Galleries come in all sizes, even in a really, really tiny scale. Swedish graphic designer and illustrator Henrik Franklin has created an installation that’s something you’d be more likely to see in a dollhouse than anywhere else. But, instead of a bedroom, it’s located at the Odenplan underground station at Gallery 1:10 in Stockholm, Sweden. The group exhibition is titled If You Tolerate This – an exhibition about resistance. Franklin’s piece features a library of colorful books, all small enough that you can hold between two fingers.
In a show centered around worries of the future and the holding on to hope, Franklin’s tiny books represent how important literature is in our development. It teaches us the lessons of the past so we won’t be doomed to repeat them; prose also encourages and inspires us to dream and to think differently.
If You Tolerate This – an exhibition about resistance is on view until December 6.
Tom Fruin made his solo debut at Mike Weiss Gallery with quilts made of drug baggies. 11 years later, his sculptures maintain reference to that mosaic, but have taken on a different form as colourful plexiglass architecture. The baggies for his earlier artworks were found on the street and sewn into a pastiche. It actually seems like quite a natural progression for Fruin to go from baggies to plexiglass that imitates stained glass. The baggies already had the feeling of stained glass windows, and the choice to use plexiglass instead of glass allows the work to maintain that plastic durability or roughness that regular glass would not.
Fruin’s most recent sculpture is installed in Brooklyn Bridge Park. The structure has lights installed on the inside, so that at night it is lit up. Whether lit from the sun during the day or at night by the artificial lighting, the colourful shadows cast by the installation are totally enjoyable. It’s interesting that stained glass and drug baggies should come together so coherently in Fruin’s work. From his rather turbulent beginning as a divisive artist, Fruin is cooling it down with this work. Still, as stained glass belongs to a religious symbolism, the invocation of the baggie configuration remains a mildly daring one.
Famed Los Angeles artist Paul McCarthy was attacked in Paris on Thursday while finishing the installation of his nearly 80-foot tall sculpture, called Tree, outside the Place Vendôme. Paul McCarthy, who contributed this piece to the FIAC’s “Hors Les Murs” program, was punched in the face multiple times by an unknown assailant who was enraged by the nature of the sculpture. Tree, although ambiguously shaped and rather indistinct, happens to distinctly look like either a Brancusi sculpture or, less poetically, like a butt plug.
The angry assailant, or shall we say “pain in the ass,” was also enraged that McCarthy is indeed NOT French, and yet is showing work at this prestigious venue. Luckily, McCarthy was not seriously injured, despite being shaken and disturbed by the incident. McCarthy explained that the sculpture “started as a joke.” He primarily noted that butt plugs and Brancusi sculptures shared a similar silhouette, which eventually led to the realization that a green object of this shape also resembles a Christmas tree. Thus, Tree was erected.
“But it is an abstract work. People may be offended if they want to refer to [it as a] plug, but, for me, it is more of an abstraction.”
FIAC director Jennifer Flay noted that despite the understood controversial aspect of the sculpture, the inherent ambiguity in it precludes it from being offensive or unsuitable for public view. It was fully approved before installation by all local bodies. (Excerpt from Source)
To see more naughty work by Paul McCarthy go here.
Boston-based artist Jenine Shereos who we’ve featured in the past for her amazing series of leaves made from human hair. her amazing series of leaf forms made from human hair. Her more recent work revisits the idea of human-manipulated nature with “De/constructed Lace,” a site-specific installation series of knit-lace that mimics spiderwebs.
In Marnay-Sur-Seine, France she draped the knit threads in windows and doorways, looking like massive, delicate spiderwebs, echoing the white lace curtains in many local homes. The works are not perfect, Charlotte’s Web creations, but looser, more organic forms. Shereos says on her website:
“This installation of knit-lace is suspended in a state of unraveling. The process of its making and unmaking are one and the same.”
In Boston, she worked with black thread and crystals, allowing her web-like art to cast filigreed shadows on the wall amid flickering rainbows from the hanging crystal. The webs are more ominous in black, connecting to walls and windows and floor with fine strands.
“Some of these site-specific works are installed for a period of weeks for viewers to interact with, and others function as a sort of ephemeral, private performance existing afterwards in documentation. Oftentimes, collaborations intended or unintended arise within the environment; a spider spins its delicate webs from the white strands of thread suspended in an unraveling knit curtain, fibrous fragments of seaweed become embedded within a structure of knit fibers, or an array of rainbows flicker amidst white walls and black curtains.”
By co-opting the aesthetics of the natural world, Shereos creates a conscious interaction with the structure of the landscape or the architecture surrounding her art, uniting real and surreal, natural and constructed, fluidity and stillness.
Ryoji Ikeda’s Test Pattern project, which was first shown in 2008, converts any data – from text to photo to sound to film – into barcode visualization and binary patterns of 0s and 1s. The visuals are set to a soundtrack, creating an overwhelmingly impactful experience with stunning black and white video. Throughout October, Ikeda’s project will be on display on five screens in Times Square from 11:57 to midnight each night until the 31st.
There have been many iterations of the Test Pattern project. This is the U.S. premier. Ikeda works primarily in Kyoto, Japan and Paris, France and is internationally renowned. His artwork is highly mathematical, and divided equally between sound and imagery. For all of the complex programming and equations that go into Ikeda’s work, the final product of Test Pattern is refreshingly simple in presentation, though monumental in scale.
In contrast to Test Pattern, Ikeda’s most recent work, Supersymmetry examines particle physics, a far loftier subject to tackle. Although it is beyond my own comprehension I’m going to have a go at it anyway. Apparently supersymmetry is an extension of The Standard Model, and helps to converge two types of elementary particle models, to explain how particles have mass. These two models have explained basic elements of our physical universe, but cannot explain everything, which is where supersymmetry helps to fill in the gaps. Ikeda’s installation is an experience that allows the viewer to witness his artistic vision of this phenomenon (I think…) (Via Papermag)
French artist Marc Giai-Miniet packs hidden tales into small, elaborate dioramas, a craft he has been pursuing since the 90s. This month his work is on display in New York’s Jonathan LeVine Gallery in a show titled “Theatre of Memory.” His work explores remains; of libraries, laboratories, waiting rooms, dungeons, prisons, hospitals, interrogation rooms, all places with signs of evident use, but all completely absent of people.
“Every room in Giai-Miniet’s boxes are dismally packed with hoards of books and machinery. Influenced by childhood visits to the garage his father worked in as a mechanic, the utilitarian organization of objects has long been a theme of interest to the artist. This aesthetic was also greatly impacted by his exposure to images of the Holocaust at a young age, specifically how the Nazi regime systematically seized and cataloged the personal belongings of concentration camp victims.
Giai-Miniet views his boxes as a metaphor for the human condition, which is comprised of biological functions, as well as a desire to achieve intellectual and spiritual enlightenment. This duality is represented by the presence of machinery in the works, symbolizing the physical side of human nature, while literature suggests the logical side. The artist states, ‘From the whiteness of books to the darkness of sewers, there is a never-ending to and fro between the two main poles of humanity: bestiality and transcendence, human fragility and inaccessible divinity.’”(Excerpt from Source)
Walking past the Storefront for Art and Architecture in New York City, you might catch a glimpse of a bright pink, floor-to-ceiling, perforated, amoeba-like shape. Don’t be alarmed. “Situation Room”, a collaborative project, is a self-supported interactive structure by architect Marc Fornes / TheVeryMany paired with Oslo-based artist Jana Winderen’s engineered sounds. Visitors are invited to move within the installation, triggering the responsive sound. The passageways, apertures and tunnels are composed of 2000 parts designed by Fornes and fabricated by bengal.fierro. Patterns punched in the structure create patterns of shadow and light in the darkened room. Access to additional storefront projects is available through provided tablets.
“Reflecting on the contemporary conditions emerging between the digital and the physical realms, the collaboration of Winderen and Fornes collapses sound, light and form in an object with intrinsic sensorial behaviors, inviting visitors to question the properties of matter and the built environment surrounding us.”(Source)
This site-specific work is immersive, enveloping visitors in a multi-sensory experience that enhances the tie between physical space and sound. The idea that human presence affects built environments is made clear by the integration of responsive audio. Winderen’s website explains, “She is concerned with finding and revealing sounds from hidden sources, both inaudible for the human senses and sounds from places and creatures difficult to access.”
“The installation is a vibrating sound experiment that aims to transform the architecture into animated sensible form. Conceived as a sound object that absorbs and contrasts the site specificity of the Storefront Gallery with abstract, spatial, formal and acoustic variations and compositions, Situation NY raises questions about context, sensorial readings, estrangement and the uncanny tangentially resonating with contemporary debates around the ontology of objects.” (Source)
The “Situation Room” was created with the support of Robert Rauschenberg Foundation and is on display through November 1, 2014.Photos by Miguel de Guzmán. (via Hi-Fructose)
Damien Hirst is often known for his menagerie of carefully curated animals. You may have seen his cow, somewhat deconstructed, or his 14-foot tiger shark preserved in a tank of formaldehyde. In his new exhibit, “Schizophrenogenesis,” Hirst turns to a different kind of preservative: the kind that humans use to maintain a delicate mental balance or for the good of our health — or so we have been told.
“Schizophrenogenesis” is a tongue-in-cheek homage (or opposite thereof) to the sleek contemporary design of pharmacology. These IKEA-worthy pills are shown in neon prints or as sculptures, much larger than life. “Pills are a brilliant little form, better than any minimalist art,” Hirst says. “They’re all designed to make you buy them… they come out of flowers, plants, things from the ground, and they make you feel good, you know, to just have a pill, to feel beauty.”
Though out of the ground indeed did they come, the modern-day herbs and remedies Hirst depicts are anything but natural. Viewers are asked to contemplate their artificial curves and edges and the distant bold-faced type of a prescription (“Take SIX capsules FOUR TIMES DAILY,” one says urgently). One bubblegum pink capsule declares, “PFIZER.”