Amelia’s Magazine | Ron Arad: Restless. A review of the design exhibition at the Barbican Art Gallery, London.

Ron Arad reflective chair
Ron Arad reflective chair
All photography by Amelia Gregory unless otherwise stated.

Once upon a time I assisted a well known stylist on a shoot with Ron Arad. We went to his vast warehouse studios in Camden to take the photo for a magazine, more about and my abiding memory is of the courtyard in front, more about which was littered with the carcasses of old chairs.

Ron does chairs. This is a man who seriously, thumb seriously loves something to sit on, so it comes as no surprise to find that the entire upper gallery of this Barbican exhibition is devoted to his many chair designs.

Ron Arad typewriter chair
Fun with a rusty old typewriter as seat pad.

Ron Arad Rover Chair
The Rover Chair. Image courtesy of the Barbican.

Ron Arad steel rover chair
The gleaming metal version in pride of place.

Here we can trace the journey of Ron’s love from the early days – when he casually tossed aside a career in architecture to pursue dreams of product design – up until the present. At first he took a higgeldy piggeldy approach to their construction: the chair that made him famous was one constructed from the leather car seat of a Rover. In one room we discover how he adapted and changed this original concept before culminating in the final denouement: a sleek recliner in gleaming steel proudly showcased in front of a digital LED screen. For why stop at just one product when you’re onto a winner? Herein lies the essence of Ron’s career – straddling the creation of one off works of art and mainstream manufacturing with gleeful abandon.

Ron Arad Tom Vac
Image courtesy of the Barbican. This was popular in trendy restaurants.

Ron Arad big chair
Ron Arad rocking chairs
Ron Arad. Well Transparent Chair
Image courtesy of the Barbican.

So what defines a Ron Arad work? Aesthetically he has messed around with all sorts of materials, especially in the early years, but if I had to pin it down to a couple of things, I would say he is principally concerned with bulk and sheen. Rotund forms bulge ominously towards the ceilings and floors of the small upper galleries, suggesting the swallowing of any daring seatee. Delicate this ain’t. Comfortable? Maybe, but we aren’t allowed to try. I particularly love a smooth red and white plastic chair, glowing like a giant boiled sweet. But I think I want to lick it rather than sit on it. Is this the reaction one should have to a chair? Semi-phallic pieces appear more sculptural than useful. Shiny metal surfaces reflect the gallery-goers like distorted mirrors, and automated rockers set the chairs in perpetual motion as directional lighting throws dramatic shadows against the encroaching walls.

Ron Arad red white chair
Ron Arad London Papardelle
Ron Arad sculptures

If we aren’t allowed to sit in the chairs upstairs there is much fun to be had stretching out on the various seating arrangements that populate the large open downstairs gallery. Particularly with my austostitch app in hand. On the walls there are bookshelves – his famous curved Bookworm, an impressive patchwork map of America and a giant bookshelf wheel that maintains an impressively upright angle as it regularly slips down a long slope. Some of the most interesting items are the models that Ron has sent out for mass production, complete with scribbled markings.

Ron Arad blue chairs
Ron Arad chairs
Ron Arad America bookcase
Ron Arad wheel bookshelf
Ron Arad chair model

In side rooms we discover Ron’s other projects, including some experimental lighting that plays with the direction of beams so that GOD reads WAR, and a giant disco ball. But it is in his recent return to architecture that Ron really goes to town, even if not much seems to have actually been built other than in Israel, country of his birth. The rest represents little more than extreme flights of fancy, huge brutalist monstrosities designed to house his chairs but destined to forever remain toy models.

Ron Arad War- God light
Ron Arad architecture
His architectural models leave me cold. I mean, I love a bit of brutalism, but there’s a time and a place. Architecture now needs to take into account the environment.

The exhibition left me pondering when the time is right to have a retrospective. When is the work of an artist deemed of high enough calibre? Until recently Ron Arad was head of product design at the RCA and he is still very much an active designer today. This in itself makes for an interesting angle, but does he deserve such a major retrospective? I’m not convinced. At times it felt to me very much like this was the work of a one (or two or three) trick pony. Who, despite the title, likes very much to sit down.

Ron Arad: Restless is on until the 16th of May at the Barbican Art Gallery.

Categories ,art gallery, ,Autostitch, ,barbican, ,Brutalism, ,Chairs, ,Furniture Design, ,Israel, ,LED, ,Lighting, ,Ron Arad, ,Royal College of Art, ,sculpture

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Amelia’s Magazine | Beat the Champ by Cory Arcangel at The Curve, Barbican


Illustration by Oliver John Quinn

After hanging out with contributor Nick for lunch during Menswear Day, information pills I hot-footed it up to Vauxhall Fashion Scout to check out D.GNAK‘s latest offerings. It was the only menswear show I’d see at the Freemasons’ Hall and it was fairly quiet. I’d enjoyed his outing last season and was looking forward to seeing how his quirky Japanese aesthetic would translate for A/W.

I bumped into contributor Georgiahttp://www.ameliasmagazine.com/?s=Georgia%20Takacs there and we headed into the venue, here sitting on opposite sides so not to get the same pictures. As we sat down, sales she started FREAKING OUT. ‘Is that Paul Weller? IS THAT PAUL WELLER?!’ she began yelling. It turns out it was, and he was nestled on the front row with his missus and two children. Georgia immediately went over to chat to him and I took a few pictures of them together, grinned nervously at him and thought to myself that his haircut has a lot to answer for.

On with the show. In a bold move from last season’s classic tailoring with contemporary twists, Kang D (the designer behind D.GNAK) had injected strong colours, interesting knits and enormous rucksacks.

The show opened with utilitarian tailoring that you might expect George Orwell’s Winston Smith to wear dark grey baggy trousers with an apron-like upper half was teamed with a luxurious floor-length cable knit cardigan. Next, a rich pea-coat with over-sized lapels and plaid-detail shoulders.

D.GNAK as a label is quickly establishing itself as an expert in materials and textures. Wools, corduroy, tweed and cotton were all on display, spiced up using colours like mustard and burgundy.

There’s also an eye for the unfinished – that’ll be the Japanese ma influence then – with fraid hems that look a bit like a Saville Row tailor has had the day off – but teamed with polished blazers and expensive-looking coats, this works really well.

Every man is pretty much catered for here. There’s sartorial tailoring in the form of suits and Sherlock Holmes-esque coats for the sharpest dresser; wool blazers with contrasting buttons and vibrant trousers work well for casuals; corduroy onesies will have the more fashion-forward males racing to the shops.

Ace accessories were on offer – oversized patent leather rucksacks with suede details were worn on both shoulders, buckle straps revealed helpful features like an umbrella carrier. I like.

This was a much fresher collection than last time – the same level of craftsmanship was on offer, but it’s interesting to see D-GNAK explore different pieces, experiment with colours and toy with the traditions of sartorial menswear.

See more of Joana Faria’s illustrations in Amelia’s Compendium of Fashion Illustration!

Illustration by Oliver John Quinn

After hanging out with contributor Nick for lunch during Menswear Day, illness I hot-footed it up to Vauxhall Fashion Scout to check out D.GNAK‘s latest offerings. It was the only menswear show I’d see at the Freemasons’ Hall and it was fairly quiet. I’d enjoyed his outing last season and was looking forward to seeing how his quirky Japanese aesthetic would translate for A/W.


Contributor Georgia with Paul Weller

I bumped into contributor Georgiahttp://www.ameliasmagazine.com/?s=Georgia%20Takacs there and we headed into the venue, recipe sitting on opposite sides so not to get the same pictures. As we sat down, she started FREAKING OUT. ‘Is that Paul Weller? IS THAT PAUL WELLER?!’ she began yelling. It turns out it was, and he was nestled on the front row with his missus and two children. Georgia immediately went over to chat to him and I took a few pictures of them together, grinned nervously at him and thought to myself that his haircut has a lot to answer for.


Illustration by Joana Faria

On with the show. In a bold move from last season’s classic tailoring with contemporary twists, Kang D (the designer behind D.GNAK) had injected strong colours, interesting knits and enormous rucksacks.

The show opened with utilitarian tailoring that you might expect George Orwell’s Winston Smith to wear dark grey baggy trousers with an apron-like upper half was teamed with a luxurious floor-length cable knit cardigan. Next, a rich pea-coat with over-sized lapels and plaid-detail shoulders.

D.GNAK as a label is quickly establishing itself as an expert in materials and textures. Wools, corduroy, tweed and cotton were all on display, spiced up using colours like mustard and burgundy.


Illustration by Rob Wallace

There’s also an eye for the unfinished – that’ll be the Japanese ma influence then – with fraid hems that look a bit like a Saville Row tailor has had the day off – but teamed with polished blazers and expensive-looking coats, this works really well.

Every man is pretty much catered for here. There’s sartorial tailoring in the form of suits and Sherlock Holmes-esque coats for the sharpest dresser; wool blazers with contrasting buttons and vibrant trousers work well for casuals; corduroy onesies will have the more fashion-forward males racing to the shops.

Ace accessories were on offer – oversized patent leather rucksacks with suede details were worn on both shoulders, buckle straps revealed helpful features like an umbrella carrier. I like.

This was a much fresher collection than last time – the same level of craftsmanship was on offer, but it’s interesting to see D-GNAK explore different pieces, experiment with colours and toy with the traditions of sartorial menswear.

See more of Joana Faria’s illustrations in Amelia’s Compendium of Fashion Illustration!

Illustration by Oliver John Quinn

After hanging out with contributor Nick for lunch during Menswear Day, visit this I hot-footed it up to Vauxhall Fashion Scout to check out D.GNAK‘s latest offerings. It was the only menswear show I’d see at the Freemasons’ Hall and it was fairly quiet. I’d enjoyed his outing last season and was looking forward to seeing how his quirky Japanese aesthetic would translate for A/W.


Contributor Georgia with Paul Weller

I bumped into contributor Georgiahttp://www.ameliasmagazine.com/?s=Georgia%20Takacs there and we headed into the venue, pharm sitting on opposite sides so not to get the same pictures. As we sat down, she started FREAKING OUT. ‘Is that Paul Weller? IS THAT PAUL WELLER?!’ she began yelling. It turns out it was, and he was nestled on the front row with his missus and two children. Georgia immediately went over to chat to him and I took a few pictures of them together, grinned nervously at him and thought to myself that his haircut has a lot to answer for.


Illustration by Joana Faria

On with the show. In a bold move from last season’s classic tailoring with contemporary twists, Kang D (the designer behind D.GNAK) had injected strong colours, interesting knits and enormous rucksacks.


All photography by Matt Bramford

The show opened with utilitarian tailoring that you might expect George Orwell’s Winston Smith to wear dark grey baggy trousers with an apron-like upper half was teamed with a luxurious floor-length cable knit cardigan. Next, a rich pea-coat with over-sized lapels and plaid-detail shoulders.

D.GNAK as a label is quickly establishing itself as an expert in materials and textures. Wools, corduroy, tweed and cotton were all on display, spiced up using colours like mustard and burgundy.


Illustration by Rob Wallace

There’s also an eye for the unfinished – that’ll be the Japanese ma influence then – with fraid hems that look a bit like a Saville Row tailor has had the day off – but teamed with polished blazers and expensive-looking coats, this works really well.

Every man is pretty much catered for here. There’s sartorial tailoring in the form of suits and Sherlock Holmes-esque coats for the sharpest dresser; wool blazers with contrasting buttons and vibrant trousers work well for casuals; corduroy onesies will have the more fashion-forward males racing to the shops.

Ace accessories were on offer – oversized patent leather rucksacks with suede details were worn on both shoulders, buckle straps revealed helpful features like an umbrella carrier. I like.

This was a much fresher collection than last time – the same level of craftsmanship was on offer, but it’s interesting to see D-GNAK explore different pieces, experiment with colours and toy with the traditions of sartorial menswear.

See more of Joana Faria’s illustrations in Amelia’s Compendium of Fashion Illustration!

Illustration by Oliver John Quinn

After hanging out with contributor Nick for lunch during Menswear Day, abortion I hot-footed it up to Vauxhall Fashion Scout to check out D.GNAK‘s latest offerings. It was the only menswear show I’d see at the Freemasons’ Hall and it was fairly quiet. I’d enjoyed his outing last season and was looking forward to seeing how his quirky Japanese aesthetic would translate for A/W.


Contributor Georgia with Paul Weller

I bumped into contributor Georgiahttp://www.ameliasmagazine.com/?s=Georgia%20Takacs there and we headed into the venue, medications sitting on opposite sides so not to get the same pictures. As we sat down, she started FREAKING OUT. ‘Is that Paul Weller? IS THAT PAUL WELLER?!’ she began yelling. It turns out it was, and he was nestled on the front row with his missus and two children. Georgia immediately went over to chat to him and I took a few pictures of them together, grinned nervously at him and thought to myself that his haircut has a lot to answer for.


Illustration by Joana Faria

On with the show. In a bold move from last season’s classic tailoring with contemporary twists, Kang D (the designer behind D.GNAK) had injected strong colours, interesting knits and enormous rucksacks.


All photography by Matt Bramford

The show opened with utilitarian tailoring that you might expect George Orwell’s Winston Smith to wear dark grey baggy trousers with an apron-like upper half was teamed with a luxurious floor-length cable knit cardigan. Next, a rich pea-coat with over-sized lapels and plaid-detail shoulders.

D.GNAK as a label is quickly establishing itself as an expert in materials and textures. Wools, corduroy, tweed and cotton were all on display, spiced up using colours like mustard and burgundy.


Illustration by Rob Wallace

There’s also an eye for the unfinished – that’ll be the Japanese ma influence then – with fraid hems that look a bit like a Saville Row tailor has had the day off – but teamed with polished blazers and expensive-looking coats, this works really well.

Every man is pretty much catered for here. There’s sartorial tailoring in the form of suits and Sherlock Holmes-esque coats for the sharpest dresser; wool blazers with contrasting buttons and vibrant trousers work well for casuals; corduroy onesies will have the more fashion-forward males racing to the shops.

Ace accessories were on offer – oversized patent leather rucksacks with suede details were worn on both shoulders, buckle straps revealed helpful features like an umbrella carrier. I like.

This was a much fresher collection than last time – the same level of craftsmanship was on offer, but it’s interesting to see D-GNAK explore different pieces, experiment with colours and toy with the traditions of sartorial menswear.

See more of Joana Faria’s illustrations in Amelia’s Compendium of Fashion Illustration!

Illustration by Oliver John Quinn

After hanging out with contributor Nick for lunch during Menswear Day, doctor I hot-footed it up to Vauxhall Fashion Scout to check out D.GNAK‘s latest offerings. It was the only menswear show I’d see at the Freemasons’ Hall and it was fairly quiet. I’d enjoyed his outing last season and was looking forward to seeing how his quirky Japanese aesthetic would translate for A/W.


Contributor Georgia with Paul Weller

I bumped into contributor Georgiahttp://www.ameliasmagazine.com/?s=Georgia%20Takacs there and we headed into the venue, sitting on opposite sides so not to get the same pictures. As we sat down, she started FREAKING OUT. ‘Is that Paul Weller? IS THAT PAUL WELLER?!’ she began yelling. It turns out it was, and he was nestled on the front row with his missus and two children. Georgia immediately went over to chat to him and I took a few pictures of them together, grinned nervously at him and thought to myself that his haircut has a lot to answer for.


Illustration by Joana Faria

On with the show. In a bold move from last season’s classic tailoring with contemporary twists, Kang D (the designer behind D.GNAK) had injected strong colours, interesting knits and enormous rucksacks.


All photography by Matt Bramford

The show opened with utilitarian tailoring that you might expect George Orwell’s Winston Smith to wear dark grey baggy trousers with an apron-like upper half was teamed with a luxurious floor-length cable knit cardigan. Next, a rich pea-coat with over-sized lapels and plaid-detail shoulders.

D.GNAK as a label is quickly establishing itself as an expert in materials and textures. Wools, corduroy, tweed and cotton were all on display, spiced up using colours like mustard and burgundy.


Illustration by Rob Wallace

There’s also an eye for the unfinished – that’ll be the Japanese ma influence then – with fraid hems that look a bit like a Savile Row tailor has had the day off – but teamed with polished blazers and expensive-looking coats, this works really well.

Every man is pretty much catered for here. There’s sartorial tailoring in the form of suits and Sherlock Holmes-esque coats for the sharpest dresser; wool blazers with contrasting buttons and vibrant trousers work well for casuals; corduroy onesies will have the more fashion-forward males racing to the shops.

Ace accessories were on offer – oversized patent leather rucksacks with suede details were worn on both shoulders, buckle straps revealed helpful features like an umbrella carrier. I like.

This was a much fresher collection than last time – the same level of craftsmanship was on offer, but it’s interesting to see D-GNAK explore different pieces, experiment with colours and toy with the traditions of sartorial menswear.

See more of Joana Faria’s illustrations in Amelia’s Compendium of Fashion Illustration!
Cooperative Designs A/W 2011 by Natsuki Otani
Cooperative Designs A/W 2011 by Natsuki Otani.

Last season I was incredibly gutted to miss the Cooperative Designs presentation – such were the glowing reports on our website. But in my enthusiasm I actually turned up too early this time, treatment got turned away, medications ate a Pret sandwich… and then missed most of what turned out to actually be a catwalk show on repeat.


Cooperative Designs A/W 2011. Photography by Tim Adey.

Descending some stairs we were asked to sit in a darkened vault but my photographer’s sixth sense directed me instead to stand in a separate photographers box, healing where the models paused for a few seconds in somewhat brighter conditions.

Cooperative Designs A/W 2011 by Jane Young
Cooperative Designs A/W 2011 by Jane Young.

This was a collection inspired by 90s rave culture, Drum n Bass and the contemplative industrial photography of Thomas Struth, which meant that the oversized silhouette of Cooperative Designs came in industrial tones of grey and beige stripes combined with fluoro highlights in tie detailing, visors and threaded hair accessories.

Cooperative Designs A/W 2011. Photography by Tim Adey.
Cooperative Designs A/W 2011. Photography by Tim Adey.

Cooperative Designs A/W 2011. Photography by Amelia GregoryCooperative Designs A/W 2011. Photography by Amelia Gregory
Cooperative Designs A/W 2011. Photography by Amelia Gregory.

There was lots of asymmetrical patterning, floppy hooded jumpers, boxy baggy tops and knit dresses tiered with baggy pouches. Lacy see through knitwear recalled the combat trouser shapes so beloved of 90s dancers. Hats by Noel Stewart were tall and floppy like a gnome’s or featured ear flaps and visors – questionable styles that were somehow rendered infinitely desirable. A wide knitted skirt was particularly cute, as were the little boots by Flip Flop, customised by Cooperative Designs with extravagant orange soles.

Cooperative Designs A/W 2011. Photography by Amelia GregoryCooperative Designs A/W 2011. Photography by Amelia GregoryCooperative Designs A/W 2011. Photography by Amelia Gregory
Cooperative Designs A/W 2011. Photography by Amelia Gregory.

Of any designers that I love I can actually imagine myself wearing Cooperative Designs. Their clever knitwear is by it’s very nature supremely flattering to the shape of a real women. Thankfully, they make a point of picking their models to reflect their customer.

Cooperative Designs 2011. Photography by Amelia Gregory
Plywood jewellery by Corrie Williamson for Cooperative Designs 2011. Photography by Amelia Gregory.

On my way out I was given a brilliant press release: informative, well written and protected in a cardboard envelope that even I would struggle to lose. Best of all, it came with my very own piece of painted plywood jewellery by Corrie Williamson, as featured in the collection. More designers could learn from such professionalism on the press release frontier.

You can read Naomi Law’s excellent review here and you can see more of Natsuki Otani’s work in Amelia’s Compendium of Fashion Illustration.

Illustration by Oliver John Quinn

After hanging out with contributor Nick for lunch during Menswear Day, information pills I hot-footed it up to Vauxhall Fashion Scout to check out D.GNAK‘s latest offerings. It was the only menswear show I’d see at the Freemasons’ Hall and it was fairly quiet. I’d enjoyed his outing last season and was looking forward to seeing how his quirky Japanese aesthetic would translate for A/W.


Contributor Georgia with Paul Weller

I bumped into contributor Georgiahttp://www.ameliasmagazine.com/?s=Georgia%20Takacs there and we headed into the venue, sitting on opposite sides so not to get the same pictures. As we sat down, she started FREAKING OUT. ‘Is that Paul Weller? IS THAT PAUL WELLER?!’ she began yelling. It turns out it was, and he was nestled on the front row with his missus and two children. Georgia immediately went over to chat to him and I took a few pictures of them together, grinned nervously at him and thought to myself that his haircut has a lot to answer for.


Illustration by Joana Faria

On with the show. In a bold move from last season’s classic tailoring with contemporary twists, Kang D (the designer behind D.GNAK) had injected strong colours, interesting knits and enormous rucksacks.


All photography by Matt Bramford

The show opened with utilitarian tailoring that you might expect George Orwell’s Winston Smith to wear dark grey baggy trousers with an apron-like upper half was teamed with a luxurious floor-length cable knit cardigan. Next, a rich pea-coat with over-sized lapels and plaid-detail shoulders.

D.GNAK as a label is quickly establishing itself as an expert in materials and textures. Wools, corduroy, tweed and cotton were all on display, spiced up using colours like mustard and burgundy.


Illustration by Rob Wallace

There’s also an eye for the unfinished – that’ll be the Japanese ma influence then – with fraid hems that look a bit like a Savile Row tailor has had the day off – but teamed with polished blazers and expensive-looking coats, this works really well.

Every man is pretty much catered for here. There’s sartorial tailoring in the form of suits and Sherlock Holmes-esque coats for the sharpest dresser; wool blazers with contrasting buttons and vibrant trousers work well for casuals; corduroy onesies will have the more fashion-forward males racing to the shops.

Ace accessories were on offer – oversized patent leather rucksacks with suede details were worn on both shoulders, buckle straps revealed helpful features like an umbrella carrier. I like.

This was a much fresher collection than last time – the same level of craftsmanship was on offer, but it’s interesting to see D-GNAK explore different pieces, experiment with colours and toy with the traditions of sartorial menswear.

See more of Joana Faria’s illustrations in Amelia’s Compendium of Fashion Illustration!
Cory Arcangel 2011-Beat the Champ. Photography by Amelia Gregory
Cory Arcangel’s Beat the Champ. Photography by Amelia Gregory.

For us Londoners it can be tough sometimes. If you find yourself shoulder barging your way down Oxford Street just to try and get to work, check you can be forgiven for wondering why you bother. If you’re spending maybe two thirds of your pay cheque on rent in a tiny, salve leaky flat above a shop. If you’re looking for breakfast on a Sunday morning and skipping over pools of vomit on your trendy street. But then just when you’re about ready to pack up, ampoule belongings in a handkerchief on a stick and all, the city reels you back. One of the reasons I just can’t leave London is there are places like the Barbican. I’m sure that clued up Amelia’s Magazine reading folks are familiar with the Barbican, but just for any of you wondering what this respite from London’s horribleness could possibly be, here are the basics.

Cory Arcangel 2011-Beat the Champ. Photography by Amelia Gregory

The Barbican Estate, built up in the 60s and 70s, is an imposing, Brutalist style complex comprising the Barbican Centre – an arts, drama and business centre with about a hundred different interesting things always seemingly happening at any given time; a YMCA; the Museum of London and a residential estate. Yes, that’s right, people actually live there. How cool is that? As for the events at the Centre itself, they’re amazingly varied and always concertedly cutting edge… Occasionally to the point of pretentious but well, I’d rather have pretension than no new art, hands down. With that in mind, I was interested and a little wary when I read the press release for Cory Arcangel’s Beat the Champ in The Curve – An area of the centre used to showcase new innovative artists.

Cory Arcangel 2011-Beat the Champ. Photography by Amelia Gregory

A digital artist from Brooklyn, New York (alarm bells), Arcangel has rigged up a whole bank of games consoles, ranging from a 1970s Atari to a current (as far as I’m aware) Playstation Three, each fitted with a bowling simulator game. The clever part is that he’s rejigged the games so that the bowler will always strike out. The controllers attached to each console have been physically rewired so that nobody can ever win.

It’s a surprisingly arresting installation. I’m tempted to say I was bowled over but that’s just cheap, you readers are better than that. For such a seemingly simple idea I had a number of reactions. I was immediately impressed, in the most literal sense, by the scale of the projections. Floor to ceiling along one side of the space. The larger than life bowling alley of the present day game meant I almost felt as though I was in place of the player. It’s also realy cool to see just how much video game technology has changed over such a short time.

Cory Arcangel 2011-Beat the Champ. Photography by Amelia Gregory

The first bowling game in the group is a pixilated figure, all white on a bue background and barely discernable as man-shaped, who slowly rolls a ball to a bleeping 8-bit soundtrack. Compared to the games we’re used to now it’s hard to imagine how this could ever hold anyone’s attention for more than five minutes. Then there are the hilarious 90s efforts, all thumbs up, shades and backwards baseball caps like that episode of the Simpsons when Itchy & Scratchy introduce Poochy the skateboarding dog.

Cory Arcangel 2011-Beat the Champ. Photography by Amelia Gregory

The modern day game is as life like as can be, the player is a pudgy middle aged bowler and he bewails his constant gutter balls with his head in his hands. There is, undoubtedly, an interesting emotional response to seeing these virtual bowlers perpetually losing out. In interviews Arcangel has described himself as “glass half empty kind of person” and his past work has included a hack of a Super Mario Brothers game whereby everything was removed except the pixelated clouds rolling past. The rolling Mario clouds and the pins that never get knocked down both seem so naïve but suggest a sort of post modern existentialism which I really like. The title of the installation is interesting, perhaps driving home the idea of futility, the bowlers are never going to Beat the Champ. They’re never ever going to roll anything other than a gutter ball and I guess, at the risk of sounding melodramatic, the idea might be that that’s what we’re all afraid of doing with our lives.

Cory Arcangel 2011-Beat the Champ. Photography by Amelia Gregory

Beat the Champ is in The Curve at the Barbican until May 22nd 2011 and admittance is FREE. Find out more in our listing here.

Categories ,Atari, ,barbican, ,Barbican Centre, ,Barbican Estate, ,Beat the Champ, ,brooklyn, ,Brutalism, ,Cory Arcangel, ,Digital Artist, ,Itchy & Scratchy, ,museum of london, ,new york, ,Oxford Street, ,Playstation Three, ,Poochy, ,Simpsons, ,Super Mario Brothers, ,The Curve, ,YMCA

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Amelia’s Magazine | Central Saint Martins MA in Communication Design Graduate Show 2011: Review

Central Saint Martins Communication Design Degree Show 2011 Su Kyung Lee's The Imaginative Battle
Detail from Su Kyung Lee’s The Imaginative Battle.

The Central Saint Martins MA in Communication Design graduate show was held earlier this summer in the spacious rooms of the high ceilinged Rochelle School. The quality was of an exceptional standard throughout, site and there were informative descriptions helpfully placed next to all the work.

Central Saint Martins Communication Design Degree Show 2011 Su Kyung Lee's The Imaginative BattleCentral Saint Martins Communication Design Degree Show 2011 Su Kyung Lee's The Imaginative BattleCentral Saint Martins Communication Design Degree Show 2011 Su Kyung Lee's The Imaginative Battle
Central Saint Martins Communication Design Degree Show 2011 Su Kyung Lee's The Imaginative Battle
Su Kyung Lee‘s The Imaginative Battle explored patterns of protection and destruction, website focusing on the visual aesthetics of destruction and chaos through patterns. Cells and germs became the camouflage, web splattered across and fired from tanks, rendered in glorious neon brights. An apt subject in these difficult times.

Central Saint Martins Communication Design Degree Show 2011 Matt NicholsonCentral Saint Martins Communication Design Degree Show 2011 Matt NicholsonCentral Saint Martins Communication Design Degree Show 2011 Matt NicholsonCentral Saint Martins Communication Design Degree Show 2011 Matt Nicholson
Matt Nicholson showed his work half spat out of a digital printer. Inspired by his desire for high status objects he can’t afford Matt reproduced them for free, using printed paper patterns to create giant wall sculptures. They even retain functionality: the Lieca camera takes photos via a pinhole. Follow Matt Nicholson on Twitter.

Kanitta Meechubot six feet under yew treeCentral Saint Martins Communication Design Degree Show 2011 Kanitta MeechubotKanitta Meechubot searchingCentral Saint Martins Communication Design Degree Show 2011 Kanitta MeechubotCentral Saint Martins Communication Design Degree Show 2011 Kanitta Meechubot
Central Saint Martins Communication Design Degree Show 2011 Kanitta Meechubot
I was totally enraptured by Kanitta Meechubot‘s enchanting collages. A Garden of Illuminating Existence repeated and matched the branching nerves and veins of the body in trees and natural forms: merging memories and landscape. ‘To produce a map of experience through the internal landscape which changes with the seasons, is to capture the beauty of the illimitable renewals and decays of our existence.’ The real beauty of these pieces, with names like Six Feet Under Yew Tree and The Season of The Soul, was the fine detail used to build delicate pictures in 3D, including not only old photos and engravings, but real dried flowers and paint splats.

Central Saint Martins Communication Design Degree Show 2011 Sarah LangfordCentral Saint Martins Communication Design Degree Show 2011 Sarah LangfordCentral Saint Martins Communication Design Degree Show 2011 Sarah LangfordCentral Saint Martins Communication Design Degree Show 2011 Sarah LangfordCentral Saint Martins Communication Design Degree Show 2011 Sarah Langford
Sarah Langford was inspired by the movement of water, it’s necessity and destructive capabilities. Using scientific measurements she created beautiful textures to produce abstracts: parts and fragments of rock formations, shells, glimpses of the landscape being ripped and shredded by the passage of time.

Central Saint Martins Communication Design Degree Show 2011 Gareth BarnettCentral Saint Martins Communication Design Degree Show 2011 Gareth BarnettCentral Saint Martins Communication Design Degree Show 2011 Gareth Barnett
Gareth Barnett was inspired by Brutalist architecture (my favourite, though not to live in myself…) and the hellish writings of the Marquis de Sade to create an investigation into the power structures and systems of control within an urban environment. The resulting 20 pictures were splayed across the wall, interlaced with projections. With names like Climax in Concrete and Fuck Me Building there was no escaping the ruptured baseness of his conclusions.

Central Saint Martins Communication Design Degree Show 2011 Carl PartridgeCentral Saint Martins Communication Design Degree Show 2011 Carl PartridgeCentral Saint Martins Communication Design Degree Show 2011 Carl PartridgeCentral Saint Martins Communication Design Degree Show 2011 Carl Partridge
Carl Partridge looked to a place he’s never visited: America, believing that it’s easier to buy into the idealisation of America if you’ve never been. Using tiny shreds of paper and stickers, holographic beads, parts of adverts and marbled plastic he created delicate collages that seemed to question our love of consumerism. Follow Carl Partridge on Twitter.

Beth Salter CSMCentral Saint Martins Communication Design Degree Show 2011 Beth Salter CSMCentral Saint Martins Communication Design Degree Show 2011 Beth Salter CSMCentral Saint Martins Communication Design Degree Show 2011 Beth Salter CSM
For marvellous hand done typography look no further than Beth Salter. She was inspired by private conversations overheard in public surroundings. Me too, I love them! But mainly her bright letters were just a lot of fun. Follow Beth Salter on Twitter.

Central Saint Martins Communication Design Degree Show 2011 Ann-Kathrin SchubertCentral Saint Martins Communication Design Degree Show 2011 Ann-Kathrin SchubertCentral Saint Martins Communication Design Degree Show 2011 Ann-Kathrin Schubert
For The Fear of Life Ann-Kathrin Schubert had decorated discarded plastic bottles to become the most tropical of fish, tribal in their boldness.

Central Saint Martins Communication Design Degree Show 2011 Jesus Madrinan Central Saint Martins Communication Design Degree Show 2011 Jesus Madrinan
Jesus Madrinan had taken a series of portraits in London nightclubs: Good Night London featured some suitably inebriated yet oddly disillusioned creatures.

Central Saint Martins Communication Design Degree Show 2011 Golbanou Moghaddas
Central Saint Martins Communication Design Degree Show 2011 Golbanou Moghaddas
Golbanou Moghaddas was influenced by Arthur Schopenhauer‘s philosophy of existence typified by unrest. Strange fattened figures tumbled from a bony etched pelvis filled with birds. Painterley strokes combined with fine etching skills.

Central Saint Martins Communication Design Degree Show 2011 Alexa Galea
Alexa Galea was inspired by human desire to control and tame nature and the wild, particular with reference to European folk art and ritual.

Central Saint Martins Communication Design Degree Show 2011 Oat Montien
Central Saint Martins Communication Design Degree Show 2011 Oat Montien
Oat Montien explored the relation between ritual and identity in contemporary interpretations of Thai traditions.

Central Saint Martins Communication Design Degree Show 2011 Paraskevi FerentinouCentral Saint Martins Communication Design Degree Show 2011 Paraskevi Ferentinou
Paraskevi Ferentinou explored the ‘agency of furniture‘ in the role of children’s growth.

Central Saint Martins Communication Design Degree Show 2011 Ying-Chen LuCentral Saint Martins Communication Design Degree Show 2011 Ying-Chen Lu
Central Saint Martins Communication Design Degree Show 2011 Ying-Chen Lu
Central Saint Martins Communication Design Degree Show 2011 Ying-Chen Lu
Ying-Chen Lu worked with 3D papercutting to create exploding type and depth in landscapes.

Central Saint Martins Communication Design Degree Show 2011 Aindri ChakrabortyCentral Saint Martins Communication Design Degree Show 2011 Aindri Chakraborty
Central Saint Martins Communication Design Degree Show 2011 Aindri Chakraborty
Central Saint Martins Communication Design Degree Show 2011 Aindri Chakraborty
Central Saint Martins Communication Design Degree Show 2011 Aindri Chakraborty
I could easily have missed Aindri Chakraborty‘s work which was nestled in a grimy corner, but I’m glad I didn’t as it was really rather wonderful: Heritage through Glass explored how the glass cabinets in museums separate the tangible object from the intangible visitor, and how stories are passed down the generations. People Tree and Conversations with Baba featured frantic truncated shapes, fire people and vomiting heads.

Categories ,3D Papercutting, ,A Garden of Illuminating Existence, ,Agency of Furniture, ,Alexa Galea, ,America, ,Ann-Kathrin Schubert, ,Arthur Schopenhauer, ,Beth Salter, ,Brutalism, ,Camera, ,Carl Partridge, ,Central Saint Martins, ,Climax in Concrete, ,collage, ,Communication Design, ,consumerism, ,Conversations with Baba, ,Folk Art, ,Fuck Me Building, ,Gareth Barnett, ,Golbanou Moghaddas, ,Good Night London, ,Graduate Shows, ,Heritage through Glass, ,illustration, ,Jesus Madrinan, ,Kanitta Meechubot, ,Last and Found, ,Leica, ,ma, ,Marquis de Sade, ,Matt Makes Stuff, ,Matt Nicholson, ,Oat Montien, ,Paraskevi Ferentinou, ,People Tree, ,Ritual, ,Rochelle School, ,Sarah Langford, ,Six Feet Under Yew Tree, ,Su Kyung Lee, ,Thailand, ,The Fear of Life, ,The Imaginative Battle, ,The Season of The Soul, ,typography, ,Ying-Chen Lu

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Amelia’s Magazine | A preview of the National Trust Brutal Utopias Tour at the Southbank Centre

Brutal_Utopias_south_bank_centre_ventilation
It’s no great secret that I’m a big fan of Brutalist architecture, so I pulled out all the stops to join a preview of the Brutal Utopias tour hosted by the National Trust over the next few weeks (tickets sadly already sold out). The tour offers a unique chance to see areas of the Southbank Centre that are not usually open to the public before the Queen Elizabeth Hall and the Hayward Gallery close their doors for a major refurb. Baby Carys came along in my wrap and was admirably well behaved for a not quite two month old.

Brutal_Utopias_south_bank_centre_passage
We began our adventure with Joseph Watson (London creative director of the National Trust) in the bowels of the complex, tracing the routes of the service pipes in an underground passage between the buildings. I can see why they filmed episodes of Doctor Who down in these atmospheric innards.

Brutal_Utopias_south_bank_centre_ventilation_turbine
A trek up the stairs to the roof of the building revealed an astonishing and unexpected sight. I’ve never got quite so excited about ventilation before but these great machines have been operating continuously since the 1960s which is pretty amazing. The vast turbines suck air in from the sky and send it down to the concert halls, but because this is not exactly energy efficient they will be replaced in the two year refit. Thankfully some parts will be saved and left in situ. I’m not sure you can tell from this great fluttering bank of filters but there was quite the breeze in this antechamber where the air gets sucked in to be processed. It felt like entering a hurricane and gave Carys quite a jolt!

Brutal_Utopias_south_bank_centre_projectors
The original 1960s projection unit looming over the wood panelled Queen Elizabeth Hall includes these hulking beasts that will be restored for use once more: I was dwarved beside them.

Brutal_Utopias_south_bank_centre_hayward_Gallery
Finally, we admired the walls of the Queen Elizabeth Hall and the Hayward Gallery, which were lovingly cast in concrete from slabs of Arctic pine showing amazing attention to detail. It’s really great to see this under-loved architectural style finally getting the attention it deserves before all the best examples are ripped down, let’s hope a few more wonderful buildings can be saved before they befall the fate of the Tricorn Centre.

For more information on these tours visit the National Trust website here.

Categories ,1960s, ,60s, ,architecture, ,Brutal Utopias, ,Brutalism, ,Brutalist, ,Carys, ,Doctor Who, ,Hayward Gallery, ,Joseph Watson, ,National Trust, ,Queen Elizabeth Hall, ,South Bank Centre, ,Southbank centre, ,tour, ,Tricorn, ,Tricorn Centre

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