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Exploring art at the Sainsbury Centre for Visual Arts, Norwich UK ... a fabulous exhibition where you can acutally enter some of the installations... a lot of fun. Reflections, textures... if you like taking through glass and reflections go take some pics. FREE! In this installation we were invited to get into a hammock and contemplate the painting.... I took this whislt swinging in the hammock.
Installation Art: don't forget using the headphones for a better sound experience... There are two birds (almost an orchestra), though you can only see one here, yet they are real and can sing... :)
Exposition “L'autre côté du miroir, le monde de Charles Matton“ à l'Espace culturel Chapelle Sainte-Anne
#laBaule #laBauleLesPins #ArtContemporain #LesBoîtes #contemporaryart #exhibition #installationart #artinstallation #art #laBauleEscoublac #CharlesMatton
Exploring art at the Sainsbury Centre for Visual Arts, Norwich UK ... a fabulous exhibition where you can acutally enter some of the installations... a lot of fun. Reflections, textures... if you like taking through glass and reflections go take some pics. FREE!
Underground intervention /installation /Ephemeral art / Land art./ ff mendoza 2014
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Arte ecológico: Intervenciones en la naturaleza, alteracion humana sin influencia perdurable en el medio ambiente y sin uso de elementos ajenos al lugar .
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Art éphémère
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Reportajes Culturales
-Preparativos , ambiente,momentos candidos.
Fotos colección ffmendoza
Para imágenes a alta definición,encargos,
proyectos editoriales, ediciones especiales
y otros usos, contactar al artista:
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Collection of the artist
For Commissions, HD Image,Reproductions,editorials and other uses
Please contact the artist:
Estudio de Arte / Atelier Studio ff mendoza
Mojacar /04638/ Almeria
Damien Hirst
Bad Environment for White Monochrome Paintings (1993)
Steel, glass, acrylic on canvas, plastic containers for food and water, sarchophaga and musca domestica
arte phonie . . . . an evening event of watching the canvases grow while sipping wine and listening to a symphony . . . @ arsenal gallery, montreal, october 3, 2014.
Barbara Hepworth's bronze sculpture, "The Family Of Man" (1970).
Nikon D7000 and 50mm F1.8D with sun low behind camera. Handheld.
exif supplied.
Best viewed on black in my humble opinion.
For some reason I am reminded of Pink Floyd's album "The Division Bell"
Large exhibition hall at Mass MOCA. These are railway ties laid out across the floor of the space.
The Massachusetts Museum of Contemporary Art (MASS MoCA) occupies a converted factory building complex occupying 13-acres in North Adams, Massachusetts. It is one of the largest centers for contemporary visual art in the United States. The complex was originally built by the Arnold Print Works, which operated on the site from 1860 to 1942. MASS MoCA opened in 1999 with 19 galleries and 100,000 sq ft (9,300 m2) of exhibition space. It is large enough to put on exhibitions in individual buildings for extended periods - a Sol Lewitt building has five stories full of work conceived by him (and executed by others) on display until 2033; another building contains three large-scale installations by Anself Keifer on display until 2028.
The Boiler Room is one of the buidlings and when I was there it contained an installation of audio art. And old boiler room stuff that was highly photogenic.
This piece of installation art measures 9 metre high and involves 1500 bicycles linked and fixed together.
Bât.Aethica - Rue La-Noue-Bras-de-Fer, Nantes France
"Lilian Bourgeat s’évertue à dépasser l’ordinaire, au sens propre comme au sens figuré. Il s’attache à surdimensionner des objets de notre quotidien (salon de jardin, bottes en caoutchouc, plots de signalisation, banc public, etc.) : tout en conservant leur exact aspect d’origine, ceux-ci s’affranchissent de leur banalité pour acquérir un statut extra-ordinaire, quasi iconique. On s’approche alors d’un univers de conte de fée, où les objets usuels deviennent autonomes et doués d’une certaine magie.
C’est le cas pour ce mètre à ruban démesuré. Outil indispensable à l’architecte, l’urbaniste, l’ouvrier et bien d’autres corps de métier, le mètre à ruban l’est aussi pour l’artiste qui le transporte partout avec lui. Copie exacte mais gigantesque du sien propre, celui-ci est déployé dans la cour du nouveau siège du groupe Aethica dont le métier est justement de construire des projets immobiliers. Au cœur de l’île de Nantes, l’œuvre apparaît comme un monument dédié à la simplicité d’un outil, banal s’il en est, mais qui rend concrètes les constructions issues de notre imagination."
www.estuaire.info/fr/oeuvre/metre-a-ruban-lilian-bourgeat/
www.levoyageanantes.fr/etapes/metre-a-ruban-lilian-bourgeat/
Location : EastLink Freeway, next to northbound carriageway, south of Thompson Road.
Setting : Rugged Australian landscape.
Simeon Nelson's Desiring Machine, completed in 2008, is a 36 metres long galvanised steel structure that looks like a
fallen tree or tower.
Desiring Machine was one of four large scale permanent sculpture commissions for the new Eastlink Motorway in Melbourne designed by architects Wood Marsh.
Desiring Machine is a fallen tree/tower lying by the roadway. It is a crashed relic of machine-age desire putting down new roots into the earth and unfurling tendrils from it’s architectonic radii and sections.! To motorists speeding past it is an indeterminate blur, a silhouetted filigree that might be a decaying windmill or other piece of obsolete agricultural machinery memorializing the struggle of humans to co-exist with nature.
The cause of this optical confusion is a vegetal motif, a floral border from a 19th century pattern book that has been adapted to form the base unit of the modular system of this sculpture. It is composed entirely of three repeated modular units generated from the ‘original’ pattern.
Its recursive plant-like structure unfolds from a single stem five units long that branches into 4 stems, three units long which in turn branches into 9 stems, two units long and finally branches into 16 stems, each one unit long
It is too mechanical and perfectly symmetrical to be a tree and it is too ornate to be an industrial artefact. In Desiring Machine a collision of abstraction and ornamentation is played out. The ornament is the structure and an uneasy truce between opposed principles is struck. It appears vaguely utilitarian, logical, (masculine); it could have been left behind by the road builders or be a collapsed electricity pylon. If so, its structural logic is obscured by intense ornament as if it had been infected (feminized) by frilly net curtain, “toilet doily” or other item of domestic frippery.
These stereotypical and untenable oppositions are deployed in a playful critique of Modernism as a failed project, a neurotic and moralizing world-view that objectified nature as passive and mechanical to be controlled and made useful. Paradoxically, Desiring Machine suggests a pre-modern Aristotelian conception of nature as an animate libidinal plurality awash with purpose, striving and desire.
" My use of this title is in part indebted to by Deleuze and Guattari’s use of it in Anti-Oedipus, Capitalism and Schizophrenia." --- according to the artist.
On the Leas in Folkestone is this installation art called 'Folk Stones' constructed by Mark Wallinger in 2008. At first glance, it doesn't look like much, just some pebbles in concrete.
However, each of the 19,240 stones is hand numbered, signifying the number of British soldiers killed on 1st July 1916, the first day of the Battle of the Somme, 100 years ago.
Many of these individuals and thousands of others left from Folkestone harbour, never to return from the battlefields of France and Flanders.
Although the amount of needless slaughter continues around the world, battle of this intensity has been rarely seen since. And, in this hi-tech era, probably never again.
As a piece of art, it was enough to induce more than a touch of weldschmerz
My Little Boyfriend!!
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