'Fake Food, Real Garbage': A Satirical Store is Fully Stocked with Groceries Made Entirely of Plastic
Wander into a new pop-up grocery store in Downtown Los Angeles, and you’ll find all of the typical options with an unusual twist: freezers stocked with tubs of “Bag & Jerry’s,” a robust produce section with bananas and tomatoes printed with advertisements, and mysteriously gray “polluted sausage” stuck to styrofoam trays.
Dubbed “The Plastic Bag Store,” the witty and satirical installation is the project of Robin Frohardt, who repurposed scores of bottle caps, packaging, and other single-use materials into a full-fledged grocery. Each of the non-edible items—many of which have undergone clever rebrands, meaning you’ll find family-sized boxes of Yucky Shards cereal, cases of Bagorade bottles, and clamshells of Earthbag Farms non-organic spring mix in the aisles—is made entirely with discarded waste that the Brooklyn-based artist, puppet-maker, and designer collected from garbage bins and trash sites.
Paired with a performative component that envisions how future generations will interpret the inordinate amount of waste produced in today’s world, the installation literally displays the longevity of the items many of us use on a daily basis. According to recent estimations, the amount of plastic in the ocean is predicted to exceed the volume of fish by 2050, an ongoing crisis Frohardt wants to make more apparent. “’The Plastic Bag Store’ is a visually rich and humorous experience that hopefully encourages a different way of thinking about the foreverness of plastic, the permanence of the disposable and that there is no ‘away’ when we throw something out,” she says.
The grocery, which debuted in Times Square last fall with the tagline “Fake Food, Real Garbage,” is open at UCLA’s Center for the Art of Performance through July 11. You can find more of Frohardt’s projects, many of which critique mass consumerism and capitalism through a humorous lens, on her site and Instagram. (via Hyperallergic)
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Earthrise: A Striking New Collection by Iris Van Herpen Recycles Plastic Waste into Sculptural Garments
Iris Van Herpen (previously) continues to blend fashion and science in her latest collection of dizzying garments that explore the fragility of marine ecosystems. Earthrise, which debuted at Paris Haute Couture Week on July 5, is comprised of 19 gowns teeming with the Dutch designer’s signature layers and structural flourishes. Exquisite and elaborately constructed, the garments seamlessly merge aquatic motifs and colors into a dynamic collection focused on preserving the environment in both aesthetic and material.
Five of the designs, including the hand-cut gradient dress shown below, are made entirely of recycled plastics sourced from Parley for the Oceans (previously), which is working to protect the planet’s bodies of water from pollution and further degradation. Other pieces in the collection are the product of collaborations with artists like Rogan Brown (previously), who brought his laser-cut reliefs resembling coral reefs and microbial structures to the lace-like gowns, while Casey Curran (previously) produced kinetic stripes that ripple across one dress in a mesmerizing blue-to-white gradient. Artist James Merry (previously) is responsible for the futuristic metal jewelry, while Eichi Matsunaga created the long, bulbous nails designs.
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A Dreamy Fiber Installation by Vanessa Barragão Transforms a Medieval Bridge into a Patch of Oversized Orchids
In the small town of Paderne, Portugal, a whimsical valance of crocheted leaves, dangling tendrils, and petals dyed with subtle gradients encircles the stone archways of a battered medieval bridge. Titled “Algarvensis,” the dreamy installation is by Portuguese artist Vanessa Barragão, who’s known for her large-scale textured tapestries that recreate landscapes and gardens with tufted fibers. The bowed entanglement recreates oversized orchids native to the region with wool from nearby sheep and recycled yarn, resin, and other materials in a celebration of the local environment where the artist spent much of her childhood.
“Algarvensis,” which the municipality of Albufeira commissioned to help elevate the Geoparque Algarvensis to the status of a Worldwide UNESCO Geoparque, will be up until September 12, and you can the process and installation behind the piece on Barragão’s Instagram.
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Stephen Doyle describes his interconnected book sculptures as “miniature monuments, testaments to the power of language and metaphors of imagination.” Featuring angled scaffolding and interlocking constructions that appear to grow directly from the bound pages, the sprawling sculptural forms that comprise his Hypertexts series are unruly and enchanting reimaginings of how information is communicated.
The New York City-based artist lobs off parts of sentences, tethers phrases together with an unrelated word, and generally obscures the author’s intended meaning, producing arbitrary and striking connections within the text. Although the paper sculptures are tangible manifestations of language, Doyle tells Colossal that he originally envisioned the spliced works as satirical commentaries on digital diagramming. “I first started when ‘hypertext’ was a novel term of the internet: blue underlined text was a portal, linked to another document in the ether. Linking one text to another seemed rather DADA in intent, abstract, random, and capricious,” he says, explaining further:
I conjured sculptures in which the lines of text shook off the shackles of the page, leapt up, out of the book, and started conferring with their neighboring lines of text, creating an aerial network of language, turning text into synapse, circulation… I soon realized that these three-dimensional diagrams seemed to have a poetic power of their own, recontextualizing language and ideas into sculptural forms, inspired by the books themselves.
A graphic designer by day, Doyle has spent the last few years expanding his Hypertexts series, which has been featured in The New Yorker, Wired, The Atlantic, The New Republic, and other publications. If you’re in New York City, you also might have seen the triptych he created for the subway a few years back. You can follow his works on Instagram. (via swissmiss)
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In much of the Western world, mentioning Transylvania tends to evoke sinister imagery of dimly lit Gothic castles and notoriously blood-thirsty vampires. The region in central Romania has long been tied to the horrors of Bram Stoker’s Dracula, an association that overshadows the area’s rich history.
Hungarian photographer Istvan Kerekes has spent the last 15 years upending that literary connection by documenting the shepherding communities that have farmed Transylvania for centuries. Bordered by the Apuseni and the Carpathian mountain ranges, the hilly landscape is ripe with greenery and open pastures for sheep, cattle, and other livestock to graze. “When walking in some parts of Transylvania one would often feel that you have traveled back in time,” he says. “There is hardly any sign of modern technology here. It is as if time had stopped, while beauty and nature are preserved”
Kerekes’s portraits and wider landscape shots capture the grit and determination of those who devote their lives to attending to their herds. Shot entirely in black-and-white, the photos glimpse the mutual bonds between the animals and their caretakers and the ways the traditional mode of living is passed from generation to generation. They’re powerful and raw, showing the tender embrace of a weathered man as he cradles a lamb in his coat or the way a child wraps one of the animals around her neck.
All of the images shown here are part of a virtual exhibition at All About Photo, which is up through August. They’re just a fraction of Kerekes’s larger collection, though, and you can see more on his site.
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Wide spoons become muscular hind legs, pointed handles fan out into wings, and fork prongs curl around a branch like talons in Matt Wilson’s wildlife assemblages. Using found flatware and other metal objects, the Charleston-based artist (previously) welds sculptural renditions of birds, insects, and other small animals that appear lifelike and primed for movementt. He mounts the metallic sculptures on pieces of driftwood or smooth plaques—many of which are handcrafted by his friend Jacob Kent—that contrast the shining metal with the natural, grainy material.
Wilson has spent the last few years broadening his practice and working on multiple birds simultaneously, allowing for more cohesive, well-rounded flocks. His next collection launches at 9 a.m. EST on July 9 in his shop, and his works sell quickly so keep an eye on Instagram for early looks at the 100 creatures set for release.
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Editor's Picks: History
Highlights below. For the full collection click here.