Tag: weird

New show reveals grisly details behind Van Gogh’s mutilated ear

The Art Newspaper

An Amsterdam exhibition on Vincent van Gogh’s medical problems will include the revolver which he used to kill himself in 1890. Teio Meedendorp, a researcher at the Van Gogh Museum, believes it is highly probable that the corroded Lefaucheux revolver found in a field was the suicide weapon.

‘New show reveals grisly details behind Van Gogh’s mutilated ear’
The Art Newspaper | July 13, 2016 | Martin Bailey

China’s 12-Story ‘Toilet’ Building Defies ‘Weird’ Architecture Ban


A building that resembles a 12-story “toilet” was unveiled in Henan province recently, despite a ban by the Chinese government, announced this past February, on structures that are “oversized,” “xenocentric,” or “weird,” according to a brief report in The Independent.

‘China’s 12-Story ‘Toilet’ Building Defies ‘Weird’ Architecture Ban’
Artnet | Eileen Kinsella | July 13, 2016



We all know that calligraphy is a practice crucial for Chinese tradition. In fact, China was the one to start this tradition and deliver it to the rest of East Asia. So it could be the reason why Sun Ping, whose art is usually described as controversial and provocative, aimed to confront calligraphy with a sort of “sexual” performance.

Widewalls | June 17, 2016 | Natalie P

Hyperreal photos of LA’s weirdest and wildest characters


“I was born and bred on the weird side of the road,” says Parker Day, LA based photographer. Known for her saturated, hyperreal 35mm portraits, it might seem surprising that Day has only been shooting seriously for just over a year and a half. However, somewhere between being given disposable cameras to play with as a kid and becoming an “arrogant prick” at art school, Day found herself losing interest in photography as a medium. After picking up a camera again and reigniting her interest in shooting film, the photographer has found herself building a solid reputation shooting the weirdest and wildest characters of LA’s art scene.

‘Hyperreal photos of LA’s weirdest and wildest characters’
Dazed | May 4, 2016 | Ione Gamble

Urs Fischer Wants You To Touch Him on The Lower East Side

Blouin Artinfo

Perhaps closer to 6 p.m. the sculpture had retained some semblance of nobility, but two hours later — after a mob of Tecate-swilling artist-manqués had put their grubby hands all over it — things were decidedly less pretty. The occasion was a small solo show by Urs Fischer at the L.E.S. gallery JTT, a departure for the Gagosian-represented artist who has previously shown a fondness for oddball downtown one-offs

‘Urs Fischer Wants You To Touch Him on The Lower East Side’
Blouin Artinfo | May 2, 2016

Why these artists are having sex with the earth


One Australian performance group is asking a provocative question: What better way to connect to the earth than through sex?

Pony Express, a collective of four artists, will perform at the Royal Botanic Gardens Victoria in Melbourne, between May 6-16, at the Next Wave Festival. The show, entitled Ecosexual Bathhouse, is meant to be a “complete sensory environment” according to the group’s fundraising page.

‘Why these artists are having sex with the earth’
Mashable | April 27, 2016 | Chelsea Frisbie

Artists Might Share Common Traits With Psychopaths

Huffington Post

Great and not at all scary news, art world: A recent study published in the Personality and Individual Differences journal concluded that you may want to be wary of the artists, actors, and musicians in your life, seeing as they often share certain neuropsychological features with individuals exhibiting “psychopathic traits.”

‘Great News: Artists Might Share Common Traits With Psychopaths’
Huffington Post | April 26, 2016 | Priscilla Frank

Study claims artist’s famed works were releasing poisonous gas

Fox News

It turns out artist Damien Hirst’s famous displays of dead animals preserved in formaldehyde may have been dangerous to more than just artistic sensibilities. A study published this month in Analytical Methods found Hirst’s pieces were leaking formaldehyde gas at levels 10 times higher than the legal limit during a show at London’s Tate Modern in 2012.

‘Study claims artist’s famed works were releasing poisonous gas’
Fox News | April 25, 2016 | Michael Harthorne

1,400 Square Feet of Candy-Colored Resin


Painter Peter Zimmermann has moved his colorful hues from canvas to floor in his latest exhibition “Freiburg School,” at the Museum für Neue Kunst in Freiburg, Germany. The installation is composed of bright blue, pink, and peach resin that appears like a candy-colored lagoon beneath the feet of museum-goers.

‘1,400 Square Feet of Candy-Colored Resin Layered Onto the Floor of a German Museum’
Colossal | April 22, 2016 | Kate Sierzputowski

Modigliani With Nazi Links Sparks Geneva Criminal Probe


Geneva prosecutors opened a criminal probe into the ownership of an Amedeo Modigliani painting believed to have been taken by the Nazis in World War II as part of a New York legal dispute over the $20 million art work.

As part of the case, investigators on Friday searched facilities at the Geneva Free Ports, and confiscated the painting, “Seated Man with a Cane”, the Geneva Prosecutor’s Office said in a statement Monday. Aaron Golub, a lawyer for David Nahmad and International Art Center, said the painting was still at the site in Geneva.

‘Modigliani With Nazi Links Sparks Geneva Criminal Probe’
Bloomberg | April 11, 2016 | By Hugo Miller, Edvard Pettersson, Katya Kazakina



If you are anything like me, you’ve probably grown up watching the creepy old movies, reading Edgar Allan Poe, investigating old eerie buildings and going on ghost hunting adventures. For the lovers of fright, Guillermo del Toro has decided to share his spooky art collection with the world, and we couldn’t be happier! The director of Pan’s LabyrinthCrimson PeakPacific Rim, and the iconic Hellboy has been assembling a vast collection of all things creepy: books, films, artworks, and various memorabilia, and storing them in what he calls his Bleak House – and it must be Halloween every day over there!

Widewalls | March 21, 2016 | Ana Moriarty


Food And Wine

For those begging for a museum experience beyond ankle-aching walk-throughs glancing at portraits and landscapes: there’s hope. Toilet seat lids, volcanic ash, corn—these are just a few of the materials to create the masterpieces in the world’s weirdest museums.

Food And Wine | February 5, 2016 | Jordanna Lippe

Albert Omoss’ Fragility of Form

Albert Omoss is a computational artist and creative technologist from Los Angeles, California who uses computer coding to ‘create software, and software to create visual art’. (Omoss, 2015, Online) Openly critical of using his skills to create visual art for commercial purposes, he prefers, when working on his own projects, to experiment the ‘wider spectrum of emotional complexities.” (Cone, 2014, Online) He gave us a minute of his time to respond to a few questions about his practices, inspiration and the link between computer programming and biology.

For those of you who may have not seen his work it is visceral and disturbing at the same time. The semantic of form runs throughout his portfolio with visual art as the main medium. In particular is the Form collection. Form N11 – Objectification presents issues of gender with women juxtaposed to the men in a colour bias of the women in pink and the men in green. The title itself suggests treating people as a commodity or without dignity. This is illustrated in the way the bodies are stacked upon each other in what seems like an invisible glass with complete disregard for human dignity, naked, and in the many. However, it is the similarities in the movement of the anatomy that perhaps unites both genders the slapping around of limbs, bodies scrunched together like the London Overground 9am Monday morning. “Audiences almost always have some kind of strong visceral reaction when they experience it, running a spectrum from disgust, to shock, to laughter. Everyone reacts to it differently, and I find it’s an interesting way to obtain a read on a person’s emotional sensibilities. I learn a lot about people when I see their response to my work. ” He said.

form n11 – objectification from Albert Omoss on Vimeo.

From the same project is Form M09 – Peer Pressure. The clever play on words of the mulch of body pressure is key to understanding the work; bodies upon bodies flinging and flailing their way into some kind of flesh monster that is reminiscent of The Blob. It would seem that Omoss’ opinion of the horror of flesh could be the core of his work. Even if it is presented in this ambiguous and slick format, the complexities and the questions it asks, present the repugnance and awe of form. It is evocative of those hideous black and white videos of Nazi Germany mass graves and the hopelessness of cadavers being flung into a muddy pit. The complete uselessness of a body without a soul. “I have a lot of anxiety related to the fragility of the human body. Dealing with the deaths of close family and friends has had a strong impact on the way I view life, and how delicate it is. Violence is deeply disturbing to me, and I think that has a lot to do with why I find the manipulation of the human body to be such a compelling subject. ” He explained.

form m09 – peer pressure from Albert Omoss on Vimeo.

The pairing of both computer programming and biology is not something that you would at first believe to be linked, but after explanation Omoss suggested that there is a “strong connection” here. He put forward the idea that the complexities of software are similar to the biological systems. “Software is built from small functional units that are combined and structured to form complex hierarchical systems, with many interdependent and specialized units, all working as a conglomeration towards some generally common goal. Biology is very similar in that way, but the units of computation are physical, electro-chemical, nano-technological constructs. Coding is like an abstraction of biological complexity and organization. The structural and systematic beauty in one system applies to the other. ” He explained.

Like with all the art, the emotions that are garrisoned from voyeurism, tend to inform our opinion of the piece. Omoss however explains that “the method of creating [his] art is [not] meant to evoke emotions in the audience.” It is less for him the emotional reaction of the audience but rather “the content is where [he] invests the emotional weight of the art.” We as the audience is usually interested in the meaning of the art work, which is something Omoss did not want to prescript in the interview. But he did offer the idea that he knows what it means to him but is more interested in how it “means something different to every person that sees it.” It is the audience’s depiction that encapsulates him. “Hearing those interpretations helps me learn so much about other people, and myself. I think that is one of the most valuable aspects to putting art out into the world,” he concluded.


You know it’s almost thriller night and we were out lurking. We crawled around for the best Instagram posts on this Hallow’s eve and you got us hooked with what we found. These are our Top Ten Instagram posts that made us turn in our graves and our hearts skip a beat. ARTCUBE x Interrupted couldn’t have been more creeped without your participation and thank you for playing trick or treat with us.

1: @gilda_grazia_it

2: @alicialisabrown

3: @lindseyoshields
4: @albe927
5: @blackandwhiteisworththefight
6: @mycrossingofuniverse
7: @meetcreativepeople
8: @artwellguide
9: @the_hassassin
10: @artxdesign

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You Got a Little Something On Your Face

2501Art & Geometry

Every artist experiences the dreadful ‘artist block’, but Lee Griggs seems to have no grasp of such ridiculous notion, in his on-going series Deformations. When we wanted to talk about geometry, we couldn’t have imagined such a literal approach – his subjects look like they have swallowed it whole and forgot to spit out the bones. A cross between a cartoon character taking the shape of whatever it has eaten, or a Nightmare On Elm Street, comes this bewitching and intriguing digitally 3D scanned series.
Grigg’s distorted utopia, where aliens are birthed, makes you scrutinize these freakish beings whilst peering through their disturbingly life-like masks. Each face as gruesome as the next one, we discover that we have somehow dug ourselves into a hole – searching for more as we scroll down in anticipation to squint and squirm in our seats. Hopefully not coming across a Paul McCarthy scene reenacted with these creatures.
Grigg’s 3D scanned faces are downloaded from the production house Ten24 and rendered in a program called Arnold. What makes these creations more unsettling is their resemblance to human-faces, rather than resorting to colour or pigment permutation. The artist admittedly constructs these alien-human visages without even himself knowing the end product, simply experimenting with the original scan. His goal for the project is to create complex images with detailed deformations. The artist is fascinated with ‘blurring’ the lines between the real and surreal, and as a result has us ‘blocked’ in what he will come up with next.
The anthropomorphic faces will fascinate, horrify and make someone point out to you to ‘stop staring’. We sure couldn’t, so we’ll let it pass this time and resist pointing.
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The Curious Case of Frieze London

Be prepared to reconsider whatever you once thought impossible, when hell “Friezes” over. Yesterday, Frieze London opened its doors for an exclusive list of art lovers. We were there, and have to say things are getting a little bit bizarre and rather absurd. Floating skulls, secret doors, an enormous inflatable cat, and an intimate portrait session as you’ve never seen yourself before by Ken Kagami – are all just the tip of the iceberg. When we came across the performance piece Xifópagas Capilares by Tunga, which is essentially the twins from ‘The Shining’ meets Samara from ‘The Ring’, we frankly wanted to run in the opposite direction and never look back.

Here are some of our most ‘WTF’ finds. So, if you are going to Frieze, open up your imagination to experience all the things that are peculiar, intriguing and shocking.

1: Xifópagas Capilares by Tunga

2: Dick Eye by Paul McCarthy

3: Felix The Cat by Mark Leckey

4: Sculpture #1 by Darren Bader

5: Frieze Project Commission by Jeremy Herbert

6: Layered Side-Swept Ombre by Nina Beier

7: Portrait Session by Ken Kagami

8: Still Life in the Doldrums by Anri Sala

9: Wall Painting With Aphids by Carsten Holler

10: The Collector at Rest by Mark Dion

ARTCUBE goes to Dismaland

0401Banksy, the famous yet still unknown street artist, is definitely not celebrated for his meekness. Last weekend ARTCUBE paid a trip to his most recent feat Dismaland, the spoof theme park nestled in the dreary seaside town of Weston-super-Mare, UK. A place where nothing is super, until now.

The exhibition houses more than 50 artists, including big-names like Damien Hirst and those less-familiar such as Jimmy Cauty. Drawing in a wide range of visitors, Dismaland presents a diverse and electric array of artwork that are alluring for all the wrong reasons.
Enter into a creepy atmosphere, where the murky skyline perfectly suits the scene as a dilapidated Disney Castle rises before your eyes. Surrounded by a lake for the sour and dire, Ariel emerges from the water in glitchy-glory. Inside the castle, Cinderalla has sadly not made it to the ball, instead her pumpkin carriage has been in a car crash and the paparazzi flock to the scene to snap shots of the dead princess. Does this sound familiar?
Cinderella’s castle is just the icing on the cake. There is a dodgem of death or death on a dodgem and ‘Free Willy’ is leaping from a toilet basin. All may seem a little absurd, but every piece is charged with a critical stance against… well perhaps everything that is wrong with modern-day society, and everything is worthy of a selfie.
We left with a sense of unease. Dismaland is successful because of its’ fierce political agenda, and yet despite all the darkness, the subversion, the satire, we enjoyed the journey and our overall experience of Banksy’s ‘bemusement park’ was ironically far from dismal.

‘Dismaland’ is open to the public until September 27 from 11am to 11pm.
Visit www.dismaland.co.uk for tickets