Art

Yuko Nishikawa’s Sprawling Mobiles Mimic the Rambling Growth of Moss and Plants

April 29, 2024

Jackie Andres

A gallery room of suspended vessels of different hues

All images © Yuko Nishikawa, shared with permission

For the last two years, Yuko Nishikawa (previously) has prioritized traveling. Chasing the unbridled inspiration that new environments bring to her practice, the Brooklyn-based artist has found herself in Japan, participating in residency programs and appreciating time on her own. Using local materials, crossing paths with people, and immersing herself in different landscapes has become the starting point for much of her recent work.

Nishikawa’s previous body of work incorporates more bulbous vessels, whereas the artist’s newest solo exhibition, Mossy Mossy, returns to the classic paper pod mobiles she’s known for and evokes a physical reflection of her musings from Hokuto-shi. Located in Yamanashi Prefecture, the city is replete with moss sprawling atop rocks, alongside waterfalls, and covering buildings. This simple plant “spreads from the center to the periphery and grows and increases,” she says. Methodically balanced by weight and connected by wire, Nishikawa suspends a plethora of green pods uniquely shaped from paper pulp.

Composed of more than 30 sculptures, all works in Mossy Mossy represent a system of growth that evokes the plants’ rambling qualities and always stem from a single, fixed line hanging from the ceiling. Delicate, dangling elements invite each mobile to respond to the movement of viewers and airflow. “Rather than looking at it from one point, the shape changes when you move your body to see and experience it from all directions,” she explains.

Mossy Mossy is on view now at Gasbon Metabolism until May 27, and Nishikawa is also preparing for an exhibition and lecture in October 2024 at Pollock Gallery. Follow on Instagram for updates, and see her website for more work.

 

A mobile is suspended in the air, made from wire and pod-like paper pulp shapes in shades of green.

A mobile is suspended in the air, made from wire and pod-like paper pulp shapes in shades of green.

A mobile is suspended in the air, made from wire and pod-like paper pulp shapes in shades of green.

A mobile is suspended in the sky, made from wire and pod-like paper pulp shapes in multicolor shades.

A mobile is suspended in the sky, made from wire and pod-like paper pulp shapes in multicolor shades.

A mobile is suspended in the sky, made from wire and pod-like paper pulp shapes in multicolor shades.

 

 

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Photography

Dudi Ben Simon’s Playful Photos Draw on Visual Puns and Humourous Happenstance

April 29, 2024

Kate Mothes

two pieces of toast pulling a yellow rubber glove that looks like the cheese in a grilled cheese sandwich

All images © Dudi Ben Simon, shared with permission

When Dudi Ben Simon observes the world around her, visual puns and parallels are everywhere: a cinnamon bun stands in for a hair bun; the crinkled top of a lemon is cinched like a handbag; or yellow rubber glove stretches like melted cheese. “I see it as a type of readymade, a trend in art created by using objects or daily life items disconnected to their original context, changing their meanings and creating a new story from them,” the artist says. “I attempt to preserve the regular appearance of the items, but with a switch.”

Ben Simon also takes inspiration from the directness of advertising, focusing on a finely tuned, deceptively simple message that can both be read quickly and provoke humor or curiosity. “I truly believe in minimalism,” she says. “What is not required to tell the story does not exist.”

See more playful takes on everyday objects on Ben Simon’s Instagram. You might also enjoy Eric Kogan’s serendiptous street photography around New York City.

 

a croissant with dark brown stripes with a belt buckle extending from it as if the belt has been wrapped around the pastry

two image side by side showing, on the left, a wine bottle positioned like the heel of a stiletto with a cork next to it, and on the right, a lemon with the crinkled top around the stem looking cinched by an attached purse string

a photograph of a woman with her hair tied up in a bun, and a cinnamon bun situated where her own hair bun would be

a yellow Birkenstock sandal with a banana peel strapped through one of the buckles

a yellow rubber glove drapes off of a shelf, with a broken egg shell near it, resembling the liquid part of the egg dripping a daisy with a missing petal, which is replaced by a woman's long, white fingernail that resembles the shape of a petal

 

 



Animation

The Burden: A Darkly Funny Musical Punctures Existential Dread with Unusually Cheerful Song and Dance

April 27, 2024

Grace Ebert

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.

 

an animated gif of three monkeys who work at a call center singing "say that you are sorry, do apologize, but never cancel the agreement"

a fish in a bathroom and another in sweats open their hotel room doors to the lobby where another fish stands behind the desk

a fish working at a hotel says "this is where you come if you want to stay for a very long time. if you are alone, or if you dont have anyone, or if you dont want to be with anyone, or if you can't be with anyone, or if nobody wants to be with you."

a dog moves his cart to stock the shelves at a grocery store

two mice dance with their cleaning supplies in a restaurant

 

 



Art Books

Two Decades After Its Release, ‘The Art Book for Children’ Gets a Vibrant Makeover

April 26, 2024

Kate Mothes

an open book spread with an abstract yellow and purple painting and Hilma AF Klint and Painting Ideas and Beliefs on the left side

All images courtesy of Phaidon, shared with permission

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.

 

a book spread featuring a cloud work by Georgia O'keefe with text about the piece

a print of a pink mountain and blue water and trees surrounding

Katsushika Hokusai

vincent van gogh's iconic the starry night painting with a swirling blue sky and town below. plus a self portrait of the artist and brief text

Vincent Van Gogh

an open book spread with a large spider sculpture in a public place. on the left side the page says Louise Bourgeois and Artistic Arachnids

a painting of a woman in a gold gown and a man rising from his throne-like chair

Artemisia Gentileschi, “Esther Before Ahasuerus” (1622), oil on canvas

an open book spread with a portrait of Frida Kahlo and her dog and monkey with text about her and Portraits with Pets on the left page

the cover of the art book for children

 

 



Art

Jason Limon Gets to the Heart of Human Emotion in His Soul-Stirring Skeleton Paintings

April 26, 2024

Grace Ebert

two green skeletons use peas from a pod as their heads

“Peas In A Pod” 10 x 10 inches. All images © Jason Limon, shared with permission

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.

 

a bronze papercut hand holds a skeleton figure holding a pink rose as it floats on blue water

“Drift,” 12 x 9 inches

a green skeleton picks up a grape from a bunch and fits it on its neck. all the grapes have faces

“The Right Grape,” 9 x 12 inches

a papercut box with a grim reaper/bat figure painted on it holds a skeleton figure in its arms

“Succumb,” 6 x 8 inches

an orange lightning bold pierces a cloud and three skeletons try to move it

“Lightning,” 6 x 8 inches

a skeleton is trapped in a garden that's in a frame. four gray skeletons are in the corner of the frame with orange and pink motifs surrounding

“Framed II,” 8 x 10 inches

a skeleton turns a knob attached to a large paper scroll with a skull on it that says "look around" on its forehead

“Look Around,” 10 x 10 inches

a skeleton rests in a translucent sleeping bag of stars and the moon with a pillow that says sleep

“Sleepy,” 6 x 8 inches

 

 



Art

Stéphane Thidet Challenges Physics and Social Norms in His Site-Specific Installations

April 26, 2024

Grace Ebert

water rains down from a classical style building with columns out front

“Rideau” (2020), in situ installation at Théâtre Graslin, Nantes, France, water, pumps, pond installation in situ. Photo © Martin Argyroglo, courtesy of the artist and Galerie Aline Vidal. All images shared with permission

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.

 

two wooden chairs sitting side by side with their inner leg sawed down to spindly bits

“Chair” (2009), chairs, wood shavings, and sawdust, variable dimensions. Photo © Stéphane Thidet, courtesy of the artist and Galerie Aline Vidal

the edges of a small boat emerge from a wooden floor installation in a brick cavern

“La Crue” (2010), poplar wood, nails, variable dimensions. Photo © Galerie Aline Vidal courtesy of the artist and Galerie Aline Vidal Collection MAC VAL

water rains down from a classical style building with columns out front

“Rideau” (2020), in situ installation at Théâtre Graslin, Nantes, France, water, pumps, pond installation in situ. Photo © Martin Argyroglo, courtesy of the artist and Galerie Aline Vidal

a wooden bookcase with flat white stones slotted in like books

“Sans titre (Je crois qu’il y avait une maison, il me semble y avoir vécu)” (2010), bookcase and white stones, 239 x 187 centimeters. Photo © Stéphane Thidet, courtesy of the artist and Galerie Aline Vidal Collection CNAP

a wooden house stands atop a scaffolding with a tall staircase

“Il n’est pas de nouveau monde” (2023), wood and steel, 300 x 550 x 400 centimeters. Photo © Cité internationale de la langue Française, courtesy of the artist and Galerie Aline Vidal