The work of Italian artist Alberto Tadiello peeks into the vagaries of technology, nature, and their relationships. For example, the first five photos of this post depict the installation EPROM (an acronym for Erasable Programmable Read Only Memory). The installation mounted on the wall consists of music boxes connected to small electric motors, which are in turn connected to transformers. While the tinny notes of the music boxes may conjure memories of childhood at first, the motors and music boxes are soon spinning faster than the mechanisms can withstand. Eventually the motors wear out reducing the ‘music’ to a hardly noticeable noise. Of this event, the gallery statement says:
“Once the pawls wear out the noise slowly becomes less noticeable and even indistinguishable. The high-speed movement is associated with a sort of cathartic event, which relieves the music box interface from bearing nostalgic feelings.” [via]
The work of Alejandro Almanza Pereda is colored with a dark sort of humor. While his installations are typically built of ordinary objects and materials, they are arranged with a near morbid wit. In a way, Pereda’s work gives boringly safe everyday situations a sense of impending danger. For example the last piece featured in this post is composed of what appears to be a section of the side of the ubiquitous high-rise building. They’re the heavy price tagged windows of a luxury loft sans room or even people to enjoy the view. The piece is aptly titled No Room With a View.
The team known as Lang Baumann is made up of artists Sabina Lang and Daniel Baumann. Together they create large scale installations which playfully interact with the surrounding environment. Comfort, the series presented here, fills houses, barns, apartments, and more with tubes of air. The tubes twist through doors and windows completely overtaking the space they’re stuffed in. The installation and its title recall homes, living spaces, and an the perpetual search for physical comfort.
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]