carefully aligned with socio-economic-political complexities and built on self-reflexive horizontal structures.”
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fundamentally, and, does it matter?



does art create the world and instigate it?
is art a delay in which the world is seen?
do both occur simultaneously in a push and pull?

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art’s state of being as experienced entity
— origin considerations // historicity (static functionality)
— aura // authority // authenticity (functions of power)
— locomotive qualities // conceptual transmutations (generative functionality)
— assemblage of notions (collective functionality)

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"If you lived here… you’d be home now" (1989)
Martha RoslerMulti-part curatorial project, Dia Art Foundation, New York, 1989.
A project comprising three exhibitions on housing, homelessness, and architectural planning with work by artists, filmmakers, homeless people, squatters, poets, writers, community groups, schoolchildren, and others. With four forums featuring the participation of artists, activists, advocates, elected representatives, academics, and community members.
http://www.martharosler.net/projects/here1.html

"If you lived here… you’d be home now" (1989)

Martha Rosler

Multi-part curatorial project, Dia Art Foundation, New York, 1989.

A project comprising three exhibitions on housing, homelessness, and architectural planning with work by artists, filmmakers, homeless people, squatters, poets, writers, community groups, schoolchildren, and others. With four forums featuring the participation of artists, activists, advocates, elected representatives, academics, and community members.


http://www.martharosler.net/projects/here1.html