For their brand new advertisement, Finnish coffee roaster Paulig asked director and animator Lucas Zanotto to brew a cup of coffee from a single bean. Using a nail file to create the grounds, Zanotto then boils water over a single tea light, and finally pours the freshly brewed java one drop at a time into a thimble-sized mug. The video has a direct relationship to recently popularized miniature cooking videos on Youtube, which have produced everything from miniature deep-fried chicken to tiny shrimp tempura. You can watch more of the Helsinki-based director’s videos on his Instagram and Vimeo, and take a look at Zanotto’s miniature coffee brewing techniques above.
Jennifer Bolande‘s work Visible Distance / Second Sight, is not one that you stop your car at and observe, in fact, its not one that even requires slowing to admire. The several billboard installation stretches alongside the Gene Autry Trail and Vista Chino in California, bordering the roads with scenic images of the same mountains that peak out behind each piece. In some instances the images match perfectly with the surrounding range, creating an alignment of fabricated reality while one zooms past the display.
Similar to artist Brian Kane‘s billboard displays of forests and galaxies in Massachusetts in the summer of 2015, Bolande’s work calls attention to nature in a ceaseless vacuum of pushy advertising. By placing images of the environment beside the roadway Bolande hopes to point passersby back to the landscape itself.
The piece is part of the exhibition Desert X which also features Doug Aitken’s mirror-covered house. The exhibition runs through April 30, 2017, and you can see a full schedule of tours and events on their website. (via Designboom)
Papercraft duo Zim & Zou (previously) are back at it with one of their most grandiose installations yet for Hermès in Dubai. Each piece is a miniature paper village populated with tiny characters, one centered around towers of fungi, the other based around blooming lotus flowers. Lucie Thomas and Thibault Zimmermann, the names behind Zim & Zou, specialize in designing and building installations out of tangible materials for advertising, product display, and as part of personal artistic pursuits. You can follow more of their recent work on Instagram and Behance.
The Clapham Common Tube station in London is currently covered in cats, and for the most part it’s just as straightforward as it may seem. A project known as the Citizens Advertising Takeover Service (or CATS), took over 68 advertisements in the station as a way to bring cute imagery into the daily vision of passersby, while momentarily ceasing the onslaught of continuous advertising faced during daily commutes, and life. CATS secured the money to finance the project through a Kickstarter campaign six months ago, and in the end raised £23,000.
Started by Glimpse, CATS is the first project by the collective who hopes to bring about social change via creative campaigns. Many of the cats Glimpse photographed for the 68 advertisements are stray cats from two rescue charities, Battersea Dogs & Cats Home, and Cats Protection. You can learn more about the two organizations on Glimpse’s website. (via Laughing Squid, PetaPixel)
Just days before the start of the UN COP21 Climate Conference held in Paris and during the French state of emergency following terrorist attacks earlier this November, 600 posters were covertly distributed and hung within the city. The posters were not taped to poles or distributed in public grounds, but secured behind glass at bus stops around the city. The large-scale posters were advertisement replacements, fake corporate ads designed by 82 artists across 19 countries to satirize messaging found throughout the Parisian streets.
Organized by the Brandalism project, the citywide sweep is meant to challenge the corporate takeover of the Paris climate talks, forming ads that target the link between corporations’ advertising with consumerism, global warming, and fossil fuel consumption. The posters reference many of the climate talks’ corporate sponsors including Air France, Dow Chemicals, GDF Suez (Engie). Many of the Photoshopped images use the same branding and voice as the original advertisement, forcing the audience to take a deeper look at the content of the hundreds of posters dotting their daily commute.
“By sponsoring the climate talks, major polluters such as Air France and GDF-Suez-Engie can promote themselves as part of the solution – when actually they are part of the problem,” said Brandalism’s Joe Elan.
Escif, Jimmy Cauty, Neta Harari, Bansky-collaborator Paul Insect, and Kennard Phillips were just a few of the dozens of artists who created posters for the Parisian installation. You can see many more of the 600 posters created to challenge the UN COP21 Climate Conference over on Street Art News and Brandlism’s own website here.
Created as a set of billboards along two Massachusetts highways, “Healing Tool” is a temporary public art installation by artist Brian Kane produced to temporarily relieve stress and promote introspection during one’s monotonous daily commute.
Kane’s digital billboards circulate between pictures of surrounding natural environments, creating “unvertisements” that promote nothing instead of shoving products, restaurants, and services in consumers’ faces from above. The piece builds upon a body of work Kane has been producing that places digital experiences into real world situations. “Healing Tool” is named after the Photoshop tool used to patch over errors in photographs, just as his project is patching over unnatural blips of landscape (billboards) seen from the highway.
The pieces change depending on the time of day. Daylight hours feature natural images of areas surrounding the billboards, while evening hours display high-resolution images of the moon and Milky Way that allow viewers a clear glimpse of the cosmos despite urban light pollution.
Kane explains, “By removing the marketing message from the advertising space, we create an unexpected moment of introspection. People are allowed to interpret an image based on their own experience, and not necessarily with the singular focus of the advertiser’s intent.” (via The Creator’s Project and Junkculture)