
This portable DJ mixer looks like an old style cassette tape, and it can be used with iPod’s, iPhone’s and MP3 players.
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Alan Woo wrote a program in Processing, which captures each frame of each movie and essentially creates a ‘pie chart’ of the colours contained within each film producing a simplistic and abstracted representation.
The three in a row are the pie charts for The Virgin Suicides, Lost in Translation & Marie Antoinette by Sofia Coppola.






As part of Christie’s talk series, prolific Japanese artist Takashi Murakami made a guest appearance lecture at the Convention and Exhibition Center in Hong Kong.
Asia’s Contemporary Market: The Superflat Market’s Risks and Possibilities
Takashi Murakami, Artist
Friday 28 November 2008, 5:30pm - 7:00pm
Venue: Grand Hall, Hong Kong Convention and Exhibition Centre
Language: Japanese with English and Putonghua simultaneous interpretation
SYNOPSIS
“Now, we’re seeing cracks develop in the global economic structure. A structure built by rich people for the benefit of rich people.
For many years, art has been thought of mainly as a luxury for these same privileged few. Those who seek to understand the history of museums would do best to look at the Louvre Museum as a guide. In other words, during the French Revolution, the conventional hierarchy of rich and privileged people on the top and less privileged people on the bottom was overturned, and forms of entertainment once thought of only as a luxury for royal consumption became open for all people to enjoy.
I, too, as a Japanese, began my work as an artist with the belief that making works accessible to the general public was an idea at the very core of art itself. But the fact is that my work as well has largely served as a luxury for those who find themselves ahead in our capitalist system, for the rich.
In Japan, it is very difficult for artists to grow and thrive. The reason lies in the country’s post-war tax system. Before WW II, a great number of our wealthy could be relied on as collectors of Japanese art but after the war, the powerful conglomerates were broken up and it became nearly impossible to retain expensive works for more than a generation. Foundations, as well, began to lose their merit and it became harder and harder for them to function. It was under these circumstances that Manga, Anime, Games and the entire Otaku world that surrounds them came to be.
Not a luxury made for the consumption of those who can afford it, but something made for everyone. That’s otaku culture. The Superflat concept that I refer to is simply the setting aside of economic considerations in order to preserve the context provided by that culture.
But now, even Superflat has gradually become a luxury. However, I would remind you of the example that the Louvre provides. Art may travel a long road but it always returns eventually to the hands of the people.
Now I would like to explain a little bit more about Otaku-culture, in the hopes that it will help you understand what the Superflat concept is all about.”
Takashi Murakami





As a part of the Nike x Michael Lau 1World Air Force 1 collaboration effort, Michael created a new vinyl toy dubbed “Crazy Michael” to coincide with the release of his “Air Crazy Force 1? that was released at his Hong Kong gallery.
via: freshnessmag.



The studio's first project will be a feature-length animated film based on "Planting the Seeds," the shorts that premiered at Murakami's mid-career retrospective at MOCA, Rappaport said. It also created the Kanye West video for "Good Morning." The shorts also appeared last spring at the Brooklyn Museum's version of the exhibition and, more recently, at the 2008 CineVegas Film Festival in Las Vegas. The digitally animated works feature Kaikai and Kiki, the company's cartoon-character namesakes, traveling the world in a spaceship and learning to grow watermelons with the help of fertilizer, or "poop" as they gleefully call it."
via latimes.

November 28, 2008 --
THE art market is in a recession, like most other industries, but collectors are still expected in Miami in droves next week for the Art Basel convention - and despite tighter budgets, big parties are planned. On Tuesday, hotelier Andre Balazs and artist Ambra Medda are hosting a soirée at the Raleigh, while Cartier fetes artist Anri Sala at the Miami Beach Botanical Center. A day later, Rolling Stone salutes Takashi Murakami at French-electro lounge Louis at the Gansevoort, while Kelly Klein celebrates her new book, "Horses," at the Raleigh and the Deitch Gallery hosts a concert by the Gossip at Casa Tua. On Friday, Steven Soderbergh and Benicio Del Toro will hawk their epic movie, "Che," at the Raleigh, while Cartier has a dinner for David Lynch at the Botanical Center. Finally, on Dec. 5, Estelle is performing at the Fontainebleau.
via nypost.







By: Andrew Goldstein and Jada Yuan
At last night's blowout opening party for Terence Koh's new show, "Flowers for Baudelaire," questions of taste predominated. Not about whether Koh — who created a scandal in England earlier this year by showing a statue of Jesus with a huge erection — had gone too far, but about whether people had actually tasted the art. The show, which rising 23-year-old dealer Vito Schnabel (son of Julian) curated in the seamless, immaculately white photography studio of the late Richard Avedon's East 75th Street townhouse, featured an ethereal array of 51 white granulated canvases that were hypnotically blurred by the haze of a fog machine. Viewers were encouraged to remove their shoes before entering the space, where Koh, dressed in a black suit and bright white sneakers, was inviting guests to eat little flecks from the paintings. "You can lick them — let me show you, it's very sweet," he said. "I was just trying to make the simplest paintings possible. It's just plain canvases, corn syrup, and powdered sugar."
While one reporter followed his lead, not everyone was so eager to trust the artist, who has been known to use his own bodily fluids and other unpleasant materials in his work. The art dealer Jeffrey Deitch, who deemed the show "magical," wasn't biting. "The question is we don't know if it's powdered sugar or crystal meth," he said. "I travel with an official taster, so I have to wait for my taster to come." Artist Agathe Snow balked too. "I don't taste paintings," she said. "Did it taste like cocaine?" (No, it tasted like sugar.) Schnabel — who had set up the show through his friend Olivier Sarkozy, the half-brother of the French president and the owner of Avedon's finely appointed house — showed his faith in the artist by sampling the work but warned against overindulging. "I just imagine that titanium pigment wouldn't be good to swallow," he said, adding, "There might be some semen in there, I don't know. Who knows."
Upstairs at the party, an art-world crowd featuring Alanna Heiss, Klaus Biesenbach, Kembra Phaler, and Todd Eberle were joined by glossy figures like Anna Wintour and Salman Rushdie, with people spilling out onto a two-story patio. Sarkozy had installed two of Koh's paintings in his living room, and as the night progressed, the jostling of the revelers created a minor snowstorm of powder. Ann Dexter-Jones was wearing a black coat, but the entire back of it was white. "I bought a painting," she said. "I talked to Terence, and I said I needed to have one. And then I accidentally leaned on one and this happened. Now I'm a little worried." Lyor Cohen's black coat was similarly whitened, but only on the sleeves. He said he hadn't gotten near a painting; he'd just run into a lot of powder-covered friends who kept grabbing his arms, saying, "Lyor, how you doing?" Indeed, the paintings were shedding all over Sarkozy's bookshelves, which lined the floor of the room and an entire wall by the bathroom. (The shelves by the bathroom contained dozens of diet books: Digestive Wellness, Marion Nestle's What to Eat, The Omnivore's Dilemna, etc., as well as Connect Four and a DVD titled Scientology: An Overview.) At some point, guests noticed all the powder on the shelves and started making lines, then took turns scampering about the room with a lampshade on their heads. Whatever was in the paintings, they provided fuel for a memorable night, and an excellent show.
via nymag.

"Rather than showing a 3-D rotation of a still moment, this groundbreaking new filming process manipulates moving snapshots of time using Toshiba technology, redefining cinematic human movement". No CGI imagery was used on the commercial.
Make sure to watch The Making of Video!