Ernesto Neto hangs GaiaMotherTree installion in Zurich station

Suspended from several struts if the central itZurich, the 20-meters cascading net installation occupies the central atrium of the quite busy train station.

Crafted from mattrd cotton strips, the highline net tree  like webbings;  features uniquely colored hand-knotted connections, decorative spices filled tubbings and strongly laced support to allow commuters interact with the installation by sitting on it.


Commissioned by Fondation Beyeler, and brought to fruition by Brazilian artist, Ernesto Neto,  who drew his inspiration from working with native Indian tribes across the Amazon in south America. The monument which would be open until the end of July, 2018, draws richly from Neto’s work with the Huni Kuin, an indigenous community living in the Amazon region near the Brazilian border with Peru.

 GaiaMotherTree was entirely handcrafted and manually installed in the grand station. It would represent a meeting place for interaction and meditation, where to host a varied program of events with music, workshops and performances.


Ron Mueck ‘s detailing in a series of hyper-realistic sculptures

a series of hyper-realistic sculptures by Australian artist, Ron Mueck featured in the  Fondation Cartier  are quite surreal. lifelike human forms which mesmerism with their level of detailing and texture.  Several pieces of Mueck’s installation attempts to address distinct societal themes around immigration ( man in the boat) , motherhood ( pregnant) and depression (  Ron’s head). While there are the other ones which offer no theme , meaning  but mainly call for curiosity.

the underlining curiosity about them is the very minute mimicry of organic dermatology.  how they are open up with all the flaws, stretches and winkles of  their primary copy.  Mueck’s projects are characterized by how ”  hyper realistic” they look to the original eyes.  most are unsettling at best, and scary while others are soothing enough to admire.



Varying in scale from the gargantuan to the pint-sized, the reclusive Australian artist’s sculptures of men, women and children keep the viewer both enthralled and off-balance, unsure of what to expect around the next corner of the gallery or museum space.

6219350439_e97b95a236_bphoto credit : Ron Mueck

DLe4XszWAAAvdaOphoto credit : Ron Mueck

Ron Mueck, now working in the United Kingdom, was born in Melbourne, Australia. The son of German-born toy-makers, he grew up making creatures, puppets and costumes in his spare time, experimenting with materials and techniques.

He started his career as a model maker and puppeteer for children’s films (such as LabyrinthThe Storyteller and etc.). Later he was making photo-realistic props and animatronics for the advertising industry. In 1996 Mueck transitioned to fine art and in 1999 he was appointed as Associate Artist at the National Gallery, London.

8CD3itUXLfqCMQCKQJam_1082116434Mueck working on miniature piece.

mueck011photo credit:  Mueck  super surreal old man.

818ZKhI8LLPjY0UpeG9b_1082116318photo credit: Mueck in his work shop

gjCI1TdeEP33O7J60EY2_1082116381photo credit : Ron Mueck

kPg8XOQOfusuk2iYuhDg_1082116426photo credit : Ron Mueck

L4WeuA64o9ZElmnGd2gK_1082116334photo credit : Ron Mueck

mueck05v2photo credit : Ron Mueck

mueck041photo credit : Ron Mueck

ronmueck02photo credit : Ron Mueck

ronmueck04photo credit : Ron Mueck

ronmueck05photo credit : Ron Mueck( Old people at the beach )

100 Skulls by RON MUECK on display for Triennial

Inspired by the complex biological structure of the human skull – which the artist considers beautiful and extraordinary – Ron Mueck’s new work Mass, 2016–17, celebrates a form that links us as a species. the skulls measure about 5 feet in height and the installation weighs a total of 5.5 tons. each duly hand-crafted,and cast in resin.

Mass is also a sombre study of mortality, and comprising 100 individual human skulls it calls to mind iconic images of massed remains in the Paris catacombs as well as the documentation of contemporary human atrocities in Cambodia, Rwanda, Armenia and Iraq.  Bringing to live hyperrealistic sculptures on what remains long after the bodies have decayed.

ron-mueck-national-gallery-victoria-triennial-11Mueck had early success as part of the landmark 1997 exhibition Sensation: Young British Artists from the Saatchi Collection,

The skull has been a potent symbol within the art of virtually all cultures and religions, not least the Western history of art, including in Dutch still-life painting and the vanitas painting genre of the sixteenth and seventeenth centuries which served as a reminder of the transience of life.

the Australian artist Ron Mueck known for his hyperrealistic sculptures, unveiled his largest installation yet with Mass, a collection of 100 monumental hand-cast skulls. Commissioned specially for the National Gallery of Victoria’s International Triennial, the imposing and ominous skulls pour through the galleries, each skull artfully placed into a tumbling mass.

 “Mass intrudes into the 18th Century Galleries like a glacier inching across a landscape, crowding out the powdered, bewigged lords and ladies, a reminder of all our fates,” Mueck said.


To draw out and contextualise these resonances, this monumental work has been placed within the historical collection galleries of NGV International  in Melbourne in 1958, Mueck has been based in the United Kingdom since 1986. He has explored the possibilities of the human form, first as a special-effects worker creating photorealistic props and animatronics for the film and advertising industries (under pioneering puppeteer Jim Henson), and later as an artist.

Mass is just one of the pieces in the inaugural Triennial, which is hosting 100 artists from 32 countries and runs through April 15, 2018.









astrocyte living architecture systems is a dream state installation

Can architecture integrate living functions? How can we design kinetic, living architecture that engages with visitors during extended interactions and enhances human experience in an immersive environment? How do humans respond to these evolving interactions, in a process of mutual adaptation?

Can architecture integrate living functions? Could future buildings think, and care? The Living Architecture Systems Group brings together researchers and industry partners in a multidisciplinary research cluster dedicated to developing built environments with qualities that come close to life— environments that can move, respond, and learn, with metabolisms that can exchange and renew their environments, and which are adaptive and empathic towards their inhabitants.



Supported by Social Sciences and Humanities Research Council funding and contributions from numerous partners, LAS is focused on develop­ing innovative technologies, new critical aesthetics, and integrative design working methods, helping equip a new generation of designers with critical next-generation skills and critical perspectives for working with complex environments.

The research of LAS has the potential to change how we build by transform­ing the physical structures that support buildings and the technical systems that control them. Intelligent controls, machine learning, lightweight scaf­folds, kinetic mechanisms, and self-renewing synthetic biology systems are being integrated in prototypes, exploring how these different systems might be fully integrated into new generations of buildings. Specializations are in advanced structures, mechanisms, control systems, machine learning, human-machine interaction, synthetic biology, and psychological testing. The combined expertise of the group offers unique integrated design, prototyping and public demonstration facilities.



EDIT is a ten-day festival for design, innovation and technology in toronto and produced by design exchange, whose overarching theme for its inaugural edition is ‘prosperity for all’. a 150,000-square-foot abandoned factory is transformed into an ultramodern world where design, innovation and technology are the solutions to today’s grand challenges. held from september 28 to october 8 2017, the festival explores a world where crickets can combat global hunger, medical supplies are 3D-printed in outer space, drones deliver blood to remote communities, and shipping containers are the future of farming.






Milan’s San Paolo converso church welcomes orange tennis court

Untitled (plot for dialogue)  is a neo-orange tennis court installed in a 16th century church, in Lombardy, Italy. the art installation is  currently the centrepiece of the  Chiesa di San Paolo Converso   church   (built  for the convent of the Order of the Angeliche  and later abandoned )  and sits in an exhibition space, devoted to more modernist arts — now  headquarters of the architectural firm CLS Architetti.

Asad Raza exploration of inhabited space couple with social practices, between human and non-human beings, and objects is an inspiration for this piece, which frames the building perfectly blending well  with the baroque façade. And as a nod to ‘complementing contrast’ , and  the 16th century’s exploration of light and shadow, and dramatic intensity.  Asad  introduced flooring, lines, netting, racquets, iced jasmine tea, and coaches for a tennis-like game


re-purposing the  former minster , a place of singular interaction, into a lax area two-way exchange and recreation. Here he reorients the sport as a reflection on the importance of non-productive activities in a society focused on work. For Raza, the game serves as a method of absorbing energetic drives into symbolic but non-harmful practices.


Visitors to Untitled (plot for dialogue)become more than spectators—practising with the coaches, they inhabit their bodies in coordinated action. Players respond to each other through the medium of the ball and the plot of the court. The piece places the experience of play above purely visual appreciation, as the back-and-forth of tennis exchanges produces meditative beauty.



The church’s frescos, the work of Giulio and Antonio Campi, depict the conversion, baptism, miracles and martyrdom of Paul the Apostle. , Maria Callas , erected between 1549 and 1619 it was  reconsecrated after a decree by Napoleon. leading to its second life as a storage space until it was was renovated and became a concert hall.


Converso welcomes the public to intact wit the installation through the week; except sundays, offering  exhibitions and events for  Artists of different ages, places, and creative languages to interact and also invites them to come develop arts projects  which interact with the hanging space’s historical, architectural and symbolic features.


Prospective projects are featured on the stage, floating, in a monumental interior. No walls surround the stage. It is merely a flat surface. The exhibited projects themselves float as well. They never fully affirm themselves and must always contend with the church’s magniloquence.




Gilles visualizes animals in recycle materials

Various lifelike replicas of apes dot the museum in central Spain , made from non conventional materials, standing in more as motifs than art forms, and brought to life by the creative mind of  design artist Gilles cenazandotti . These sculptures do more than offer aesthetic sensibility to the space, as they seek– through the artist creation — to more than visualise effects of some what human excess to our planet, in form of waste and in length attract attention to animal welfare.


Cenazandotti uses garbage, and random wastes collected  from the piles of washed up materials on the shores of his homeland beaches. But to create his ” semi-robotic”  , sculptures of endangered animals — such as the baboon and the polar bear– He had to spand hours shifting through materials.

among cenazandotti’s found objects are plastic bottles, combs and children’s toys. his materials are entirely plastic, rejected from the ocean and unadulterated from the state in which they have been found. the artist plays on irony, creating the beautiful animals from by-products of petroleum—a substance that is largely to blame for destroying their natural habitats and surrounding environments. his work highlights man’s forcing of animals to adapt to new, different habitats, and at the same time points towards a limit, when the sea can no longer absorb human waste.


An abundant of mediums and materials to choose from is an unfortunate situation and, is testament to the fact that excessive the human waste is to blame for the near-extinction of these species.


through his sculptures, the corsican artist attempts to show ‘a technological paroxysm where man tries to imitate nature through artificial recreation.’ his science fiction-like sculptures at once appealing and uncomfortable reinforce the idea that natural creation is far from human representation.previosly the head of a design company, cenazandotti has made a name for his unique style. the artist has collaborated to create site-specific design commissions with fashion designer jean paul gaultier and realized a series of interior fabrications with interior designer philippe starck

RP: Soft-lab’s crystalline installation for Melissa , New York

In the heart of one of busy shopping district  in New York, Soho are bee-comb like contractions , built out of glass. These  art installation was commissioned by the design outfit Softlab  . The crystalline structures were installed in Melissa shoes’  NYC store to go with it’s  Winter  collection  Shoes.
 “ Crystals are both highly refined structures and yet primitive. They can be found everywhere, but are anything but ordinary. Much like the shoes in Melissa’s Sky Walker collection, the ordered asymmetry of crystalline structures always inspires beauty. Inspired by both the shoes and crystals, we have produced an immersive installation that looks different from every angle” softlab says.

The installation include one in the lobby and another in the display gallery, where the complement the different matte range of the shoes. Taking advantage of the irregularities in the overall form of the installation to turn Melissa’s NYC store into a kaleidoscope of colors and light.  Cladding the complex aluminium structure with diachronic acrylic, the piece changes colour and reflectivity as visitors move around it.

The dichroic acrylic was used in tandem with this cell like structure to take advantage of the variation in panel angles. The dichroic film causes interference in light depending on the angle of view creating planes in a range of color much like light passing through a crystal.
By lighting the pieces from within the large crystalline structures will cast colored light onto the white store using it as a canvas. The installation acts as both a spectacular form and a giant lantern creating a landscape of color, filling the store with an otherworldly atmosphere.
The structure is lightweight compared to its large volume; using the principles of both crystal growth and soap bubbles the piece appears to have grown in the store. Overall the structure is made of over 50 unique cells and over 400 pieces of custom cut aluminum. Although the pieces are all flat they come together to form a complex three dimensional assembly. All of the parts were labeled and the individual cells were pre-assembled off site and then combined in the store.

NirVenaArt unveils it Wired Art installations

Nir vena art  just unveiled its new collection of art installations, minimalist and really light weighted. They are mimics of the various creatures of the zodiac astrological chart and other well known mystic creature.

But this is no ordinary wire installation. Made into small ; mostly table top sizes,  they fit perfectly with the coffee table decorations.  The major materials are basic aluminium and copper wires  sourced from used appliances, give a fresh use than filling up the landfills.

Wounded, wrapped and packed in intricate standing to produce scaled replicates; with spaces in-between to better express the surroundings while still keeping the focus on them; the art.

 ” The wire is an elegant and expressive material that speaks to you; it carries a story and personal touch of an artist who uses it. That’s why I love it so much – I spend hours with my wire threads and each wire artwork is unique and personal in its own way.”

she said. ” Creating beauty out of ugly and useless objects is also part of my artistic credo”

Nir Vena grew up around rural Bulgaria , this experience was her inspiration for most of her works. spending most of her  teen life  in  Mountainous Rhodope, inspired her to see magic in all kinds of ancient sanctuaries and otherworldly places.

When not creating beautiful, energetic and mysterious sculptures out of unneeded objects, She participates in mixed media performances, group exhibitions and solo exhibitions around the world.

Currently,  her  works include Zodiac and Greek mythology characters, inspired by the sky and star lights. Spelled by the magic of light,