with Daniel Arsham
Six of Daniel Arsham’s eroded sculptures are scattered across Yorkshire Sculpture Park as part of a spacious outdoor exhibition that explores the inevitability of decay. Referencing both pop culture and art history, Relics in the Landscape features massive works of patinaed bronze embedded with patches of metallic, crystal-esque forms. “As history progresses, all objects become antiquated, and in some way, they all become ruins or relics, disused or buried. In 1,000, years everything that we own will inevitably become one of those things,” he says. “I don’t particularly see that as having an apocalyptic quality – it’s sort of just the march of time moving on.”
Referring to the works as “future relics,” Arsham (previously) collapses time and tradition. In “Bronze Eroded Venus of Arles,” for example, he reinterprets the 1st-century BCE statue of Aphrodite with gem-like corrosion, showing the progression of both growth and decay. Other sculptures include more contemporary subject matter, like “Bronze Eroded Astronaut,” which recreates the iconic image of Neil Armstrong during the Apollo 11 Moonwalk. While preserving such a historic moment in cast metal, the sculpture is spotted with pockets of decomposition that disintegrate the explorer’s suit.
Relics in the Landscape is on view now. Find more from Arsham on Instagram.
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Artist Daniel Arsham (previously) re-envisions some of the most well-recognized sculptures of classical antiquity in Paris, 3020, his recent series of replications marred with lightly pigmented crystals. Both “Vénus de Milo” and Michelangelo’s “Moses” find their heads, arms, and torsos eroded in patches by blue calcite.
The New York-based artist spent a year inside the Réunion des Musées Nationaux – Grand Palais, a 200-year-old French studio known for reproducing iconic European works, where he gathered molds and scans of busts, sculptures, and friezes from the collections of the Musée du Louvre in Paris, Acropolis Museum in Athens, the Kunsthistorisches Museum in Vienna, and the San Pietro in Vincoli. Arsham cast each recreated work in hydrostone—similar to wax casting—in order to produce the nearly exact replicas. The artist then chiseled the pieces, adding in his signature crystallization with volcanic ash, blue calcite, selenite, quartz, and rose quartz.
Paris, 3020 portrays Arsham’s exploration of the relationship between time and historically significant artifacts. “Making use of classical and ancient objects, this new body of work experiments with the timelessness of certain symbols,” said a release from Perrotin, where the exhibition will be on view from January 11 to March 21, 2020. Each sculpture is surrounded by series of graphite drawings depicting Ashram’s process in order order to “compress time, at once referencing the past, informing the present, and reaching towards a crystallized future.” Find more of Arsham’s time-warping projects on Instagram.
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Connecting Time is an exhibition that spans a decade of work by Daniel Arsham (previously), and was organized in collaboration with Galerie Ron Mandos and Perrotin for MOCO Museum in Amsterdam. In addition to the debut of Calcified Room and a specially designed iteration of Amethyst Ball Cavern, is one of the iconic pieces Hidden Figure (2011) from the Elastic Walls series. The piece is constructed from fiberglass, paint, and joint compound, and is a classic example of the artist’s ongoing play with the perception of physical space in addition to his experimentation with material properties.
Arsham continually challenges the notion of what 3-dimensional art should be by creating the illusion of familiar materials or architectural elements performing in unusual ways. Pieces like Corner Knot (2008) and Falling Clock (2012) are prime examples of this way of working, and are positioned opposite of each other in the artist’s 10-year showcase.
Arsham’s entire series of sculptural pieces from his fictional archaeology series dominates the basement of the museum. This body of work was directly inspired by the artist’s visit to Easter Island several years ago, and the uncertainty about the real history of the island’s monumental sculptures. Inspired by the idea of creating future artifacts, Arsham developed a whole range of different procedures and techniques to create eroded and decayed versions of po culture items. Using geological substances such as volcanic ash, rose quartz, obsidian, and glacial rock, he continuously adds new items to this opus, each time constructing the latest artifact with different material.
Although he has previously taken objects from areas that he is personally attached to, such as sports, music, or pop culture, the show in Amsterdam includes a new series of works created from flat, printed works such as books, magazines, and food packaging. You can follow Arsham’s latest work, projects, and releases on Instagram, and visit Connecting Time until September 30th, 2019 at MOCO Museum in Amsterdam. Another solo exhibition, Static Mythologies, is also on view in Amsterdam at Galerie Ron Mandos through March 16, 2019.
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In his latest exhibition, “The Future Was Then,” Daniel Arsham (previously here and here) carved a path through the SCAD Museum of Art’s Pamela Elaine Poetter Gallery utilizing a series of faux concrete walls. The 300-foot-long series of walls starts with the cutout of an abstract shape roughly the size of a human body. As one looks at the progression of carvings and walls, the holes begin to form a representational shape, ending in the fully formed outline of a life-size human.
The “Wall Excavation” installation explores how mankind interacts with architecture, continuously building and destroying the walls around them. This central installation points to this idea directly, showing the path of destruction around a singular human form. By standing between the carved walls, visitors can literally place themselves in the the timeline of our intimate history with architecture, finding their own place amidst the excavated exhibition.
You can follow Arsham’s work on Twitter and Instagram, and learn more about his collaborative art and architecture project Snarkitecture here. “The Future Was Then” will be on display at SCAD through July 24, 2016. (via Designboom)
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We’re no stranger to Daniel Arsham‘s figural sculptures (previously here and here), works that use basic materials like broken glass or hydrostone to produce life-size human figures and technological objects like boom boxes, cameras, and video game controllers.
In his newer works Arsham focuses more intently on the human figure, creating full bodies and discrete gestures like hands folded in prayer, clasped together, or clutching a basketball. In each, the sculpture is seen in various states of decay, chunks missing from the work like it has been eaten away by some menacing force. Erosion is most apparent within the full body sculptures as entire knees, legs, and torsos are removed from the form. Like earlier work these sculptures keep a neutral palette—the pyrite, hydrostone, selenite, and obsidian used in their construction giving each a matte gray in order to focus on their crumbling form.
The New York-based artist is one half of Snarkitecture, a collaborative that is known for straddling the line between art and architecture. Arsham’s work has been exhibited at PS1 in New York, The Museum of Contemporary Art in Miami, The New Museum in New York, and Carré d’Art de Nîmes in France among others. Arsham is represented by Galerie Emmanuel Perrotin in Paris, Hong Kong and New York, OHWOW in Los Angeles, Baro Galeria in Sao Paulo and Pippy Houldsworth in London. (via Exasperated Viewer on Air)
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New York based artist Daniel Arsham (previously here, here and here) recently completed a number of new works, most notably these three figurative sculptures made from compacted broken glass, inspired by the discovery of glass shards in his home after hurricane Andrew in 1992. Other new sculptures include several picture frames using the same broken glass treatment and cameras formed from sand and stone. Arsham’s work is almost universally devoid of color or complexity and instead relies solely on the physical manipulation of basic materials to accomplish each new idea, a process that often involves altering of gallery wall surfaces to encase, suspend, or shroud his sculptures. See much more in his three dimensional portfolio. (via junk culturehttp://www.junk-culture.com/2012/11/daniel-arsham-broken-glass-sculptures.html)
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Highlights below. For the full collection click here.