Twenty-two years is a long period of time. Styles evolve, trends come and go, and even tastes change—all fascinating material for any career retrospective. Even more so when your subject is Björk, the critically acclaimed Icelandic composer, musician and singer. Not only has she won countless music awards (nominated 13 times for the Grammys, but yet to win), but Björk has also produced over eight full-length albums of tunes, music videos and performances where she has reinvented herself time and again. As a robot or a geisha, living underwater or with a cat as a partner—Björk has built an utterly fascinating universe of signs and symbols around her music in collaboration with a stellar cast of creatives ranging from the innovative film directors Michel Gondry and Spike Jones to edgy fashion designers including the late Alexander McQueen, and more recently, Iris Van Herpen. So when the Museum of Modern Art (MoMA) in New York City announced it was organizing her retrospective—coming after its stagings of German electronic music pioneers Kraftwerk and performance artist Marina Abramovic —it seemed like a dream exhibition come through for her legions of fans.
Have you eaten an apple without a sequence? Can you recognize one if it is upside down? How different would an apple taste without a crunch when you bite into it?
These are just some of the unusual questions raised in a new booklet about the apple, and how its ‘design’ shapes our experience of eating it.
Authors Clara Koh and Alvin Ho were curious about what eating an apple entailed besides its taste. Through observation, the duo who work under the studio name Atelier HOKO found that the fruit’s less noticed features — or what they term “secondary” — are just as important too.
➜ Read the rest at art4d (Issue 210)
Cheaper, faster, and a new aesthetic — this is what Risograph printers can offer to the local creative scene, says two new presses offering this technology in Singapore.
This year, Push—Press as well as Knuckles & Notch launched separately to offer printing services based on this Japanese invention. Both press founders discovered Risograph printers in the West, where it has become popular amongst designers and artists, and wanted to introduce this tool to Singapore.
While this printing technology has been around since 1980, it has mainly been used inside schools and churches as a cost-efficient high-volume printer for documents of just one or two colours. In recent years, however, graphic designers and artists have caught on to this technology, introducing them into design studios as well as setting up independent presses. Both Push—Press and Knuckles & Notch claim to be pioneers in offering Risograph printing as a service in Singapore.
➜ Read the rest at art4d (Issue 215)