The sculpture Tree of Signs, a collaborative project between Gabríela Frioriksdóttir and French designers M/M, will be the first man-made structure in Urrioaholt.

A sculpture entitled Tree of Signs will be the first man-made structure to be raised in Urrioaholt. The work was conceived by French designers Mathias Augustyniak and Michael Amzalag, better known as M/M, in collaboration with artist Gabríela Frioriksdóttir. The sculpture is five metres tall and is made of bronze. According to Gabríela, the tree can be viewed as a monument to possibilities inspired by the generous and rewarding collaboration between different parties, thus reflecting the basis for the residential area that will rise in Urrioaholt.

Gabríela says that the idea behind the sculpture was conceived when M/M came to Iceland in connection with the French cultural festival Pourquois Pas? in early 2007. The conceptual work behind Tree of Signs began then, and basic sketches were exhibited at the Museum of Design and Applied Art in Garoabaer. The tree is based on the same font as M/M used for the cover of Björk’s album Medúlla and which was used as a basis for all printed material and 3D objects that the duo created with Gabríela for the Venice Biennale. The font on the Tree of Signs, however, will be entirely three-dimensional and Gabríela’s drawings will be formed into bas-reliefs that hang on the tree like fruit, or seeds. “When we started discussing a possible collaboration with Urrioaholt and began to study the ideology behind the area, we discovered that it matched our ideas. Also, we had always wanted to raise the tree in an undeveloped area,” says Gabríela.

“We at Urrioaholt heard about M/M through the Garoabaer cultural representative and subsequently took Mathias and Michael to Búrfellsgjá on a sightseeing tour. It is rare to find such pristine nature so close to a residential area and they were impressed by the natural beauty of the site. A short while later a decision was made for the tree to become the first man-made structure in Urrioaholt. It is symbolic and fun and sends a definite message about vegetation and growth in the Urrioaholt area,” says Sigurour Gísli Pálmason, who sits on the board of Urrioaholt ehf.

Collaboration with artists is important.According to Gabríela, the best thing about the Tree of Symbols is that is not on a platform, unlike most other artworks in public spaces. “I find such spaces generally opposed to art because they create a predetermined framework around everything, meaning the work rarely has a chance to evolve organically and become part of the surroundings,” she says. This is also reflected in the fact that the font used for the work does not create borders but rather offers possibilities. “The philosophy of form and the philosophy behind Urrioaholt complement each other well. By which I mean playing with the possibilities of nature as opposed to colliding with it; using soft forms that create greater harmony.”

(via urbanpreschool)

Max Bill, Rhythmus im Raum (heller granit, 1947-48)
courtesy : Max, Binia + Jakob Bill stiftung/foundation

On the occasion of 100 years of the birth of Max Bill, the Swiss Cultural Center pays tribute to this artist who has shaped fundamental modernity an exemplary way in banning categories. One could almost say that his vision has influenced decades of everything that we see (in the minimalist tradition), from a logo to a watch, from a painting to a building.
Self-taught architect, student of the Dessau’s Bahaus, abstract painter and founder of the movement concrete (student of Kandinsky and Klee), but also a graphic designer, typographer, designer and exhibition designer, his works or objects are now part of the classics.

The exhibition Around Max Bill proposes to explore the influence of this artist on a new generation of international designers and check if his production or his teaching continues to inspire some artistic practices.
Thanks to the loan and the outstanding achievement of a new bronze casting of the famous sculpture Rhythmus im Raum (Rhythm in space) dated the end of 40’s, this exhibition has the purpose to literally turn around this work inspired by the endless ribbon of Moebius, in order to see in it its various heirs.

The Exhibition takes place in the project room of “Centre Culturel Suisse” in Paris, from october 26th 2008 to january 4th 2009.

Agrandir le plan

2005-7, urethane coated, lacquered synthetic resin and stainless steel
1.85 x 1.81 x 9.88 in / 47 x 46 x 251 mm
edition of 100 (with serial number), color: black / white

Artist Reona Ueda, based in Tokyo, just informed me about a new project in collaboration with the amazing New York based magazine NEWWORK.

1.7 is the first installment of a collaboration between a fine artist Reona Ueda, and a graphic design studio NEWWORK.

It is a wearable piece of art inspired by kanzashi, a traditional Japanese hair ornament. It is composed of spiraling text, defining peace. It is also enriched with handmade representations of Japanese native plants included in a classic botanical book, Flora Japonica. Written by the German physician P.F.B. von Siebold (1796-1866), it introduced many Japanese plants and flowers to Europeans in the 19th century.

Von Siebold resided in Japan from 1823 to 1829. Japan was then undergoing a strict policy of isolationism imposed by its feudal government. While practicing as a physician and giving lectures on European medicine and natural history, he focused on the naturalistic and ethnologic study of Japanese flora and fauna with full enthusiasm. Despite his fame in Japan, von Siebold is almost unknown in the rest of the world.

1.7 is part of the art project Global Identity that Reona Ueda started in 2002, which he details online at www.reona.org. It connects people from different backgrounds, including artists, designers, and non-artists by creating the shared platform where individuals link to and communicate with each other through the productions of artworks. Each contribution is numbered, and all the pieces are linked directly or indirectly.

Global Identity attempts to search for what senses, notions, and values we could share in our rapidly globalizing postmodern society. This approach also allows us to connect a numerous number of artistic styles expressed in our age. In this framework, 1.7 plays a role as a bridge between the traditional Japanese notion of art and the Western conception of fine art.

1.7 is soon to be available as one of Artists’ Products selection at Tate Modern shop.

Damn! This magazine looks really good… Grab it at YWFT.

Kemistry Gallery is pleased to announce their latest exhibition – Retrospective—One (8th August—6th September 2008) Independent graphic design gallery Kemistry Gallery has asked eleven previous exhibitors to create new pieces for an exhibition celebrating their fourth year exposing graphic talent. Retrospective—One will bring together Experimental Jetset, Eine, James Joyce, Parra and Geoff McFetridge among others in a line up of graphic design all-stars. Pieces will include one-offs, editions, prints, and objects available exclusively from the gallery.

For more information about the exhibition please contact Alastair Coe at Kemistry Gallery:
020 7729 3636 / alastair[at]kemistrygallery.co.uk

(via Manystuff)