A memorial to the victims of the worst mass shootings in modern history was recently announced, as the country revealed the selection of a design by Jonas Dahlberg. Almost three years ago on the island of Utøya, Norway, a gunman set off several bombs and killed 77 people. Rather than erecting a building or edifice in remberence, Dahlberg’s submission chose to focus on nature itself, separating the end of the island with a man-made fjord where the shooting took place. Across the channel, the names of the victims will be etched in stone, which will be seen by visitor’s in the viewing area. Separated from them physically, Dahlberg explained, “The concept for the Memorial Sørbråten proposes a wound or a cut within nature itself. It reproduces the physical experience of taking away, reflecting the abrupt and permanent loss of those who died.”
The Swedish designer’s submission was unanimously selected (his project description can be read in full here) Dahlberg explained the presence and loaded feelings upon visiting the future building site, “An emotional observation informs my overall concept. During the initial site visit to Utøya, I noticed how different the feeling was of walking outside in nature, compared to the feeling of walking through the rooms of the main building. The experience of seeing the vacant rooms and the traces of extreme violence brought me — and others around me — to a state of profound sadness. In its current state, the building kept close within it the memory of the terror acts of July 22, 2011. Like an open wound.” (via gizmodo)
British artist Bruce Munro is perhaps best known for his creation of large-scale installations that offer a great amount of experiential weight to viewers. Choosing materials which reflect, and shine light, a metaphor for the artist’s interests in literature, music and science. Often made of humble materials, Munro has often come back to the use of compact discs, a decision that the artist explains, “Initially I used discarded materials to save on costs. Soon material choices also became the subject matter of the installations,” he says of Light. “For me, there has to be a reason—however idiosyncratic—for everything I do and these days I am drawn more and more to the idea of creating an experience that is gentle on the landscape.”
Various projects of Munro’s use repurposed and recycled compact discs in massive quantities, covering hills, estate lawns and fields. In works such as CDSea, enormous fields of the collected discs have a natural element, in this case a meandering path carved through them. The path, which echoes landscape architecture and fung shui design, allows viewers to experience not only vistas of the shimmering surfaces, but also the now-highlighted beauty of the existing grass itself. Speaking of the installation and its process, Munro says “You never know how something will work out, but now I could not be happier. I’m so grateful to everyone who turned out to help. We had a magical weekend and CDSea looks amazing, like a giant painting on the grass” (via hi-fructose, designboom, inhabitant)
Fra.Biancoshock insists he is not a street artist, but rather the Milan-based experientialist noticed that his street-level installations and interventions spoke using the same language as Street Art. In regards to the movement of Street Art in regards to his work, the mysterious, identity-protecting Fra. says, “For me, that phrase is a provocation: I have not studied art, I do not frequent artistic circles, or amicidell’amicodelcuginodelfratellodelsuoamico … And I have no particular technical and artistic skills. I just have ideas and I like to strain my mind in trying to propose to the common people through what I call “Unconventional Experiences.” I think mine are “experiences” rather than works of art.”
With ties and intentions closer to Performance and Conceptual Art (for those paying off MFA degrees, think Guy Debord), the man who would become Fra.Biancoshock developed the performative avant-garde school of art he calls Effimerismo (“The Effimerismo is a movement that has the aim of producing works of art that exists in a limited way in the space, but that they persist in an infinite way in time…”) as a means of exploring and categorizing his specific means of street engagement (or as he is known to call them, “speeches”).
Operating in this very-intentionally public mode of communication, Fra.Biancoshock uses the streets as a forum, installing temporary interventions to call attention to themes of poverty, urban blight, modern stress and decay. Present in most works is how Fra deals with serious themes with a disarmingly light-hearted approach. His work has mostly been viewed (often quite temporarily) in Europe, though as Fra. says in his Manifesto-like statement, “Prior to founding the movement, [Fra.biancoshock] has made more than 400 speeches on the streets of Italy , Spain , Portugal, Croatia, Hungary, Czech Republic, Malaysia and the State of Singapore, and has no intention of stopping.” (via hi-fructose)
Christopher Janney’s work often activates multiple senses simultaneously, using both visual and auditory stimulation to evoke emotional responses to viewers. Calling it a ‘sonic portrait’ of Miami, his work Harmonic Convergence combines sound, light and interactive elements to emulate a positive experience of place in an otherwise sterile airport environment.
Located in a pedestrian walkway leading from the car rental buildings to the airport proper, Janney replaced the existing windows with a prismatic arrangement of colored glasses. Columns and design elements were also repainted white, to better catch the sun’s lights streaming through the colored glass. This was Janney’s second installation at the airport, succeeding his previous piece, Harmonic Runway.
Like most of his work, sound plays an important part of this installation as well. According to Jenny Filipetti at Designboom, “Speakers installed at regular intervals along the walkway create a continuously changing ‘sonic portrait’ of South Florida as they play the sounds of tropical birds, thunderstorms, and other environments native to the region. Video sensors at either end of the passageway track visitor movement, causing changes in the density and composition of the sound piece relative to the number of passengers in the space.” (via designboom)
Artist Ivan Puig likes for his work to surprise and amaze, and two of his series, Fed Up and Artificial Growth do just that. Using a car and chair, respectively, he gives the illusion that these very solid, massive objects have sunken into the ground, as if they are in quicksand. The preciseness of Puig’s work and the fact that he’s cut the chair backs and Volkswagen Beetle at a perfect angle add to the believability of it all. While the artist strives for his work to have humour, he wants the viewer to read it in multiple ways, and glean various metaphors from his playful execution.
His installations are not only meant to delight us, and the sinking chairs in Artificial Growth have a more serious message. This piece comments on educational doctrines and their power structures that are present in Mexico. With this series, he brings to light the idea of the artificial education – like the lies and half truths taught and passed down to students which we only realize are wrong many years later.
David Mesguich (previously here) is known for his enormous polyurethane and recycled plastic public sculptures, bearing line and shape work that is reminiscent of both geometric or vectorized patterns. The Brussels-based artist’s latest work, PRESSURE 1.0, was installed on an elevated freeway which is known to be the gateway to the French city of Marseilles. The artist explains, “The story of “pressure”—it’s the story of people who are on the fence, in between worlds, those who are both on the inside and on the outside. My inspiration came from two sources: a family history that steeped me in a violent, carceral universe during my youth and more than 10 years of trespassing with graffiti.”
Created with the geometric features of a woman’s face, the statue seems to stare, both blankly and longingly. Meguich describes the placement as “… a non-place where the sculpture could look in the direction of Africa and face the whole city at the same time.” Because the statue was not authorized by French authorities, it was technically illegal, but Megiuch explains that his work is as much an unorthodox ‘gift’ as it is illegal. “Pressure is a non-profit project, it was not made to be sold. As with my previous public space sculpture, LUZ 1.0[a large-scale sculpture created for the Nuit Blanche Festival in Clichy, a suburbs of Paris], it was created as a donation to the city.”
According to writer Sara Barnes at My Modern Met, “Despite its illegal placement, the sculpture remained untouched for two weeks. After a bad storm, however, the sculpture fell to the ground and was seriously damaged. The weather lasted a week, and everyday a new part of it was broken until nothing remained” (via mymodernmet)
Like most people, when I was a kid I loved playing with a kaleidoscope. Pointing it at different light sources and twisting the chamber caused a morphing geometric mandala to take shape before my eyes, magically shifting sunshine and the colored bits inside into a series of hypnotizing designs. The same part of me that was enamored with a kaleidoscope is the same part of me that loves juicy colored highly geometric contemporary art.
As the highly influential artist and color theorist of the Bauhaus, Josef Albers, says so succinctly in his classic book Interaction of Color, “As with tones in music, so with color- dissonance is as desirable as its opposite, consonance.” The dance of tension and fluidity in an ever changing kaleidoscopic pattern is a rhythm of light and hue, which there is an abundance of in contemporary art. There are so many artists out there these days who use these components in their visual art, however the five artists included here emerge with unique strength, vision and technical ability that is worth noting. Artists include: Dalek (James Marshall), Maya Hayuk, Richard Colman, Amanda Airs and Jeff Depner
Chinese artist Lu Xinjian has been inspired by maps and cities for years, often collected in his increasingly large-scale acrylic on canvas series City DNA. But his newest work City Light expands on these inspirations, taking the flat abstractions and mounting them onto the wall with neon.
Using Google Earth images of the artist’s current home, the sprawling metropolis of Shanghai, Xinjian renders the map loosely in his abstract style. The resulting plans are rendered in neon on a solid black background, and run on a flash program which controls the timing of each area’s lines being illuminated. Starting with a small, centrally-located blue square, the rest of the surrounding area follows, until the entire piece is lit. Representing the rapid growth of the modern metropolis, the network of neon light tubes takes the language of city communication and visually abstracts the idea of rapid expansion. (via alwaysinstudio and designboom)