Since my earlier post, Mysterabbit followed me to the +265 and the +260 -- Malawi and Zambia, to be exact. Here are some choice photographs of Mysterabbit taking in the new vistas and meeting new friends from the animal kingdom.
South Luangwa National Park is a game-reserve-turned national park in eastern Zambia. It was the dry season when Mysterabbit visited the area, so there were many wild animals out in search of water. Apparently, the park is relatively well protected from poaching, also, which meant that Mysterabbit was able to see many animals in the wild.
Mysterabbit also visited Senga Bay, Malawi, near the southern tip of Lake Malawi, the ninth largest lake in the world. Sitting on its beach, the body of water appears as wide and expansive as an ocean. Villages near the lake sell wooden handicrafts often resembling figurative animals.
Late in the summer, people started finding out about Mysterabbits -- a public art project where teeny tiny meditating bunnies started popping up throughout New York City (and apparently, through the world). Started by designer, Ji Lee, and friends, according to their website, the project attempts to provide brief moments for people to wonder about "a small piece of the beautiful world that surrounds them." It's a public art piece, participatory project, scavenger hunt, and Instagram feed rolled into one.
According to the Huffington Post article about Mysterabbits, some of them were in the +718 (around the Bedford Avenue stop off the L train, to be exact). Try as hard as I looked, I couldn't find any, although it definitely made me look more closely at my daily surroundings during my commute.
I contacted the brains behind Mysterabbits through their Facebook page, and they kindly sent me a couple of my own Mysterabbits to take with me (and to leave) during my travels.
So, here is my first installment of Mysterabbits and their travels. Participating in the project has allowed me to stop and take in my environs (and work on that elusive perfect iPhone shot). More installments to come!
Tomokazu "Matzu" Matsuyama's exhibition at the Reischauer Institute at Harvard University is titled "Palimpsest." Referring to a piece of papyrus on which the original writing has been erased to create space for new writing, the word references the visible traces of the past. Newer elements trace older elements, shifting ever so slightly in reaction to current conditions.
On the occasion of the publication of Matzu's monograph, A Thousand Regards, I had the opportunity to write about Matzu's artistic practice, deconstructing his goals to act as a cultural filter to his intended audiences. The essay can be read here.
Matzu's works were exhibited in various parts of the building, and while the space is clearly not a museum, its white walls and spacious interior, together with the light streaming in from the enclosed courtyard, made for a serene and appropriate environment for Matzu's art. Now familiar Matzu motifs, including kirin, abstract all-over birds, and samurai on horseback, shared wall space with slightly older work from 2008 and 2009, as well as a highly graphic and stylized interpretation of the Japanese pre-modern theme of a dragon in the clouds (Permanent Traveler, seen in the above installation view on the far wall), reminiscent of Soga Shohaku's Dragon and Clouds.
A small work of acrylic and mixed media on canvas, entitled Sex Buddies (2013), caught my eye. Matzu informed me that he took shunga (erotic prints) as his inspiration; particularly X-rated portions of shunga pieces were often covered over, only to draw more attention to those very areas. In Matzu's work, orange squares floated atop the white spectral outlines of figures playfully engaging with each other.