Brooklyn based artists Wade Kavanaugh and Stephen B. Nguyen have been collaborating since 2005. Together they create expansive installations that fill gallery spaces. The installations’ size forces visitors to interact with it. Made from natural materials such as wood and paper, their work carries an organic atmosphere. The installations often resemble trees or entire forests, mangled, twisting and growing. The paper seems to be giving a nod to its origin as an almost ironic choice of material.
These installations of Jason Peters began with garbage. While driving he spotted many of these buckets – the five gallon type often found in hardware stores. Soon Peters had collected hundreds of them. His installations utilize these buckets to form huge winding installations. The stacked buckets snake through large gallery spaces lit from within. In his statement, he says of his work:
“By using large multiples of discarded items in repeating designs that establish unexpected patterns, societal cast offs are made beautiful through the alliteration of form. Once removed from their traditional context, the objects’ interaction with the environment becomes unpredictable and unstable”
The installations of Argentine artist Leandro Erlich are known to be visually playful. His most recent installation definitely follows suit. For Dalston House, Erlich constructed a facade of a three story home which lies horizontally on the ground. A giant and cleverly angled mirror gives the facade, and those on it, the appearance of being vertical. Visitors hang from roofs, sit casually perched on ledges, and effortlessly walk down the wall. Also check out Erlich previously here.
It would probably be prudent to begin by letting you know this whale is not real. Rather, the whale is a highly-detailed site-specific installation and the “scientists are actors organized and created by a Belgian collective known as Captain Boomer. The installation was on the banks of the river Thames and in conjunction with Greenwich + Docklands International Festival – an outdoor festival. The installation (which pops up on various river banks throughout Europe) stir up and disrupt entire communities just as real beached whales do. The collective sets out to educate communities on whale the beaching of whales and the larger issues tying humans to nature. Regarding viewers’ unique reaction to their installation, Captain Boomer describes:
“During our beachings, we see an intensive interaction among the crowd. People address each other, speculate and wonder. They offer help and ask for information. The different layers of perception create funny games. Some audience members know it is a work of art but feed the illusion to other people.”
Artist Tomás Saraceno just opened his newest installation on June 21 at K21 Staendehaus (see his work previously here). He is known for creating sprawling interactive installations. However, In Orbit is his largest and most complex piece to date. Saraceno’s newest work is situated 65 feet over a piazza. It consists of multi-tiered netting which visitors can wander through. The installation is scattered with clear and metallic orbs, some nearly 30 feet in diameter, resembling planets floating in space. [via]
Artist Mark Reigelman‘s new site-specific installation is aptly titled Reading Nest. The structure was created just outside the Cleveland Public Library using thousands of reclaimed wood boards. Reading Nest acts as an alternative setting for learning and growth. In his statement Reigleman says of the installation’s symbolism:
“For centuries objects in nature have been associated with knowledge and wisdom. Trees of enlightenment and scholarly owls have been particularly prominent in this history of mythological objects of knowledge. The Reading Nest is a visual intermediary between forest and fowl. It symbolizes growth, community and knowledge while continuing to embody mythical roots.” [via]
This is a huge disco ball. The hugest, actually. Michel De Broin‘s newest site specific installation One Thousand Speculations was created for Toronoto’s Luminato Festival. The piece consists of disco ball over 25 feet in diameter hoisted 80 feet into the air, spun and spotlit each night of the festival. The ‘thousand’ of the piece’s title likely refers to the ball’s mirrors – a thousand of which reflect on David Pecaut Square below. Each of the individual mirrors reflect a large swath of light that travels over the yards and buildings each evening. The surrounds, perhaps unavoidably, seem to feel just a little more lighthearted.
The work of Yinka Shonibare, MBE is filled with the complexity and ambiguity that make art endlessly exciting. Born in London, Shonibare moved to Nigeria when he was three years old and later returned to London to attend college. In a way, his work reflects this personal dynamic between Europe and Africa. However, Shonibare’s work makes it clear that his scope is much larger than that. He skillfully blends traditional textiles, costume, and symbolism from various European and African cultures and times. Through his distinctive work, Shonibare has a way of exploring issues of colonialism in an increasingly shrinking world without taking away any of its complexity. Thus, his work doesn’t inspire political reactionism, but rather sincere thought and deep consideration.