The site specific installations of Magnus Sönning investigate space and the structures that inhabit it. In a way, his Wind Passages bring the outside indoors. The small raised corridors allow the wind (and at times rain) to flow right through a building. His work emphasizes the space that we live in. It encourages us to think about the world prior to the existence of the the structures of everyday life. Other works of Sönning take pieces of buildings – ceilings, floors, walls – out of context and puts them on display. These pieces create further opportunities to investigate structures we simply pass through each day.
Jonathan Schipper‘s work is slowly self destructing. Very slowly self destructing. In this first series of photos, To Dust, two classical sculptures hang upside down from one mechanism. The mechanism slowly grinds the sculptures together. A pile of fine dust gathers beneath the sculptures as they wear each other away. Over the course of several years the sculptures are expected to eventually destroy each other.
Slow self destruction unfolds in another series pictured in this post, Slow Inevitable Death of American Muscle Slow Motion Car Crash. A head on collision is almost painfully stretched out over six days. Two cars set on a track slowly advance toward each other simulating an ultra-slow car wreck. Schipper transforms destruction that was once dangerous into a harmless act – a perverse spectacle into a near boring and slow non-drama.
It’s difficult to discern whether Lisa Kellner‘s silk installations are natural or intrusive, peaceful or menacing. Her delicate fabric structures resemble jellyfish or coral as much as something cancerous or viral. Kellner’s work intentionally inhabits this duality. Each installation is made out of silk – a medium that is at once organic but also extremely strong. Her sculptures illustrate the curious path of growth organic matter can take. Lisa Kellner says of her artwork:
“The quickest path from point a to point b is a straight line. But nature is filled with curves and crevices. And human nature always seems to prefer a more circuitous path. Whatever means are chosen, the journey one takes presents a perfect painting problem: what is the essence of a moment that took everything to get there?.”
These melting disco balls are the work of German collective Rotganzen. The installation, titled Quelle Fête, features scattered disco balls in various stages of melting. No longer operable or spinning, they lie lazily on the floor. Regarding the concept, Rotganzen says:
“Our conscious choice of the material and form contains a contrast to the message. It’s a reminder of the momentousness of glamour and swiftly passing glory. What once may have been a perfect shape takes on a new character and meaning. However, rather than a cynical take on reality, our intention is to offer a playful approach to observing our object of depiction.” [via]
The work of artist Pard Morrison seems to reference both the analog and the digital at once. His hard edged fields of color are reminiscent of image pixels or two dimensional mock ups of some sort. Morrison often contrasts these blocks of color with a natural landscape barely touched by technology. His work addresses how experience is increasingly mediated by technology – how a three-dimensional landscape is increasingly lived in two dimensions. While these pixels and blocks build many images we experience everyday, they also can hide and obfuscate them. [via]
Carlos Cruz Diez‘ choice medium in his installation Chromosaturation is simply color. While we’re accustomed to seeing many different colors constantly and simultaneously, Diez uses only three colors presented one at a time as a departure point: red, green, and blue. Diez saturates a room with one of these single primary colors of light. The color floods from room to room, interacting with other colors, creating entirely new hues. The light immerses the gallery space so thoroughly that the color almost takes on a physical aspect. In his statement, Diez says:
“The Chromosaturation can act as a trigger, activating in the viewer the notion of color as a material or physical situation, going into space without the aid of any form or even without any support, regardless of cultural beliefs.”
The architecture and Art team Snarkitecture have been in the art news lately for their installation at the entrance of the Design Miami Pavilion 2012. Dig is an earlier installation from the team featured here. Often mixing elements of architecture design, art, and performance, Dig was at once an installation and a performance.
The team filled the Storefront for Art and Architecture with solid architectural foam. The artists then excavated a network of tunnels through the foam and inhabited them for the following month. The performance was an artful investigation of contemporary architecture based on excavating rather than building, as well as building for necessity.
Artist David Meyer‘s installations could blow away at any moment. He forms these installations of letters and figures from sifted flour. Concentric circles of words spelled in capital script letters surround a gallery pillar. The seeming permanence of the letters disappears as a viewer crouches – each letter clearly becomes only a small pile of flour. In a way, Meyer uses the installation to illustrate the nebulous nature of language and images. While words may at times seem heavy and express real ideas, they begin as hazy thoughts like mounds of flour waiting for a breeze. Much of David Meyer’s work explores similar ideas. His installations conjure thoughts of permanence, memory, and information.