Yayoi Kusama Covers The Entire Room With a ‘Virus’ of Gorgeous Red Flowers

Yayoi Kusama is a Japanese artist, and her stunning artwork pieces have been mesmerizing people for a little while now. Lately, she made a brand new installment called ‘Flower Obsession’ at NGV Triennial at Melbourne. Kusama invited visitors to apply red flower motifs on walls, furniture, ceilings or wherever they’d love to. And the result is simply unbelievable. If you’d visit the apartment now, you wouldn’t have the ability to tell that behind these flowers establishes a very ordinary room. Entering this installment will permit you to know what it’s truly like to be obsessed with blossoms.

In a press release for the series, Kusama has explained why she chose these blossoms, “One afternoon, after gazing at a pattern of red flowers on the tablecloth, I looked up to see that the ceiling, the windows, and the columns appeared to be plastered with the same red floral pattern. I saw the entire room, my entire body, and the entire universe covered with red flowers, and in this instant, my soul was obliterated… This was not an illusion but truth itself.”

Some time ago Kusama made a comparable installation referred to as ‘The Obliteration area’ where she let people cover the entire space with colorful stickers, and the result was incredible, to say the very least. Scroll down to find out with her mesmerizing art pieces yourself!

Newly, she created a new installation named ‘Flower Obsession’ at National Gallery of Victoria Triennial in Melbourne.

She asked visitors to apply red flower motifs on furniture, ceilings

A while ago Yayoi Kusama made a similar installation where she created a completely white room.

And she let the visitors put colorful dots wherever they wanted

h/t demilked

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BMW Presents All-Electric Concept iX3 at Auto China 2018 in Beijing

With its world debut at Auto China 2018 in Beijing, the BMW ‘concept iX3′ asserts to indicate a new chapter of their brand’s electrification strategy. The concept car extends the range of their all-electric mobility by improving fifth generation BMW Edrive technology. This focuses on grouping together the electrical motor, transmission, and power electronic equipment, as well integrating new and more powerful batteries. Overall, this ensures the fully-fledged, electrical ports activity vehicle (SAV) performs without compromise regarding both comfort and functionality.

Driven purely by electric power, the new technology configuration of the BMW ‘concept iX3′ offers advances in operating range, weight, packaging space, flexibility and most importantly, performance characteristics. The driving pleasure is ensured with a maximum output of over 270 hp and an assortment of 249 miles. What’s more, its optimized charging capability enables the batteries to be charged in 30 minutes from channels that generate up to 150 kW.

The presentation of this BMW ‘concept iX3′ also highlights the design differentiation between the group’s brands, also its electrification. The brand logo and closed twice kidney, which will help decrease air resistance, exemplifies this. At length, it gives a dramatic contrast to the moonstone silver matt outside the painted body.

h/t designboom

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Colorful tapestries Created from Burned, Threaded and Decorated Paper

Garden of Mutei is an exhibition of new compositions by Karen Margolis, featuring works from the Brooklyn artist’s “Integration” series, her most significant compositions thus far, crafted from burned, painted and threaded paper.

The exhibition title refers to a beginning stage of emptiness where shape can emerge. Margolis cultivates her compositions out of this darkened area, weaving ephemeral ideas and ideas into tapestries of vibrant colors. The circle recurs throughout her works as the artist’s primary way of communication, the embodiment of both infinity and perfection and within her reinterpretation of negative and positive space.

“I search for the connective tissues between the world and the microscopic. I’ve discovered it in the circle. It pertains everything. As the most elementary component in the world, the circle is seen in all of nature in addition to in religious symbols representing infinity, devotion, and totality,” Margolis describes.

To make her incredible tapestries, Margolis burns holes into Abaca paper in the act of removal that she balances by painting as well as sewing map fragments to the paper. The artist’s latest works are scaled to over double the size of her first “Integration” compositions, incorporating a wider set of colors and dense concentrations of ribbon. The threadwork provides the appearance of coming together while also seemingly falling apart, two straight opposed notions which reference creation and destruction, an intrinsic characteristic of her job.

Simultaneously, the functions could be read as extreme emotional portraits: a translation of significance into visual routines. In every one of the functions, Margolis references a color chart she created, in which every color variation is representative of a designated emotion. Implementing this particular code, Margolis records private feelings and inner monologues to her arty compositions as a chronicle of the organized chaos of operations within the mind. This way, Margolis imbues the article with significance, in addition to encrypting it to obfuscate comprehension.

Read more: website

h/t creativeboom

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Photographer Finbarr Fallon Converts Singapore Into An Abstract Infrared Dreamscape

British architectural photographer Finbarr Fallon‘s ‘Floral Phantasmagoria’ invites viewers into a world unseen, presenting a surreal dreamscape in scarlet. Photographic tropes and iconic images of Singapore are recast as ghostly structures climbing amidst and over shifting masses of crimson, punctuated by colorful tints of pink.

Fallon’s series employs infrared infrared photography as a moderate to resensitize the urban dweller to how deeply embedded greenery is from the natural experience of Singapore — forcing the viewer to find that the ubiquity of greenery maybe not only as a matter of fact but among fantasy. Invisible wavelengths beyond the visible spectrum emitted by the flora have been recorded through multiple infrared exposures and are blended to produce the vivid hues.

While the greenery and buildings can be made to coexist, the implications of their interdependence stay a significant question.

The question of how the seemingly different delights of urban/rural can be reconciled in one spacetime — how a bucolic green atmosphere could be imbued with the hum of a busy city — seems an intractable one. It is not surprising that Singapore, the natural resourceless wunderkind of southeast Asia, has resolved the problem with fantastic efficiency.

Learn more: instagram / website / linkedin 

Besides safeguarding parkland, the state maximizes even liminal spaces like road dividers throughout planting, and capitalizes on development (paradoxically) as an opportunity for greenery, by mandating landscape replacement as a prerequisite for planning approval. This allows for a town that is dense yet liveable: a model that many other cities with pressing issues should seem to if germinating their particular variation of a liveable city. Through this series, recognizable scenes are rendered into unexpected colors to visually distill and heighten the tension between greenery and building, evoking the magic and wonder of a garden town unlike any other.

h/t designboom.com

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Swiss Artist Not Vital Designed Bataan Chapel in the Philippines

Art, in general, is made to be seen or experienced by another, an interlocutor, who, then, establishes various connections with the work. However, this does not appear to be true with the Bataan Chapel, built by the Swiss artist Not Vital in the Philippines.

Punished by constant winds, the work rises on a hill in rural Bagac, a city of just under 30,000 inhabitants located about 50 km west of Manilla. The remote location of this installation makes it difficult to access and makes the journey a task that takes on the air of pilgrimage–part of its elegance lies just in its inaccessibility.

Vital considers the project in Bataan the most up-to-date in a series of surrealist works assembled on distant sites around the planet, including works in Tschlin, Switzerland, and Agadez, Nigeria. Obviously architectural, the Chapel from the Philippines is just one of those bits produced in the contemporary art world which are situated not within a precise disciplinary area, but in a type of limbo between the fields of architecture and art.

“Is it art? Is this architecture? I really don’t know. I am not an architect; I went to design school. That’s why I am so free to do this,” commented the artist in reaction to the effort to categorize his job.

It’s tempting to place this and other works of Vital in a category of buildings alongside such works as the San Bernardo Chapel by Nicolás Campodonico (2015, La Playosa, Argentina) and Peter Zumthor’s Bruder Klaus Field Chapel (2007, Mechernich, Germany). The work in Bataan shares with Zumthor’s design not only the “chapel” designation, but materiality, physical isolation, a dramatic interaction with the landscape, its own narrow point of access and, finally, the mysterious atmosphere created by the amalgamation of these factors.

As in the plan of this Swiss architect, Vitial’s building was constructed of exposed concrete and introduces a non-archetypal yet strong geometry making it a highlight contrary to the natural backdrop. Visible from miles apart, its volume consists of the mixture of a trapezoidal plus a stepped prism; at the top of the first, a longitudinal slit brings a stunning beam of sunlight to the interior, while on the opposite side, a door–just large enough to fit 1 person at a time–is the sole entrance to the Chapel.

The interior should, according to the original design, be softened with a coating of plaster, but the impression left on the raw material from the contours of coconut trunks convinced Crucial to give up the idea.

When you pass through the door, the viewer sees, on the opposite wall, a large white porcelain mural measuring 12 x 5 meters having thirteen black stains–The Last Supper. Between the work and people who contemplate it, a shallow layer of water which begins 20 centimeters from the doorway pays homage to the rice areas of the Philippines; to the right, Bulol leans a few feet above water level, while the left wall remains untouched.

The adventure is done by the light changes made possible by the cut in the cement above The Last Supper. Depending upon the time of day and the weather conditions, the luminosity changes from a soft, diffuse light to some sharp contrast, roughly changing the understanding of the internal space and the elements which constitute it.

Though he is not an architect by training, Vital’s intention to create an atmosphere throughout the design of distance is noticeable in this job. Everything from the Bataan Chapel– from the material to the massing of amounts, from place to feel–is evidence that there’s, in the work of art, architectural design.

Throughout the opening, it is likely to observe that the solid feel of the ceiling decorated with the reflection of natural light from the mirror of water.

Defining precisely what this piece is might not be quite as easy, then. Art? Sculpture? Architecture? Maybe all of them? The artist himself is reluctant to commit to a specific category, and this is not relevant. Possibly the most relevant question is the way the disciplinary field could be benefitted and improved by works of the sort, which are inserted in the undefined territory between fields.

h/t archdaily

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