“PixCell’, is a mesmerizing series of sculpture by Japanese artist Kohei Nawa, who uses variably sized glass beads (“PixCell” beads, as Nawaw calls them) to cover the entire surface of objects, mostly taxidermied animals.
The outer layer suggests a molecular structure, and also references the pixel of the computer screen. “By covering surface of an object with transparent glass beads, the existence of the object itself is replaced by “a husk of light”, and the new vision “the cell of an image” (PixCell) is shown.
– Kohei Nawa To see more Kohei Nawa’s work, please visit http://www.kohei-nawa.net/.
Ten Years After – 1967
The Philips Pavilion was a World’s Fair pavilion designed for Expo ’58 in Brussels by the office of Le Corbusier. Commissioned by Philips, an electronics company based in the Netherlands, the pavilion was designed to house a multimedia spectacle that celebrated postwar technological progress. Because Corbusier was busy with the planning of Chandigarh, much of the project management was assigned to Iannis Xenakis, who was also an experimental composer and was influenced in the design by his composition Metastaseis.
The pavilion is a cluster of nine hyperbolic paraboloids in which music, Edgar Varèse‘s Poème électronique, was spatialized by sound projectionists using telephone dials. The speakers were set into the walls, which were coated in asbestos, creating a textured look to the walls. Varèse drew up a detailed spatialization scheme for the entire piece which made great use of the physical layout of the pavilion, especially the height of it. The asbestos hardened the walls which created a cavernous acoustic. As audiences entered and exited the building Xenakis’s musique concrète composition Concret PH was heard.
“I will not make a pavilion for you but an Electronic Poem and a vessel containing the poem; light, colour image, rhythm and sound joined together in an organic synthesis”. Le Corbusier’s vision was a Poème électronique (“electronic poem”), saying he wanted d to present a ‘poem in a bottle. He asked Edgard Varèse to write an electronic score for the installation, which went on to become one of the seminal works in the genre. Iannis Xenakis also composed a piece for the installation, which was played as an interlude when the audience entered and exited the pavilion. Titled Concrèt PH, Xenakis’ composition is a series of manipulations of a recording of burning charcoal.
“Every day, I travelled to Kings Cross and back. Coming home late at night, it was like a party and I felt the tube was mine and I was there to take pictures.” – Bob Mazzer.
While working as film projectionist in a porn cinema in the 80s, Bob Mazzer began photographing on the tube during his daily commute, documenting the individuals and events he witnessed on the the London Underground.
The punk, the patriot; the beauty, the beast, the drunk and the mischief. Mazzer’s photos captured some of the most influential subcultures to ever emerge from London in the 70s and 80s.
‘Bob Mazzer – Underground’ will be on show in Howard Griffin Gallery from 12 June – 13 July 2014.
Granny Takes a Trip was the first psychedelic boutique in “Swinging London” in the 1960s.
The boutique was the brainchild of graphic designer Nigel Weymouth and his girlfriend Sheila Cohen – part time actress and fanatical collector of vintage clothing. In the summer of 1965, John Pearse, who had trained as a tailor on Savile Row, agreed to join them in the venture. Granny Takes a Trip opened it’s doors in December 1965 at 488 King’s Road, – an area known as World’s End in Chelsea.
The name of the boutique was giving away its policy – ‘Granny’ symbolized the influence of the past, and ‘Trip’ , a colourful world of bougeoing hippie movement and its drug of choice – LSD.
Initially the ambience was a mixture of New Orleans bordello and futuristic fantasy. Marbled patterns papered the walls, with rails carrying an assortment of brightly coloured clothes. Lace curtains draped the doorway of its single changeroom, and a beaded glass curtain hung over the entrance at the top of steps, which led on into the shop. In the back room, an Art DecoWurlitzer blasted out a selection of music.
The boutique clothed London’s fashionable young men and women, including many major rock performers. A constant stream of people visited the shop, especially on Saturdays during the weekly King’s Road Parade.
The facade of the boutique was an ever changing display of psychedelia, from Native American chiefs to the giant pop-art face of Jean Harlow and a car driving out of the window.