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Roelof Louw: Soul City (Pyramid of Oranges), 1967 (R) and Hans Haacke: Grass Grows, 1967-69 and Condensation Cube, 1963 (L)
Analysis of works by Roelof Louw and Hans Haacke:
Soul City:
> Successive dismantling of sculpture - open invitation that encourages an organic form of disruption where the public are free to take an orange
> Rethinking about how a sculpture operate in space and time but also ask questions about the direct interactive relationship b/w the sculptural work and the environment in which they are situated - possibility for a place to support a sculptural work to operate as an integral part of social life?
> Visitors stimulated by the smell as well as fit and feel of taking an orange in one's hand, the taste and texture of the fruit as it is eaten
Grass Grows:
> Grass seeds sprout throughout duration of exhibition
> Audience arrive and observe piece at different moments of its development - challenge to notion of a 'finished' piece or seeing a piece in its entirety
> Haacke: 'Grouping of elements subject to a common plan and purpose to arrive at a joint goal'.
> Trivial turns 'magical' - displaced from outdoors and moved to institutional context; living organism incorporated into highly conceptual framework - challenge to idea of gallery as static and neutral
> Inspired to make art that ceases to exist when life does/ has 'expiration date' (alongside loss of sensorial stimulation)
Condensation Cube:
> Simple in its constitution but complex in its context - reveals fundamental aspect of nature: the water cycle (evaporation, condensation and precipitation)
> Conditions comparable to living organism which reacts flexibly to surroundings - 'changing freely bound only by statistical limits'
> How can I contain smell and taste? Sealed vessels? Terrariums?
Roelof Louw: Soul City (Pyramid of Oranges), 1967 (R) and Hans Haacke: Grass Grows, 1967-69 and Condensation Cube, 1963 (L)
Analysis of works by Roelof Louw and Hans Haacke:
Soul City:
> Successive dismantling of sculpture - open invitation that encourages an organic form of disruption where the public are free to take an orange
> Rethinking about how a sculpture operate in space and time but also ask questions about the direct interactive relationship b/w the sculptural work and the environment in which they are situated - possibility for a place to support a sculptural work to operate as an integral part of social life?
> Visitors stimulated by the smell as well as fit and feel of taking an orange in one's hand, the taste and texture of the fruit as it is eaten
Grass Grows:
> Grass seeds sprout throughout duration of exhibition
> Audience arrive and observe piece at different moments of its development - challenge to notion of a 'finished' piece or seeing a piece in its entirety
> Haacke: 'Grouping of elements subject to a common plan and purpose to arrive at a joint goal'.
> Trivial turns 'magical' - displaced from outdoors and moved to institutional context; living organism incorporated into highly conceptual framework - challenge to idea of gallery as static and neutral
> Inspired to make art that ceases to exist when life does/ has 'expiration date' (alongside loss of sensorial stimulation)
Condensation Cube:
> Simple in its constitution but complex in its context - reveals fundamental aspect of nature: the water cycle (evaporation, condensation and precipitation)
> Conditions comparable to living organism which reacts flexibly to surroundings - 'changing freely bound only by statistical limits'
> How can I contain smell and taste? Sealed vessels? Terrariums?