Suspended Orbs, Webs, and Air Plants Imagine an Alternative Ecological Future by Artist Tomás Saraceno
Three reflective spheres hover above the courtyard of Florence’s Palazzo Strozzi in Tomás Saraceno’s immersive installation. The metallic orbs mirror the historic Renaissance architecture in addition to visitors who pass by, while marking the entrance to the imagined space that explores life beyond anthropocentrism. As its name suggests, Aria is concerned with air, encompassing human travel, its ability to foster growth, and how it’s entwined with every living organism.
The Argentinian artist (previously) is known for his large-scale works that fall at the intersection of science and art and consider the human toll on the natural world. Throughout Aria are various experiences dealing with contemporary environmental issues: Glass forms hang from the ceiling and house Tillandsia plants, which need only air to survive, while “A Thermodynamic Imaginary” considers the immensity of the sun and its unused potential.
Each of the works also references one of Saraceno’s 33 arachnomancy cards that explore ecological interconnectivity. References to arachnids manifest in the complex systems that hold Weaire–Phelan structures in “Connectome” or in the stark “Aerographies,” a series of clear balloons and framed networks that explore how “the movements of people, heat, animals, and spider/webs affect and are affected by the air,” a statement from Saraceno says.
Ecosystems have to be thought of as webs of interactions, within which each living being’s ecology co‐evolves, together with those of others. By focusing less on individuals and more on reciprocal relationships, we might think beyond what means are necessary to control our environments and more on the shared formation of our quotidian.
If you’re in Florence, stop by the Palazzo Strozzi to see Saraceno’s work before it closes on November 1, 2020. Otherwise, find out more about what he has planned for the rest of the year, which includes a new solar-powered balloon, on his site and Instagram. (via This Isn’t Happiness)
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Katharina Grosse’s latest installation transcends the boundaries of the Hamburger Bahnhof – Museum für Gegenwart as it erupts into a sprawling kaleidoscope. From varicolored surges inside to the vast paintings on the ground and nearby outdoor walls, “It Wasn’t Us” is an expansive artwork on the site of a former railway building. As visitors walk throughout the work, the abstract forms swell in various directions, creating a new visual at each angle. “I painted my way out of the building,” Grosse (previously) said about the site-specific project.
“It Wasn’t Us” will be on view at the Berlin museum until October 1, 2021, and if you can’t experience it in person, watch the immersive video and interview with the artist below. To dive further into Grosse’s work, purchase a copy of her forthcoming monograph or check out her Instagram. (via designboom)
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Step Inside Petrit Halilaj's Monumental Nest of Oversized Flowers Within Reina Sofia's Palacio de Cristal
Bowerbirds are renowned for one of the most unusual courtship behaviors in the animal kingdom, where males build elaborately decorated nests—called bowers—in an attempt to court a mate. Kosovar visual artist Petrit Halilaj drew inspiration from this unique ritual for his first solo exhibition at Reina Sofia’s Palacio de Cristal (previously) in Madrid. Titled “To a raven and the hurricanes which bring back smells of humans in love from unknown places,” the installation serves as a metaphorical nest that connects the inside and outside spaces of the palace and features several avian elements like trays of birdseed and a giant pair of bird’s feet that descend from above.
The collection of artworks is actually a collaborative effort between Halijaj and his life partner artist Álvaro Urbano, who helped construct the oversized forsythia, palm seeds, cherry blossom, poppy, carnation, and lily that fill the space. “I wanted to conceive Palacio de Cristal as a place for the celebration of love,” Halijaj shares. From the museum’s release:
There is something strange and disproportionate about the size of this nest, the gigantic scale of its flowers, and the comfort and centrality it offers the birds. The artist thus suspends the logo-centric perspective that makes us believe we are the center and measure of all things, encouraging us to recognize ourselves as just one more element among many. The nest is thus revealed as the setting for a ritual that lies in wait for encounters, alliances and unions among its different visitors, altering and changing with the space.
“To a raven...” is open now through February 28, 2021, at the Palacio de Cristal, and you can see more views on Yellowtrace.
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In London Fieldworks’ delicate creations, architecture meets nature. Its installations feature pine-colored clusters of minuscule wooden forms that appear to grow upon vast tree trunks. Founded by artists Bruce Gilchrist and Jo Joelson, London Fieldworks is a collaborative and multidisciplinary arts practice with projects at the intersection of architecture, sculpture, installation, and film.
Each of the homes has rounded windows and doors, while those on large evergreen trees resemble natural objects, such as wasp and hornet nests or even fungi and mushrooms. From reflecting Clerkenwell’s urban renewal to offering new habitats for animals, the sprawling birdhouses fuse architectural ideas with nature and art, resulting in sculptures that integrate effortlessly in both natural and urban spaces. Through its installations, the practice explores its concern with the climate crisis through the lens of history, the environment, and culture.
One work, “Spontaneous City in the Tree of Heaven,” references opposite sides of London: Duncan Terrace Gardens in the east and Cremorne Gardens in the west. The installation is constructed from hundreds of bespoke bird boxes reflecting the forms of the local architecture—a combination of Modernist 60’s social housing and Georgian townhouses.
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In cities across Sweden, France, and the Isle of Man lies a parallel universe fit only for a mouse. Miniature restaurants, record shops, and apothecaries squeeze into ground-level windows on the street next to their human-sized equivalents. The adorable universe is a project from a collective aptly named AnonyMouse, which started crafting the charming scenes in the spring of 2016.
Suggesting that the mice have a symbiotic relationship with the pedestrians on the street, the team repurposes items people throw away, turning a champagne topper into a stool or a matchbox into a table. Twenty-five installments currently exist across Europe, which largely are inspired by Astrid Lindgren’s and Beatrix Potter’s whimsical tales and movies from Don Bluth and Disney. “We thought it would bring a bit of joy to pedestrians passing by, but it grew into something slightly bigger, and as such we’ve probably dedicated more time on each project than we originally envisioned. But that’s just part of the fun,” they say. The team crafts each scene with incredible detail, from recreating iconic record covers to plastering up posters advertising mouse- and rat-based happenings.
As its name suggests, the group’s individual identities are unknown. “We like to think that part of the allure of our installations is that they could be done by anyone,” they say. “And since we do not have a specific agenda with them our identities are unimportant.” AnonyMouse won’t divulge plans for upcoming installations, but you can follow all of its adventures on Instagram.
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Based in west London, artist Kate MccGwire is known for her serpentine feather sculptures and discomfiting artworks that coil and ooze in every direction. A recent installation follows in that tradition as it pours down like a massive gush of water from a built-in bookcase. Composed of approximately 10,000 pigeon feathers, “Discharge” stands nearly five meters tall and cascades to the floor in feathered ripples. While the plumes lining the main chute are in shades of gray, those at the bottom are lighter, evoking the ways water appears white when it crashes.
The delicate feathers are sourced ethically from pigeon racers who collect the plumes in August and October when the birds molt. MccGwire sorts the materials in her studio, separating the ones that curve left from those that bend to the right, before arranging them in captivating, color-specific patterns. “When visitors see the piece for the first time they are drawn to the phenomenal scale, rhythmic patterning, movement, and perfection of the piece,” she says of the mixed-media installation. “But are often perturbed and revolted when they understand what the material is,” which is exactly her intention. By juxtaposing the raw materials with the finished artwork, she asks viewers to consider the everyday beauty that’s often overlooked.
“Discharge” has been exhibited in an evolution of configurations in South Korea, Berlin, Paris, and now, Harewood House in West Yorkshire until August 14. Take a video tour of the current exhibition—which also includes a massive feather rug and encased sculptures—and find more of MccGwire’s voluptuous projects on Instagram.
Update: The exhibition at Harewood House has been extended through October 25.
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