This is a 1930's Mickey Mouse skit which contains racist and antisemitic "undertones", the first Disney film to contribute and reinforce a child's early formation of race, gender and ethnic stereotypes basically.
This was basically a Photoshop blunder. I originally intended to replace old George Washington entirely with a picture of the unusually cheerful Lizzy the 2nd, however my skills do not extend that far and I ended up with the much preferred ephemeral, slightly demonic, covert layer of the Queen with a devilish smile on her face, slowly but surely becoming more evident the longer you look at it.
The Battenburg cake, its distinctive chequered markings pays homage to the Victorian era when it was invented on the advent of the marriage of Queen Victoria’s granddaughter to Prince Louis of Battenberg in 1884, Griffiths marks this a “a link with the British past which has slowly crumbled” (A clever play on words there)
He has increased the cake to giant proportions, fashioned out of brick, sitting high above the plinth amongst the three other Victorian monuments which grace the square; it brings to light the role of capitalism in today’s view of contemporary art, where our encounters become only consumer experiences and not simply a perception of culture.
Mike Nelson’s disturbing architectural installation did not welcome me immediately with good intention. Initially I felt like I was walking the set of a horror movie, before slowly turning into a habituated space the longer I ventured round, losing myself in this labyrinth of masochistic territory. The unnerving feeling you have on entering, since you have essentially been plunged into this maze of nothing but squalidness: dirty windows, trucker’s props, terrorist calls. You become self-reliant on finding your way to the exit, careful of coming into contact with almost everything, trying to redirect yourself through Nelson's apocalyptic imagination. The confusion eventually settles in, and one becomes accustomed to the eerie resonance of the space.
Jens Haaning and Superflex collaborated for the 6th Gwangji Biennale to produce Korean Flamingo. They organised the transfer of five flamingos from Seoul Grand Park Zoo in South Korea to Odense Zoo in Denmark where the flamingos will live amongst the flock and the Danish Zoo.