Li Hongbo, Bust of Marseilles, Eli Klein Gallery
A former book editor and designer, trained in a variety of artistic fields from Fine to Folk and Experimental art, Li Hongbo plays with the appearances and connotations of paper. The material is to him an endless source of inspiration and interpretation. Li Hongbo observed that honeycomb paper is a folk art present in many aspects of life in China, from children’s toys to festive decorations. Dismantling one such object, he discovered how simply it is made and the amazing flexibility, resilience and strength of the paper material once built into layers of hexagonal cubes. The artist reproduces the mechanical process manually, making it a painstaking craft, which requires a whole new level of perfection to achieve the machine made rendering. The thousands of layers of brown paper are cut, folded and glued together to look just like what they originated from: wood. The artist then carves the block of paper as if he was sculpting wood. Common brown paper, usually associated with wrapping and meant to be discarded, is then interpreted in shapes of much more valued objects, such as a pair of porcelain vases or even human figures, to give it a whole new significance.
U joo Lim and Hee Young, Nice Engine
A married couple Korean U joo and Lim Hee Young , are engaged in quite an original artistic work. They exercise their imaginations through a variety of forms of visual expression, including kinetic sculpture, drawing.
Tony Oursler, Variant Love Finds a Way
I can’t even explain this. It’s like a multi-screen movie theater, with different movies going at the same time, but each movie screen is the size of a postage stamp.
Can’t find a video of this particular piece, however, here’s his youtube page.
Tapes, Installations: 1977-1989
Tony Oursler is known for his fractured-narrative handmade video tapes including The Loner, 1980 and EVOL 1984. These works involve elaborate sound tracks, painted sets, stop-action animation and optical special effects created by the artist. The early videotapes have been exhibited extensively in alternative spaces and museums, they are distributed by Electronic Arts Intermix. His early installation works are immersive dark-room environments with video, sound, and language mixed with colorful constructed sculptural elements. In these projects, Oursler experimented with methods of removing the moving image from the video monitor using reflections in water, mirrors, glass and other devices. For example, “L-7, L-5”, exhibited at the Kitchen NYC 1983, used the translucent quality of video reflected on broken glass.
Oursler began working with small LCD video projectors in 1991 in his installation “The Watching” presented at Documenta 9, featuring his first video doll and dummy. This work utilizes handmade soft cloth figures combined with expressive faces animated by video projection. Oursler then produced a series of installations that combined found objects and video projections. “Judy”, 1993, explored the relationship between multiple personality disorder and mass media. “Get Away II” features a passive/aggressive projected figure wedged under a mattress that confronts the viewer with blunt direct address.
Signature works have been his talking lights, such as Streetlight (1997), his series of video sculptures of eyes with television screens reflected in the pupils, and ominous talking heads such as Composite Still Life (1999). An installation called Optics (1999) examines the polarity between dark and light in the history of the camera obscura. In his text “Time Stream”, Oursler proposed that architecture and moving image installation have been forever linked by the camera obscura noting that cave dwellers observed the world as projections via peep holes.