The Frankfurt based Luminale 2014 — one of the world’s largest and most renowned light festivals — concluded this past weekend. As per usual, there were many impressive installations this year including Cornea Ti, a collaboration between Interior Architecture students from the School of Design Mainz and Ensemble Modern Frankfurt. Consisting of three connected containers that formed a sort of interactive stage, visitors would step through the amorphous tunnels triggering the many integrated LEDs hidden within the walls of the structure with their movements. In addition to the movement, sound caused the light to change, illuminating letterforms that would transform and morph into anagrams, only visible from the perspective of the audience. I haven’t been able to make out any words myself in the video below, but I sure do like the effect.
Reminiscent of the summer of 2000 when The Cow Parade hit the streets of NYC—we were huge fans, having set out on the mission to find all the cows and photograph ourselves with our favorites, pre-social media era, just for our own pleasure…imagine that!— this April the city has kicked off The Big Egg Hunt NY with close to 300 eggs “hidden” around town that Fabergé commissioned artists, designers, and architects to paint, or create their own, all in the name of charity. The participants are an impressive bunch, from artists such as Jeff Koons and Julian Schnabel, to architects Zaha Hadid and Morphosis, to graphic designer Debbie Millman, fashion designers including Cynthia Rowley and Diane Von Furstenberg, and, of course, street artists: Dain, Cost, Faust and plenty more. Unlike the cows at the beginning of the century, the eggs can be tracked via smartphone app that will notify a person if they’re near an egg and will place it on a map once it’s been discovered (and checked in) by ten people. It seems many of the street art eggs are located downtown, other eggs are exhibited in Grand Central, Rockefeller Center and Columbus Circle (there are a whole bunch more photos here.) But those are just a few eggsamples… there are lots more to find all across the boroughs, so get cracking! Well, you know what I mean. You have until April 17th. After that they’ll be exhibited at Rockefeller Center through the 25th and then auctioned off. Anyone can bid via the website and there are also more affordable mini versions available in the site’s shop.
via gothamist & nytimes
After years of great success in advertising in the 80s and 90s, British photographer Carl Warner suddenly found his work less in demand and not as fulfilling creatively. Searching for something to rekindle his interest in photography as well as put some new energy into his flagging business, Warner started creating Foodscapes having found inspiration in the produce section of his supermarket. After going viral, these foodscapes opened the door to new clients and a burst of work. From the foodscapes, Warner then departed to a series of other scapes including these Bodyscapes. Maybe a tad disturbing, these contorted and manipulated bodies certainly do make some fantastic landscapes. And the titles fit perfectly. A few examples: The Cave of Abdo-men; Cut Throat Valley; and Headless Horizon, just to name a few. You can see more of these Bodyscapes and the rest of Carl Warner’s work over here.
Earlier this year, Madrid launched an innovative project that seeks to “redecorate” lower income neighborhoods of the city with contemporary art interventions, both in the form of sculpture/structure as well as murals. Starting in Tetouan, the initiative to improve the urban landscape has been quite successful and is continuing on into other neighborhoods: first Usera, then Villaverde in the southside of the capital. One such project is Hypertube, a collaboration between PKMN Architects and Taller de Casqueria. The playful looking structure is made up of six precast reinforced concrete tubes two meters in diameter and two and a half meters in length. These dimensions make it possible for anyone to stand inside, from child to adult. Its objective: a “gathering place for neighbors and passers-by.”
via abc via lagaleriademagdelena
South African street artist r1 sees the street as an open canvas and thus uses it accordingly, creating urban interventions and sculpture mostly using found materials, reappropriating them into the cityscape. His latest work is titled Yield, based on the commonly seen street sign. Starting by setting a street pole into the sidewalk, r1 continued with 100 yield signs, fitting them in a design on the wall behind it. Commissioned by the City of Johannesburg as part of its upgrade program, the intent being to encourage its citizens to engage more actively with the city’s life and creative activities. The significance of the yield sign is found in the word’s two meanings: to “give way, concede” to others, as well as “to produce.” As r1 states:
“This tension between being productive and giving way exist in every city, and bustling Johannesburg is a good example of it. This piece illustrates that these two seemingly opposite forces are in fact symbiotic; both embodied in the symbol of the yield sign.”
You can see a video of the installation below, and much more of r1’s interesting work here.
All photos courtesy of the artist.
Amsterdam-based firm NEXT Architects (previously here) has created a spiraling sculptural staircase titled The Elastic Perspective that seemingly leads to nowhere, but in fact provides a lookout point with panoramic views. The looping oxidized-steel structure, with its rusty Serra-esque quality, is located in an industrial precinct, near to railway tracks, sitting prominently on a grassy hillside on the outskirts of Rotterdam. The Möbius strip-inspired staircase appears to be endless but instead leads at its highest point to an unhindered view of the city’s skyline in the distance.
Switzerland-based, British artist, Michael Goodward makes art “with a serious smile and a wry mind.” His humorous sculptures and installations are eclectic and a manifestation of the curious way he occupies his time with anything that is remotely connected with the nature of being and man’s perception of the world within and around him. Themes such as death, religion, and existence are represented through the artist’s view. And if the works themselves don’t make you break into a smile automatically, some of the titles sure will: the Me compass which is also referred to as sartresample 1; the curiously literal hairbrush is titled Something or Other; the pie at the bottom is Humble Pie; and the S/M arty-pants with their nails penetrating areas that might want to avoid nails, definitely should evoke a chuckle, if maybe one combined with a wince.
Covering both piers of the Armory Show is definitely an eyeful, or two, of art and as satisfying/inspiring as it can be, it’s also a bit draining. So, even in the most ordinary of circumstances I would have appreciated artist Andrew Ohanesian’s witty artworks, but they were especially welcome as an antidote to the exhaustion that started to set in a pier and half in. First spotted, was “Oceans” a San Jamar Tear-n-Dry, Hands-free Paper Towel Dispenser, the kind we’ve all had a little fun with in public restrooms, waving our hands in front of. Here, smack in the middle of the Armory Show, hanging from the wall, getting a lot of quizzical looks by passers-by, was the dispenser, beckoning to the public with its artist/title label to the side on the wall. Hard not to smile, though it might have been even funnier if each sheet had been signed by the artist. On the wall to the left, less noticeable, was the “Dollar Bill Acceptor”—in the style of vending machine money collectors—installed in the wall actually taking anyone’s money that was inclined to insert, giving nothing in return. I was a fan, and felt my dollar contribution was very well spent.
These humorous interactive artworks are not new to Ohanesian. Last year at the Armory Show he installed a flushing urinal, surely a nod to Marcel Duchamp. And in 2011 “ATM 2011”, a fully functioning ATM built by the artist charged the user the hefty fee of $4.99, but after completing a transaction, the user received a receipt with a title and an edition number on it… basically, a purchased work of art.
You can see more of Andrew Ohanesian’s work here and here.
Top three photos: Collabcubed. Bottom two courtesy of Pierogi Gallery.
Fashion shows keep pushing the boundaries and blurring the lines between art, performance, design and fashion. Last week in Paris, Karl Lagerfeld and his Chanel team took their Fall 2014 runway show to a whole new level. Stepping into the Grand Palais, all attendees were welcomed by the over-the-top Chanel Shopping Center. An entire supermarket recreated with every item rebranded/repackaged and emblazoned with the highly recognizable interlocking C’s of the Chanel logo. From every food product you can imagine, to cleaning products, welcome mats, brooms, soap, garbage bags and much more. The models walked through the runway aisles clad in the new Fall line, all wearing sneakers (because you can wear a Chanel suit to pick up your groceries, but heels might be too much?) pushing grocery carts or carrying baskets. An impressive feat, which apart from the obvious wow-factor, was meant to be a commentary on the state of consumerism. You’ll be relieved to know that all of the items are being donated to charity. It is difficult to wrap one’s head around all the design, printing, and organization that clearly went into this event, in addition to the fashion line itself. It’s the ultimate mega pop-up shop/installation… it’ll be tough to top.
Here’s a video of the models strutting their wares:
via Garance Doré
It’s been an art-intense week in NYC, with more art fairs in town than time to view them. I did, however, get to almost all of them and will cover some of the highlights for me, sporadically over the next couple of weeks. Overall, and very in general, I continue to have a bit of a weakness for VoltaNY and The Armory Show, but Spring/Break was a nice surprise, with its edgier works and installations and its very topical theme of PublicPrivate. Less surprising were Scope and Fountain, which seemed to have a lot of repeats from previous years, but then, arriving at Fountain after over four hours at the piers might not have been the freshest way to take it all in. The banners hanging from the upper floor were pretty great, though.
So first here, from the Armory Show, are West African artist Romuald Hazoumé’s whimsical contemporary African masks made using discarded plastic containers, in particular gasoline canisters. Though the masks link to the artist’s heritage, they also represent his critical vision of political systems. “I send back to the West that which belongs to them, that is to say, the refuse of consumer society that invades us every day.” Hazoumé was at the Armory booth when I was there, explaining to a small group that in several of these masks, the hair was very telling of a woman’s relationship status. For example: the criss-crossed braids topping the black diamond-shaped mask represents a woman who is content, but not thrilled by her husband. The yellow jug with the bunched up hair on top, is a woman who is thrilled by her man. The blue canister with the twisted braids shooting out and turning downwards, is a very dissatisfied woman. So, there you have it. Romuald Hazoumés masks reminded me a little of Willie Cole’s shoe masks (here), and whose work was nicely featured at Volta this year, including this fun sculpture made using irons.
I like this concept: projecting street artists’ work onto them and photographing their portraits is what photographer Guille Lasarte did here. Street artists in this series include members of Demolition Crew, Jos, Duarte Brito from Unimotion, Mr. Isaac, Hugo Ferracci, and Cintia Lopes. Another concept I like: Book a Street Artist.
Both via Panta
For performance artists/architects Ward Shelley and Alex Schweder (previously here) sharing an unconventional living space is not a new concept. Their “performance architecture” has taken unusual forms such as a hanging see-saw-like structure or a stacked-living arrangement, in each case co-dependent on the other’s movement. Their latest installation/performance is titled In Orbit: a 25-foot wheel hanging from the ceiling, complete with two beds, desks, chairs, sinks, and apparently porta-potties (fortunately those don’t flip with the wheel), one of each at the counterpoint of the other. Ward Shelley lives on the exterior of the wheel, while Alex Schweder on the interior. And live they will, like this, without getting off, for a total of ten days. Currently they’re halfway through their stay. Any time one of them wants to use the sink or lie on the bed, they both have to slowly walk, rotating the wheel—much in the way a hamster makes his/her cage wheel rotate—to get to that particular item, in unison, and they both have to be in agreement as to the current activity. Schweder can’t choose to work at his desk while Shelley lies on his bed. That simply won’t work.
For those of you in NYC, you can visit In Orbit and witness their cohabitation at The Boiler through March 9, 2014. After that the structure will remain on view until April 5th sans artists. For everyone else, there’s the video below:
German artist/designer/architect Tobias Rehberger (previously here) currently has a three-part exhibit titled Home and Away and Outside at the Shirn Kunsthalle Frankfurt. For the purposes of this post, I’m focusing only on the first part: a floor to ceiling installation with an optical illusion all-over effect combined with paintings and sculptures that create a dizzying state of sensory-overload. The dazzle camouflage graphics covering the surfaces are based on an optical technique employed mainly on ships in World War I making them difficult to pinpoint as targets. Once visitors make it through this first, trippy, part of the exhibition, they are greeted by a second, more tranquil section that contains applied and functional artworks including much of the sculpture that has set Rehberger apart since the 90s.
Home and Away and Outside is on view in Frankfurt through May 11, 2014.
If you walk by Madison Square Park here in NYC from now through April 13th, you’ll spot a confusing sight: three water towers, the sort we usually see perched atop the city’s buildings holding much of our water supply—and usually a familiar part of the urban landscape. The three tanks in the park, however, do not contain water but rather are Brooklyn-based Chilean artist Iván Navarro’s (previously here and here) latest light installation titled This Land is Your Land after the Woody Guthrie song. This site-specific piece “reflects” the experience of immigration through mirrored neon type, as well as a neon ladder, that repeat infinitely within the wooden cylinders. The word “me” reflects becoming “we” alternating up the interior of one tank, while “BED” in another. I stopped by during the day and then again at night to see these and enjoyed the experience both ways. Having them stand low in the park, with the backdrop of the Flatiron building from one angle and, at night, each one glowing downward with the brightly lit Empire State Building behind from a different position, make the choice of location all the more appropriate. So, make a point to pass by, and peek under, Navarro’s water towers before April 13th.
This is such a great project. LATA 65 is a simple concept: organize street art workshops for the elderly. Over the course of a few days, seniors learn about street art, graffiti and its history, as well as several techniques such as stenciling, then they take their newly acquired skills to the street, ultimately awakening the creative spirit. The clever minds behind the project are Lara Seixo Rodrigues of WOOL Urban Arts Festival and Fernando Mendes of Cowork Lisboa. The presently Lisbon-based project believes that retirement should not equal an intellectually passive lifestyle, and having fun is critical at any age. Even if these elderly street artists don’t get their shot at the Houston Bowery Wall, they definitely look like they’re having fun. Mission accomplished.
A couple of weekends ago, when Dan was in town for a short visit, we went over to the David Zwirner Gallery in Chelsea to catch the new Doug Wheeler light installation. Having been to the previous Wheeler show two years ago (here) I was very excited to share the experience with my daughter. Unlike the last exhibit, there was no line. In fact, we were asked if we had a reservation, which spurred a moment of panic but, fortunately in our case, it was of no consequence. However, also unlike SA MI 75 DZ NY 12 this Wheeler light installation was less surprising and disorienting, which isn’t a bad thing, just different. While the last exhibit was a bit unnerving upon entry — not being able to tell where the room began or ended — this domed room shows its edge and horizon line right from the door. The previous work instilled a bit of anxiety, this one a calm and soothing effect. As in many of Wheeler’s works the immersive environment emphasizes the viewer’s physical experience of space, in this case focusing attention on the way light almost imperceptibly changes along the horizon as the earth turns. If the last exhibit installation felt like being in a cloud, I would equate this one (based on no personal experience, obviously) to a moon-like atmosphere. Forget watching George Clooney in Gravity, head over to David Zwirner and immerse yourself in Doug Wheeler’s rotational horizon. Best to make a reservation, just to be on the safe side. The installation will be up through March 29, 2014.
Third photo courtesy of David Zwirner Gallery. All others collabcubed.