Monday, March 27, 2006
Sunday, March 26, 2006
Friday, March 24, 2006
Thursday, March 23, 2006
There are some extracts of the interview worth mentioning:
DL: This thing started as a series of animated shorts for the Internet studio Shockwave. I learned Flash animation doing Dumbland. I had done some stop-motion animation and I understood cel animation, but I didn't know anything about the program Flash. I'd recently gotten going on a computer, so it was pretty strange. When you see Dumbland, you can see how I learned as I went along, and there's a real progression in sophistication from the first to the last episodes. I love Flash animation. ....
Tuesday, March 21, 2006
Sunday, March 19, 2006
I read your article on the Greek Newspaper "TA NEA". On your "Capote" review two weeks ago you characterized Truman Capote as a "ruthless vain vampire" that he only cared to be famous and make money. And you concluded your phrase: " not only homosexual in body, but also homosexual at heart". In other words Mr Danikas, you used this old greek stereotype phrase to present gays as mean and ruthless persons. I won't comment on your review but allow me to add some new keywords when your name is searched on google : Dimitris Danikas, homophobic, racist, pseudo-intellectual, pretentious, hate crime, gay, Dol lambrakis, greece, ta nea, pasok, films, gay greek community, brokeback mountain, Capote, In cold Blood.
god save all the Queens, god save Gooogle.
Friday, March 17, 2006
(photo: Logo against Copyright and Intellectual Property made by Rafael Rozendaal)
Thursday, March 16, 2006
Tuesday, March 14, 2006
Sunday, March 12, 2006
Friday, March 10, 2006
Thursday, March 09, 2006
Wednesday, March 08, 2006
Monday, March 06, 2006
Sunday, March 05, 2006
Friday, March 03, 2006
Well I don’t care for virtual architect as much as I don’t care about Hospital Architect or any type of specialisation category. I’m interested in everything, and I actually prefer to work on very diverse projects at the same time. I think the virtual tag also came because a couple of years ago everything that had to do with computers and the internet and any communication technology was considered NEW! and VIRTUAL! and I just happened to be designing online spaces for online clients and most of this work was focused on blurring distinctinons between real, virtual, actual, perceived and imagined, and all of it was just different descriptions for potential buildings. Almost everybody has smiled at a cell phone or an instant messenger window so there is not need to separate the space of a text conversation from the space of a coffee shop chat because my reality is always virtual to you. I am still very inspired by the internet, as I am inspired by forests, and beaches and summer skies and strange buildings in weird edge condition, or websites that are art pieces and all the time I try to mix these things up, the experience of being lost in forest vs getting lost in a chatroom.
A lot of your work seems to refer to nature, like Blue Wave,
I’m really interested in complete environments and in brand identity, and natural places such as forests and beaches have great brand recognition qualities. So when I’m designing a space I tend to see it more a world that could be extended infinitely, so at the same time I’m interested in reinventing the qualities of a beach in a building but also designing a beach or a forest from scratch. So in Neen world, which was a place for neenstars to meet and chat, a lot of the homes became structures based on idealized natural environments. The entrance was a forest of nametrees, trees with a neenstars name carved on them like you find in the woods, and when you clicked them you got teleported to that particular house. So in a way its very natural but very artificial, and somehow about a lifestyle structured by chance. Because Neen world was very much a sketchbook where I tested different ideas in real time with a real public, right now I’m developing these sketches further like in the Cloud House which comes from both nature and the web. It started because I liked the shape of the clouds in Rafael Rozendaal’s whywashesad.com and I had already done a house for Rafael based on this shape, a simple container with clouds cut out to make windows. The as it evolved I turned the whole container into a cloud shape and somehow it evolved to this corbusian idea of the house on pilotis because clouds like to be off the ground and also I’ve worked a lot on these half finished abandoned buildings you find in the mediterranean, so the cloud house has evolved in this gypsy un-finished ruin, a concrete structure that may or may not be habitable, or maybe it is a place for camping, and maybe retrocatively inspired by Constants’ “Model for a Gypsy Camp” which I hadnt seen but I’d site it as a major accidental influence. In these speculative projects I like to make different versions of buildings because I like to keep the direction that they could evolve open ended.
How would you describe yourself: architect, artist, designer?
Well I always hesitate just in case I change my mind later on! I think I could fit even more professions into the question and still feel that I’m limiting myself. But seriously, everything I do is in some way a description of a structure, a building or a space, though sometimes that building takes the form of a print or a DVD in a gallery, or it is represented by a piece of furniture. So I’m just an architect.
You seem to be designing new things non-stop but you are not building so much. Is this the classic case of the young architect who waits to build the first building?
Yes and no. A lot of the things that I’ve designed seem like proposals for projects when in fact the project is complete, like Chelsea and Neen World which were online communities, built and inhabited for quite a while. Other projects like the Pause space inside fargfabriken in
Wednesday, March 01, 2006
1. How did you come about working with CELINE? What do you think appealed to CELINE about you? And, why did you accept to work with CELINE?
I was a friend of Jean Mark Loubier the president. We met because he came to see one of my performances in Paris . He understands artistic mood. I wanted Mai bag to be everywhere so It was good to collaborate with CELINE which is established internationally. Also I like CELINE's elegant and flexible identity.
2. For this project, did CELINE really not in any way oppose to or limit any of your suggestions or ideas?
A tag I wanted to have, was the Mai Bag for CELINE logo embossed inside, but they thought it will show opposit from out side that will be against idea of luxury. Also some content in Newspaper "Mai Ueda Times", we had to discuss a lot about having some things that I consider as my art which they considered as too sexual.
3. Do you think that the Mai Bag will appeal to the existing CELINE bag customers?
CELINE customers seem to like the bronze, other people love gold or silver.
4. What fashion style do you usually prefer?
I like mix of different style and make my own. I enjoy accidents.
5. Fashion and technology seem to be strongly present in your work. Why is fashion so important to you? What do you think is the borderline between fashion and art?
Art is about originality and changing existing value to next level.Fashion is about beauty and practicality. I care for both.
6. Who decided the concept of the photos featured in the Mai Ueda Times? The photos are very different from the past advertising visuals of CELINE. Did CELINE express any concern regarding your photos?
Photos are my private photos, I did them with my friend on our trip. So, they are not planned and went thorough many people's decision as usual fashion photos by a professional photographer.
7. I read you saying in an interview, "I don't try to be an artist, but I would like to be an icon." How do you want yourself to be recognized, remembered, adored? How do you want to influence the general public?
I think when somebody is remarkable, things that people see becomes THEM. For example, Los Angeles is so David Lynch, that dress you bought at flea market is very Yves Saint Lauren, your attitude at the party last night was totally Paris Hilton etc... Whatever I create or I do should be very me and my goal is that people will start recognizing things as Mai someday.
8.Your performances are very sexual. In Korea, female artists who actively express sexuality meet with strong opposition of the existing art world. If your performances are introduced in Korea, they would be sensational and regarded as very original and daring. What are your thoughts on such conservatism?
I did already performed at Seoul biennale. It was not too sexual one, but people liked it. Although there were not much press. After the show, we went to "booking club". I was surprised to see such direct way of meeting people and having fun. I haven't seen something like that anywhere else in the world so far. So I am not sure if Korea is conservative, maybe it is just different.
9. Do you enjoy being considered sexual? What are your thoughts on the relationship between female artists and sexuality?
Having sexuality is like having nationality. Female artist often end up using sexuality as their subject, that's because womaness is in their personality.
10. Your work covers diverse genres from music, film, technology, fashion to drawing, etc. Amidst the different genres, what is the principle that you as an artist try to keep consistent?
I try to be cautious of content and timing and bring Mainess in it.
Thank you too!
Mai Ueda 2/ 22 /2006