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Nam June Paik's "One Candle, Candle Projection" and "Standing Buddha with Outstretched Hand" at the Tower Gallery of the National Gallery of Art.
It's really quite beautiful, and deep, and meditative. Yes, certainly, granted, it has that "wtf?" aspect, that offputting aspect that avant-garde art can have, that makes you, initially, want to just dismiss it as nonsense, but give it a moment, give it some thought, and there's really a lot here.
The Weather Inside
plaster, drywall, mixed plumbing supplies, marble, brick, hair, paper, beads
2011
Artist Statement:
Inside and outside merge, which is inside and which is outside.
Where are the boundaries?
Liminal spaces, time place and locations.
Reality and outside of reality.
Definable and not defined.
A shrine, alcoves, perhaps.
Bio: Veronica Ryan was born in 1956 in Montserrat, West Indies, grew up in England and currently lives in New York. The fact that parts of Montserrat were destroyed by a volcanic eruption has influenced the direction of her work. Her current work is characterized by a collection of debris on the one hand, while also focusing on notions of partial evidence, remains of things petrified, and traces of last moments. Her installations are made up of plaster casts of everyday objects, like paper plates, arranged in architectural and formal configurations. She has an extensive exhibition history that includes the Tate Modern, London, and major galleries in the United Kingdom and the United States.
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)
She suspended spraypainted cloth from the ceiling, and extended it across the floor, to create an enveloping “room” with undulating walls.
part of the exhibition Konstruktion der Welt .Kunst und Ökonomie
see more : www.emergencyrooms.org/documenta_kassel.html
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www.emergencyrooms.org/biennalist.html
www.emergencyrooms.org/formats.html about other art format
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Installation art of Shigeko Hirakawa
Solo show "Air in Peril? Forest of Photosynthesis" at the Kanaz Forest of Creation, in Japan
Installation Art (2001-2006)
toy zen garden
Becoming (The Buddha Project)
small world:holydirt
Nataraja
Mantra
Crossroad 2009, 3 screen video/sound 3 channel installation
“Igor and Svetlana Kopystiansky, ” Musée d’Art Moderne de Saint-Etienne, France. 6th of February – 18th of April, 2010
2009
Duration: 10 min.
Color/Sound. Three channel.
Exhibited:
“Igor and Svetlana Kopystiansky,” Musée d’Art Moderne de Saint-Etienne Métropole. 6th of February – 18th of April, France. (cat.)
"…These formal issues are further explored in Crossroad, a four-screen projection that concludes the sequence of installations in the galleries. Filmed on the streets in Lower Manhattan, the unedited footage includes ambient sound from the location of the shots. Each of the four screens is composed of two images that slowly dissolve from one shot to other. Representing two different locations, the projection creates a dislocation of time and place that becomes increasingly pronounced. Over time, an evocative quality emerges in Crossroad, giving each place its own rhythm, and although each site is different, they all share the temporal ebb and flow of people and traffic common to cities. In the gallery, the sense of the urban scene as it is composed for the moving image subtly shifts point of view from that of the camera to the viewer. It is the viewer who discovers and explores the superimposed moving images as they gradually unfold. Despite the lack of a narrative, Svetlana and Igor’s work is not alienating because of their understanding of the way memory functions and the way we recall what has transpired before our eyes. The strategy of allowing chance associations to occur as the superimposed images play off of each other is one the artists have employed to explore cinematic codes in a related body of work as well, one which is drawn from their treatment of found film footage and classical films…”
An excerpt from the text by John G. Hanhardt: "The Play of Time: The Art of Svetlana and Igor Kopystiansky"
"But is it Art?" — April 2009
Ann Stoddard's sculpture students create installation work at Salisbury University's Student Art Center.
Vessel for Haiti II: an interactive, community-engaged performance Co-conceived by Catherine Tutter and Anna Wexler. Featured performers: Margaret Bellafiore James Ellis Coleman Burns Maxey Cathy McLaurin Mari Novotny-Jones Joanne Rice Catherine Tutter Jane Wang Anna Wexler.
At Mobius, 11/06/10.
Photo: ©Bob Raymond
7-channel mixed media video and sound installation. Photos: Huntington Museum of Art; panorama: ©Mary Lucier
For the solo show in Guestroom, Alison Owen has constructed House Rules. Owen studied the facts of the house- its narrative history, the materials and patterns found in it, the specific movement of the light across the walls. By tracking this data Owen hopes to discover part of the intangible nature of the space. Intrigued by the house’s history, 3119 Chadwick is not a static place. Owen imagined it sending out tendrils like a grapevine, expanding, covering over old bits, breaking off into new rooms and new hiding places, like the labyrinthine house in Bruno Schulz’s book “The Street of Crocodiles”. Owen's composition is an attempt to create a new and logical offshoot of the house, arrested mid-growth.
Vessel for Haiti II: an interactive, community-engaged performance Co-conceived by Catherine Tutter and Anna Wexler. Featured performers: Margaret Bellafiore James Ellis Coleman Burns Maxey Cathy McLaurin Joanne Rice Catherine Tutter Anna Wexler.
Catherine Tutter embellishes a ceremonial belt in the manner of the Vodou 'drapo', ritual flags used to signal the lwa (spirits) of Haitian Vodou.
At Mobius, 11/06/10.
Photo: ©Bob Raymond
www.barnesfoundation.org/exhibitions/shonibare/
Exhibit at the Barnes Foundation in Philadelphia runs to April 21
It was simply just three panda statues. And people were genuinely having a good time around it. Never underestimate the human capacity to have fun!
Fragments of a Burnt History - Faith47 at David Krut - Beautiful, thought provoking, unique - Sections of the installation
www.barnesfoundation.org/exhibitions/shonibare/
Exhibit at the Barnes Foundation in Philadelphia runs to April 21
Conjure Bag: "Gullah Jack's Bag". (Conjure Bag for Gullah Jack, an African born leader of a slave revolt in South Carolina, made by Anna Wexler for original performance piece.) Mobius Theater, 2002. Photo: ©Anna Wexler
For the solo show in Guestroom, Alison Owen has constructed House Rules. Owen studied the facts of the house- its narrative history, the materials and patterns found in it, the specific movement of the light across the walls. By tracking this data Owen hopes to discover part of the intangible nature of the space. Intrigued by the house’s history, 3119 Chadwick is not a static place. Owen imagined it sending out tendrils like a grapevine, expanding, covering over old bits, breaking off into new rooms and new hiding places, like the labyrinthine house in Bruno Schulz’s book “The Street of Crocodiles”. Owen's composition is an attempt to create a new and logical offshoot of the house, arrested mid-growth.
Teachers and Educators gathered for a tour of "Feminist and..." onSeptember 18th, 2012 at the Mattress Factory Museum.
Photos by: www.flickr.com/photos/olive-ruby
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
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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
www.barnesfoundation.org/exhibitions/shonibare/
Exhibit at the Barnes Foundation in Philadelphia runs to April 21