“Study for Sidewalk Kintsukuroi #01 (New Haven, Connecticut),” photograph with enamel paint and metallic dust.
As part of an ongoing series titled Sidewalk Kintsukuroi, artist Rachel Sussman (previously) brings the Japanese art of kintsugi to the streets. We’ve long been enamored by the ancient technique that traditionally involves the process of fixing broken pottery with a lacquer dusted or mixed with powdered gold, resulting in an a repair that pays homage to the object’s history. In the same way, Sussman’s kintsugi series highlights the history under our feet, bringing attention to the imperceptible changes that take place over time in the world around us. Though even the repairs are impermanent and will eventually be lost to wear and tear.
Several photos from Sidewalk Kintsukuroi are currently on view as part of the Alchemy: Transformations in Gold at the Des Moines Art Center through through May 5, 2017. (via Hyperallergic)
“Study for Sidewalk Kintsukuroi #09 (SoHo, New York),” photograph with enamel paint and metallic dust.
“Study for Sidewalk Kintsukuroi #02 (MASS MoCA),” photograph with enamel paint and metallic dust
In celebration of The National Art Center of Tokyo‘s 10th anniversary, French architect Emmanuelle Moureaux was commissioned to fill the institution’s 6500 square foot exhibition space with her vision of the decade to come. Unsurprisingly, Moureaux, whose practice often involves layering color within space, decided to transform the white cube into a rainbow forest filled with more than 60,000 multi-colored numbers arranged in three dimensional grids.
The installation, Forest of Numbers, is composed of 10 layers, each to represent the next 10 years. Figures 0 through 9 create the 4 digits needed for each year. The numbers are also divided into 100 shades to align with Moureaux’s 100 Colors installation series which she has installed around the world since 2013. You can see previous installations from this series on her website. (via My Modern Met)
Images via Thane Lucas/Toronto Light Festival
Set within a district of Victorian industrial buildings, the Toronto Light Festival is a free 45-day festival occurring during this year’s winter months as a way to creatively draw the city’s inhabitants out of their homes. Featuring 21 diverse light installations built by local and international artists and thousands of glowing bulbs, the festival covers a total of 13 acres in the city’s Distillery District. Installations range from a series of lit figures appearing to jump from the roof of one of the historic buildings to two red, geometric cats prowling an included alleyway, with several multi-colored works in-between.
You can catch Toronto’s first ever light art festival until March 12, or follow the festival on Instagram to catch snapshots of the glowing installations.
All photos © Marc Fornes / The Very Many
An interconnected pathway of tubular branches hangs above the Orange County Convention Center (OCCC) in Orlando, Florida, an installation produced from perforated aluminum by architect Marc Fornes and his studio The Very Many. Under Magnitude, which appears like a large segment of bleached coral, is composed of over 4,600 strips of metal, each just a millimeter thick. When formed into tubes however, the material increases in strength, allowing it to be walked over without damage.
This installation is suspended from the OCCC’s atrium to create a sort of secondary ceiling, its white surface highlighted by the windows that surround it. Passersby can view the work from both above and below, allowing the hollow structure to be seen from multiple vantage points.
“Borrowing and mismatching elements from the world, pushing them out of scale and hybridising them to the realm of the bizarre, the structure achieves a familiar yet mysterious quality, at once friendly and alien,” said The Very Many in Dezeen.
Under Magnitude is based on a previous nonlinear structure titled nonLin/Lin Pavilion installed at the FRAC Centre in Orleans, France by Fornes and his studio in 2011. You can see more projects by the art+architectural studio on their website, and view a behind-the-scenes video of Under Magnitude below. (via NOTCOT, Dezeen)
In January of 2016, artist Windy Chien devoted herself to learning a new knot every day for a year, tying a total of 366 by December 31st (2016 was a leap year). Although 366 knots might seem like a staggering number, it is nothing compared to the 3,900 included in Chien’s go-to knot manual—The Ashley Book of Knots, which took its author nearly 11 years to compile.
The daily ritual was both meditative and informative for the Apple project manager turned artist, allowing Chien to access an energetic flow, while also giving her a chance for constant experimentation with line and form. You can see a selection of Chien’s knots on her website, and view the entirety of the project on Instagram. (via Wired)
All images, “Where are we going?” Installation by Chiharu Shiota at Le Bon Marché Rive Gauche, copyright Gabriel de la Chapelle
The newest installation by Chiharu Shiota (previously here and here) is composed of nearly 300,000 yards of white yarn, woven to encapsulate the center, ground floor, and ten windows of Le Bon Marché. The exhibition, titled Where are we going?, will feature 150 boats within the French department store’s center, and the ground-floor exhibition will house a giant threaded wave that visitors are encouraged to walk through. Despite boats being a common theme in Shiota’s work, this installation will mark the first time she has used white yarn, previously creating installations with only black or red thread.
The title of the exhibition, Where are we going?, refers to the mysterious destinations that pinpoint each of our individual and collective lives. Therefore the boats in this installation represent vessels sailing towards unknown locations, the works expressing both a sense of poetry and a sense of unease over what is to come.
“I am struck by the multiplicity of interactions that we experience every day, by their connections with the past and the future,” said Shiota in an interview with Le Bon Marché. “The creation of this indecipherable mesh and its plasticity are a mystery, just like our brain, the universe, and of course, life. I have no answers, only questions. These questions are the foundations of my work.”
Last year Le Bon Marché organized a large exhibition of Ai WeiWei's work which featured a 65-foot bamboo and silk dragon in the store’s atrium. Shiota’s Where are we going? will be displayed at Le Bon Marché through February 18, 2017. (via Fubiz)