Animation
The Burden: A Darkly Funny Musical Punctures Existential Dread with Unusually Cheerful Song and Dance
Today we’re returning to a dark comedy classic that, although released in 2017, rings just as true in 2024. Directed by Swedish animator Niki Lindroth von Bahr, “The Burden” is a wildly wry musical that skewers loneliness, greed, beauty myths, and the existential woes of modern life through a lively cast of animal characters.
The award-winning short film visits a bleak supermarket, hotel, call center, and fast-food restaurant where employees break into song and dance, sometimes to the tune of common sales refrains. “Would you like to sign up for our money-back guarantee? Try our satisfaction guarantee?” monkeys croon. When an apocalypse hits the bizarrely relatable world, the characters jump at the chance for change.
Watch “The Burden” above, and find Lindroth von Bahr’s other films on Vimeo.
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Art Books
Two Decades After Its Release, ‘The Art Book for Children’ Gets a Vibrant Makeover
First published in 1997, Phaidon’s The Art Book has long been a go-to source for introductions to some of the most influential artists. Spanning medieval to modern times, the volume contains more than 600 works and is available in 20 languages. About two decades ago, the iconic title received another type of translation geared specifically toward younger art lovers when editors released The Art Book for Children.
That kids’ edition presents a bite-sized, accessible version of The Art Book and was recently updated and revised. The new volume features 30 artists from its predecessor along with 30 additions, bringing together the most significant names from art history like Katsushika Hokusai, Jackson Pollock, and Frida Kahlo. Each spread includes one or more works by each artist and a fun, informative text, inviting children to look closely and discover a variety of paintings, sculptures, photographs, and more.
The Art Book for Children will be released on May 22 and is available for pre-order in the Colossal Shop.
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Art
Jason Limon Gets to the Heart of Human Emotion in His Soul-Stirring Skeleton Paintings
Reaching toward universal experiences unclouded by specific identities, Jason Limon strips his recurring characters to the bare bones. The San Antonio-based artist (previously) continues his uncanny paintings of skeletons, who find themselves in precarious, startling, and genial situations. Recent works include “Peas In A Pod,” which features two friends adopting new heads from a large, curved shell. Similar smiling orbs appear in “The Right Grape” as a character chooses and fits the cheerful green fruit onto its neck.
Working in acrylic paint, Limon conjures myriad textures, whether through the deckled edges of a paper-craft structure or thin, crinkled plastic wrap. Combined with his muted palette of neutrals and jewel tones, these three-dimensional effects imbue the scenes with a vintage charm and a sense of timelessness.
Limon is currently working on a few personal projects, so keep an eye on his Instagram for updates. Find originals and prints in his shop.
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Art
Stéphane Thidet Challenges Physics and Social Norms in His Site-Specific Installations
Paris-based artist Stéphane Thidet invites viewers into wondrous worlds that skew perceptions and distort the laws of physics: a small wooden boat appears to arise from hard planks, flat stones nest inside a bookcase where paper tomes once stood, and water cascades from a Nantes theater making it impossible to enter without being drenched. Crafted with familiar materials and subject matter, Thidet’s site-specific installations and sculptures twist common scenes into unexpected territories.
Explore an archive of the artist’s work on his website.
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Art
In His World-Building Series ‘New Prophets,’ Jorge Mañes Rubio Cloaks Basketballs in Beads
Beginning with an iconic yet common spherical form, Jorge Mañes Rubio reimagines basketballs as powerful entities in his series New Prophets. Ornamented with stylized creatures, botanicals, and figures, each sculpture tells its own enigmatic story, drawing on the inextricable link between past and present. “These works, although familiar in visual language, seem to come from a dream-like dimension,” the artist tells Colossal, “as if offering a chance at re-enchanting the world we live in.”
New Prophets began with a fascination with an 8th-century Spanish illuminated manuscript called the Commentary on the Apocalypse that’s decorated in a Mozarabic style, which originated in Spain and represents a blend of Romanesque, Islamic, and Byzantine traditions. Rubio, who is currently based in Amsterdam, is fascinated by cultural exchange throughout history. He says:
My artistic practice operates on a similar way: I’m claiming a space where I can continue to learn from a crucible of the most diverse influences, while at the same time carving my own distinctive path. I want to continue to explore cross-cultural themes and symbols that reflect and honour the extensive circulation of ideas, works, and people that came before us.
World-building is central to Rubio’s practice, and initially, he considered another spherical shape for this series as a literal representation of the world: a globe. “The colonial and imperial connotations of this artifact really discouraged me,” he says, but when by chance he placed a string of beads on a basketball that was kicking around his studio, the idea for New Prophets clicked.
Rubio coats the balls with plaster and gesso—ensuring they don’t deflate—and criss-crosses the form along its distinctive lines, adding vibrant flowers, stylized text, medieval motifs, and mythical creatures. The orbs play with the idea of an object designed to be bounced and thrown around, instead coating it with delicate patterns and displaying it like a sacred relic.
In his alternative worlds, Rubio is interested in visualizing how past, present, and future can unfold simultaneously. “My hope is that my works invite people to rethink our relationship with the universe and all the beings that live in it —human, nonhuman, material, or spiritual— suggesting alternatives to established systems of representation, power and exploitation,” he says. “I believe this more animistic perspective has the potential to provide a more generous, humbling attitude to make sense of the world we live in.”
Rubio is currently working toward a couple of shows in 2025 and continuing New Prophets. Find more on the artist’s website, and stay up to date on Instagram.
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Art Nature
Informed by Research Aboard Ships, Elsa Guillaume Translates the Wonder of Marine Adventures
Whether capturing the sights of a dive in the remote Mexican village of Xcalak or the internal mechanisms of a sailing ship, Elsa Guillaume’s stylized sketchbooks record her adventures. Glimpses of masts, a kitchen quaking from shaky seas, and a hand gutting a fish create a rich tapestry of life on the move. “Daily drawings (are) a ritual while traveling,” she tells Colossal. “It is a way to practice the gaze, to be attentive to any type of surroundings. I believe it is important to train both eyes and hands simultaneously, and regularly.”
The Brussels-based artist’s frequent travels provide encounters and research opportunities that fuel both her work and devotion to the beauty and wonder of the sea. In fall, she explored the arctic aboard the Polar POD, and she’s currently sailing on a 195-meter container ship called the MARIUS for a residency with Villa Albertine. The vessel launched this month from Nouméa in the South Pacific and will travel the Australian east coast, New Zealand, and the Panama Canal before docking in Savannah, Georgia, in May.
During the six-week journey, Guillaume plans to continue her daily drawings and create a vast repository of ocean life. “It gives space and time to discover and observe an all-new environment to me, the merchant marine,” she says. “How human beings either explore, travel, or exploit the ocean has always been a very strong source of inspiration to me.”
When the artist returns to her studio, encounters with new-to-her creatures and the discoveries of her travels often slip into her three-dimensional works, sometimes unintentionally. The process “is very probably an unconscious continuity of what I have noticed, of what I have felt, though I don’t necessarily make an obvious connection between these two practices. I like to think of my sculptures, installations, exhibitions (as) projects from scratch, nourished by many other things,” she shares.
Often in subdued color palettes or monochrome ceramic, her sculptures tend to display hybrid characteristics, like the human limbs and animal heads of “Triton IX.” Others disassemble ocean life, revealing the insides and anatomy of flayed fish.
While on the MARIUS, Guillaume will create larger collaged ink drawings that will be shown along with a new sculpture in October at Galerie La Patinoire Royale in Brussels. That solo show will “create a new narration, around human’s shells, like a lost civilization of the seas. This time at sea, connecting the French island of New-Caledonia to Savannah in the U.S. will infuse in many ways this exhibition project.”
Guillaume has limited internet access during the residency, but follow her on Instagram for occasional updates about her journey.
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Editor's Picks: Animation
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