LYNX Contemporary

The LYNX Contemporary magazine was  created to encourage an appreciation and understanding of Polish contemporary art. I have never before engaged in Polish art, that I am aware of, so it was interesting to gain an insight into the pieces.

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The above image of the red curved bench caught my attention.With the bench being curved and brightly coloured – almost as though it is placed as a joke – contrasts itself against the landscape built up of tall proud skyscrapers, which seem to be part of a financial business district. Having the bench places in what seems to be a more solitude area away from the bustle of the city, almost gives it a purpose as a breath of fresh air and a point of relaxation.

When placing my installations I am hoping for them to connect with the viewer as being a breath of fresh air, in that for a moment they forget all serious matters and appreciate the random, out of place object as a joke – even if this thought is only for a split second.

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The above two images are what I found after researching the red bench at Brooklyn Park Bridge in New York.

Artist Jeppe Hein was commisioned to create a project, which she names ‘Please Touch The Art’ in New York. This project reflects aspects which I wish to gain within my project, as I am hoping for my art work to be changed and manipulated by the public, in order to engage an interactive and excitable public.

Hein comments that his pieces are a platform for conversation, as they inflict dialogue between stranges and invoke thoughts to whoever passes by.

Hein created a map to connect the art works. I also plan on creating a map, despite the fact that my pieces will be moved and changed by the public, I feel that it is interesting to know where they were once placed. This may enhance them to visit the spots out of curiosity.

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On the front cover of the magazine, the work of Joanna Rajkowska is displayed. The exhibition which is explained within the magazine is called ‘Painkillers’. ‘Painkillers’ is a project built on Rajkowska’s interest in the paradoxical interrelation of military weapons and pharmaceuticals. Rajkowska makes casts from modern weapons.

The project confronts disturbing misuses of scinentific knowledge and power, which Rajowska has uncovered through scrutinising research.  As the artist comments, ‘it seems that means of killing and means of saving peoples’ lives are related to each other in terms of the forces generating them. This closeness can probably also be found between the means of inflicting pain and relieving it’.

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The use of thorough research and a deeply researched underlying meaning inspires me to want to look further into history/ contextual and ongoing situations within my work. This is similar to the way in which Ai Weiwei is currently addressing the refugee crisis, as it is an ongoing problem which needs addressing and to be understood by a wider audience. Art is often a successful platform used to exploit issues.

 

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