Carson Fox Ice Storm
'The gallery was transformed into a winter wonderland where Carson Fox created cast resin sculptures of snowflakes, icicles and snowdrifts. This body of work served as a meditation upon themes of an alternate nature, one that is created in the mind as a reassurance against the inevitability of death. In this controllable world, Fox can prevent icicles from melting, create larger than life snowflakes in preposterous configurations, and freeze flowers as they bloom. In the fantasy of artificiality, the fleeting moment is held in stasis and death is denied. Each snowflake was cast individually and then assembled into complex formations to create both freestanding snowdrifts and creeping formations. The compositions suggest an exaggerated fantasy of nature where the viewer can behold the individual beauty of each flake in sharp focus and keep it there without fear of it melting and slipping away.'-- Redux Studios
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Guido van der Werve Nummer acht
'A lot of people think I used some sort of telephoto effect. What we did actually is that we put the camera on top of a snow scooter on a steady device. The snow shooter moved at the same pace as me and the icebreaker. Because we used a steady cam, we couldn't use a telephoto lens (shakes too much) so we used a lens which is equal to the eye. I was walking as close as the Captain [of the Sampo] would allow me to walk in front of the icebreaker (which was about 10 meters). If I got too close I got a signal that I should walk a bit faster.'-- GvdW
Erick Swenson Untitled (2004 - 2005)
Styrofoam snow, polyurethane ice, brick, taxidermied deer
'This is a static object. I’m asking you to look at this for more than three seconds. That’s hard to do sometimes. People just blow through stuff, you know. So it’s leaving things sort of enigmatic and open-ended. My sculptures are actually more like a special effects scene from a film. Something’s just happened. Or is about to happen. There’s a story here, somewhere.'-- ES
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Andy Mattern Driven Snow
'When the winter reaches that point when it’s continuously below freezing and the roads are covered in dirt, sand, rock salt, and slush, the wet road spray that comes up from the back of your car tires freezes in place instead of melting away. The result is a bulbous array of stalactite-like encrustations that build up in wheel wells, lumpy blobs of astonishingly hard, dirty ice that can only be dislodged with a swift kick of your boot. Andy Mattern has documented these ugly bergs with an almost geological fascination. Photographed against bright white backgrounds (like Irving Penn’s skulls), each one shows off its pits and crystals, its layers of sediment and gunk, with crisp, typological detail. His approach has turned these objects into unlikely sculptures, echoing otherworldly moon rocks or weird natural formations, edging into abstraction as their elemental forms take over in the floating whiteness.'-- collector daily.com
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64gravely How far can the Snow Cannon go?
'I had a comment on my last video of the Snow Cannon from a youtuber who goes by Harely Ironhead saying "That baby can blow some snow, sweet!" Well in that video there was very little snow and I had the MA210 set to blow the snow down to the ground quickly to avoid destroying anything. So I thought I would make of video of the real capabilities of the MA210 Snow Cannon. The snow was piled high and dry this morning, and no wind to boot, perfect conditions for the MA210. In this video the Snow Cannon is backed up by a 1970 Gravely Commercial 12 2 wheel tractor powered by a Kholer k301 12 horse.'-- 64gravely
Nele Azevedo Minimum Monument in Berlin
'Small ice sculptures in the shape of humans were placed on the steps of the music hall in Gendarmenmarkt public square in Berlin on Sept. 2. Brazilian artist Nele Azevedo made one thousand of the ice figurines, which began melting immediately on the sun-soaked cement. Many melted within 30 minutes.'-- The Ice Cubicle
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Studio Granda Crate
'Heat melts the snow. Grass grows in the glow. A crate is waiting. It is comprised of a 15m, 3m high chainlink fence with 50 fenceposts at 1m centres. Attached to the posts are large radiant heaters that are operated by movement sensors. There is a 1m gap in the fence on the north side. Within the fence are 50 trunks of differing shapes, ages and form. If the trunks are touched or sat on a speaker is activated with a voice. The voice may say, “Have you been here long?” or “It’s getting warmer” or something else. We intend to prepare the ‘voices’ from Lingaphone LP’s in various languages.'-- Studio Granda
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Tokujin Yoshioka The Snow
'The Snow is a 15-meter-wide dynamic installation. Seeing the hundreds kilograms of light feather blown all over and falling down slowly, the memory of the snowscape would lie within people's heart would be bubbled up. The snowscape created with the feather would be more like the memory of snow lying with people rather than the actual snow. I do not really know about the value of nature in Japan, but what I would like to do is not to reproduce the nature but to know how human senses function when experiencing nature.'-- Tokujin Yoshioka
Paula McCartney fromA Field Guide to Snow and Ice
'A Field Guide to Snow and Ice is my interpretation of the idea of winter. After moving from San Francisco to Minneapolis I decided to brave the elements and explore the snowy landscape, however, at times without being out in the cold. I’m inspired by the studies of Karl Blossfeldt, James Nasmyth’s constructed lunar landscapes and August Strindberg's misinterpreted Celestographs-works by artists who collected and interpreted nature in their own peculiar ways.'-- PM
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Coble/Riley Projects Watermarks
'Since 2009, Mary Coble (USA/DK) and Blithe Riley (USA) have collaborated on performance-based videos that explore tensions between site-specificity, gesture, narrative, and endurance. In February 2012, Coble/Riley Projects was invited to participate in a month-long Iaspis Residency in Umeå, Sweden. Working on a frozen stretch of sea, Coble and Riley fused video, performance and land art to create “Watermarks.” Dense snow conceals the frozen seascape underneath, acting as a canvas on which the artists make marks and draw. Opaqueness and transparency arise from the simple actions of an unknown figure, who repeatedly uncovers layers of snow, ice, and water to reveal surfaces with varied properties of reflection.'-- CONNERSMITH
Cai Guo-Qiang & Zaha Hadid Caress Zaha with Vodka
'Vodka mixture is poured over Zaha Hadid’s elegant, fluid ice and snow structures, built in Lapland, Finland. The liquid is set alight in a cool blue flame that wraps the structures in warmth. This blue flame with licks of pink roams along the curves and valleys of the landscape, spreads, drips, meanders and cascades into waterfalls and streams. The fire sets the ice and snow environment in a heightened pure transparent light. The warmth softens the angles, corners and rigidity of the icy forms. The fire highlights its beautiful contour, the melted ice-water mixed with alcohol flow freely on and around the structure, render it in a state of constant movement and change.'-- fungcollaboratives.org
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Fujiko Nakaya & Shiro Takatani Cloud Forest
'A large-scale installation themed around new environmental creation by a fusion of art and information technology was set up in three different public spaces in and around YCAM. The installation of artificial fog and sound, elaborately built using information technology, facilitated a dialogue between visible and invisible things, and between natural and artificial environments, in a recurring cycle of generation, penetration and reflection. Rather than addressing "environmental" issues only from an ecological point of view, the exhibition focused on the mutual interaction between natural, social, mental, and most topically, informational environments, to present the visitor with a new "environmental sphere" defined by the mutual permeability that arises from this interaction.'-- YCAM Re-Marks
Simon Beck untitled
'Simon Beck is an artist who creates these incredible designs by walking in the snow with raquettes (snowshoes). The Oxford-educated, self-employed map maker creates these designs on the frozen lakes in the valley of Savoie, France, just outside of the ski slopes at Les Arcs resort. An average work is the size of three soccer fields and takes about two days to complete. The biggest challenge for Beck is finding a way to reduce the visibility of his own tracks when he begins and finishes a piece. Sometimes, he might work all day only to have his design covered by fresh snow overnight. At other times, he finishes a design right at sunset and doesn’t have enough light remaining to photograph his work properly.'-- gnarling.com
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Roman Signer Snow Works
'Swiss artist Roman Signer might at first be thought of as 'artist as trickster.' For years he has probed simple phenomena, properties of the physical world, and the artist's relationship to often surreal realities of corporeal existence. "Signer adds a further dimension to the concept of sculpture as we know it, a medium which, in the course of the ongoing subversion of traditional boundaries launched upon in the 1960s, had already been expanded to include unconventional materials and actions. Put simply, he examines the basic elements of fire, water and air in terms of their sculptural qualities, albeit not in the manner of Land Art, which tends to effect an overt rearrangement of natural materials within or upon the landscape.'-- CAFKATV
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*
p.s. Hey. ** David Ehrenstein, Hi. Yes, RIP Andre Schiffrin indeed. ** Steevee, Hey. Oh, pfft, dissing Television and The Ramones really is sour grapes. Tuff Darts, ha ha, wow. ** Etc etc etc, Hi, man. Uh, the pneumatic tube thing got set-off because when I was in Berlin, I took a tour of old underground bunkers, and they had a working pneumatic tube system in it, and it refreshed some semi-buried love of the pneumatic, I guess. Gaddis is a great one to get really into. Interesting about his money needs since, the couple of times I saw him read, he was like the the soul of the suave dandy, at least in dress and demeanor. You should get to Paris sometime, yeah, I show you some highlights. ** gucciCODYprada, Codester! Yeah, my phone was acting bizarre for a few days, and I was missing calls and not able to make them. My email is the one you have, I think. I'm just behind and incredibly slow like I obnoxiously always seem to be. Next summer, great! Excited! Let's talk. Do I have your cell #? If not, mail it to me. Yeah, let's talk in the next few days. Big love from me. ** Scunnard, Hey. I'm really good, really busy, really good. How are you? ** Sean O'hara, Hey. Welcome, nice to meet you. Holy shit, cool, you added me to you thing. I'll listen to that as soon as I get out of this p.s. place. Thanks! I'm excited. Come back any time please. ** Postitbreakup, Hi, Josh. I'll bet, re: getting out the parental pad. I love fixing up and personalizing a new place to live. Yeah, cool pillows. Grab 'em. Get some silverware, man. Even plastic ones. I kind of like plastic ones. They're so light in your fingers. Like eating with cigarettes or something. Nah, I'm not only glad I asked, I want to see pix and hear more, more! ** Chilly Jay Chill, Oh, cool, I love when my balls accidentally curve. Err, wait, that sounded weird. You know what I mean. Like I just told Eee, my Berlin trip brought the pneumatic back into the frontline of my fetishes, at least for a day. I hope the cold did vacate today. Wow, another book group, cool. How did the confab go? I think 'The Weaklings XL' is currently set to drop in mid-December, last I heard. ** _Black_Acrylic, That does sound stressy. But it'll sort out. It has that 'will be sorted' vibe. Exciting though, no? ** Rewritedept, Hi. Right, weirding out your circle of people. I can vaguely remember when I worried about stuff like that re: my writing. But I think that ended when I was about 16 years old, ha ha. I didn't get to your mix yet because yesterday was really busy with all the stuff I mentioned. Hopefully today. No, haven't heard the Julie Ruin yet. Mm, yeah, 'Mine' counts as new Sotos, sure, yeah. Nope, didn't read the Cicada thing either. I'm way behind. It's a crazy busy time right now. I will. Everything on Monday was either interesting or great. Today remains a crapshoot as of this writing. ** les mots dans le nom, Yeah, universities is one pneumatic thematic association for me too. Banks especially, I guess. I should cancel some of my money spending plans too. It's getting out of control, but will I have the self-control to do the cancellation? I doubt it. Bon day! ** Paul Curran, Hi, Paul! So true about the word. Things are great, Paul, thanks! The Japan trip is being figured out yesterday, today, tomorrow. News soon. ** Sypha, Hi, James. Oh, yeah, I almost added something in the post about the pneumatic re: the gnostic, but it seemed like too big a can of worms or something. But, yeah, interesting. ** Bill, So nice to see the shared love of pneumatic tubes here. Or I guess to feel the shared love. I know nothing about that film. Did you see it? What is it? Is that Dodie's 'Cunt Norton' reading? Say hey to her for me if it's not too late. ** Mark Gluth, Hey, master! Great to see you! Yes, yes, I was so excited to see that Ken's publishing your new novel! Great, great! And I don't need to tell you how amazing Ken is in every way. You'll be in superb hands there. Everyone, Great news! The incredible writer and d.l. Mark Gluth, whose first novel I was extremely lucky to publish via my Little House on the Bowery vehicle, just inked a deal with Ken Baumann's fantastic press Sator to publish his new novel next year! Prepare! I'm great. Lots of projects in motion, working on my novel, a bunch of traveling on the horizon, and I'm just generally very happy. I saw Moonface play live here last week. Him and a piano. It was amazing, and, of course, I love the new album. Congrats again to Ken and to you, and I can not wait! ** Keaton, A briefy on the nicey. Or something. Okay, well, interesting. I would say liver is the worst food I've ever eaten. I have eaten a starfruit. It was nice. ** Creative Massacre, Wonderful, thank you, Misty! ** Bill Porter, Yeah, I think banks are my first pneumatic tube associated thought/reference. That whoosh when the capsule sets off or arrives. It's like ear sex. I think you made the right decision on the Frog Eyes review. That happened to me a couple of times back when I was writing gig reviews. I don't know, yeah. How's your Xmas shaping up? ** Okay. Wintery art is your thing today, so, yeah, I hope you like some of it, obviously, and, uh, yeah, I'll go do a bunch of stuff now, and I'll see you tomorrow.