Thursday, 24 April 2014

4000 blue butterflies to swarm a street near you

4000 blue butterflies to swarm a street near you
by Leo Ribeiro
 
 
A swarm of 4000 handcrafted magnetic butterflies will travel across the globe in an ambitious street art project that will connect participants and the art through social media.
 
 
Image: Tasha Lewis' installation in Instanbul, Turkey, 2014. Supplied.
23-year old American artist Tasha Lewis could not travel the world as much as she wished she could so she decided to handcraft thousands of blue butterflies and let them go on an epic adventure instead.
‘I made 4,000 magnetic butterflies, and over the past two years I have installed them in places I lived or visited,’ Lewis told ArtsHub. ‘Now I want to open the project to include people I have never met all over the world.’ 
Swarm the World will use social media to connect similarly minded people from all over the globe, and use those  digital connections to facilitate real world interactions with each other and their communities through the butterflies.
‘Clearly I could not make this project happen without the internet, shipping technologies, etc; but my hope is that the more meaningful and rich dimensions of the project will come once the butterflies are on the ground in people's hands,’ said Lewis.
 
 
 
Philadelphia, PA. September, 2012
Participants are required to have internet access during their time with the butterflies and will need to be able to install at least 10 times during the four-week period in which they will host them. ‘I will be selecting the final participants for their geographic spread as well as their compatibility for the project,’ she explained.
The project begins in October 2014 when the successful first round of participants will be sent 10 packages each with 400 butterflies. Each round of recipients will then keep sending the packages to further hosts for a year until the project culminates in a final exhibition in New York City featuring images from the global journey.





Buyukada, Turkey. March, 2014
The swarm is extremely likely to reach Australia. ‘I have gotten many emails from Australia, and I imagine that the butterflies will be spending a few months exploring your large and diverse country,’ Lewis told ArtsHub.
Initially unsure about the response the project would have, Lewis is now ‘jazzed’ about the overwhelming interest and enthusiasm of potential participants. She is now considering expanding the project even further as she currently has double the amount of email requests as she originally intended.
‘First I am going to suggest that interested participants who live in the same city or township, connect and work on the project together while one of them has the butterflies. This way they can cover more ground and hopefully make a new friend,’ she says. ‘I may also continue to make butterflies over the summer. Every new 400 butterflies I make opens up the possibility for 10 or more new participants, so I may try to expand the project to fill the interest.’ 





Istanbul, Turkey. March, 2014
Lewis’s butterflies first appeared in a pair of shadow boxes while she was still a student of Swarthmore College in Pennsylvania. ‘While I loved the way they looked, I wanted to find a way to liberate them from the glass.’ Once she had graduated and upon returning to Indianapolis, Lewis decided to sew small magnets into the butterflies and went around downtown placing them on electrical metres, telephone poles and sides of buildings. 




Indianapolis, IN. August, 2012
Naturally blue because of the cyanotype process in which they’re made, each butterfly takes about 10 minutes to make, ‘not including the printing time,’ estimates Lewis. 






‘I purchase cotton fabric that is pre-coated with cyanotype chemical and cut that cloth down into small 8.5 x 11 in sheets. I prepare the negatives in pairs that make a kind of sandwich with the cloth in the middle. This allows me to register both sides of the photograph to print exactly. I put them under glass and expose them to sunlight or UV light depending on my set up, print one side for about 20 minutes and then I flip it like a pancake and print the other side. Once that is done I wash the prints out in water. I can print 16 sheets at once— that is about 100 butterflies.’
‘Once in the water I rinse out the unexposed chemical until the water is clear. I add a cap full of hydrogen peroxide to boost the color contrast, rinse again and hang the finished prints out to dry. Once dry, I cut out the butterflies and paint them with a fabric stiffener. This gives the butterflies' wings a crispness that allows you to bend them. Once that is dry, I hand-sew a magnet to the body of the butterfly with thread.






Istanbul, Turkey. March, 2014
But why butterflies?
‘The butterflies for me signify nature as a whole. Perhaps more specifically the idea that plants will sprout up through cracks in the concrete and that wilderness will eventually take over abandoned buildings. I want them to invade the urban environment to remind people of that, to highlight forgotten objects, or just to change the daily routine of urban life.’
Swarm the World is desperately seeking hosts in Africa, the Middle East, Eastern Europe, Polynesia and Antarctica. ‘If anyone is reading this has friends or family in those regions I do hope they will pass it along,’ said Lewis.






Istanbul, Turkey. March, 2014 




 

Friday, 18 April 2014

'spaghetti' horse sculpture in liverpool

"I say, a horse, a horse, my city for a horse. Bring back the rope horse (to Church Street) and as well as the city, you can have a year long cultural festival as well." - liverpoolconfidential --

The Laz Word....from Larry Neild

The well hung equestrian statue has vanished from Church Street. Has it gone to pastures new? Can we have it back?

Published on July 15th 2008.



pictures was taken today by me

Saturday, 5 April 2014

Modern art was CIA 'weapon'

Modern art was CIA 'weapon' 

 

Revealed: how the spy agency used unwitting artists such as Pollock and de Kooning in a cultural Cold War

The connection is improbable. This was a period, in the 1950s and 1960s, when the great majority of Americans disliked or even despised modern art - President Truman summed up the popular view when he said: "If that's art, then I'm a Hottentot." As for the artists themselves, many were ex- communists barely acceptable in the America of the McCarthyite era, and certainly not the sort of people normally likely to receive US government backing.
Why did the CIA support them? Because in the propaganda war with the Soviet Union, this new artistic movement could be held up as proof of the creativity, the intellectual freedom, and the cultural power of the US. Russian art, strapped into the communist ideological straitjacket, could not compete.

The existence of this policy, rumoured and disputed for many years, has now been confirmed for the first time by former CIA officials. Unknown to the artists, the new American art was secretly promoted under a policy known as the "long leash" - arrangements similar in some ways to the indirect CIA backing of the journal Encounter, edited by Stephen Spender.
The decision to include culture and art in the US Cold War arsenal was taken as soon as the CIA was founded in 1947. Dismayed at the appeal communism still had for many intellectuals and artists in the West, the new agency set up a division, the Propaganda Assets Inventory, which at its peak could influence more than 800 newspapers, magazines and public information organisations. They joked that it was like a Wurlitzer jukebox: when the CIA pushed a button it could hear whatever tune it wanted playing across the world.
 read more: http://www.independent.co.uk/news/world/modern-art-was-cia-weapon-1578808.html



Friday, 4 April 2014

Dino Valls

What’s on Dino Valls’ Mind?

 

 

 

 

 

 

We experience reality only though our senses, which means that everything we perceive is subject to the interpretation of our mind. This means that everything we perceive stands for something – we can’t fully understand reality because we interpret everything from what we sense.  If this stands for that, it can’t be equal to that, it can’t have identical characteristics; it is a symbol of that. If everything has meaning, then we interpret the world as a hierarchy. We interpret the things we perceive in reality as a complex and immense swarm of interconnected allegories. We understand reality by interpreting symbols.
So now I’d like to ask you to re-think the girl, thinking of her as the representative of your mind – poked, injured, examined and afflicted with reductive processes.

read more: http://www.combustus.com/13/whats-on-dino-valls-mind/

Thursday, 3 April 2014

the flight of the mind

"As for writing—I want to express beauty, too—but beauty (symmetry?) of life and the world, in action. Conflict?—is that it? Isn’t there a different kind of beauty? No conflict. I attain a different kind of beauty, achieve a symmetry by means of infinite discords, showing all the traces of the mind’s passage through the world, achieve in the end some kind of whole made of shivering fragments—to me this seems the natural process, the flight of the mind" (Virginia Woolf, from a diary entry)