The Untitled (Hello World) sign by Valentin Ruhry is an enormous grid of 5,000 orange rocker switches that illuminate when switched on. The piece is currently on display as part of the Fünf Räume (five rooms) exhibition at the Austrian Cultural Forum NYC through September 5. I can only hope they might let you flick a few of these awesomely tactile switches. (via triangulation)
In his spare time San Francisco resident Jeff Waldman started hanging swings in various locations around the city. These guerilla swings caught the attention of the Awesome Foundation which awarded him a $1,000 grant to hang 50 more, a project he captured in this great new video (music by Penguin Cafe Orchestra). The project has since grown a bit encompassing swing installations in Los Angeles and in the Marshall Islands, and with our help he’s heading south to Bolivia to hang a couple hundred more. (via streetsy)
I don’t normally post two things from an artist in one day; however this seemed too good to pass up, especially due to this blog’s affinity for matches. Ryo Shimizu created this delicate human shell out of hundreds of matches entitled Matchstick Drawing. How macabrely awesome it would have been to watch this figure meet his flaming demise.
A new large-scale installation from artist Gregory Euclide (previously) using a wide variety of materials including acrylic, acrylic caulk, cast paper from Central Park boulders, eurocast, fern, and foam. Euclide also recently created the artwork for a Bon Iver album which you can read about over on My Love for You, or check out this video. (via behance)
CNJPUS TEXT is the latest work from Tokyo-based artist Ryo Shimizu. The text is formed by using strokes borrowed from Chinese characters and then restructuring them into letters of the Roman alphabet. Via artist a day:
Shimizu is influenced by Japanese traditions and practices–the relationship between history and modern society and between the self and other people. His work ranges from photography to three-dimensional objects and installations.
This appears to be his third and largest in a series of text-based installations dating back to 2009. (via artist a day, sweet station)