One-hundred five hourglasses dangle from the entranceway ceiling at cSPACE King Edward in Calgary. Every day at both noon and midnight, the sand-filled vessels flip in tandem and reset. They’re part of a 2018 project called “Yesterday, Today, Tomorrow,” a site-specific installation created by artists Lane Shordee, Caitlind r.c. Brown, and Wayne Garrett (previously), that visualizes the intricacies of how we experience collective moments, individual memories, and history.
Each hourglass has a unique correlation to time–half document how hours slip by like a clock, while others reflect more personal relationships to the passing seconds in a series of notes submitted by the public. “Ranging from ‘the time it takes to call mom’ to ‘the time it takes to realize it was just a dream and you are no longer lying next to me,’ you can read the brass tags attached to various hourglasses to understand the increment of time being measured in sand,” the artists tell Colossal.
Every vessel, though, represents a year of the King Edward building, from its construction in 1912 to its transformation to the cSPACE area in 2017. “‘Yesterday, Today, Tomorrow’ uses the hourglass as a symbol of non-linear time–both mortal and immortal–drawing a relationship between the sandstone school’s past, transitional present, and the uncertain future yet to come,” they said. Visualizing the otherwise abstract concept, the suspended project invites people to consider how all moments are interwoven.
For the project, the creative trio ground the sandstone bricks from the original building. They then sifted and measured the substance into the hand-blown glasses that measure zero seconds to four hours. Motors, sensors, microcomputers, and an internal clock using GPS ensures that each vessel flips on time even if there’s a power outage.
To keep up with Shordee, Brown, and cSPACE King Edward, head to Instagram. You also might like Brown and Garrett’s interactive lightbulb sculpture and Carbon Copy, their installation that flipped a car on its front bumper
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One-hundred five fiberglass figures stand atop white chairs in rows that extend from the floor to the ten-meter high ceiling. Part of an exhibition titled Ataraxia, the LED-lit installation invokes the ideas behind the Greek word, which roughly translates to imperturbability, equanimity, and tranquility. The glowing project by Argentinian artist Eugenio Cuttica was on view in 2018 at the MAR Museum in Buenos Aires and explored the ways subjects can achieve balance and happiness through freedom from desire.
Ataraxia, the artist said in a statement, “points to a calm beauty, a calm but agitating act, moves the spirit and can even cause fear. It is an art that refers to the observer’s consciousness in its own insignificance and in unity with nature.” In addition to the expansive wave, the exhibition also featured a series of wooden boats and paintings meant to reflect on fertility, abundance, the sublime qualities of Argentinian landscapes, and the ways art and food intersect. The same feminine form is interspersed throughout and can be seen standing in one of the suspended vessels.
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Take a seat on one of Tanya Preminger’s grass-covered artworks, and you won’t be able to right the balance. The Isreal-based artist created immovable slants and indentations embedded in the land that seem like they should tip depending upon the amount of weight settled on either side. For each sloping piece, Preminger employed an excavator to dig a hole and pour the soil into a nearby pile. She then used a shovel, rake, and lengthy ruler to sculpt the slanted earth, covering it with sod at the end.
After seeing a footprint left in a bit of sand, Preminger wanted to express the relationship between give and take that’s inherent in nature. “In physics, an action is equal to its reaction,” she tells Colossal. “The project expresses in material form the philosophical law of balance between opposing sides of one essence.”
The artist produced the first oval impression in 1989 in the fields of the kibbutz Givat Brenner. When organizers of the Chemin d’Art asked her to recreate her original work for their 2008 festival in France, she designed “Round Balance,” altering her oval to a circle “to give a more universal meaning.” (via Design You Trust)
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AZIMUT, an installation by French artist and designer Arnaud Lapierre, offers a prismatic look at some of Venice’s historic structures. Situated along the waterfront of Riva degli Schiavoni, 16 titled mirrors with battery-powered motors rest on the cobblestone walkway in front of the Palazzo Ducale, a gothic landmark that dates back to the 14th century and currently houses one of the Italian city’s museums. The reflective circles spin in tandem, offering a magnified view of the palace’s patterned stone and the intricate details on its facade.
When facing the water, the mirrors even pick up glimpses of the San Giorgio Maggiore, a Benedictine church that was completed in the 16th century. Featuring massive marble columns, the basicillica was designed by Renaissance architect Andrea Palladio.
Lapierre described the project as “a loss of balance, of recomposing landscape and a patchwork observation,” of the surrounding architecture and historic city. For more of his designs that question and alter perspectives, head to Instagram and Vimeo. (via designboom)
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In an effort to merge the past, present, and future in a single work, Tokyo-based French architect and designer Emmanuelle Moureaux (previously) hung 168,000 paper numbers in rainbow-like rows to create her latest piece, “Slices of Time.” The suspended project contains 100 hues, in addition to white, that are formed into a vibrant cylinder meant to serve as a visual representation of Earth. “She uses colours as three-dimensional elements, like layers, in order to create spaces, not as a finishing touch applied on surfaces. Handling colours as a medium to compose space, her wish is to give emotion through colours with her creations, which range from art, design to architecture,” a statement about the work said.
Part of her 100 Colors series, the piece is on view at NOW Gallery in London through April 19, although the space currently is closed due to the ongoing threat of coronavirus. To keep up with Moureaux’s next numerical project, follow her on Instagram. (via design boom)
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Part of a solo exhibition titled Gimme Something/To Eat at Anomaly in Tokyo, a multi-level project by Japanese painter Yusuke Asai considers the structure of ecosystems and the relationship between humans, animals, and nature. In his mythical installation “The earth is falling from the sky,” a central figure with outstretched arms smiles down from the ceiling. Intertwined scenes of flora and fauna encircle the entirety of the dome-shaped room, with deer, rodents, and snakes scattered throughout the untamed installation. The artist previously shared this project in the Moss Museum at the Wulong Lanba Art Festival in China.
Asai is known for using simple materials like soil, water, dust, flour, tape, pens, and even animal blood gathered from local regions to create his sprawling projects, requiring viewers to interact directly with their surrounding environments. In his mud paintings, the artist literally binds themes of nature with physical elements of the earth.
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Packed within a 6,000-square-foot space on Chicago’s south side is a fictional universe teeming with pinned up newspaper clippings, towers of retro electronics, and tons of vintage advertising from McDonald’s to Vienna Hot Dogs. It’s the world of Hebru Brantley’s iconic characters, Lil Mama and Flyboy, whose enlarged head rests on the floor in one room of the immersive installation, titled Nevermore Park. Moving through the pathways lined with plastic toys and paint-spattered pallets, visitors pass a downed spaceship and a brick wall of street art, elements that structure Brantley’s narrative for the surreal environment.
The Los Angeles-based artist cites the tales of the superheroes and comic books he engaged with during his childhood living in Chicago as directly impacting his current projects. “I’m in love with creating and I have so many stories I want to tell,” he tells Colossal. “I want my work to create a narrative that hasn’t been told before, in ways others haven’t seen expressed. I’m working to create the things I wished existed.”
Although Brantley created many of the objects specifically for Nevermore Park, he also amassed thousands of pieces of real ephemera that create a strong undercurrent of Chicago’s history as expressed through pop culture, toys, magazines, and found objects. The periodicals lining the newsstand, for example, belonged to his grandmother. “She had saved a number of them and it created a unique opportunity for me to incorporate these real historical artifacts into my body of work for visitors to experience. Everything weaves together with the goal of staying authentic to the stories I wanted to tell,” he says.
Nevermore Park, though, is intended “to be a total sensory experience,” inspiring Brantley to collaborate with WILLS on the audio component, offering a soundtrack that he says visitors always ask about. “Bringing people into a space they wouldn’t normally occupy with sounds that are familiar, amplify the story and culture even more,” he writes. “Sight is an important aspect of the experience but so is the sound piped into each section.”
If you’re in Chicago, there are tickets available to visit Nevermore Park through May 3. Otherwise, head to Instagram to keep up with Brantley and see what’s next for Flyboy, Lil Mama, and Nevermore Park.
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