Rob Walker’s Consumed takes a look at Poketo

The project that became Poketo began in 2003 with a show at a space called Build, in the Mission District, featuring work by six artists. This time, in addition to paintings, the exhibition included wallets. The physical objects were all the same (stitched-together vinyl and plastic, folding to 4 inches by 4 inches), but each artist printed his or her own design on a set of a dozen wallets, which were priced at $15 each. While it is not unusual for a well-known artist to dabble in consumer goods that are more accessible to a wider audience, the wallets essentially reversed that formulation. These consumer goods served as promotional items that might draw attention to the work of a lesser-known artist. “We wanted to expose our friends to the wider world,” Myung says. Wallets were a particularly good medium, in that they are carried around, not hung on a wall at home.

We bought two of these gorgeous wallets at WonderCon a couple of years ago. I got a lot of great comments for my interesting wallet, featuring a sci-fi cartoon scene with aliens and interplanetary landscapes.

Not my wallet, but similar, by the same artist, Martin Ignatius Cendreda.

But it was a piece of crap. It was horribly designed, with insufficient holders for cards and an extraneous change purse (change purse? In a wallet?). And it didn’t last at all. I repaired it myself with clear packing tape many times. I was thrilled to have an ordinary item that was made special by its visual and artistic appeal, but why trade off basic functionality? Eventually, I gave up. I bought a recycled rubber wallet that is more subtle in its beauty (and its story), and I won’t go back to something that doesn’t work for me. I’d like to have seen Walker (or anyone else that reviews the work of these darlings) acknowledge that the product isn’t usable and doesn’t last.

At the interactive cities summit

, I noticed a frequent reference to people working on projects. Many of the people who gave presentations or shared their examples seemed to be involved in projects, and in many cases, projects of their own choosing. They had an idea for something that would further the dialogue of technology and urbanism, and they built it, and set it up. This idea of project seemed to come from the world of art more than the world of work.

Projects were not something that were awarded or assigned, they were chosen.

This was a refreshing perspective for me. Of course, my time is spent on “projects” all the time (i.e., move my blog to a new host, put my India pictures up on flickr, etc.) but those are ancillary projects. My thing is my business, my gigs. Others, I’m sure, think about their job and their company. At some point, we think about our career. But do some of us ever think about these projects? Do we want to? Is it a choice, or a tendency?

It really challenged my whole notion of work and took me out of my comfort zone.

A recent comment by Candy Minx introduces me to another word I don’t know: flaneur. Wikipedia sez it’s “a detached pedestrian observer of a metropolis, a ‘gentleman stroller of city streets’.” Reminds me a lot of reading blogs, with the ironic distance we keep; tracking memes, gossip, interesting stories, across a densely linked architecture of information, a metropolis of a new sort, perhaps.

The history of the term, perhaps, and I’m way out my depth here (hoping that by attempting to explain it naively I might somehow learn a little bit), connects to a time when pop culture was gaining relevance in contrast to “art” – something that was kept hidden away in galleries or museums or opera houses. The culture of the street being recognized as its own thing, and the emergence of a connoisseur for that culture. I’m sure you can draw a wobbly line from the flaneur to the trendspotter, although the motivations seem vastly different.

click image to enlarge

This is bizarre. As if food isn’t expensive enough, Kellogg’s is encouraging kids to do (dumb-ass) crafts projects with Froot Loops. On the back of a box are detailed instructions for Rainbow Layer Art (crush a bunch of Froot Loops and layer each color in a jar) and Tambourine Shaker (put Froot Loops between paper plates).

As my mother would say “Ants will come!” You’re going to put highly-sugared cereal into toys that will sit in bedrooms and livingrooms and playrooms? One is made of crumbs (guaranteed to leak) and the other involves percussing individual Loops obviously creating more crumbs (which will also leak). You’ll have Froot crap all over your house and an immediate infestation of ants, not to mention sticky galore.

The idea is so head-shakingly inappropriate. Why are they suggesting that their cereal (nutrition, sustenance, expensive) is in itself a plaything? Doesn’t that just send every wrong signal to a kid? People are starving in Biafra and you are wasting your breakfast cereal as decoration? It reveals how non-food companies like Kellogg’s really think their product is. It’s just a substance to be manufactured and distributed. It’s not an edible commodity, it’s just some coloring that can be chewed, put in a jar and displayed, or hey, made into a musical instrument. Floor wax or desert topping, anyone?

I mean, really.

I have put up a photoset on Flickr of the Balmy Alley murals in San Francisco’s Mission District.

Brinco (“jump” in Spanish) is a uniquely designed sneaker, inspired by information and materials that are relevant to, and could provide assistance to, those illegally crossing the border. Artist/designer Judi Werthein has made 1,000 pairs in China, for $17 each, and has been giving them away at migrant shelters and more. The shoes were introduced in August at inSite. Werthein spent two years doing design research, interviewing shoe designers, migrants, aid workers, even an immigrant smuggler. AP story about the project here.

Chickens Suit is a conceptual art piece cum product that is as confusing as it is provocative

In the future, The ChickensSuit will outfit the old, familiar house chicken, and future clothes will naturally be offered in different sizes and available in the color combinations red-white, in each case the piece being inspired by the flags of the two countries, Japan and Austria, including one warm corduroy outfit, as well as two disguise versions: in camouflage or as hair fur.

Also see previous entry about tattoos on pigs.

As CNN reports

, a Belgian artist in China is giving pigs tattoos of mermaids, roses, cherubs, and the Louis Vuitton logo.

The pigs get sedatives before they go under the needle and are carefully raised until their natural deaths. The artist has been inspired by China’s rampant piracy of everything from DVDs to Paris’s latest fashions (i.e., the LV logo).

Video cameras will allow collectors (who may purchase the post-mortem pigskin art) or anyone else to watch the tattooed pigs cavort and sleep live on the Internet, a program dubbed “Pig Brother”.

Functionalfate is a blog tied to a research project/museum exhibition about the ubiquitous white plastic chair. Discussion and other good links on MeFi; Seen in ThingsMagazine. Yet another example of “Yes, but is it art?”

Two films to consider:
2046 is a fascinatingly visual film (nice collage of stills here.) with an unconventional narrative flow that is unique and yet almost soothingly familiar. Topic? Uhh, storytelling, memory, love, relationships.

Me You and Everyone We Know deals with (among many other things) the beauty (or the art) in the ordinary and the everyday – finding what is beautiful and fascinating in what is ordinary, and taking simple steps to make the ordinary beautiful and fascinating.

Both are complex and rich films which I am not trying to review or summarize here. Merely recommend. Reviews of 2046 and Reviews of MYaEWK