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Does He Dream of Planetarium?
by Taira Ichikawa
Nov. 14, 2013
at Sakura Factory, Ome-shi, Tokyo Japan
Art Program Ome 2013
and the flower petals fell to the ground to rise again some where else some place else | smiling he looked at me, and said "it just takes five minutes to bring it all down..more than five hours to make one"
Artist:
Netikan Roopngarm, Thammachat Jun Mepokee
Abstract:
God's Green Earth is a world that was created by God and it is beautiful and peaceful. The aim of this exhibition is to show what has happened to god's creation because of mankind. The God’s green Earth that used to be beautiful, is now destroyed by the humans temptations.
Materials:
Materials include commercial objects such as paper, cloths, water colour, spray pain, legal drugs (as illegal drugs), powder, assemblages of some found objects.
Exhibition format: Installation Art
Overview:
Point of installation is of irresponsibility, carelessness and laziness, leading to social failure as represent by models of both human and non-human elements in the show that would directly and indirectly relate to it. These would expressed in sarcastic way. Humour would also be part of the installation.
Note: The use of the space
- outside the window, where can you see beautiful green scenery = the past (Green Earth)
- inside the room = the present
-the elevator = the future (Hopefully, better)
Installation Art
"To Play Upon a Constant Note: Memory, Sustained and Unwavering"
Global Citizenship Conference; The Faces of Genocide
April 12, 2018 — at West Valley College
Cement, barbed wire, found objects
***********************
To play upon a constant note: memory, sustained and unwavering
Gathering images of victims of genocide for research I found myself paralyzed with the constant question of what exactly would allow one to survive another day, both mentally and emotionally, in such a cruel and horrific situation. These men, women and children, who stare from behind, but beyond cement pylons laced with barbed wire and rebar, stripped of all intimate and worldly possessions, and denied worth and dignity, on what and where did they find an unflinching strength and will to live? Orphaned children who today squat beside rows of mothers and fathers and older siblings slaughtered during the night, children who barely understand the concept of life and death, on what will they base a future? In such extreme inhumanity on what does one’s will to live, love and survive find its sustenance?
Could I make this question one with which I could become more intimate? I asked myself if fate were to have placed me in history or present as a victim of genocide on what would I feed my will to survive, and my strength to resist despair and defeat. Memories … precious, sweet, simple … of things common and every day, these would be the fire of mind and soul. Perhaps the memory of serving a well-prepared meal, a reread and well-worn book, a child’s favorite toy, a comfy pair of shoes, music … the beach … little mementos and dog-eared photos, perhaps these intimate memories fueled those who suffered and yet survived for one more day. Memories escaping beyond the hardened pylons and suffocating lacework of wire and rebar …
Jeanne Watson
A detail of Jane Alexander's commissioned installation, Security - at the Joburg Art Fair 2009, Sandton Convention Centre, Johannesburg, South Africa.
Exhibition Review - Group show:'people sometimes, die' Edel Assanti, London till 20th Feb 2016.
With curator Hlebo, incoherence becomes the site of ruptured wounds, stuck in an overwhelmingly white space. - Drenched Co.
Comment: " In this show, exploring mainly the various facets and symptoms of oppression in America, I encountered a bunch of dizzyingly busy young artists, (guns blazing on all media fronts), involved in the art and politics of ‘the post’. It was all a little unavailable but the questions it attempts to ask are compelling - what is your complicity in the oppression of the marginalised? how much has your humanity diminished as you oppress and are oppressed? Great premise for a great show. If only it wasn't trying so hard to be all 'post'. " - JayZee
See www.edelassanti.com/exhibitions/57/overview/
See also www.woundsthatbind.com/2016/02/exhibition-review-ryan-foe...
Caption: Image above: Installation view 'people sometimes, die' Edel Assanti, London 2016
Image courtesy of the artists and Edel Assanti, London. Curated by Jesse Hlebo.
We take great care not to harm the image in any way. And these views, they are ours only and not those of the gallery or artist.
#cutsoverart #drenchedco #soakedspace #peoplesometimesdie #JesseHlebo #EdelAssanti #RyanFoerster #YulanGrant #EJane #GregoryKalliche #DevinKenny #DenzelRussell #artinlondon #londonart #artlondon #artberlin #berlinart #artinberlin #artnewyork #newyorkart #artinnewyork #artreview #contemporaryart #artinstallation #installationart #videoart #artvideo #artphotography #photoart #soundart #oppression #postart #postmodern #conspiracytheory
The Projector Collective @ Versus Gallery, East Essex street, Dublin during the DEAF festival, 23rd-26th October 2008.
This was a series of installations at the Walker Art Center in Minneapolis designed around the concept of mini-golf and the environmental awareness (thus "green" in multiple meanings).
Mantra (2001)
phonograph record players, record albums and
various found objects.
from the Gestures show at
Pittsburgh, PA
October 27, 2001 - December 8, 2001
Gestures Curators: Michael Olijnyk and Graham Shearing
Digital photograph (detail) from installation
at The Mattress Factory, Pittsburgh PA
October 27, 2001 – December 8, 2001
Copyright © 2001 David Pohl
House of Pingting Archives
A view down into the labyrinth of gauzy white fabric that makes up the physical component of this work. The other, more ephemeral part, is visible in the following photos. Microphones hang down throughout the maze that record the ambient sounds. The following day, the previous day's recording is played through various hanging speakers. Each day's recording is layered with all of the previous soundscapes creating an ever changing and multiplying aural experience.
Installation Art
"To Play Upon a Constant Note: Memory, Sustained and Unwavering"
Global Citizenship Conference; The Faces of Genocide
April 12, 2018 — at West Valley College
Cement, barbed wire, found objects
***********************
To play upon a constant note: memory, sustained and unwavering
Gathering images of victims of genocide for research I found myself paralyzed with the constant question of what exactly would allow one to survive another day, both mentally and emotionally, in such a cruel and horrific situation. These men, women and children, who stare from behind, but beyond cement pylons laced with barbed wire and rebar, stripped of all intimate and worldly possessions, and denied worth and dignity, on what and where did they find an unflinching strength and will to live? Orphaned children who today squat beside rows of mothers and fathers and older siblings slaughtered during the night, children who barely understand the concept of life and death, on what will they base a future? In such extreme inhumanity on what does one’s will to live, love and survive find its sustenance?
Could I make this question one with which I could become more intimate? I asked myself if fate were to have placed me in history or present as a victim of genocide on what would I feed my will to survive, and my strength to resist despair and defeat. Memories … precious, sweet, simple … of things common and every day, these would be the fire of mind and soul. Perhaps the memory of serving a well-prepared meal, a reread and well-worn book, a child’s favorite toy, a comfy pair of shoes, music … the beach … little mementos and dog-eared photos, perhaps these intimate memories fueled those who suffered and yet survived for one more day. Memories escaping beyond the hardened pylons and suffocating lacework of wire and rebar …
Jeanne Watson
My contribution to the Show 'Exposed' by the group Fibre Art Wales which has been installed at the National Botanic Gardens of Wales in carmarthenshire.
My work can be found in the Great Glass House.
Photo: Kirsten Hinks
"But is it Art?" — April 2009
Ann Stoddard's sculpture students create installation work at Salisbury University's Student Art Center.
An installation made as part of my current FIAD project.
At the end of a dimly lit corridor, a door-sized aperture of light appears inside a small room, as if cast in from the outside. Centred in the light is an anonymous silhouette, sometimes facing the viewer, other times standing calmly in profile.
Materials: Ink on acetate, overhead projector.
My lovely friend Louise Bird with her work 'iota' at the opening of The Pembrokeshire Open at the Torch Theatre in Milford Haven.
Installation view: Phyllis Kind Gallery, New York, 1988
Collection: Zimmerli Art Museum, Rutgers University, New Jersey, USA.
Oil on canvas. Appropriated paintings by Paul Cézanne,
Jean-Baptiste-Camille Corot, Jacob van Ruisdael and Woman Standing in Front of a Mirror (1841) by C. W. Eckersberg. Hirschsprung Collection, Copenhagen.
Coal being the chief energy of China has contributed much to the countries glorious economic development. Yet underneath its shiny red, are thousands of mining casualties and people affected by the coalworker's pneumoconiosis or Black Lung. Apart from he official casualty number, there are lots of cover-ups and unreported.
Add a description…This is an installation of Elliott Earls "Elegy for the Collapse of the Empire, Detroit Craft and Disentegration." at Cranbrook Museum during the "no Object is an Island" exhibition.
Floor: Family statue, fluorescent lighting, Kenyan leso, vinyl, bricks, air plants. Wall: Whiskey, chamomile, blue pigment, olive oil, rosary beads, walking stick, letter opener, animal fat, cadmium red, linseed oil, juniper berries, acrylic paint, amarillo food coloring, silver hydrosol and lavender with fluorescent lighting and honeycomb.
Coal being the chief energy of China has contributed much to the countries glorious economic development. Yet underneath its shiny red, are thousands of mining casualties and people affected by the coalworker's pneumoconiosis or Black Lung. Apart from he official casualty number, there are lots of cover-ups and unreported.
This is an installation of Elliott Earls "Elegy for the Collapse of the Empire, Detroit Craft and Disentegration." at Cranbrook Museum during the "no Object is an Island" exhibition.