Through Hollow Lands is a 2012 installation by visual artists Etta Lilienthal and Ben Zamora of LILENTHAL|ZAMORA at Frye Art Museum in Seattle. The suspended labyrinth was constructed from 200 fluorescent lights in various configurations, creating a sort of immersive geometric canopy of light. If you liked this, also check out the work of Esther Stocker. Photos above by Malcolm Smith courtesy Frye Art Museum. (via colossal submissions)
Japanese artist Motoi Yamamoto (previously) recently stopped by Mint Museum Uptown in Charlotte, North Carolina to pour one of his immense, twisting clouds of salt. Titled “Floating Garden” the piece was created over several weeks from February through March before an crowd of attendees was permitted to destroy it. Watch the time-lapse above to see everything come together (and apart). Via the museum:
Salt, a traditional symbol for purification and mourning in Japanese culture, is used in funeral rituals and by sumo wrestlers before matches. It is frequently placed in small piles at the entrance to restaurants and other businesses to ward off evil spirits and to attract benevolent ones. Motoi forged a connection to the substance while mourning the death of his sister, at the age of twenty-four, from brain cancer, and began to create art out of salt in an effort to preserve his memories of her. His art radiates an intense beauty and tranquility, but also conveys something ineffable, painful, and endless.
You can see numerous installation and process photos over on Facebook.
Calgary-based artists Caitlind r.c. Brown and Wayne Garrett (previously) swung by Chicago this month and installed this amazing interactive lighting solution called Cloud Ceiling at Progress Bar. Constructed from hand-bent steel, reflective mylar, electronics, motion sensors, LEDs, and 15,000 re-appropriated incandescent light bulbs, the cloud is now a permanent fixture in the bar which opened earlier this week. Motion sensors embedded in the ceiling cause the cumulous surface of light bulbs to illuminate, effectively ‘mapping’ a lit path through the cloud as bar patrons move through the space.
Brown and Garret were featured in this space last year, for a similar interactive cloud installed at Nuit Blanche Calgary. You can learn more about Cloud Ceiling here.
Want to pretend you’re Spiderman but can’t afford the suit and the genetic mutation? Argentine artist Leandro Erlich was commissioned by the Barbican in London to install a version of his wildly popular optical illusion that creates the visual effect of instant weightlessness. Using a wall of giant mirrors propped against a huge horizontal print of a Victorian terraced house, visitors are free to climb and jump around as their reflections appear to move freely without the pesky effects of gravity. Titled Dalston House the piece was erected in Hackney just off Dalston Junction on a disused lot that has remained vacant since it was bombed during the Second World War.
The installation opens today and is free to all visitors and will remain up through August 4th. Erlich will also be giving a talk tomorrow starting at 7:30pm. All images courtesy the Barbican. (via visual news)
Installed by artist Jacob Hashimoto (previously) last fall at Rhona Hoffman Gallery, Gas Giant is a site-specific installation created from myriad paper kite structures. Known for his complex and seemingly weightless installations, Hashimoto’s artworks frequently involve numerous suspended components imprinted with or otherwise suggesting elements of nature, such as clouds, wind and water. This particular piece was just one of several artworks on view as part of his show “super-elastic collisions (origins, and distant derivations).” You can explore more photos here (use the scrolling gallery on top). All imagery courtesy the artist and Rhona Hoffman Gallery. (via juxtapoz)
Masterplan is a installation by designer and artist Chad Wright inspired by his own experiences growing up in a sprawling suburb of Southern California. The piece is meant to juxtapose the playful childhood experience of building sand castles on the beach with his brother, versus the grim, modern-day reality of our current real estate collapse. Learn more over on his website. Photographed by Lynn Kloythanomsup of Architectural Black. (via this isn’t happiness)
In one of his most ambitious suspended installations to date, artist Tomás Saraceno (previously) launches visitors at the K21 Staendehaus museum in Düsseldorf more than 65 feet (20 meters) above the main piazza with a taut, multi-level web of netting. Titled In Orbit the giant interactive piece is constructed from three separate levels of safety nets accessible from various points in the museum separated by enormous PVC balls measuring almost 30 feet (8.5 meters) in diameter. The resulting aerial landscape is an interesting hybrid between science fiction, spider webs, neural pathways and cloud formations.
Known for breaking the boundaries between art and science, Saraceno often refers to his interactive pieces as living organisms. In fact, over a period of three years Saraceno consulted with arachnologists (experts in the study of spiders), as well as architects and engineers to achieve the final design for In Orbit. Via the museum:
This floating spatial configuration becomes an oscillating network of relationships, resonances, and synchronous communication. When several people enter the audacious construction simultaneously, their presence sets it into motion, altering the tension of the steel wires and the intervals between the three meshwork levels. Visitors can coordinate their activities within the space, and are able – not unlike spiders in a web – to perceive space through the medium of vibration. Saraceno himself speaks of a new hybrid form of communication.
The installation opened to the public starting today. To enter In Orbit patrons must be at least 12 years old and are asked to wear special grip-soled footwear while traversing the webbing. You can read much more over on Art Daily. All imagery courtesy K21 Staendehaus.
The Reading Nest is a new site-specific installation by artist Mark Reigelman outside the Cleveland Public Library. Reigelman obtained 10,000 reclaimed boards from various Cleveland industrial and manufacturing sites and worked with a team of people over 10 days to construct the nest which was completed earlier this month. From his statement regarding the project:
For centuries objects in nature have been associated with knowledge and wisdom. Trees of enlightenment and scholarly owls have been particularly prominent in this history of mythological objects of knowledge. The Reading Nest is a visual intermediary between forest and fowl. It symbolizes growth, community and knowledge while continuing to embody mythical roots.