Art by 42 Below

One of five films created by The Glue Society for vodka brand 42 Below. Concept and direction: The Glue Society. Creatives: Jonathan Kneebone, James Harvey, Matt Devine, Luke Nuto. Production company: @radical.media, Sydney

The Glue Society in Sydney has created a series of artistic happenings in a promotion for New Zealand vodka company 42 Below.

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One of five films created by The Glue Society for vodka brand 42 Below. Concept and direction: The Glue Society. Creatives: Jonathan Kneebone, James Harvey, Matt Devine, Luke Nuto. Production company: @radical.media, Sydney

The Glue Society in Sydney has created a series of artistic happenings in a promotion for New Zealand vodka company 42 Below.

The ads started life as pieces of art that appeared suddenly at various locations in Australia and New Zealand, including a street of cars being wrapped in Christmas paper and a rainbow made from plastic chairs. The installations were, unsurprisingly, the subject of much press coverage (see below), while The Glue Society also made films of them being set up, which are shown here.

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The films have a consciously ‘arty’ feel, and feature a number of shadowy figures, dressed in white boiler suits, setting up the stunts. “We didn’t want the films to feel like ads or music videos,” says Glue Society creative director Jonathan Kneebone. “We wanted them to feel like something new.”


News coverage of car wrap in Sydney

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The final part of the campaign sees the photographed artworks run as traditional print ads, alongside 42 Below’s tagline Because We Can. The campaign follows on from previous artworks that The Glue Society has created for Art Basel Miami and the Sculpture By The Sea exhibition in Sydney, such as God’s Eye View which imagined Biblical scenes as if captured by Google Earth. “Our approach is all about bringing brands’ ‘personal­ities’ to life,” claims creative director Jonathan Kneebone, “but it is rare that we get to use our experience in the art world to create something for a commercial client.”

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Print version of the chair arch

Kneebone envisages that the mysterious artist figures will be a recurring image of the ongoing campaign. “The presence of the ‘artists’ allows us also to use them in live events,” he says. “There are lots of ways this can evolve.”

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