Art Penedès: The path to hope -
A total of more than 2000 bottles of champagne each with a message in its interior formed seven large organic shape structures arranged on the surface of a large artificial lake. The messages were written by her and her friends in various languages such as Japanese or English. Among them can be found several messages of love. Taguchi defines its draft as the path to hope, since this project was born from this feeling. -
When I was a child I used to go to the beach. Sometimes I looked at the horizon and had strange feelings that made me think: “Over there, far away there are different countries where people speak different languages, have hair and eyes different from ours. My country is formed of islands surrounded by the sea, different from Europe or America.” - Twenty years ago, it wasn’t normal to travel to foreign countries like Japanese people do today. I could only know about the other people by reading books or watching TV. That’s why when I went to the beach, I kept looking at the horizon to see something, even if were only a piece of the continent, just to confirm its existence. But because I couldn’t see anything, I still kept thinking about it a lot and no answer came: “Where should I swim to see something?” Sometimes I thought: “Well, I‘ll write letters with my address, put them into bottles then I‘ll throw them in the sea, maybe somebody will reply to me,,, great!” I was a young girl, and I didn’t know other languages. I just wanted to send messages and I didn’t realize that my messages were written in Japanese and none could understand them. -
A lot of time has passed since then. I don’t know when, but I stopped thinking about it with the passage of time. Now I’m an adult. -
Today I live in Barcelona, ten minutes away from the beach. Sometimes I go near the sea, look at the horizon and I feel Japan is far away… -
Chloe Irla: Twisting Boundaries Between Play and Game
In Pizza Party Twister (2014), American-born artist Chloe Irla recreates the classic American game of Twister on a large-scale floor mat that resembles a colourful pizza with mushrooms, basil leaves, olives and pepperoni. Invented and popularized in America in the late 1960s, Milton Bradley, the company that produced it, was accused by competitors of selling “sex in a box” by alluding to the use of human bodies as playing pieces. As seen in the photographs accompanying the floor mat, human bodies playing the game are twisted, mingled, and fragmented, mirroring the innate yet colourful pizza slices and toppings below them. In its perpetual movement, the spinner animation with the arrow turning and landing on different ingredients acts as the orchestrator of human action, which may or may not occur in the institutional context. The bodies on display both implied by the proposed game environment and represented in the adjacent photographs become a metaphor for regulatory technologies of power.
The Pizza Party Twister does not offer any written rules of the game, creating a productively ambivalent situation that neither directly invites nor deters audience participation. As the work travels, internationally and is displayed to audiences from different cultural contexts, it leaves open the possibility of the twister game to invite a whole range of responses. By giving vivid visual form to control mechanisms of the body, Irla’s twister is mobile, creating momentary environments that interrogate on the relationship between game and play in public and institutional spaces.
The term #installation art is used to describe large-scale, mixed-media constructions, often designed for a specific place or for a temporary period of time.
What makes installation art different from sculpture or other traditional art forms is that it is a complete unified experience, rather than a display of separate, individual artworks. The focus on how the viewer experiences the work and the desire to provide an intense experience for them is a dominant theme in installation art. As artist Ilya Kabakov said: "The main actor in the total installation, the main centre toward which everything is addressed, for which everything is intended, is the viewer." From the 1960s the creation of installations has become a major strand in modern art. Miscellaneous materials (mixed media), light and sound have remained fundamental to installation art. 🔺️tate.org🔻 🔸️🔶️Photos🔶️🔸️
“Fiction of the Fabricated Image” is the latest series by Seoul-based artist #SeonGhiBahk .
These magnificent art installations are constructed using pieces of natural charcoal suspended on nylon threads.
“His recent work delves into the relationship between nature and civilized culture. The natural world as an immeasurable force that dictates the ways of the world with no regard for human whims is contrasted with the concept of culture as a constructed realm in which humans strive for convenience and comfort.” #اینستالیشن#مجسمه#هنر_مدرن#گالری_گردی#هنرهای_تجسمی#هنر#InstalationArt#Exhibition#Sculpture#ArtoftheDay#ContemporaryArt#ArtWork#Creative#Gallery#Pic#Artlovers#ModernArt#ArtSculpture#Masterpiece#InstaArt#VisualArt#FineArt#Art#Arte#Artist#Artsy#Artistic
Proudly present: Artificial Souls No.3 • Seeking propinquity• Artificial Souls is an ongoing series of devices which are created to spend their whole life in a programmed loop.
The “Seeking propinquity” Souls seek the closeness of humans. However, they are incomplete machines and thus cannot physically move towards their desires.
As a result they try to communicate their want for closeness through their animated “light-language”.
Their surface is skin like as they want to be touched and re-enact nature to question our own nature.
We, as humans, share our rooms constantly with multiple devices which have augmented artificial sensing modalities.
The information of all our input feeds a vast void which, eventually, will lead to the birth of AI.
The “Seeking Propinquity” Souls portray the state of a known and predictable reality rippling into something we cannot yet imagine
and it wants us to question if we could have empathy for it. Shown at parallel Vienna room 1.07. #parallelvienna#artist#installation#exhibition#machines#vibes#programmed#art#silicone#skinlike#getthem#igers
That cover! That blue! 😍😍 #AfricaStateOfMind artist Emmanuelle Andrianjafy’s beautiful book, Nothing’s in Vain will be on sale at Reception from Friday. In the meantime, enjoy this sneaky behind the scenes look at the exhibition colour scheme. We could swim in that blue! @emmanuelle.andrianjafy
Congratulations to our long standing clients @sanctuary28gc - their Copper House project has featured on the cover of @granddesignsau. Design by @paul_uhlmann_architects and image by @andymacphersonstudio, with steel fabrication and installation by our team at @bowdenwelding. What an amazing home. 👌🏾