Unfold
Artefacts of a New History
2016
“The limited edition Artefacts of a New History (2016) is a collector box featuring nine different intricate ceramic 3d prints produced using Unfold’s finest printing capabilities. The collection resembles a set of artefacts like those you might find in a natural history museum, on one hand they look ancient, like fossils, but on closer inspection they reveal their strange technical nature…”
[x]
Artefacts of a New History
2016
“The limited edition Artefacts of a New History (2016) is a collector box featuring nine different intricate ceramic 3d prints produced using Unfold’s finest printing capabilities. The collection resembles a set of artefacts like those you might find in a natural history museum, on one hand they look ancient, like fossils, but on closer inspection they reveal their strange technical nature…”
[x]
❤3
There’s a peaceful land of maidens crystal-pure,
where children are as unbreakable as steel
where snake-victors kneel and drink
the wine of angels in silent, frozen halls.
There’s a peaceful land of grasses
where the dragon sings for eternal hours.
He waits, his wise head bowed,
powerful wings embroidered with flowers.
Monks dwell in cells among burgundy rocks.
Fire burns inside their stone bowls.
And the wine of angels can’t been tasted or seen
like tears in a river or in our dead souls.
Here no victories or failures prevail.
The scorpion sleeps at the foot of the rhododendron.
And in the window’s light—a sacred darkness,
like writing on a scorpion’s scales.
Natalka Bilotserkivets, from Eccentric Days of Hope and Sorrow, Dzvinia Orlowsky (Ukrainian translation), Lost Horse Press
where children are as unbreakable as steel
where snake-victors kneel and drink
the wine of angels in silent, frozen halls.
There’s a peaceful land of grasses
where the dragon sings for eternal hours.
He waits, his wise head bowed,
powerful wings embroidered with flowers.
Monks dwell in cells among burgundy rocks.
Fire burns inside their stone bowls.
And the wine of angels can’t been tasted or seen
like tears in a river or in our dead souls.
Here no victories or failures prevail.
The scorpion sleeps at the foot of the rhododendron.
And in the window’s light—a sacred darkness,
like writing on a scorpion’s scales.
Natalka Bilotserkivets, from Eccentric Days of Hope and Sorrow, Dzvinia Orlowsky (Ukrainian translation), Lost Horse Press
❤4
Joachim Koester
Variation of Incomplete Open Cubes
2011
“Variation of Incomplete Cubes shows a close-up of two hands attempting to form the shape of cubes. The film pays homage to the American minimalist artist Sol LeWitt, whose 1974 work Incomplete Open Cubes explores the permutations of a cube through a variety of sculptures, photographs and drawings.”
[x]
Variation of Incomplete Open Cubes
2011
“Variation of Incomplete Cubes shows a close-up of two hands attempting to form the shape of cubes. The film pays homage to the American minimalist artist Sol LeWitt, whose 1974 work Incomplete Open Cubes explores the permutations of a cube through a variety of sculptures, photographs and drawings.”
[x]
Vimeo
Joachim Koester "Variation of Incomplete Open Cubes" (2011)
16mm film installation, black and white, mute, 8'40''. Variation of Incomplete Cubes shows a close-up of two hands attempting to form the shape of…
Ettore Sottsass Jr.
Metafore
1972-1979
“Sottsass was questioning the act of building as well as the underpinnings of industrial culture. He then abandoned this artistic production to focus on writing and design. His “constructions” are a sort of “study of the language of architecture” (Barbara Radice), on the link between oneself and the physical environment. These temporary structures are composed of humble and fragile elements, bits of string, wood, ribbons, leaves, rocks, bits of clothing, etc., referring to the precariousness of things.
Sottsass wrote: “I felt a deep necessity to visit deserted places, mountains, to establish a new physical relationship with the cosmos, which is the only environment there is, precisely because it cannot be measured, anticipated, controlled or known...”
[x]
Metafore
1972-1979
“Sottsass was questioning the act of building as well as the underpinnings of industrial culture. He then abandoned this artistic production to focus on writing and design. His “constructions” are a sort of “study of the language of architecture” (Barbara Radice), on the link between oneself and the physical environment. These temporary structures are composed of humble and fragile elements, bits of string, wood, ribbons, leaves, rocks, bits of clothing, etc., referring to the precariousness of things.
Sottsass wrote: “I felt a deep necessity to visit deserted places, mountains, to establish a new physical relationship with the cosmos, which is the only environment there is, precisely because it cannot be measured, anticipated, controlled or known...”
[x]
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