installation

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Art

Shuttlecocks, Pool Noodles, and Other Playful Materials Arranged into Three-Dimensional ‘Textiles’ by We Make Carpets

September 14, 2018

Kate Sierzputowski

Shuttlecock Carpet for the exhibition Hands On at the National Gallery of Victoria, Melbourne, Australia (2017), all images via We Make Carpets

Shuttlecock Carpet for the exhibition Hands On at the National Gallery of Victoria, Melbourne, Australia (2017), all images via We Make Carpets

Dutch art trio We Make Carpets (previously) formed their first temporary tapestry in 2009 from collected pine cones and needles, which they appropriated titled Forest Carpet. For almost a decade since, the collective has been working with ordinary materials to create visually seductive “carpets” arranged on the floor or presented vertically on the wall. Last year they were asked to create six new works and five interactive installations for a solo exhibition at the inaugural National Gallery of Victoria Triennial in Melbourne titled Hands On. Carpets were formed from child-friendly materials such as pool noodles and velcro, which invited visitors to create their own patterns from the provided objects.

“While making art we rely on a hands-on approach—working with the materials that you have in your hands—trying and failing until finally something beautiful emerges,” We Make Carpets said in a statement about the exhibition. “We believe the images in your head are more important than the things already known. It is fantasy that creates, not facts. We hope our arrangements of objects offer new perspectives on modern life.”

Hands On just concluded a second run on September 9 at the National Gallery Singapore. You can take a look inside the making of the exhibition in a video by NGV Melbourne in the video below, and see a more extensive collection of their temporary carpets on their website and Instagram.

Shuttlecock Carpet (detail) for the exhibition Hands On at the National Gallery of Victoria, Melbourne, Australia (2017)

Shuttlecock Carpet (detail) for the exhibition Hands On at the National Gallery of Victoria, Melbourne, Australia (2017)

Shuttlecock Carpet for the exhibition Hands On at the National Gallery of Victoria, Melbourne, Australia (2017)

Shuttlecock Carpet for the exhibition Hands On at the National Gallery of Victoria, Melbourne, Australia (2017)

Pencil Carpet for Jerusalem Design Week (2017)

Pencil Carpet for Jerusalem Design Week (2017)

Pencil Carpet (detail) for Jerusalem Design Week (2017)

Pencil Carpet (detail) for Jerusalem Design Week (2017)

Tube Carpet 2 made for the exhibition Hands On at the National Gallery of Victoria, Melbourne, Australia (2017)

Tube Carpet 2 made for the exhibition Hands On at the National Gallery of Victoria, Melbourne, Australia (2017)

Tube Carpet made for the exhibition Hands On at the National Gallery of Victoria, Melbourne, Australia (2017)

Tube Carpet made for the exhibition Hands On at the National Gallery of Victoria, Melbourne, Australia (2017)

Tube Carpet 2 (detail) made for the exhibition Hands On at the National Gallery of Victoria, Melbourne, Australia (2017)

Tube Carpet 2 (detail) made for the exhibition Hands On at the National Gallery of Victoria, Melbourne, Australia (2017)

Peg Carpet 2 made for the exhibition Hands On at the National Gallery of Victoria, Melbourne, Australia (2017)

Peg Carpet 2 made for the exhibition Hands On at the National Gallery of Victoria, Melbourne, Australia (2017)

Peg Carpet 2 (detail) made for the exhibition Hands On at the National Gallery of Victoria, Melbourne, Australia (2017)

Peg Carpet 2 (detail) made for the exhibition Hands On at the National Gallery of Victoria, Melbourne, Australia (2017)

Velcro Carpet made for the exhibition Hands On at the National Gallery of Victoria, Melbourne, Australia (2017)

Velcro Carpet made for the exhibition Hands On at the National Gallery of Victoria, Melbourne, Australia (2017)

Velcro Carpet (detail) made for the exhibition Hands On at the National Gallery of Victoria, Melbourne, Australia (2017)

Velcro Carpet (detail) made for the exhibition Hands On at the National Gallery of Victoria, Melbourne, Australia (2017)

Paperclip Carpet 2 (detail) made for the exhibition Bend and Stretch at Diagonale, Montreal, Canada (2016)

Paperclip Carpet 2 (detail) made for the exhibition Bend and Stretch at Diagonale, Montreal, Canada (2016)

Paperclip Carpet 2 made for the exhibition Bend and Stretch at Diagonale, Montreal, Canada (2016)

Paperclip Carpet 2 made for the exhibition Bend and Stretch at Diagonale, Montreal, Canada (2016)

 

 



Art

Sliced Footwear Arranged in Uncanny Configurations by Sakir Gokcebag

September 4, 2018

Kate Sierzputowski

Turkish-born visual artist Şakir Gökçebağ (previously) deconstructs everyday objects, often eradicating their original functionality in order to form humorous installations. His works are created from items one might find around the house such as hula hoops, brooms, toilet paper rolls, and pairs of worn shoes. The later series of altered footwear spans more than 15 years, and has been installed in surreal arrangements both inside and out of the gallery.

For these pieces Gökçebağ chops the front toe off of neutral-toned work boots and other sturdy footwear. He then arranges the pieces in circles, rows, and parallel lines that split elevated platforms. The installations appear digitally composed, and playing a trick on the viewer as they attempt to decode the visual manipulation. Gökçebağ has lived and worked in Hamburg, Germany since 2001. You can see more of his oddly arranged objects, like this belt that has been sliced and folded to appear like a ribbon, on his Instagram.

 

 

 

 



Art

Indoor Installation of 10,000 Plants Considers Relationship Between Endangered Australian Grasslands and Architecture

September 4, 2018

Andrew LaSane

All images by Rory Gardiner

For Australia’s Venice Architecture Biennale pavilion, curators Mauro Baracco and Louise Wright, of Baracco+Wright Architects worked with artist Linda Tegg to create Grasslands Repair, a 10,000-plant recreation of the grasslands of southeast Victoria. The living indoor installation spans much of the pavilion and extends to its outdoor space, with walkways that allow viewers to move among the 65 species of Western Plains Grasslands plants.

The theme for the 2018 biennale (which opened in May) is “Repair,” which was described in a press release as a way of considering how architecture can “play a role in repairing the places it is part of.” Only one percent of the grasslands of mid-18th century Victoria still exists— largely the result of urbanization and industrial land use — so for Baracco, Wright, and Tegg, Grasslands Repair shows the real cost of human land occupation. “The area of plants exhibited is similar to that taken up by the pavilion,” the curators said. “It is also a smaller area than that of an average Australian family house. Such an area takes around an hour to bulldoze.”

Supporting the living garden from above is an installation called Skylight, which uses LEDs as an artificial light source since the walls and ceiling of the structure block the sun. Throughout the biennale, films that explore the theme of Repair are screened on the walls of the Grasslands Repair installation, including Ground, which was created by Baracco+Wright and Tegg in collaboration with David Fox. Without the history of the region for context, the installation is just another indoor garden perfectly suited for selfies, but with the knowledge of what human interaction has done to indigenous species, it becomes a call to action to try and undo the damage we have done.

The 2018 Venice Architecture Biennale continues through November 25, 2018. (via Dezeen)

 

 



Art

The Haze: A New Immersive Experience by teamLab Places Visitors at the Center of a Swirling Vortex

August 27, 2018

Kate Sierzputowski

The Haze is a new immersive digital art installation from Japanese collective teamLab (previously) which situates guests at the center of a light-based vortex. The work uses light, fog, and sound to wrap guests in a mesmerizing cacophony of swirling spotlights which are reflected by a mirrored floor. A similar experience is created in the work Light Vortex II, which uses the same elements to choreograph an entirely different light show.

TeamLab recently opened Borderless, a 100,000 square feet museum dedicated to their digital installations in Tokyo. You can view more videos documenting the group’s projection-based works on their website and Vimeo.

 

 



Art

New Miniature Warning Signs and Other Humorous and Unexpected Interventions by Michael Pederson

August 22, 2018

Kate Sierzputowski

Michael Pederson, a.k.a. Miguel Marquez Outside (previously), installs miniature signs, work sites, and queues in unassuming locations, transforming ordinary plants and objects into moments of intrigue for unsuspecting passersby. In one recent work he tracks the lifespan of a solitary weed poking through a sidewalk crack. A tiny wooden ladder leans against a sign that marks the number of days the plant has been growing. In another work he installed two small stanchions in front of a hole in a stone wall. A small sign reads “Please wait here until called,” presenting the illusion that a mouse-sized club or popular eatery exists on the other side. You can see more of Pederson’s small-scale interventions and humorous additions to commonplace landscapes on Instagram and tumblr.

   

 

 

 



Art

Over Fifteen Thousand Paper Kites Create a Two-Toned Cloud Inside New York’s St. Cornelius Chapel

August 21, 2018

Kate Sierzputowski

All images by Timothy Schenck

All images by Timothy Schenck

A mass of circular black paper and bamboo kites merges with a collection of identically designed white ones inside Governors Island’s St. Cornelius Chapel in an installation titled The Eclipse. Created by artist Jacob Hashimoto (previously), the paper orbs hang from the ceiling by pieces of string to comprise a layered formation that appears like roving waves or clouds. This is the second iteration of the labor-intensive installation, which premiered at the Palazzo Flangini during the 57th Venice Biennale.

An additional large-scale work by Hashimoto titled Never Comes Tomorrow, which consists of hundred of wood cubes and colorful steel funnels, is installed outside of the chapel in Liggett Hall Archway. The dual installations can be visited on Governors Island seven days a week through October 31, 2018. You can find specific hours for the installation on the Governors Island website, and see more of Hashimoto’s works on his website. (via Fubiz)

 

 



Art

Mirrored Installations by Sarah Meyohas Create Infinite Tunnels Strewn With Dangling Flowers

August 17, 2018

Kate Sierzputowski

In artist Sarah Meyohas‘s series Speculations, infinite tunnels are created with facing mirrors set against pastel backdrops. Smoke, flowers, and finger tips border the reflective surfaces, creating dream-like environments that pull the viewer deep into the image’s frame. Meyohas is interested in the creating a seductive quality in each of the photos. “Whether it’s the colors or the flowers drawing you in, I want viewers to feel like they’re being drawing into the void, like standing upon a precipice,” the New York City-based artist tells Sleek Magazine. You can see more of her mirrored works on Instagram. (via Contemporary Art Blog)