Nowhere Near Here is a great stop motion film by Pahnl (I don’t know how you would pronounce that). It features this stenciled dog wandering the streets of Oxford, doing what dogs do when they wander streets. I would imagine this is exactly what my dogs did when the escaped. Makes you wonder about that old saying of “they work me like a dog.” Seems to me a dog’s life is pretty badass. Oh, and make sure to watch this full screen.
I stumbled upon this while waiting outside for some friends of mine who were grabbing what they said was the best tiramisu semifreddo they have ever had. If you happen to be in Florence make sure to have someone direct you to Gelateria dei Neri. They’re open late (’til midnight) for the post-dinner/pre-drink sweet tooth. Anyway, I digress. While waiting outside I was surprised to see this stencil. My camera had died earlier that night, but luckily having it shut off for a while must have saved enough reserve juice to snap a couple of photos. Now we had frequented this gelateria almost three nights in a row and I don’t remember seeing this previously, so its quite likely that this one was just placed the night before. Unfortunately I didn’t see any other of HOGRE’s work elsewhere during our weeklong stint in Florence.
Make sure to check out HOGRE’s Flickr for more.
Photos © art.is.analogue
Stencil art by HOGRE
Location: Firenze, Italia
While waiting for a friend to send a very important package via the Italian Post I noticed this little Space Invader out on the street. It was a nice surprise to catch that, especially having strolled through there a couple of times the previous two days we were in Rome. Sadly I didn’t see any more the rest of the trip, but stay tuned for more images from our two week tour of Italy.
Photos © art.is.analogue
Location: Via della Lungaretta, Trastevere, Rome
I am really surprised that with an 8 hr idiotic layover last year at the Madrid-Barajas airport I don’t have more pictures of this beautiful terminal. Terminal 4, which is where I spent the brunt of my 8 hours, was designed by Antonio Lamela and Richard Rogers (Madrid-Barajas Wiki). They won the 2006 Stirling Prize for this design, and I can tell you they definitely deserved it. Were it not for the curvaceous ceiling clad end to end in wood and the brightly painted steel supports that change in hue from yellow at one end of the terminal to violet at the other, I think I would have gone insane.
The Y-support beams are just really mesmerizing to look at.
I thought the design of the air conditioning vents were interesting too. They ran the whole length of the terminal against the glass panes that make up the facade of the whole terminal. That is another reason I really liked this terminal. There was so much natural light, that it didn’t feel like you were in a busy international airport.
What was also pretty cool was all the activity going on around outside the terminal. It was fun to watch an airport crewman pop out occasionally from some out-of-view door, hop in to one of these little carts, and zip off to do some no doubt crucial task. These little carts remind me of a flock of sheep, just hanging out in a pen. I wonder if they talk to each other while they wait for someone to whip them up for work?
Photos: © art.is.analogue
I’d rather not say too much about these photos. Philip Sayer is a genius as he captures the ominously glorious nature of Stalin’s skyscrapers. Here is an excerpt from the article by Rachael Crabtree of Domus:
His black and white photos capture the brooding architectural dominance of these colossal structures, including the 27 storey Foreign Ministry, 24 storey Transport Ministry and the 240m tall Lomonsov Sate University, which encircle the city of Moscow. These striking architectural representations of social realism, although fuelled by optimism for the future, can be seen as huge exercises in Stalinist propaganda. He captures the complex history of these immense, commanding, and highly symbolic constructions – as awe inspiring feats of engineering, as anti-monuments to a failed optimism, and as sinister markers of a dominant regime.
You can catch the exhibit in London at Marsden Woo Gallery, you know if you are lucky enough to be somewhere in that neighborhood.
Photos: ©Philip Sayer