Get Social:

Karl Lagerfeld Builds A Life-Size Chocolate Statue Of Model

18k1xj5hudx7jjpg18k1xj5hz4qe5jpgmagnum_053_20110429_1587088582baptiste-640x426

In what is perhaps his most extravagant creation to date, fashion designer Karl Lagerfeld has created a life-size chocolate sculpture of his top model and muse Baptise Giabiconi. The male face of Chanel, who travels most everywhere with Lagerfeld, is shown here as a solid mound of rich dessert, reclining on a bed inside a hotel room made entirely out of chocolate. The piece was presented in Paris in 2011 as part of a promotion for ice cream brand Magnum, for whom the designer directed a commercial staring Giabiconi and Rachel Bilson. The strange yet endearing sculpture holds a Magnum ice cream cone in his hand, which luxuriates suggestively over his thigh and a pair of tiny tighty-whitey briefs.

Lagerfeld, who has ignited anger and criticism over the past few years for his arguably classist sentiments, certainly does not spare any expense in this sweet and decadent installation. In some ways, the piece is an ironic epitome of a consumerist fashion industry. Laid on this pristine white bed, the chocolate man stands in for everything our culture devours: expensive food, lavish furnishings, and even sexual gratification. Do we consume fashion models in the same way in which we devour ice cream? As far as artwork goes, this is about as shamelessly commercial as you can get, and yet it maintains an undeniable charm in its blatant self-awareness. Lagerfeld’s statue is both hilarious and compelling, standing at the intersection of capitalism and sexuality. Take a look, and for more chocolate artwork, check out Anya Gallaccio’s dark chocolate-covered room here. (via Gawker, NY Mag, and Telegraph)

Advertise here !!!

Photographer Julian Feeld’s Cryptic And Visceral Images Of Naked Bodies In The Woods

Julian Feeld - Naked Bodies Julian Feeld -Naked BodiesJulian Feeld - Naked Bodies

The works of Julian Feeld — a Paris-based (but internationally-experienced) photographer — are shrouded in mystery. This particular series, titled La Forêt, is especially cryptic. The images immerse you in a dark, wet forest, and at first you may not be entirely sure what you are seeing — or how you feel about it. Gradually, shapes take form: a naked body lying prone on a rock; human legs splayed open amongst the undergrowth; genitals encroached by moss. Some of the images are beautiful, appealing to that romanticized idea of the “natural” body in tandem with nature; others are dark and disturbing, fragmenting the body into an inhuman shape as if it were just another dead tree lying motionless on the forest floor. What Feeld is doing here is an exercise in perception, capturing us in our own moment of subjective interpretation; we have to make sense of these photos, we have to determine whether we feel “peaceful” or “alarmed,” we have to decide if the bodies are part of what we call “Nature,” or separate from it. The critical beauty of Feeld’s work is that it reveals to us our deeply personal signifying practices.

It goes without saying that Feeld’s images are much different than your typical nude photographs. Speaking to this, Feeld writes: “For La Forêt, I wasn’t interested in taking ‘nudes’ in the classical sense, but rather in creating a sort of chimera, an impossible ‘thing’ using human flesh as the provoking visual element.” The chimera — that mythical hybird with a lion’s head, goat’s body, and serpent’s tail — embodies the sort of categorical ambiguity that Feeld is driving at; the naked bodies in his photographs are so interwoven with the environment that the boundaries defining what is “human,” “nonhuman” (the trees) and inert (the rocks) become obscured. The result is slightly troubling to the imagination, as we so often narcissistically imagine ourselves as separate from the world in which we exist.

The darkness and obscurity of La Forêt comes to a head in its sister film, Le Chien, filmed in collaboration with Feeld’s partner, Mathilde Huron. In the film, a naked man (played by Feeld) scrambles desperately at a dense thicket, panting heavily. Something seems to be barring his entry, but he continues to writhe and push anyways. Feeld explains that this film was inspired by a story told by Huron about her dog, “how she watched it try to dig itself into a giant pile of wood and debris, seeking death, pushing itself into the next world.” Like the photographs, Le Chien troubles the idea of what is “human”: this man is behaving like an animal bent on completing an unknown objective. The audio track is similarly disturbing, in that it sounds like a multiplicity of human voices panting, gasping, and overlapping in different octaves. The result of both La Forêt and Le Chien is an indescribable uncertainty; a visceral, pre-intellectual state wherein we must make meaning — or accept that there is none.

Follow Feeld’s Twitter to keep up with his thought-provoking art. More of La Forêt after the jump. (Via Art Fucks Me)

Advertise here !!!

BEAUTIFUL/DECAY LAUNCHES NEW APPAREL WEBSITE!

Beautiful/Decay unveils a brand new website:Beautifuldecayapparel.com , dedicated solely to all things B/D Apparel! Due to overwhelming inquiries into the brand, and to further showcase their artists and designs, Beautiful/Decay has created an independent online platform for B/D Apparel.

Asger Carlsen WTF Photography!

Something about Asger Carlsen‘s photos are a bit off..but who cares because I can’t get enough of them!

Anya Gallaccio’s 10,000 Dying Roses

Anya Gallaccio installation2Anya Gallaccio installation1

Anya Gallaccio installation8

Anya Gallaccio‘s installation Red on Green may leave elicit a different reaction depending on when you catch the show.  Gallaccio plucked the heads of 10,000 roses and arranged them into large neat rectangle.  At first the installation may resemble a grand romantic gesture.  However, Gallaccio’s interest is piqued by what the installation becomes.  In a way Red on Green turns into a type of natural performance as the field of red shifts to brown.  She utilizes the loaded symbol of the rose as a starting point for investigating the natural processes of death and decay.

Lisa Kellner’s Jellyfish Like Silk Installations

It’s difficult to discern whether Lisa Kellner‘s silk installations are natural or intrusive, peaceful or menacing.  Her delicate fabric structures resemble jellyfish or coral as much as something cancerous or viral.  Kellner’s work intentionally inhabits this duality.  Each installation is made out of silk – a medium that is at once organic but also extremely strong.  Her sculptures illustrate the curious path of growth organic matter can take.  Lisa Kellner says of her artwork:

“The quickest path from point a to point b is a straight line.  But nature is filled with curves and crevices.  And human nature always seems to prefer a more circuitous path.  Whatever means are chosen, the journey one takes presents a perfect painting problem:  what is the essence of a moment that took everything to get there?.”

One Of A Kind Guerilla Street Furniture

oliver show guerilla street furniture oliver show guerilla street furniture

Inventor and designer Oliver Show belives that there just isn’t enough public seating in Hamburg, Germany. So instead of complaining and whining about it he took it upon himself to come up with a simple solution to one of lifes most annoying problems. With the help of bright colored and inexpensive padded piping Mr.Show created playful seating all around the city using pre-existing structures as support. The result is a fun and playful take on one of a kind urban furniture that makes us think “why didn’t I come up with that.” (via)

Tim Hobbelman Sculpts Futuristic-Looking Animals Out Of Discarded Electronics

Tim Hobbelman, Animaux - Sculpture Tim Hobbelman, Animaux - Sculpture Tim Hobbelman, Animaux - Sculpture Tim Hobbelman, Animaux - Sculpture

In a collection called Animaux, Netherlands-based artist Tim Hobbelman has been sculpting animals out of discarded electrical appliances, sourcing his materials from junk stores. Look closely at each creature and you will see objects such as hair dryers, headphones, and a Dustbuster, all fused together in the likeness of eyes, snouts, and wings. His strange (and slightly creepy) menagerie currently showcases a deer, bear, and wild boar, among others. Each piece captures the physical details of the individual animals, while also infusing them with an unsettling, cyborg-like appearance.

Hobbelman’s Animaux are not only clever in the skill it takes to recreate animal anatomy with electronic parts, but it is also a creative recycling practice. Non-biodegradable trash that will either be thrown into a landfill or left to gather dust on a junk shop shelf is reanimated with new life—a comment, perhaps, on the effects that such obsolescent, discarded technology has on the environment.

Hobbelman hopes to create more Animaux, so be sure to check out his Facebook page and support his work. He is also taking part in the Born as an Artist exhibition on December 18th at Instinct One in Tilburg. (Via Junkculture)