part 1

Eva Rothschild 1971- born Ireland, works Britan.

 ,,Riches,, 2007 -plastic, wood, fibre glass

 ,, Rothschildis the best known for her geometric sculptures combining 

industrial processes and traditional craft and employing unusual materials such

as leather, paper and Plexiglass,,

Dan Flavin

was an  American minimalist artist famous for creating sculptural objects and installations from commercially available fluorescent light fixtures. Flavin’s first works were drawings and paintings that reflected the influence of Abstract Expressionism In 1959, he began to make assemblages and mixed media collages that included found objects from the streets, especially crushed cans. Flavin's first mature work; it is dedicated to Constantin Brancusi and marks the beginning of Flavin's exclusive use of commercially available fluorescent light as a mediu

Inside dark enclosed space there is a man, or rather a model, dressed in white leotard (to enhance the contrast). Another man who takes part in the experiment is watching him through a peephole. In the interval of a few seconds he sees framed fragments of the model’s body and probably subconsciously creates in his head the whole figure. Such is the nature of our thinking. Seeing a fragment of a real object, in our imagination we see its compliment – as it looks in reality. They are to invoke in him the feeling of anxiety or even fear. Framed images move around dark space in various distances from the door. Finally the observer sees different fragments of the human body put together at random, illustrating in this way the process of entropy which is life. 

Finally all fragments of the model body are shown together, but in a random arrangement. They are all, but they do not form a silhouette of a man!


You would like to see him finally complete and that is what you subconsciously expect!

And here you get an unpleasant surprise.

The intention of this experiment was to refer to the basic concepts of  Gordon Matta Clark art.

Cutting, deconstruction, entropy.    

,,I didn’t make one hundred chairs just for myself or even in an effort to rescue a few hundred unwanted chairs from the streets. The motivation was the methodology: the process of making, of producing and absolutely not striving for the perfect one.This kind of making was very much about restrictions rather than freedom. The restrictions were key: the material, the style or the design of the found chairs and the time available — just a 100 days.,,

In 1944, Bruno Munari expands on a few possible combinations between different historical styles, exploring a phenomenon of the time by which we objects and things from other eras are enjoyed not with the taste that produced them but with the "taste for taste".

I believe, however, that the idea was not exploited in all its force. I would like to have a park with a number of pavilions. In one, I would create a Rococo interior and put a white glass and metal desk with a luminator in it. In a polished-crystal interior, I would place a large baroque armchair. In another, a 15th-century table surrounded by Viennese cane chairs. In another, an Art-Nouveau bookcase with neoclassical chairs and sofa. In another, a Gothic room with Persian rugs, De Chirico pictures and a large Pompeian marble table. Lastly, in a grotto, I would put four 17th-century armchairs with everything required for modern-day smoking and an abstract picture of mine. You think I am crazy? We shall see.


 Bruno Munari

,,We work because it is a chain reaction, each subject leads to the next.,,

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For a long time I have been a faithful fan of Xavier Dolan Mooomy work. In all his films the director continuous a specific dialogue with his mother; starting from “I Killed My Mother” in which he points our all her educational errors, until now in which he gives her his hand in reconciliation. One of the features which I really appreciate is making films about subjects which are close to him and thoroughly explored. In some way each film reflects his life experiences, and he spins a tales based on them and reflections which they generate.    It is like vivisection. In this I see the power of the film, the pressure which for two hours literally stabs us in the armchair. 

Dolan subjects us to the extremely emotional experience. We are stretched between hope and despair; up and down and again up, then down. There is no time for reflection, we are forced to switch off the intellect. The speed of the film, the power of images do not allow for reflections. They come later. In key scenes there are a lot of tight frames, extreme close-ups on the actor’s face to generate even more emotions. You can feel that the beauty of framing does not come from the aesthetic need but appropriate use of means for expression. Dolan knows what he talks about and he knows how to say it. He has something which is called credibility.   


We can see artists as occasional fashion designers, club performance or concert organisers, or social jokers. The photographs show not only the visual side of the parties - outfits, styles, make-ups - but also artistic transformations of artists' identities and their bodies. Their common theme are fancy dresses that can and should be visually appreciated when we watch their owners without club spleen, alcohol, and partying crowds.

Gordon Matta-Clark.mp4
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,,You see that light enters places it otherwise couldn't. Angles and depths can be perceived where they should have been hidden.,,

 He was part of the group of Communist graphic designers called Grapsu. These artists were concerned with politics and culture, displaying impromptu creations and posters on the street mostly using the language of advertisement. He left Grapus to create the hypersaturated installations he is known for today, using common materials such as cardboard, foil, duct tape, and plastic wrap.

Projects in fashion have included work for Seibu Department stores, Neiman Marcus, The Limited stores and Ann Taylor Inc. who commissioned work for their windows and in-store displays. Recent work includes commissioned pieces for apple computers and Tiffany & Co.

Fashion and architecture intersect in a short film called Kaplinksi, wherein models wear and then break out of architectural structures made of children’s wooden blocks. The film is a collaborative work between filmmaker Benjamin Seroussi and architect David Tajchman, and features abstract, geometric Constructivist design from the Soviet Union circa 1920.The four-minute black and white film explores both the human body as a framework for architecture, and architecture as a cage. Abstract cities and skyscrapers form around the models, and begin to self-destruct. Constructivism inspired both the photography and the look of the film.
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SHOWstudio_ Zar - Jez Tozer _ Omer Asim _ Millie Brown.mp4
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Filmmaker Jez Tozer teams up with Omir Asim for the second time to showcase the designer's S/S 15 collection. Inspired by Asim's long standing fascination with Zar - an ancient Sudanese trance sub-culture dealing with trauma, hysteria and relief - the film features performance artist Millie Brown, a long-time collaborator of Tozer.

  1. (on a macroscopic scale) a function of thermodynamic variables, astemperature, pressure, or composition, 
  2. that is a measure of theenergy that is not available for work during a thermodynamicprocess. 
  3. A closed system evolves toward a state of maximumentropy.
  4. (in statistical mechanics) a measure of the randomness of themicroscopic constituents of a thermodynamic system. Symbol: S.
(in data transmission and information theory) a measure of the lossof information in a transmitted signal or message.
(in cosmology) a hypothetical tendency for the universe to attain astate of maximum homogeneity in which all matter is at a uniformtemperature (heat death)
a doctrine of inevitable social decline and degeneration.

Matta-Clark’s architectural gestures had the potential to be statements against certain social conditions. While many architects felt that they could make a contribution to society through the structures they built, Matta-Clark felt that he himself could not alter the environment or make any significant change. His idea of Anarchitecture called for an anarchistic approach to architecture,marked physically by a process of destructuring, rather than by the creation of structure. It was thus his choice to focus on existing structures in neglected areas, to use the city’s abandoned buildings within which to execute his work.' -

Matta-Clark increases the entropy of these buildings/of society.


Richard Wilson


1953 Born in London, lives nad works in London.


,,Richard Wilson is one of Britain’s most celebrated sculptors. He is known for his interventions in architectural space which draw heavily for their inspiration from the worlds of engineering and construction and  are characterised by concerns with size and structural daring.

Wilson has echebited widely nationally and internationally and represented Britain in the Sydney, Yokohama Sao Paulo and Venice Biennalas,,-Saatchi Gallery                         

Hand Art- Shadows.mp4
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Nils Völker - One Hundred and Eight, Responsive Installation 2010.mp4
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One Hundred and Eight is an interactive wall-mounted Installation mainly made out of ordinary garbage bags. Although each plasticbag is mounted stationary the sequences of inflation and deflation create the impression of lively and moving creatures which waft slowly around like a shoal. But as soon a viewer comes close it instantly reacts by drawing back and tentatively following the movements of the observer. As long as he remains in a certain area in front of the installation it dynamically reacts to the viewers motion. 

2.40 x 1.80 m COOLING FANS, plastic bags, MDF, custom electronics

Naomi Kobayashi
Pioneering Japanese fiber artist whose work is recognised world wide. Death and regeneration are inherent in the basic form of the circle and her concern is always a reflection of natural cycles expressed through large scale installations or intimate positioning of works.

,,Mats Gustafson was born in Sweden in 1951. He studied costume and stage design at the Scandinavian Drama Institute in Stockholm and in 1978 had his first fashion illustrations published in British Vogue. This led to contributions in American Vogue and Andy Warhol’s Interview magazine. In 1980 he moved to New York.

In addition to making illustrations for the world’s most important fashion magazines, Gustafson has been commissioned by a host of international designers and brands including Comme des Garcons, Romeo Gigli, Chanel and Yohji Yamamoto.,,

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