Olafur Eliasson's Newest Exhibition Floods Fondation Beyeler with a Bright Green Pond Filled with Plants
A flood of murky water overwhelms the stark white galleries of Fondation Beyeler in Basel, Switzerland. The new exhibition, simply titled “Life,” is the work of acclaimed Danish-Iceland artist Olafur Eliasson (previously), who set the Swiss institution awash in floating ferns, dwarf water lilies, shell flowers, red root floaters, and water caltrops.
To install the sprawling project, Eliasson removed the windows on one side of the museum’s facade, which allows visitors and nearby wildlife to enter the space at any time of day or night. The open-air environment subjects the manufactured reservoir indoors to the naturally occurring elements outside the building, like the weather, daylight, humidity, and smells and sounds of nearby public gardens. At night, a combination of UV lights and a fluorescent dye called uranine radiate brilliant colors throughout the water.
A prismatic livestream—Eliasson outfitted some of the cameras with apparatuses that mimic the sensory experiences of animals and insects—captures how the immersive space changes with each moment, especially as the surface reflects shadows and passersby. These interactions between human and non-human species foreground the project, which was inspired by anthropologist Natasha Myers who’s advocated for the advent of the “planthroposcene.” An alternative to the anthropocene, Myers’ concept is “rooted in the knowledge that plants are what made this planet liveable,” a statement says, clarifying that although the gallery is overrun with water, Eliasson’s goal is to evidence the interconnectivity inherent in nature.
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Calm bodies of hand-cut glass pool atop jagged concrete in Ben Young’s aquatic sculptures. The New Zealand-based artist (previously) is known for his marine landscapes that position miniature figures in vast expanses of the translucent material, creating a contemplative environment that juxtaposes a minuscule representation of humanity alongside the immensity of the oceans and other bodies of water. Each piece similarly contrasts the organic topography with the perfect right angles that provide the cubic shape and revealing cross-sections.
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Amy Sherald plumbs the multitudes of Black leisure in The Great American Fact, a series of arresting portraits that are currently on view at Hauser & Wirth Los Angeles. From a woman resting on a bicycle to two surfers readying for the water, the oil-based paintings observe moments of respite and pleasure at a monumental scale, sometimes spanning nearly nine feet across.
Although she surrounds her subjects with vivid patches of color and portrays them wearing bright garments, Sherald (previously) continues to render her subjects’ skin in her signature grayscale, which she’s described in recent years as a way to have the figures read “in a universal way, where they could become a part of the mainstream art historical narrative.” This new series also features elements synonymous with American culture, including a white picket fence, Barbie T-shirt, and retro convertible.
The collection’s title draws on the work of Anna Julia Cooper, an educator who in 1892 wrote A Voice From the South by a Black Woman of the South. In the classic Black feminist text, Cooper described Black people as “‘the great American fact’; the one objective reality on which scholars sharpened their wits, and at which orators and statesmen fired their eloquence.” This understanding structures Sherald’s work and provides guideposts for considering “public Blackness,” particularly as the Georgia-born artist portrays figures with rich personal lives full of ease, relaxation, and joy. When much of Black life historically has centered around grappling with injustice and social issues, Sherald’s turn inward provides a nuanced view of her subjects.
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Hundreds of thousands of sleek, black LEGO structure the utopic universes by Toronto-based artist Ekow Nimako. Ranging from life-sized figurative sculptures with an eccentric twist to sprawling landscapes mimicking dense metropolises, Nimako’s artworks are rooted in the visionary realm of Afrofuturism, which “explores the intersection of technology and race to visualize a powerful future for the African diaspora” through a hearty dose of hope and strength.
His ongoing series, Building Black, is an expansive collection that encompasses fantastical masks inspired by West African tradition and mythological characters that draw on folklore and proverbs. Another facet includes a broad, architectural sculpture that expands 30-square-feet. The 2019 work is titled “Kumbi Saleh 3020 CE,” a reference to the capital city of the ancient Ghana Empire that’s thought to have contained a mosque, a central square, and various circuit walls.
Running through each of these artworks is a fluid understanding of time and space that blurs the distinction between generations, locations, and histories in order to imagine a new reality. “We are all living proof of our ancestors, all their joy, love, knowledge, and pain. They live in our DNA,” the Ghanaian-Canadian artist says. “Aesthetically, I enjoy taking elements from bygone eras and creating futuristic landscapes, particularly of African utopias to imagine a liberated existence for us all.”
That blurred temporality that foregrounds his sculptures and installations parallels his own trajectory, as well. “My art practice developed when I was four years old, as I constantly told myself I want to do this (play with LEGO) forever, and sometimes it feels as though my future self communicated with my past self, astrally perhaps, to ensure this very specific destiny manifested,” he says, noting that the plastic blocks have remained a fixture in both his personal and professional life since becoming a father.
Today, Nimako works solely with black LEGO, a choice designed to distinguish his practice from the iconic brand. “My distinction was that I wanted to make artwork for which the medium was secondary,” he shares. “The form and content, the embodiment of life, always comes first with my work.”
In 2017, Nimako published a guide to LEGO animals, Beasts from Bricks, and plans to continue teaching with a tutorial for building afrofuturistic worlds that’ll launch on his site this June. He’ll be included in a group exhibition at Onsite Gallery starting in June 2022 and also has a solo show slated for October of next year at Dunlop Gallery in Regina, Saskatchewan. In the meantime, explore a larger collection of his elaborately designed universes on Instagram. (via Hyperallergic)
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From a single sheet of white paper, Kanako Abe (previously) carves exquisite silhouettes of children and young adults who are awash in seas of fish or occupied by quiet campouts. She utilizes the traditional Japanese art form called Kirie—which translates to cut picture—a technique that Abe begins with a sketch before slicing the delicate material with a variety of knives. “I don’t have a chance to change the design once I start cutting, so I find it challenging,” the Seattle-based artist says. “I have to think of the right patterns, controlling negative space, and make sure all the lines are connected so the art won’t fall apart once it’s finished.” A single piece can take anywhere from six to 60 hours to complete.
Abe shifted to full-time in 2020 and now balances her practice between commissions and ongoing personal projects, a few of which she’ll be sharing soon on Instagram. No matter the context, each artwork reflects a broader connection to nature and its ability to provide an escape from the complications and heartbreak of the current moment. “I find the process of art-making is a way for me to meditate on everyday thoughts and emotions, and it’s much easier for me to express complex feelings or emotions visually than verbally,” she tells Colossal. “The cycle of nature teaches us about the power of letting go or accept things as they are and that there’s a silver lining in everything.”
If you’re in San Francisco, you can see Abe’s intricate portraits at her September solo show at Rare Device. She’ll also be included in a group exhibition at Today’s Gallery in Ehime, Japan, which opens in December.
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Sinuous branches half-submerged in water, fish swimming through the treetops, and plant life spearing small birds compose the intricate entanglements rendered by Teagan White. Through gouache, watercolor, and colored pencil, the artist merges plant and animal life in delicate scenes that focus on the interconnectedness and beauty of the natural world.
Having just moved to the Pacific Northwest, much of White’s work draws on their years spent biking throughout the Midwest and viscerally experiencing life and death on the region’s roadways. The artist describes their recent series, Things As They Are & As They Could Be, which includes many of the mixed-media pieces shown here, as “meditations on peril and possibility; what has been lost and what remains; dystopian presents and improbable futures.” It’s on view now through May 3 at Nucleus Portland.
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Highlights below. For the full collection click here.