List of Monumental sculpture projects 2015

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Wednesday, 5 November 2014

Street Art : Swannjie 2014 "Cent Fleurs" installation - 102 url; wikipedia definition of Street Art

"Cent Fleurs/ Hundred Flowers/ 百花齊放 " - 102 cubes w url to Urban street art+culture, energy in a city - a Street Art proposal - 2014, and Street Art definition by Wikipedia

Street Installation mock up :: by Swannjie 2014

  Street Art Installation : 

Cent Fleurs - 102 cubes by Swannjie

Cent Fleurs at bus stop in Paris : with 102 cubes + url for leisure browsing/ reading for public

Cent Fleurs at bus stop in Paris : with 102 cubes + url for leisure browsing/ reading for public 

Description of Cent Fleurs Cubes

Detail of a Cent Fleurs Cube :  each cube has a badge with specially chosen url w QR code.

 Cent Fleur Cube at Saint Tropez in sl - sample of an installation at a public square

Cent Fleur Cube at Chamonix in sl - sample of an installation at a ski resort











"Cent Fleurs" - Sample of a 3 cubes configuration

Real life "HuaKui  花 魁 " (Queen of Flowers) 

permanent installation at Venice, Certosa.


Cubes in Venice, Certosa island - real life permanent installation

More here:

And here:

Mobile Music 10%, 250 urls, BenQ Mapu Park, Taiwan, temporary installation


Making of "Cent Fleurs" Cubes




References wikipedia

Street Art :

Paris, France has an active street art scene which is home to artists such as Space Invader and Zevs.

Some connect the origins of street art in France to Lettrism of the 1940s and Situationist slogans painted on the walls of Paris starting in the late 1950s. Nouveau realists of the 1960s, including Jacques de la Villeglé, Yves Klein and Arman interacted with public spaces but, like Pop Art, kept the traditional studio-gallery relationship. The 1962 street installation Rideau de Fer (Iron Curtain) by Christo and Jeanne-Claude is cited as an early example of unsanctioned street art. In the 1970s, the site-specific work of Daniel Buren appeared in the Paris subway. Blek le Rat and the Figuration Libre movement became active in the 1980s.[citation needed]


Invader (artist)

From Wikipedia, the free encyclopedia

Invader's Pac-Man mosaics in Bilbao (BBO 24–27), near the Guggenheim Museum
Invader is the pseudonym of a well-known French urban artist, born in 1969, whose work is modelled on the crude pixellation of 1970s 8-bit video games. He took his name from the 1978 arcade game Space Invaders, and much of his work is composed of square ceramic tiles inspired by video game characters. Although he prefers to remain incognito, and guards his identity carefully, his distinctive creations can be seen in many highly-visible locations in more than 60 cities in 30 countries.[1] He documents each intervention in a city as an "Invasion", and has published books and maps of the location of each of his street mosaics.
In addition to working with tiles, Invader is one of the leading proponents of indoor mosaics created using stacks of Rubik's Cubes in a style he refers to as "Rubikcubism". He is also known for his QR code mosaic works.

Zevs - Liquidated Google, 2010

Liquidated Logos

Since the mid-00s Zevs has become famous for his work with dripping brand logos. A beautiful illusion is created by the dripping paint from the logos, giving them an appearance of dissolving. His Liquidated Logos touch upon fashion, financial, and pop cultural brands to comment on their omnipresence and yet instability of their existence in today's world.


From Wikipedia, the free encyclopedia
Lettrism is a French avant-garde movement, established in Paris in the mid-1940s by Romanian immigrant Isidore Isou.[1] In a body of work totaling hundreds of volumes, Isou and the Lettrists have applied their theories to all areas of art and culture, most notably in poetry, film, painting and political theory. The movement has its theoretical roots in Dada and Surrealism. Isou viewed his fellow countryman, Tristan Tzara, as the greatest creator and rightful leader of the Dada movement, and dismissed most of the others as plagiarists and falsifiers.[2] Among the Surrealists, André Breton was a significant influence, but Isou was dissatisfied by what he saw as the stagnation and theoretical bankruptcy of the movement as it stood in the 1940s.[3]
In French, the movement is called Lettrisme, from the French word for letter, arising from the fact that many of their early works centred on letters and other visual or spoken symbols. The Lettristes themselves prefer the spelling 'Letterism' for the Anglicised term, and this is the form that is used on those rare occasions when they produce or supervise English translations of their writings: however, 'Lettrism' is at least as common in English usage. The term, having been the original name that was first given to the group, has lingered as a blanket term to cover all of their activities, even as many of these have moved away from any connection to letters. But other names have also been introduced, either for the group as a whole or for its activities in specific domains, such as 'the Isouian movement', 'youth uprising', 'hypergraphics', 'creatics', 'infinitesimal art' and 'excoördism'.

Nouveau réalisme

From Wikipedia, the free encyclopedia
  (Redirected from Nouveau Réalisme)
This article is about the art movement. For the school of early 20th-century epistemology, see New realism (philosophy). For the theory of international relations, see Neorealism in international relations.

The Nouveau Réalisme Manifesto, signed by all of the original members in Yves Klein's apartment, 27 October 1960
Nouveau réalisme (New realism) refers to an artistic movement founded in 1960 by the art critic Pierre Restany[1] and the painter Yves Klein during the first collective exposition in the Apollinaire gallery in Milan. Pierre Restany wrote the original manifesto for the group, titled the "Constitutive Declaration of New Realism," in April 1960, proclaiming, "Nouveau Réalisme—new ways of perceiving the real."[2] This joint declaration was signed on 27 October 1960, in Yves Klein's workshop, by nine people: Yves Klein, Arman, Martial Raysse, Pierre Restany, Daniel Spoerri, Jean Tinguely and the Ultra-Lettrists, Francois Dufrêne, Raymond Hains, Jacques de la Villeglé; in 1961 these were joined by César, Mimmo Rotella, then Niki de Saint Phalle and Gérard Deschamps. The artist Christo showed with the group. It was dissolved in 1970.[2]
Contemporary of American pop art, and often conceived as its transposition in France, new realism was, along with Fluxus and other groups, one of the numerous tendencies of the avant-garde in the 1960s. The group initially chose Nice, on the French Riviera, as its home base since Klein and Arman both originated there; new realism is thus often retrospectively considered by historians to be an early representative of the Ecole de Nice movement.[3]

Jacques Villeglé

From Wikipedia, the free encyclopedia
  (Redirected from Jacques de la Villeglé)
Jacques Villeglé
Villeglé et l'équipe du mur.jpg
Jacques Villeglé, 2008
Born Jacques Villeglé
27 March 1926 (age 87)
Nationality French
Known for Lettrism
Movement New Realism

Jacques Villeglé
Jacques Villeglé, born Jacques Mahé de la Villeglé (27 March 1926, Quimper, Brittany) is a French mixed-media artist and affichiste famous for his alphabet with symbolic letters and decollage with ripped or lacerated posters. He builds posters in which one has been placed over another or others, and the top poster or posters have been ripped, revealing to a greater or lesser degree the poster or posters underneath. He is a member of the Nouveau Réalisme art group (1960–1970). His work has primarily focused on the anonymous and on the marginal remains of civilization.
Villeglé first started producing art in 1947 in Saint-Malo by collecting found objects (steel wires, bricks from Saint-Malo's Atlantic retaining wall). In December 1949, he concentrated his work on ripped advertising posters from the street. Working with fellow artist Raymond Hains, Villeglé began to use collage and found/ripped posters from street advertisements in creating Ultra-Lettrist psychogeographical hypergraphics in the 1950s, and in June 1953, he published Hepérile Éclaté, a phonetic poem by Camille Bryen, which was made unreadable when read through strips of grooved glass made by Hains. In February 1954, Villeglé and Hains met the Lettrism poet François Dufrêne, and this latter introduced them to Yves Klein, Pierre Restany and Jean Tinguely. In 1958, Villeglé published an overview of his work on ripped posters, Des Réalités collectives, which is to a certain degree a prefiguration of the manifesto of the New Realism group (1960) which he joined at its inception.

Yves Klein

From Wikipedia, the free encyclopedia
Yves Klein
Yves Klein.jpg
Yves Klein during the work on the Gelsenkirchen Opera, 1959
Born 28 April 1928
Nice, France
Died 6 June 1962 (aged 34)
Paris, France
Nationality French
Known for Painting, performance art
Notable work(s) IKB 191 (1962)
Monotone Symphony (1949)
Movement Nouveau Réalisme
Yves Klein (French: [iv klɛ̃]; 28 April 1928 – 6 June 1962) was a French artist considered an important figure in post-war European art. He is the leading member of the French artistic movement of Nouveau réalisme founded in 1960 by art critic Pierre Restany. Klein was a pioneer in the development of performance art, and is seen as an inspiration to and as a forerunner of Minimal art, as well as Pop art.


From Wikipedia, the free encyclopedia
For other uses, see Arman (disambiguation).
Armand Pierre ARMAN
Arman by Lothar Wolleh.jpg
Portrait of Arman by Lothar Wolleh, 1963.
Born Armand Fernandez
November 17, 1928
Nice, France
Died October 22, 2005 (aged 76)
New York City
Nationality French, naturalized U.S.A.
Known for Sculpture, Painting, Printmaking
Movement Nouveau Réalisme
Arman (November 17, 1928 – October 22, 2005) was a French-born American artist.[1] Born Armand Fernandez in Nice, France, Arman is a painter who moved from using objects for the ink or paint traces they leave ("cachet", "allures d'objet") to using them as the painting itself. He is best known for his "accumulations" and destruction/recomposition of objects.

Pop art

From Wikipedia, the free encyclopedia
  (Redirected from Pop Art)
This article is about the art movement. For other uses, see Pop art (disambiguation).

Richard Hamilton's collage Just what is it that makes today's homes so different, so appealing? (1956) is one of the earliest works to be considered "pop art".
Pop art is an art movement that emerged in the mid-1950s in Britain and in the late 1950s in the United States.[1] Pop art presented a challenge to traditions of fine art by including imagery from popular culture such as advertising, news, etc. In pop art, material is sometimes visually removed from its known context, isolated, and/or combined with unrelated material.[1][2] The concept of pop art refers not as much to the art itself as to the attitudes that led to it.[2]
Pop art employs aspects of mass culture, such as advertising, comic books and mundane cultural objects. It is widely interpreted as a reaction to the then-dominant ideas of abstract expressionism, as well as an expansion upon them.[3] And due to its utilization of found objects and images it is similar to Dada. Pop art is aimed to employ images of popular as opposed to elitist culture in art, emphasizing the banal or kitschy elements of any given culture, most often through the use of irony.[2] It is also associated with the artists' use of mechanical means of reproduction or rendering techniques.
Pop art and minimalism are considered to be art movements that precede postmodern art, or are some of the earliest examples of Post-modern Art themselves.[4]
Pop art often takes as its imagery that which is currently in use in advertising. Product labeling and logos figure prominently in the imagery chosen by pop artists, like in the Campbell's Soup Cans labels, by Andy Warhol. Even the labeling on the shipping box containing retail items has been used as subject matter in pop art, for example in Warhol's Campbell's Tomato Juice Box 1964, (pictured below), or his Brillo Soap Box sculptures.

Christo and Jeanne-Claude

From Wikipedia, the free encyclopedia
"Christo" redirects here. For other uses, see Christo (disambiguation).
Christo and Jeanne-Claude
Christo and Jeanne-Claude crop.jpg
Jeanne-Claude and Christo in April 2005
Born June 13, 1935 (Christo & Jeanne-Claude)
Gabrovo, Bulgaria (Christo)
Casablanca, Morocco (Jeanne-Claude)
Died November 18, 2009 (aged 74) (Jeanne-Claude)
Manhattan, New York, United States (Jeanne-Claude)
Education Christo: National Academy of Arts
Vienna Academy of Fine Arts
Jeanne-Claude: Self–taught
Known for Environmental art
Notable work(s) Running Fence
The Gates
Movement Nouveau réalisme
Environmental art
Awards Praemium Imperiale
Christo (born Hristo Vladimirov Yavachev, Bulgarian: Христо Явашев, June 13, 1935) and Jeanne-Claude (born Jeanne-Claude Denat de Guillebon, June 13, 1935 – November 18, 2009) were a married couple who created environmental works of art. Christo Yavachev is Bulgarian born and Jeanne-Claude was born in Morocco. Their works include the wrapping of the Reichstag in Berlin and the Pont-Neuf bridge in Paris, the 24-mile (39 km)-long artwork called Running Fence in Sonoma and Marin counties in California, and The Gates in New York City's Central Park.
Christo and Jeanne-Claude were born on the same date, Christo in Gabrovo, Bulgaria, and Jeanne-Claude in Morocco. They first met in Paris in October 1958. Their works were credited to just "Christo" until 1994, when the outdoor works and large indoor installations were retroactively credited to "Christo and Jeanne-Claude".[1] They flew in separate planes: in case one crashed, the other could continue their work.[2]
Jeanne-Claude died, aged 74, on November 18, 2009, from complications of a brain aneurysm.[1]
Although their work is visually impressive and often controversial as a result of its scale, the artists have repeatedly denied that their projects contain any deeper meaning than their immediate aesthetic impact. The purpose of their art, they contend, is simply to create works of art or joy and beauty and to create new ways of seeing familiar landscapes. Art critic David Bourdon has described Christo's wrappings as a "revelation through concealment."[3] To his critics Christo replies, "I am an artist, and I have to have courage ... Do you know that I don't have any artworks that exist? They all go away when they're finished. Only the preparatory drawings, and collages are left, giving my works an almost legendary character. I think it takes much greater courage to create things to be gone than to create things that will remain."[4]

Daniel Buren


Sometimes classified as an abstract minimalist Buren is known best for using regular, contrasting colored stripes in an effort to integrate visual surface and architectural space, notably on historical, landmark architecture.
Among his chief concerns is the 'scene of production' as a way of presenting art and highlighting facture (the process of 'making' rather than for example, mimesis or representation of anything but the work itself). The work is site-specific installation, having a relation to its setting in contrast to prevailing ideas of an autonomous work of art.

Blek le Rat

From Wikipedia, the free encyclopedia

Xavier Prou (Blek le Rat) at the gallery opening and book signing at the 941 Geary Gallery, San Francisco
Blek le Rat, (pronounced: [blɛk lə ʁa]; born Xavier Prou,[1] 1952)[2] was one of the first graffiti artists in Paris, and has been described as the "Father of stencil graffiti".[3]

Figuration Libre

From Wikipedia, the free encyclopedia
Figuration Libre (Free figuration) is a French art movement of the 1980s. It is the French equivalent of Bad Painting and Neo-expressionism in America and Europe, Junge Wilde in Germany and Transvanguardia in Italy. The term was coined by Fluxus artist Ben Vautier.
The group was formed in 1981 by Robert Combas, Remi Blanchard, François Boisrond and Hervé Di Rosa.[1] Other figures include Richard Di Rosa and Louis Jammes. Between 1982 and 1985, these artists exhibited alongside their American counterparts Keith Haring, Jean-Michel Basquiat, and Kenny Scharf in New York City, London, Pittsburgh and Paris.[2]
Figuration Libre (Free Figuration) can be translated as “Free Style”.

See also 
Were sometimes associated with the term Free Figuration even though they were not present in historical exhibitions. The group Bazooka, The Brothers Ripoulin, Muslims smoking and Francky Boy Speedy Graphito, MIX-MIX (group), Rafael Gray, VLP (Vive La Peinture), group Nuklé-Art, Kriki, Kim Prisu, Etherno, Captain Cavern, Dix10 Group, established in 1982 (Roma Napoli and JJ Dow Jones), Didier Chamizo, Placid and Muzo, Juhel, Lhopital Sebastian (Sebastian said), Nina Childress, Frédéric Voisin, Paella Chimicos, Suburb Suburb, Daniel Baugeste, Jerome Mesnager Blek le Rat, Mary Rouffet Miss.Tic Gerard Zlotykamien and Frédéric Iriarte.

More - Many others-

Graffiti Research Lab
Graffiti Research Lab, founded by Evan Roth and James Powderly during their fellowships at the Eyebeam OpenLab, is an art group dedicated to outfitting graffiti writers, artists and protesters with open source technologies for urban communication. The members of the group experiment in a lab and in the field to develop and test a range of experimental technologies. They document those efforts with video documentation and DIY instructions for each project and make it available for everybody. The GRL is particularly well known for inventing LED Throwies.
The Graffiti Research Lab is currently housed at Free Art and Technology Lab (a.k.a. FAT Lab), a non-profit research lab that supports artists, engineers, designers and entertainers whose work directly enriches the public domain. (FATLAB website)
Each extension of Graffiti Research Lab is called a cell. Localized cells were founded in Vienna,[1] Amsterdam,[2] and Mexico,[3] copying and extending the work of the NY based organization. For example, the inventions are reproduced and deployed locally and the exhibition of the MBU at Prix Ars Electronica was done in cooperation with GRL Vienna. The cells cooperate and communicate, but are not one formal organization.

The Thinking graffiti artist Cy Twombly:

Cy Twombly is the only graffiti artist I care about

Twombly is the thinking person's Banksy. Are you ready for the real thing?
Cy TwomblyCy Twombly defies every category and transcends every cliché. Photograph: Francois Halard
Being a professional art critic is a truly indulged existence. You get paid to do something you'd gladly do for free, and on top of that you get free travel, free art books ... it's an art lover's heaven. And yet in every paradise there is a thorn. The thorn of being an art critic in modern Britain is that people keep asking you about Banksy.
I've published more articles about this unimportant graffiti and street artist than I care to count. I've generally been pretty harsh and yet the honest truth is that I don't have an opinion about Banksy. I can't believe that grown people find his work worth more than passing attention; he just doesn't come onto my radar. What I really want to say to his admirers is - haven't you people ever heard of Cy Twombly? He's the only graffiti artist I care about.
Twombly started scribbling and doodling on his canvases half a century ago and his retrospective that opens soon at Tate Modern is a victory march by the greatest artist alive. He is a painter - and sculptor - who defies every category and transcends every cliché: a man who has never been pinned down and is still working, at 80, with tremendous gusto and creative generosity. Nor has he retired into a world of his own. His recent paintings, which lusciously contemplate the beauty of Arabic script in what might be called a gesture of subversive orientalism, constitute perhaps the most intelligent response by an artist to the world's current crisis.
Banksy is a thick person's idea of a radical artist. Twombly is a thinking person's. He began scrawling on his paintings in the 1950s when the presiding genius of modern art was Jackson Pollock. The idea of the abstract painterly mark as "writing" is already there in Pollock, but it was Twombly who made this idea explicit. Ever since he has painted grand, brave works that are at once abstract and literary, that demand to be read while also being hard, perhaps impossible, to read. This makes him sound difficult, and he is, but his work has a sensuality that is immediately, humanly rewarding.
His use of graffiti means being alive to what it represents - the dirty life of the street. You think young urban artists are alive to the chaos and energy of the city? Take a look at Twombly's 1961 painting Triumph of Galatea. On this canvas, nearly five metres wide, hedonist smears of sensual abandon spatter across white space - a pair of pink breasts, drawn as crudely as if they were on the door of a public toilet, float among scratchy pencil marks, urine-coloured paint smears and many varieties of fleshy daubing. The sexy, crass, immediate tang of real life is all over this painting, but it is also a homage to Raphael's fresco of the nymph Galatea in the Villa Farnesina in Rome. The painting of a beautiful mythological being sailing over the waves on a gigantic shell surrounded by tritons and sea nymphs is a triumphant Renaissance depiction of nature in harmony, a perfect idyll. Twombly's version is far more violent, dangerous and distracted. Desire does not unify; it disperses.
The most confounding move in this great American's never predictable career was to emigrate to Europe, and the city at the centre of his life as an artist is Rome - he is the greatest painter of the city since Turner. His art mirrors its amazing mix of high and low, grand and grotesque, beautiful and corrupt. He is the only artist today who works naturally in - critical - conversation with the greats of art history, casually mixing the demotic language of graffiti art with erudite allusion.
Have I succeeded in putting you off? I'm sorry to pick on poor little Banksy - but does art have to be stupid, vulgar, trite and obvious? Is that all people can relate to? Tate Modern - rarely short of a bit of publicity - admits it has been surprisingly hard to secure press coverage for Twombly. And yet he has everything: sex, graffiti, baroque energy and seductive beauty. He is a genius - and he's alive and working now! Will this important exhibition pull the crowds, or are people more interested in the latest glib posturing by a 40-something British art star who will be forgotten in a few years? What's it to be, all you Britons so proud that you've discovered modern art? Are you ready for the real thing?
View a gallery of highlights from the Cy Twombly exhibition at Tate Modern here

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