Nicky&Max is a blog run by British photographer Nicky Walsh and German chef Max Faber. I am positively in love with one of their latest projects Bauhaus, a food photography series inspired by the German design school from the early 20th century. Crazy cool!

Perhaps this is precisely why these images are so, so good. For more information about Nicky and Max, visit their website and Nicky’s photography blog.

[Images courtesy of Nicky&Max.]

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Not sure how to dance to Daft Punk’s latest single ‘Get Lucky’? Get your Soul Train groove on and rock it out like these dudes.

Read more on Soul Train.

VIDEO & DANCING | Soul Train
MUSIC | Get Lucky by Daft Punk

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Today’s story is a slight deviation from our usual design-paved path, although I like to think of it as a related and relevant tangent. Leonard Mattis is a London-born, Sydney-based hairdresser and owner of his eponymous Surry Hills studio. A private oasis, hidden in the middle of Sydney, The Leonard Mattis Studio offers the highest quality style, service and years of experience. Last year, Mattis celebrated 10 years in business, which saw him expand the premises to create a multi-purpose site that provides a rare fusion of local art and high-end styling.

Featured Project // Whilst still functioning as a working salon, Leonard’s studio has become a sought after exhibition space by emerging talent, seeking to showcase their work outside of traditional gallery display.

Why He Rocks // Errr… Duh! Leonard has elevated the craft of hairdressing into a pure art form – just check out the stunning ’Hand Series’ photographs if you’re not already convinced. Besides, anyone who wears a black tie and looks this good while cutting hair is a total rockstar in my eyes.

Below is a little Q&A with the man himself – take it away Leonard!

Portrait of Leonard Mattis. Photo by Bowen Arico.

+ Tell us a bit about your work and how you got to where you are today?

Humble beginnings started with an apprenticeship at a small local salon on East Ham High Street, London. I moved to the West End fairly quickly to the Smith Salon in Soho and it was here that I learnt the foundations of my craft. Moving to Sydney for love in 1998 was both challenging and amazing. I missed the buzz and excitement London offered but loved the lifestyle and the climate here. Not long after arriving, I started work with award winning hairdresser Anthony Whitaker where I stayed for an amazing four years. Not only is Anthony a very talented hairdresser, he’s a man who knows how to manage people, which can be a rarity in creative industries. It was a happy time and good friendships were made.

I always knew I would work for myself someday and have my own salon. I had too many ideas that I wanted to put into place for myself, ones that can be hard to implement when you’re working for someone else.

Leonard Mattis Studio. Photo by Grace Cassio.

In 2002 I founded Leonard Mattis Studio. The process began with the desire to change the traditional salon experience for both clients and the hairdressers who would eventually work from the space, and to answer the need for a more personalized and relaxing experience. Basically, I wanted to avoid the loud music and busy environments you can find in some of the more generic salons. The final result is the work of ten years perfecting my craft and concept, and getting the right people on board that understand what the space is about.

Last year saw the addition of the ground level studio which has become a hybrid space. It provides hairdressing services and doubles as a gallery focusing on showing the works of local emerging artists.

Leonard Mattis doing his thing in his studio. Photo by Byron Spencer.

+ Your studio is a multi-purpose site that provides a fusion of local art and high-end hair styling. How did this come about?

During the renovation of the new studio I had a few meetings with good friend and artist, Lexi Land, and asked her if she would like to be involved in a new project that involved creating a site-specific artwork for the interior. She was instantly excited about the space and the idea so I commissioned her to do a large-scale multimedia artwork specifically for the site. This has since become a focal piece for the studio, and during the process plus a few boozy nights out Lexi asked if she could have her next solo exhibition at the studio and that got the ball rolling.

Before then I really hadn’t thought much about the prospect of using the studio as a pseudo art gallery, but she was right. The clean lines, white walls and floor would serve well as a canvas for exhibiting artworks.

Leonard Mattis in front of artwork by Lexi Land. Photo by Byron Spencer.

Almost immediately after Lexi’s first show I contacted Sydney sculpture Dion Horstmans for a follow up exhibition. He was keen and this happened in March 2013. Now, with two other exhibitions in the works for later this year, the gallery side of the business is just another avenue to use the space for creative purposes. Not only does it make the space interesting for clients during their appointment. It also gives them the chance to see the works of artists they may not normally see due to busy work schedules and lifestyles, while offering great exposure to emerging artists.

The exhibition and their opening night presentations also keep a good flow of people being exposed to the space. Which ultimately is part of its concept – an interactive space to encourage all forms of creativity.

Leonard looking dapper and showing off his mad skills. Photo by Byron Spencer.

+ How do you explain what you do to your parents?

It can be difficult explaining contemporary art and the concept of the studio to my parents who now live in a small town in Essex, just south of London. They have an idea of the other creative work I do, but to be honest with ten kids and mini bus full of grand kids the notion of fusing hair and art is not something they would spend too much time thinking about.

They know my focus here as a hairdresser is really about just making people look the best they can.

One of the images from ‘Hand Series’ capturing specific moments during hair cutting. Brilliant. Photo by Grace Cassio.

+ You recently collaborated with Sydney photographer Grace Cassio on the beautiful ‘Hands Series’. Can you tell us a bit about that?

I first met Grace at Lexi Land’s solo exhibition ‘Pieces of Me’ held at the Studio back in September 2012. She loved the space and was back to shoot myself, and the studio the week after for her portfolio. I liked what she did and asked if she would be interested in shooting the ‘Hands Series’ for me.

The idea for the series came about quite quickly when I was cutting one day. There is such an elegance and style to the moment of the hands as they engage with the tools and hair. I thought it would be great to try and capture this.

Leonard’s hand modelling debut. ‘Hand Series’ photographed by Grace Cassio.

+ Any interesting/ funny/ quirky facts you could share with us about your studio and what you do?

I think is has to be the stories I hear. I’ve heard them all. If these walls could talk. There is a rule; what’s said in the salon stays in the salon.

+ Best piece of advice you’ve been given?

A friend once commented on how busy my mind seemed. ‘Use it to create as much as you do to escape’ she said. Wise words.

+ If you were not a hair stylist, what would you be?

I always find this a tough one to answer, because I really don’t know. I’m lucky enough to love what I do as much as I do. Which doesn’t free me to think of much else. I’d be making something up completely random if I did.

Yep, you guessed it. That’s Leonard rocking out in his studio. Photo by Byron Spencer.

+ Nothing inspires me like…

I’m inspired my anything and everything.

+ I am really good at…

Listening. Visualizing and creating.

+ Most people don’t know that I…

I am one of ten children. Growing up with seven sisters and two brothers made for a busy and hectic household. Never a dull moment.

[Images courtesy of Leonard Mattis. Photography by Byron Spencer, Bowen Arico and Grace Cassio.]

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I’m having one of those “I wish I was a Spainish architect” moments again. The current cause of envy is Bach arquitectes, a Barcelona based studio who were handed this original 1910′s apartment and asked to convert it into a current day, family home.

With so many winning features lacing the original bones of the apartment, the trickiest part was adapting the space to their client’s needs whilst preserving the beauty of the original structure. The architects likened the process to solving a “jigsaw puzzle.” They altered floor levels and recessed joinery below cornice level in order to keep skirtings, cornices and flooring intact. If you trace your eyes along the cornices, you can spot where walls have been lost.

Now I’m having trouble steering the conversation away from anything other than the flooring. Squeal almighty! With a different tessellated pattern adorning the floor of each room, each space is infused with its own distinct personality. Yet the consistency in scale and repetition ensures that it weaves together into a clear, single narrative. The slightly worn condition of the graphic flooring makes it only more appealing. Yes, the patterned tile options in today’s market are growing at an exponential rate, but nothing quite compares to an original floor like this, with all its historial richness.

Whilst I’m super impressed with the architects’ ability retain the glory of the existing house with the client’s brief, the curious little lady inside me wonders if they were ever tempted to reveal the fluted concrete slab above the ceiling. We catch a tiny glimpse of it in the sun room and my greedy eyes want to see more. But perhaps ripping those original ceilings out would classify as a case of architectural blasphemy. In which case, just pretend I didn’t say that.

-Ella.

[Photography by Tiia Ettala. Images courtesy of Bach arquitectes.]

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I must admit that today’s post is somewhat long overdue. This submission hit my inbox a little while ago, however due to my constant struggle with time management – slash – major submission backlog, it’s taken me a couple of months to bring you the story. Huge thanks goes out to the team over at Mim Design for their patience and cooperation, and also for sharing their delicious drawings and renders with us today (see bottom of the post). I am always quite surprised how many designers are reluctant to share their process and sketches. No matter what they look like, drawings are one of the most important parts of the design process, and not only that – they are also a wonderful celebration of our craft as designers. I literally squeal with excitement over other people’s sketches. To me they are pure gold. Are you the same, or is it just me and my Yellowtrace ways…? Anyway, let’s get into this project already!

Rozzi’s Italian Canteen reflects the heart and soul of Italian style food, showcased in a friendly, home-style kitchen environment. The brief from the client was to create an interior that reflected the menu and the modern authentic product used throughout. It was also important that Rozzi’s customers took ownership and “lived” in the space, making it their own kitchen. Timber floors combined with custom detailed concrete tiles work to anchor the venue. The bar, central to the interior, is clad in Atlantic blue granite which offsets the surrounding white glazed bricks and soft black joinery. A series of custom designed pendants, shaped from original Italian wine carafes and oil bottles, line the opening aperture of the venue creating a soft, glowing look. Congratulations to the team at Mim Design for achieving a clean, fresh and contemporary approach to Nonna’s traditional kitchen.

Below is a little Q&A with the designers.

SUPPLIERS - CDK Stone / PGR Furniture / Bespoke Tiles / Timber Floor Services (TFS) / Euroa Glazed Bricks / Rock Martin / Meizai / Defazio

+ What was your design inspiration for this project – i.e was it a result of client’s brief, an image, a concept idea?

Our inspiration was a combination of a number of things – client brief, authentic representation of the brand & it’s values, classic Italian ideals, nonna’s kitchen, produce (food and coffee) as hero, simple, honest and with a sense of humour.

+ Your favourite thing about this project?

Working with such a great client/s & the custom coloured tiles.

+ Most challenging aspect?

It was done over the Christmas shutdown and there were tight time constraints.

+ What did you learn during the project?

The average wait for a coffee should be no more than 4 minutes.

+ Would you have done anything differently?

We would have loved more time!

+ Any interesting/ funny/ quirky facts you could tell us?

The following quote is featured on the façade wall “se non alimentare il cane va in cerca de cibo della porta accanto”. It translates to “If you do not feed the dog, the dog goes in search of food next door.”

[Photography by Shannon McGrath. Images courtesy of Mim Design.]

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Here we go again with another steaming hawt interior from Spain. I mean, what is it with the Spanish and all this design porn? They seriously have it going on over there. It must be something to do with all the great food they are eating, their generosity of spirit, their climate and the ever-important presence of most excellent old buildings of course. España, I am your No 1 fan! You rock my world pretty damn hard. And perhaps after you read a bit more about this special little place, you might feel the same way as I do (in case you don’t already).

Located in Palma de Mallorca on Balearic Islands, Patrón Lunares is a new take of a traditional canteen. Previously known as Montepio del Arrabal, the canteen represents a significant place in the memory of the fishermen’s neighbourhood of Santa Catalina.

Patrón Lunares is named after a legendary local fisherman who has gone down in history for being one of the best captains of his time, known for promoting knowledge sharing, social awareness, cooperation and friendships between neighbours.

There are eight large portraits that dominate the new interior, representing the important bond between the past and the present. They symbolise the persistence of old values, the commitment to a particular view of the world, and a way of understanding life. The spirit of the original interior has been preserved by respecting original elements – tiled bar counter, wooden beams, iron columns, joinery and the spectacular check-board tile flooring were all left untouched.

The traditional Mallorcan craft holds a special place in the Patrón Lunares.The continuous bench seat is covered with the popular local “llengos” fabric. Original crockery pieces have been used, many of which were made by hand over 200 years ago. Antiques and collectible objects related to the sea, donated by retired fishermen or their descendants, are displayed on the large timber structure. Navy blue, red, green and white add splashes of vibrant colour to the interior.

A private room is the canteen’s best kept secret – a former office of the president of the fishing association, this room has views of the kitchen and it occupies a corner full of memories and marine symbols that holds the soul of Patrón Lunares.

Muchos wonderful, isn’t it? If only those walls could talk… In case you’re a bit of a visual junky like moi, feel free to browse the blow gallery for more images in a larger format. Let’s face it – no matter what those bastards tell you, when it comes to images – SIZE DOES MATTER!

Patrón Lunares
Calle Fabrica 30, Palma de Mallorca, Spain

[Images courtesy of Patrón Lunares.]

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Rudolf Stingel, Untitled (Franz West) 2011. Installation view at Palazzo Grassi Pinault Collection.
Photo by Stefan Altenburger, courtesy of the artist.

Rudolf Stingel, Untitled (Franz West) 2011. Pinault Collection.
Photo by Tom Powel Imaging , courtesy of the artist.

Rudolf Stingel, Untitled 2012. Installation view at Palazzo Grassi, collection of the artist.
Photo by Stefan Altenburger, courtesy of the artist.

Installation view at Palazzo Grassi.
Photo by Stefan Altenburger.

Rudolf Stingel is an Italian-born, New York-based artist, who is currently presenting an installation at the Palazzo Grassi, the opulent Venetian estate of billionaire collector François Pinault. The exhibition is conceived by the artist in partnership with Elena Geuna, the former director of Sotheby’s Europe. The project was specifically designed for the 3-storey, 5000 square meter building located on Venice’s Grand Canal.

The exhibition unfolds over the atrium and upper floors of the grand building, marking the very first time the entire museum has been devoted to a single artist. The show is also Stingel’s largest ever-monographic presentation in Europe.

Rudolf Stingel, Untitled 2009. Installation view at Palazzo Grassi Pinault Collection.
Photo by Stefan Altenburger, courtesy of the artist.

Rudolf Stingel, Untitled 2012. Installation view at Palazzo Grassi, collection of the artist.
Photo by Stefan Altenburger, courtesy of the artist.

Rudolf Stingel, Untitled 2012. Collection of the artist.
Photo by Tom Powel Imaging, courtesy of the artist.

The exhibition presents a selection of over thirty paintings from collections around the world, some previously unseen, including the artist’s collection and that of François Pinault. In parallel with the abstract works, on show is an ensemble of “photo-realistic” works created by the artist from photographs – portraits of friends, self-portraits taken at different stages of Stingel’s life, alpine landscapes, or depictions of ancient religious sculptures. The reference to the Middle-European culture, significant in Stingel’s training, is also a tribute to his friend Franz West, whose magnificent portrait features in the show.

Rudolf Stingel, Untitled 2012. Installation view at Palazzo Grassi Pinault Collection.
Photo by Stefan Altenburger, courtesy of the artist.

Rudolf Stingel, Untitled 2012. Pinault Collection.
Photo by Tom Powel Imaging, courtesy of the artist.

Rudolf Stingel, Untitled 2013. Installation view at Palazzo Grassi Pinault Collection.
Photo by Stefan Altenburger, courtesy of the artist.

Rudolf Stingel, Untitled 2009. Pinault Collection.
Photo by Andy Keate, courtesy of the artist.

The decision to cover all the walls and floors of the entire Palazzio in carpet is an incredibly brave gesture. At times it appears as though the bold, oversized pattern could be seen as distracting from the paintings, although the result is much more profound than that. Stingel has created a completely immersive environment that challenges the distinction between the artwork and it’s setting, and places the “carpet” at the core of his poetics.

Absolutely spectacular. I am quite literally picking up my jaw off the floor. This exhibition alone would be work the trip to Venice before it closes on December 31st.

See all the Highlight from Venice Art Biennale 2013, curated by Yellowtrace.

Palazzo Grassi, San Marco, campo San Samuele 3231 Venice
From 07 April 2013 to 31 December 2013
Opening hours: 10am – 7pm everyday except Tuesdays.

[Photography by Stefan Altenburger, Tom Powel Imaging & Andy Keate as noted, courtesy of the artist.]

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To Switzerland, today, to look at a wonderful (enormous) house on the northern shores of Lake Zürich. The house is by Gus Wüstemann Architects. The photographs are by Bruno Helbling.

In the run-up to his ‘Plain Space’ exhibition at the London Design Museum a few years ago, I heard John Pawson on BBC Radio 4 answering a question about what lies behind his minimalist approach. His simple response went along the lines of ‘well… there’s not much that I like’. I get the sense that there’s not an awful lot that the team at Gus Wüstemann Architects like to specify either, if this bluff, muscular concrete house is anything to go by.

But I like it a lot.

I’m currently working on a mainly-concrete house, so my fascination with projects like this is professionally slavish.

The building comprises two houses – one of concrete, one of wood – at opposite ends of a large suburban plot. The design intent was to occupy the entire site and draw people through the garden by giving them a destination. I like this very much. The garden becomes somewhere to be, rather than something to look at. The residence (concrete) is up high. The pool house (timber) sits below. The former is a sort of glamorous bunker one can live in. The latter an airy rectilinear folly for outdoor braais on those long summer evenings of the northern hemisphere.

I don’t think I’ve ever gotten over my first glimpse of that picture of the living room in Tadao Ando’s Koshino House, as a witless architecture student. The alchemical relationship of concrete and light, in which the simple becomes sublime. I am subsequently predisposed to love these spare, monastic living spaces. Not a lot of furniture is needed as the seats are built in. Not a lot of set dressing is required because the light scraping along the gnarled surfaces of the concrete is beauty enough. Massive punched-out holes in the walls frame views to the distant lake, or form skylights over insidey-outsidey rooms.

Internal partitions are objects in space, able to be viewed in the round as one would a piece of sculpture. Kitchen and bathroom fittings partake of the massive, elemental quality seen in the macro parts of the house. The materials palette is spare but within the concrete, travertine and timber there is a richness when the right kind of daylight creeps in to caress it.

This isn’t a house for the faint-hearted, and heaven knows where one is supposed to hang the family photos.

But what wonderful space has been made.

Ende.

-Luke.

[Photos ©  Bruno Helbling, courtesy of Gus Wüstemann Architects.]

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Venice Biennale 2013 (La Biennale di Venezia) is the closest thing art has to the Olympics. The 55th International Art Exhibition attempts to capture the rich diversity of the art-world, with all it’s unexpected sights and sounds. Established in 1895, the Venice Biennale is the oldest and most important event on the international contemporary visual arts calendar. It is also the world’s largest non-commercial art exhibition, and this year it features shows from 88 countries across the entire city. More than 150 artists are taking part in the Biennale, and the event attracts more than 350,000 world-wide visitors – from artists, art-lovers and collectors.

This year the event was directed by Massimiliano Gioni, a highly acclaimed contemporary art curator. Artistic Director of Fondazione Nicola Trussardi in Milan since 2003 and Associate Director of the New Museum of Contemporary Art in New York since 2007, Gioni brought together the even titled “Il Palazzo Enciclopedico” which takes place in Venice from June, 1st to November, 24th 2013.

Here is a selection of some of my favourite things on show this year. Enjoy!

Ai Weiwei, Bang, 2010-2013, 886 antique stools. Installation view.
Image courtesy of artobserved.com.

Ai Weiwei, Bang, 2010-2013, 886 antique stools. Installation view.
Photos by Roman Mensing, courtesy of the German Pavilion.

Bang, 2010-2013, by Ai Weiwei at the German Pavilion. Installation consist of  886 three-legged timber antique stools and explores the craft traditions of Chine, ideas of cultural value and history within the context of contemporary art. This expansive structure speaks of the increasing volumes of organisms in our world’s mega-cities, where the single stool can be interpreted as a metaphor for the individual. Images © Roman Mensing.

Xoo-ang Choi, The Wing, 2008, Oil on Resin, 56x172x48 cm.
Courtesy of the Artist and the National Museum of Contemporary Art, Korea.

The exhibition, curated by Chu-young Lee, brings together the most significant contemporary Korean artists, who reinterpreted and transformed the period room of Spazio Lightbox. The works on display covers different media and include installations, sculptures, videos, paintings and photos realized by 16 artists.

Danaë by  Vadim Zakharov. Installation view.
Images courtesy of Russian Pavilion.

“Danaë” by conceptual artist Vadim Zakharov was inspired by Greek mythology. Created for the Russian Pavilion and curated by Udo Kittelman, the installation centers on the flow of custom-made golden coins (each representing One Danaë), symbolizing fertility and abundance. Only women are allowed to enter the room where golden coins fall from the sky. Female visitors are protected by a transparent umbrella, and allowed to take a handful of coins. These are then brought to an adjacent room to be hand-lifted to the upper floor from where they fall again and again.

Rudolf Stingel at the Palazzo Grassi, installation view.
Images courtesy of the artist.

Rudolf Stingel at the Palazzo Grassi, the estate of billionaire collector François Pinault. The exhibition is curated by the artist in partnership with Elena Geuna, and it was specifically designed for the 3-storey, 5000sqm building located on the Grand Canal. Exclusive story about this exhibition will be published on Yellowtrace later this week.

Trafaria Praia by Joana Vasconcelos.
Image courtesy of the artist and Trafaria Praia.

Trafaria Praia (2013) is a project by Portuguese representative Joana Vasconcelos. Finding herself without an exhibition space, the artist transformed the exterior and the interior an old Portuguese ferry, fitted it out with her installation. This is such a fascinating and incredibly complex project. I urge you to have a look at the photos of it’s making and the video. EPIC!!

Richard Mosse, “Platon,” North Kivu, Eastern Congo, 2012. Digital c-print.
Courtesy of the artist and Jack Shainman Gallery.

Richard Mosse with The Enclave at the Irish Pavilion. Mosse’s practice resides at the intersection of documentary journalism and contemporary art. See my previous post with more images about Mosse’s work here.

Photos courtesy of Swarovski.

Collaboration between Swarovski and architect John Pawson resulted in an artwork which highlights the material qualities of company’s crystal. ‘Perspectives’ is the largest ever meniscus lens to be fabricated (40cm wide) and it sits on an even larger reflective surface, installed within the central cupola of the Basilica di San Giorgio Maggiore, offering viewers a new architectural perspectives of the 16th century church.

Berlinde de Bruyckere, Cripplewood, 2012 – 2013.
Wax, epoxy, iron, textile, rope, paint, gypsum, roofing.
Photos © Mirjam Devriendt.

Belgium Pavilion featured the work of artist Berlinde de Bruyckere titled ’Cripplewood’. This large scale wax installation that accurately reproduces a vast fallen tree trunk, with a disturbing resemblance to the bones, muscles and tendons of the human form.

Ai Weiwei, Straight, 2008-2012
Steel reinforcing bars, 6 x 12m
Installation view, Zuecca Project Space,Venice, 2013
Courtesy of the artist and Lisson Gallery.
Ai Weiwei presents a sculptural installation ‘Straight’, composed of 150 tons of steel bar recovered from the sites of the collapsed schools in Sichuan following the earth quake in 2008, which took the lives of more than five thousand school children. The Chinese artist has had all of the retrieved metal parts straightened as if new, and arranged in stacks. The installation creates an eery feeling of sadness in memory of those whose lives were lost – the action of adjusting the pieces serving as a metaphor of the artist trying to make things right.

Installation view – inside (top two images) and outside (bottom image).
Image courtesy of the artist and Lisson Gallery.

‘S.A.C.R.E.D’ by Ai Weiwei is an installation composed of six iron boxes, depicting scenes from the Chinese artist’s 81-day incarceration in 2011. Divided into Supper / Accusers / Cleansing /Ritual /Entropy and Doubt, each unit has small apertures, similar to those found on a prison cell door, through which viewers peer into the scenes where Ai Weiwei positioned lifelike models of himself with his captors.

Curated by Maurizio Bortolotti, ‘S.A.C.R.E.D.’ is part of Ai Weiwei’s larger exhibition ‘Dispostion’, a satellite event of the 55th international art exhibition,
presented across two venues – The Sant Antonin Church and The Zitelle Complex.

Images courtesy of designboom.

Brazil pavilion presents ‘Inside/Outside’ featuring the work of five artists. Odires Mlászho specifically created a series of book sculptures in an attempt to re-invent the possibilities of collage, particularly its developments in our digital world.

“The Garbage Patch State” by Italian artist Maria Cristina Finucci. (Source: Reuters.)

Images courtesy of artobserved.com

Nothing Between Us (Nema Ničega Između Nas) by Vladimir Perić and Miloš Tomić at the Serbian pavilion. The installation explores the relationships between objects, history and knowledge through the use of video, sound and found or replicated objects.

Images courtesy of artobserved.com

South African Pavilion featured work by Wim Botha who uses African encyclopaedias to create three dimensional portraits - amazing way to use the past to create new ideas.

Images courtesy of artobserved.com

Italian Pavilion was a series of site-specific installations by various artist. Above installation was by Elisabetta Benassi.

Images courtesy of designboom.

The 387 Houses of Peter Fritz by artist Oliver Croy, at the Italian Pavilion inside the Giardini Venue.

Sarah Sze, Triple Point (Gleaner), 2013
Tock printed on tyvek, trees, moss, rocks, aluminum, wood, steel, bricks, stone, sandbags, outdoor pump, outdoor lights, mixed media.
Image © Sarah Sze, courtesy of the artist, Tanya Bonakdar gallery, New York & Victoria Miro gallery, London.
Photo by Tom Powel

Sarah Sze, Triple Point (Pendulum), 2013
Salt, water, stone, string, projector, video, pendulum, mixed media.
Image © Sarah Sze, courtesy of the artist, Tanya Bonakdar gallery, New York & Victoria Miro gallery, London.
Photo by Tom Powel

Sarah Sze, Triple Point (Planetarium), 2013
Wood, steel, plastic, stone, string, fans, overhead projectors, photograph of rock printed on tyvek, mixed media.
Image © Sarah Sze, courtesy of the artist, Tanya Bonakdar gallery, New York & Victoria Miro gallery, London.
Photo by Tom Powel

Sarah Sze, Triple Point (Eclipse), 2013
Wood, aluminum, steel, plastic, stone, string, sand, pigment, lamps, mixed media.
Image © Sarah Sze, courtesy of the artist, Tanya Bonakdar gallery, New York & Victoria Miro gallery, London.
Photo by Tom Powel

Boston-born artist Sarah Sze, in collaboration with the Bronx Museum of the Arts, represents the US with a series of interrelated pieces. The exhibition is extended to include elements of Venice’s urban fabric, including the exterior the 1930 pavilion by Delano & Aldrich. Sze ordered systems of household items, objects from nature, solid, liquid and gas matter, connecting the viewer with architecture and art.

Installation view. Photos © Claudio Franzini.

Spanish pavilion featured work of a present-day archeologist, Lara Almarcegui. Curated by Octavio Zaya, Almarcegui’s installation was a towering mountain of construction materials – roofing tiles, cement rubble and bricks turned into gravel. Almarcegui’s practice is informed by her heightened awareness of the city, investigating urban transformation. She focuses on studying the often overlooked elements which make up a place.

Simryn Gill, Half Moon Shine, 2013.
Mild steel, diameter 158cm.
Photo by Jenni Carter.

Simryn Gill, Naught, 2010
Objects in the shape of zeros found on walks.
Photo by Jenni Carter.

Here art grows on trees, exhibition view.
Australian Pavilion, Venice Biennale 2013.
Photo by Jenni Carter.

Singapore-born artist Simryn Gill is representing Australia in her new exhibition, ‘Here art grows on trees’. Curated by Catherine de Zegher, the show is presented at the Australian Pavilion in the Giardini where the artist installed photographs, drawings and sculpture inspired by images of Australia’s pit mines, dams, lakes and waterholes.

The Bolivian pavilion features the work of artist Sonia Falcone. Falcone’s installation ”Campo de Color” who uses clay pots filled with cayenne, chilli, pepper, cinnamon, turmeric, thyme, paprika and more. (Source: Reuters.)

The 55th Venice Biennale is open to the public now until 24 November 2013.

The post Highlights From The 55th Venice Biennale 2013. appeared first on Yellowtrace — Interior Design, Architecture, Art, Photography, Lifestyle & Design Culture Blog..

Floating Portuguese Pavilion at Venice Biennale 2013 by Joana Vasconcelos consists of an old Lisbon ferryboat transformed into a work of art. Titled ‘Trafaria Praia’ the ferry sails the Venice lagoon at regular intervals, addressing commonalities between Lisbon and Venice, namely their rich seafaring histories, which for centuries helped expand Europe’s worldview.

See all the Highlight from Venice Art Biennale 2013, curated by Yellowtrace.

[Source: Trafaria Praia.]

The post ‘Trafaria Praia’ by Joana Vasconcelos // Floating Portuguese Pavilion at Venice Biennale 2013. appeared first on Yellowtrace — Interior Design, Architecture, Art, Photography, Lifestyle & Design Culture Blog..