Unbelievable new Hyper realistic Sculptures by Ron Mueck

Ron Mueck has been invited to present his new sculpture at the Fondation Cartier pour l’art contemporain from 16 April to 29 September 2013. This is his first major exhibition in Europe since the hugely successful Fondation Cartier exhibition of 2005.
In addition to six important recent sculptures the show includes three produced especially for this event. A new film recording their creation has been made for the occasion by Gautier Deblonde. Revealing the reclusive artist at work further emphasizes the sensitivity and power of Ron Mueck’s sculpture and highlights its particular resonance for our time.

A Ron Mueck exhibition is a rare event.
Based in London, Ron Mueck has had highly acclaimed exhibitions around the world from Japan to Australia, New Zealand and Mexico, but shows of his new work in Europe have not been frequent occurrences. Mueck works slowly in his small North London studio, making time itself an important element in his creative process. His human figures are meticulously detailed, with surprising changes of scale that place them as far from academic realism as they are from pop art or hyperrealism.

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Melting Wax Sculptures by urs fischer

 Urs Fischer (born 1973) is a Swiss contemporary artist living in New York.

Urs Fischer is like a magician who awakens objects to unusual life. His world is populated by peculiar comradeships: a hodge-podge of broken, disintegrating, decaying or flying things, shifted dimensions, much that is morbid, and assorted creatures. And where one expects additional colorful things, an abyss suddenly stands. Once placed in the world, the banal seeming creatures stand their ground with vehemence and tenderness.

Despite appearing to be produced in a simply manner. Urs Fischer’s works are always the result of intricate handwork and extremely technical processes, and result from his extraordinarily precise sense for space and materials.

For the Venice Biennale 2011, Urs Fischer had a wax copy of the 6.5-meter-high Mannerist sculpture “The Rape of the Sabine Women” by the Flemish-Italian sculptor Giambologna produced in the Kunstgiesserei. The figure on the Piazza della Signoria in Florence was digitalized in an extremely precise manner using the newest optical scanner from Goms. The data was then used to mill a 1:1 model made of polyurethane foam, which Urs Fischer then continued to work on in his studio in New York based on the original. In the Kunstgiesserei St.Gallen, a negative was then made and finally filled with colored wax that imitates the pattern of the marble of the original through and through. A wick system was developed for the interior of the wax sculpture, which then made it possible for the work to be lit like a huge candle. While it burned down over several months in the Venice Arsenale during the course of the Biennale, it changed constantly, became gradually smaller, crumbled away, and finally resulted in a sculpture consisting of only fragments and remains. This work also includes the slightly enlarged sculpture “Rudy” – a portrayal of Urs Fischer’s artist friend Rudolf Stingel that is also made of wax – as well as an office chair from Fischer’s studio. Both of them were positioned next to the Giambologna sculpture and also burned down as a candle.

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Lottery Ticket Sculptures by Adam Eckstrom and Lauren

The two artists Adam Eckstrom and Lauren made these  beautiful  craft   with  thousands of lottery tickets.the  artist  use  all old  lottery  tickets   and  create  this  recycle  art  .to make  one  sculpture  they  uses   thousand  of  tickets  the   colour  combination  are  very   strong  to  make these  cars,trucks.boat etc.

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Beautiful Scrap Robot sculptures Made by Javier Arcos Pitarque

Sci-Fi fan Javier Arcos Pitarque has created these robots from old radios, car parts, tin cans and electric shavers.Each robot differs in size and can take up to months to make.

Javier has opened a workshop called Pitarque Robots, where a permanent exhibition of his robots are displayed.Javier with his largest robot

The robot POWER Korda was born from a typical self-help book where to advise you how to get power and how to use it!(…) among its many tips there is a chapter called "how to create an artificial disaster to then fix it", also "how to take advantage of company parties to acquire power within it", seen these "wise" tips thought it best for this book was becoming a robot by the typography of the cover, but I think that any of my bosses read this book and took it seriously.

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Giant public space sculpture by David Mesguich

Brussels, Belgium-based artist David Mesguich used polypropylene sheets or recycled plastic, to create this  giant  face.

The piece was first shown in october 2012, in that version it was all white.he was really out of time with the painting and got no sketch so it was done the "freestyle way" in 4 hours.The piece was shown again in march 2013 in the gardens of the Town Hall.

David Mesguich’s work is neither overdone nor artificial. "It immerses itself in the direct prolonging of a story, a way of life".
He turns his gaze to our world-cities, through which we construct our thoughts, identities, individual existences and even
poetic speech.
It is not that we find ourselves succumbing to the power of denial; the desire to reject the universe in which we are always,
and undeniably a part of. On the contrary, we must seek to get through it as we can, to pass by the rifts, to follow through
the arteries of our existence, to explore its folds.
It’s a question of making live the movement of an eye which uses trickery with the objectives of CCTV, which challenges
the modes of control and which tries to open the perspectives of a singular vision.
This passes through the complete methodological process of the Image, between graffiti, photography, video and ink
drawings-paintings. Here photography plays a matrix role, a huge collection of instants and situations in which we can draw
forms, open spaces, the flare, the transparency of windows and shadows that will feed not only an imaginary framework of
post-modernity, but also a representative construction that lean against the history of paintings and cinema.

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