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In November 2013, nearly a year to the day of the beginning of construction, "a year and one day" stands proud and tall on the grounds of Longue Vue House and Gardens in New Orleans, Louisiana. Created to slowly be overgrown with plant-life (both indigenous and invasive) and deteriorate with time, this site-specific time-based artwork continues to evolve. Step inside this tomb and contemplate the cycle of life and death. Light filters through a water prism in the ceiling to create a place of passivity.
if the squares were rearranged they would make up a whole image; like the cells in a cocoon.
the main idea here is process; the alchemist method, applying a specific process to objects to turn them into a new state.
"TOP 16"
Solo exhibition by Janet Lilo
22 March - 12 April 2008
Fresh Gallery Otara, Manukau City, Aotearoa New Zealand
(Photo by Leilani Kake)
First solo exhibition by Dublin-based artist Meadhbh O'Connor, BIOSPHERE. The show was held in Monster Truck Gallery, Temple Bar, Dublin 2 in May – June 2011.
Work shown: 'The Ascent of Manure, Fungus Supremus.'
Date: 2011
Medium:approx. 360kg of industrially-produced living mushrooms, compost.
Dimensions: 5 sq. metres
This installation came from another curiosity that runs through my current practice: mycology. Echoing the ideas behind ‘Noxious Species, No.2’ and other works, I was interested in the cultivation and manmade ‘refinement’ of a living organism. I installed a bed of approx. 360kg, or 5sq meters, of living mushrooms that lurked from under the stairs and out into the gallery. These mushrooms were the result of agro-industrial processes, grown by the leading suppliers and exporters of mushrooms in Ireland, Monaghan Mushrooms. The gallery audience were invited to help harvest the mushrooms throughout the exhibition.
The title of the work was intended to be a humourous reference to The Ascent of Man, Jacob Bronowski’s seminal T.V. series tracing the progression of human civilisation. By applying it to agro-industrial food – living organisms optimised for human consumption and for profit – I was playing with the idea of man’s (apparent) mastery over nature. The other half of the title, ‘Fungus-Supremus,’ was a play on scientific taxonomy.
For more information please see:
Exhibition text produced by curator and writer Sean O'Sullivan
© Meadhbh O'Connor
The gallery was meant to evoke the idea of walking under a freeway overpass. Though, of course, in an abstract, liminal space sort of way.
BETSY JAMES DiSALVO
The Productivity Paradox and the Cupcake Robot, 2008
Meet the Made (07.011.2008 - 08.31.2008)
VIsta de la intervención con texto a una de las habitaciones del MUCA Roma (antigua sede en la calle de Tabasco, Col. Roma, Ciudad de México, 2005). Documentación fotográfica de Maru de la Garza.
For this group project we chose to create an old house out of a room, because old, abandoned houses have so much history hidden in them. A lot of people are fascinated by the old buildings and are eager to find out what might have happened there or who might have lived there and so on. Little things such as old photographs or writings on the walls can offer you a glimpse of insight from the past. So, we tried to recreate the feeling of old, abandoned house that was rich in history. We used the projection of two images on both walls to create a sense of more depth; the fan, to mimic the wind blow and the recorded sound of the wind blowing. We also decided to use layers of wallpaper and photographs on the walls in the attempt to show the passage of several time periods.
Making mermaids is my beach art project this year. This one turned a little trashy when she starting smoking the stick cigarette.
“I took to my room and let small things evolve slowly.” – Erik Satie
French composer Erik Satie (1866-1925) coined the phrase “furniture music” in 1917 to describe background music played by live performers. His pieces of furniture music were very short works with an indefinite number of repeats.
Satie developed his minimalist music in radical response to the excesses of 19th-century German Romanticism. His Gymnopédies (1888) are often regarded as a precursor to modern ambient music. Satie’s last residence was a threadbare room that never saw a visitor during the 27 years that he lived there.
In thinking about Satie, I am also reflecting on solitude, memory, imagination, the philosophy of time, mortality, and the nature of cycles.
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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