Luzinterruptus is a Madrid-based light art intervention collective. They’ve done some really large-scale works in streets around the world, this project, Garden for a not too distant future, being one of their most recent.
From their site, “For this installation we used 110 transparent food packaging containers, inside which we put leaves and branches found in the trees in the area and lights of course. Afterwards, we placed them on a wall in an ugly square in the center of Madrid and there we left our form of fashionable vertical garden.”
The work critiques the arguably impractical value of vertical gardens in public spaces, with the collective stating, “… if we continue to eradicate it from public spaces or reducing it to inaccessible vertical faces, the only form of contact with nature will be in supermarket refrigerators, packaged with expiry dates.”
I suppose what I find most interesting about their work is the relentless necessity to encounter it at night — and that they insist on working in the context of outdoor space. According to an interview on UrbanArtCore, they head out nearly once a week to create an installation; here’s hoping summer gives us that kind of time.
Photos by Gustavo Sanabria.
Interesting technique for wheat pasting by Pedro Biz. Using cut up squares of paper and a well-mixed wheat paste, the effect is something like an 8-bit intervention. I’d imagine larger squares would magnify the effect, where more squares in general would allow for the best method for achieving larger images.
If time is on your side, this could be a nice alternative to the general single piece of paper poster most-often seen around a city. In Windsor though, good ol’ packaging tape is a favourite of concert promoters and owners of missing pets alike.
[via Rebel Art]
A few people emailed us about this project (thanks for that!!) and I’ve since seen it on a number of other blogs, so it’s about time I got around to posting it on here. Green Sleeves by AT.AW uses a simple pattern to create planters from the layers of old wheat pasted posters.
The method is great—looking around the city (in this case, Toronto) and understanding the specificities that create opportunities for intervention in the city. The results seem to be a mixed bag, in terms of plants surviving longer than 24 hours; in some cases, the plants are stolen, dry out, or are torn down for more posters.
The project is generating a dialogue and for that it is successful and it may be able to translate better to a city where its illegal postering community is less vigilant.
Given the recent conversations around the installation of astroturf on the Dougall gateway, I had to post this. Made by Alina and Jeff Bliumis, Be Happy uses astroturf to illustrate a photograph of one of many interviews in which the artists asked people shopping in a Russian bookstore to share their American Dream.
[via WMMNA & ::: Alina and Jeff Bliumis ::: ]
The National Theatre in London, England completed another reiteration of living architecture display, this time a temporary grass covering consisting of some 2 billion seeds. Imagine covering the face of one of our parking garages with grass and leaving a concrete message sans grass.
“National Theatre‘s Lyttelton flytower (“flytower” is a part of a theatre above the stage), which is the artists’ largest exterior work to date, is the embodiment of Malevich idea in architecture, only it’s green and alive (though for a limited time). Sponsored by Bloomberg and produced by Artsadmin, this $100,000 “living’ installation has transformed the well-known London landmark into a vertical green marvel.” Continue reading “National Grass Theatre”
Made from reused / fused plastic bags, 600 plants, and used TV aerial towers for the support structure, this living wall made by Adam Harris and Parimal Gosai is currently on display at Toronto’s Gladstone Hotel. The show, Come Up To My Room, is showcasing a bunch of fun and engaging design and some bad art.
I’d been meaning to scan this for a while, Olafur Eliasson‘s Moss Wall, which consists of living arctic moss. While we’ve posted about pictorial or textual uses of moss before, I like that this work was done in 1994 and exists as just a large span of green. So, in thinking about our past interest in relocating moss, and my anticipation that we’ll want to think about this more when spring comes around, I wanted to get this posted as a reference for later.