Jamie Martin concept ships

Check out THE VOID. A super high quality animated trailer short by Jamie Martin.

















Keywords: concept ships art digital movie trailer animation the void by jamie martin living in london uk art director at norma studio electronic arts ea client

Aliens in Brussels - Althamer's "Common Task"

On June 4, 1989, Poland held the first (partly) free elections of the so-called Eastern Block.
It was the first time since WW2 that opposition parties could legally participate in the political process, and the result - a smashing success of the opposition - was the end of communism and the beginning of a new, free Poland. These elections are generally considered the single event that began the overcoming of the totalitarian regimes in this entire region of the world.
And among the ways in which Poland will be celebrating the 20th anniversary of these events, one is particularly interesting.

Tomorrow, the excellent Polish artist Paweł Althamer (I've written a short note about him before), will land with 160 other passengers of a Boeing 737 in Brussels. They will all be wearing golden suits that look like a combination of space suits and fairy-tale costumes. Even the plane will be specially designed and painted gold - all as part of Althamer's work Common Task (the Polish expression "Wspólna sprawa" could also mean "common issue" or "common quest"). Their first stop in the city will be the Expo 58, a modernist dream-town. A model of an atom will be a starting point of the visit to the European Parliament and "meetings with the residents of the city" (How does that work?). They will be making a tour of the city as strange, alien visitors. 160 gold-dressed aliens.
Who are they? Mainly Althamer's neighbors, family and friends, who have been joining him for other performances he organized.
Who are they? Poles. Strangers. People from outer space.
They are the winners. The visiting winners. The happy neighbors. The curious onlookers, the modernist dreamers, the naive children of freedom, the believers. They are the pure creators, the dreamed Europeans, the perfect people, they are the unexpected turn of events, where everything turns gold.


The words on the page of the entire commemoration state:

The motto of the commemoration, It all began in Poland, is a bold reference to the fact that Poland was the first European nation to oppose, in 1939, the spread of Nazism and communism, and was the first to remove their communist government from power in 1989.

The gold suits seem to fit. And yet, what I like about this social sculpture (as Althamer sometimes calls his works) is something quite opposite to that spirit of heroism and pride we so desperately claim. It's... you guessed it - the lack of pathos.
Or rather - the way pathos is masked by the gold suit.

(In the video, art critic and curator Anda Rottenberg talks about Althamer's social sculptures: "It is about involving everyone in the area of the work of art as an activity where a new reality is created together and the chain of events is directed together".)

UPDATE 05.06.09:
Althamer told the media:

There are no VIPs here. This is a grass-roots project, in which ordinary people participate. It reminds that ordinary people are the ones who can change reality. 20 years ago no one expected that Poland would be free. We thought it was impossible. Our astronauts also never expected to fly to Brussels in a golden airplane. We set to have fun and enjoy freedom.

and the project's curatorial decription tells the story in a broader context:

The participants, i.e. the residents of the Bródno district in Warsaw appear in various places in extraordinary golden spacesuits. The joint activities are aimed to cross not only the mental but also the physical barriers; in addition to the meetings which are set in everyday reality, the participants also set out on peculiar journeys offering them new possibilities and unusual experiences. Clad in extraordinary spacesuits they balance on the border of two worlds; the one that they know and the new one which is very often a projection of their imagination. The world that they know quite frequently means the unattractive space of the grey and gloomy blocks of flats. The participants are “ordinary” people who have “ordinary” jobs and who are just “people from across the street”. “Common Task” allows them to leave the twilight zone and to appear in a public space which is completely new to them. For them, it is a different world full of people communicating in a foreign language. But it is also the world in which they become visible. What is more, they become the focal point and draw attention of the other people.In this context the Project of Paweł Althamer can be viewed as a social sculpture. The sculpture which is a material object, is transformed into a common experience, a process aimed to introduce a deep going change in the registers of everyday habits. Subject to this artistic transformation is not only a physical object but also the person, consciousness and mental habits. At the same time, Common Task is a meeting and integration place of various social groups and people whose everyday realities do not merge in any way and who are often excluded from the social and cultural rites. The symbolic crossing of the borders thus occurs at many levels.

It's curious how the vectors of meaning change. The beginning of the project seems to have been indeed a venture into the unknown, a play with the modernist ideas and ideals of unity, purity, but also of exceptionality of the individual. The trip to the city of Brasilia which they undertook underlines it quite clearly. However, by now the project is huge, the date is a specific date, not a coincidence, and these "neutral" people are not neutral any more - they are the golden ambassadors of the Polish cause. They are, whether the artist wants it or not, the symbol of the Polish events in 1989. And to some extent it becomes irrelevant what their reasons for going were, as the impact of their presence puts them in a very specific role, molds them into a social sculpture quite different from the one described in such a neutral way by the artist. There is a tension between the way the work "should" be seen, and how it appears. Curiously, the media's coverage shows the ambiguity: the journalists would like to show the richness of stories and levels of the work they are participating in (they, too, have to wear the golden suits), yet the bottom line keeps bringing them back to this "gold-medal" aproach, where the Poles are the clear winners of some strange competition.
This development of the "Common Task" is a great example of how the historic identity challenges, distorts, and often overwhelms the personal-narrative-identity.

(with a little help from Polandian)

Dogs Rule In Somerset Gallery Magazine

Above right My Page with Miss Pixel in a scarf.

The other day I received a complimentary copy if this month's issue of Somerset Studio and was delighted to see a great article on a collaborative project I was involved in last year with a group of very talented dog artists. The Dogs Rule Project was a lot of fun and there is a new project in the works that Jill is working on with a Party Animals theme. If you have not checked out any of the Somerset publications you need to pick up a copy. They are eye candy and inspiration for artists.

Simple Stories

David Lynch's new project, Interview Project, is assumingly as simple as it gets: travel across the US. Interview people.
Here is the first episode.
First impressions? It's... nice. Potentially fascinating. Not quite yet. For the moment, it's too early to say.

This might seem like something very unfocused, as if it lacked a form, a formula, a format to support it. Compare this first episode to Kieślowski's (amazing, amazing) Talking Heads (1980):





Kieślowski has a format and sticks to it.
Seen from this perspective, Lynch's project might appear as amateurish.
But then, it goes so well with the spirit of our times, with the thirst for simple, everyday stories...
After all, we can still feel quite a heavy dose of humanist ideals and pathos in Kieślowski's approach. Even the way he films his subjects is dramatic, often painting-like.
Lynch has this capacity too, as we know so well. Yet he chooses a very different approach, different texture. Different proximity.

One small, hardly noticeable element is similar in the two projects: the music. It is heavy, dramatic, as if contradicting the simplicity of the protagonists.
Is it nostalgia for the great narratives?

Oh, and one more thing. We can only get that far asking constantly the most basic questions. After a while, I get tired. I want more. The essential stops being essential. It becomes annoyingly abstract, unaccessible. That's one reason to go beyond the existential questions, and one reason to ask other questions. One way of dealing with this is moving away from the person-as-biography to the person-as-projection. Take the famous work by Sophie Calle called Blind, where she asked people who were born blind about what is their image of beauty.

The pathos is still quite present. Yet the projection, the sensibility of the imagination, makes us... dance with empathy.

Steak 'n Shake '64 1/2 Mustang Paper Model

Several weeks ago I stopped at a local Steak 'n Shake restaurant and found out they were giving away free paper car models with their kids meals. The cars looked pretty awesome so I had to get my hands on one. ^-^ The construction of the cars is glueless, relying on tabs to keep them together. I researched the company that produces the cars, Kid Stuff Marketing, Inc., and found they offer a line of 19 antique car models, everything from a Pontiac Bonneville to a Ford Edsel Pacer. You can take a look at their models here. Sorry no free downloads, but they do offer cases of 120 unfolded cars for a price if you just can't live without them. ^-^

Ralph McQuarrie concept ships

Ballistic Publishing announced the awarding of the EXPOSÉ 7 Grand Master to renowned Star Wars concept artist, Ralph McQuarrie.













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Mosaic Monday

"Glass Octopus & Squid Sketches"

above: Blank tiles papered and ready for glass.

I am back in class and working on mosaics again. I decided to do a bunch of small glass sketches. I consider these "sketches" due to their small size and the speed in which I am working. These little tiles are 5 x 5 inches and I have 2 basic designs that I am trying with different color combos. Some of my favorite color combinations may be worked into a larger piece and the yellow & brown tile squid is already being added to a larger piece by itself.

When you work in mosaics and when you are new to mosaics like I am you often start a piece with no clear idea of how things will look in the end. How will the glass colors work together and what color of grout will be best? By working small I can easily take risks without fear of putting several weeks in a piece only to be disappointed by an unfortunate grout color choice. In this case I was surprised to find that I actually liked the subtle brown, blue and gold more than the bold orange & green. The design on the burgundy & yellow octopus (bottom right on top pic) is my least favorite and I probably would choose not to create this design larger.

Next On The List: Photography! I have got to spend some time with my camera and figure out a good way to photograph mosaics. My best girlfriend has a nice lighting booth she has designed to shoot jewelry. I may borrow that for my smaller works. With mosaics you do not want to eliminate all reflections as this will flatten them some, however you do want to minimize the light reflections and gain control over them.