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Theaster Gates, Civil Futures [detail] at "Rendez-Vous", an exhibition at Museum Voorlinden, Wassenaar
see also my blog: pienw.blogspot.com/
One stop along the way combining the wire sculpture of Calder's "Aztec Josephine Baker" with Katharina Fritsch's "Hahn/Cock", Yayoi Kusama unique perspective and Theaster Gates's slate roof for a little texture. With all the Calder exhibits to view this group of school kids preferred this one, they weren't the only ones!
Happy Slider Sunday - HSS!
For me, part of Calder's allure is created from looking at and thinking about the lines in his art. OK, I admit it, I'm not all that far removed from the school children wrt this piece of work only I think about the lines as more of an abstraction and do love Calder's "Aztec Josephine Baker". To that end, I took the central part of Curious Admirers of Art any added a bit of wave and mixed it with some of Gates slate roof in blue and yellow. As art usually does, once I'm hooked I need to learn more, if you're interested in learning about Josephine Baker I've provided a link below:
Designed by Chicago-based artist Theaster Gates.
Bronze bell – salvaged from St. Laurence, a Catholic Church that once stood in Chicago’s South Side.
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An interior photo from a 2nd visit to this years Theaster Gates / Adjaye Associates 'Black Chapel' Serpentine Pavilion in Hyde Park, London.
I warmed to it slightly this time around but I'd still say it's nowhere near the top of my list of these annual temporary structures.
Click here to see photos of previous years Serpentine Pavilions : www.flickr.com/photos/darrellg/albums/72157645049374032
From the Serpentine Gallery website, "Designed by Chicago-based artist Theaster Gates, the Serpentine Pavilion 2022 Black Chapel draws inspiration from many of the architectural typologies that ground the artist’s practice.
The structure, realised with the support of Adjaye Associates, references the bottle kilns of Stoke-on-Trent, the beehive kilns of the Western United States, San Pietro and the Roman tempiettos, and traditional African structures, such as the Musgum mud huts of Cameroon, and the Kasubi Tombs of Kampala, Uganda. The Pavilion’s circularity and volume echo the sacred forms of Hungarian round churches and the ring shouts, voodoo circles and roda de capoeira witnessed in the sacred practices of the African diaspora.
Black Chapel is a site for contemplation and convening, set within the grounds of Serpentine in Kensington Gardens. The structure’s central oculus emanates a single source of light to create a sanctuary for reflection, refuge and conviviality. The project mirrors the artist’s ongoing engagement with ‘the vessel’ in his studio practice, and with space-making through his celebrated urban regeneration projects.
Drawn to the meditative environment of the Rothko Chapel – which holds fourteen paintings by American artist Mark Rothko in Houston, Texas – Gates has produced a series of new tar paintings titled Seven Songs for Black Chapel. Creating a space that reflects the artist’s hand and sensibilities, seven paintings hang from the interior. In these works, Gates honours his father’s craft as a roofer by using roofing strategies including torch down, a method which requires an open flame to heat material and affix it to a surface."
© D.Godliman
Sanctum in the ruins of Temple Church in bristol, a European Green Capital event organised by Theaster Gates Situations.
En observant attentivement l’œuvre, vous découvrirez que Civil Futures est constitué de tuyaux d’incendie en tissu cousus ensemble. Avec le mot « civil », Theaster Gates fait référence au mouvement des droits civiques des années 1960 aux États-Unis. Les lances à incendie font également référence à des événements historiques spécifiques, où des manifestations pacifiques ont été dispersées, entraînant des blessures. Dans son œuvre, l’artiste tente de construire un pont entre l’art et la vie.
Civil Futures fait partie de l'exposition Listen to Your Eyes.
Upon closer inspection, you'll discover that Civil Futures is made of fabric fire hoses sewn together. With the word "civil," Theaster Gates refers to the Civil Rights Movement of the 1960s in the United States. The fire hoses also refer to specific historical events, where peaceful protests were dispersed, resulting in injuries. In his work, the artist attempts to build a bridge between art and life.
Civil Futures is part of the exhibition Listen to Your Eyes.
Interior of the Serpentine Pavilion 2022 designed by Theaster Gates (b.1973 Chicago USA). The 7 abstract expressionist "tar paintings" are also by the artist. By the Serpentine Gallery, City of Westminster, London.
Photo from a press preview of "Theaster Gates: Young Lords and Their Traces" at the New Museum (November 10, 2022–February 5, 2023)
Photo from a press preview of "Theaster Gates: Young Lords and Their Traces" at the New Museum (November 10, 2022–February 5, 2023)
2022 Serpentine Pavilion designed by Theaster Gates (b.1973 Chicago USA). Made of timber, clad with dark roofing membrane. By the Serpentine Gallery, City of Westminster, London.
A performer at Sanctum. A project by Chicago-based artist Theaster Gates to provide an amazing 552 hours of continuous music inside the walls of Temple Church, an old church blitzed during World War II and now standing as a ruin. This lady who goes under the name of Soundscape is Celia Beeson who uses resonant instruments like gongs and singing bowls to create harmonies that can have a relaxing effect.
Partie intitulée "Institut de la modernité et département du tourisme de l'île" de l'exposition Amalgam, en hommage à la communauté multiraciale de l'île de Malaga (Maine, USA) expulsée brutalement de son lieu de vie en 1912 par un gouverneur raciste
Cette installation rassemble des archives, objets et traces de l'histoire de l'île dans le but de la libérer de ses stigmates et de valoriser les amalgames au détriment d'une pureté fantasmée, à la base du racisme et de l'eugénisme.
Installation de l'artiste Theaster Gates, artiste américain né en 1973.
L'exposition évoque un épisode douloureux de l'histoire de l'État du Maine (USA) concernant l'île de Malaga. En 1912, le gouverneur de l'État du Maine a expulsé de leurs maisons, arbitrairement et sans contre-partie, les membres d'une communauté multiraciale d'environ 45 personnes, issue d'anciens esclaves et vivant très pauvrement sur l'île de Malaga. Son but était de développer le tourisme sur cette île.
Cette décision brutale, injuste et raciste, est restée ignorée de nombreuses années mais des descendants des personnes expulsées ont mis au jour cette histoire et obtenu des excuses des autorités. Un mémorial a été érigé en souvenir de cette communauté anéantie. Theaster Gates s'est intéressé à cet évènement qui est au centre de sa première expositon en France.
Site de l'exposition Amalgam au Palais de Tokyo, Paris
Theaster Gates (born 1973 Chicago) is an American Installation artist Social Practice artist. He lives and works in Chicago, Illinois. Gates’ work has been shown at major museums and galleries internationally and deals with issues of urban planning, religious space, and craft. He is committed to the revitalization of poor neighborhoods through combining urban planning and art practices.
Theaster Gates (b. 1973)
Red line with black soot and enthusiasm, 2013
Decommissioned fire hose and wood
59 x 92 x 4.5 in
149 x 233 x 11 cm
KGG-3495
# Theaster Gates
en.wikipedia.org/wiki/Theaster_Gates
# Kavi Gupta
kavigupta.com/artist/theastergates
# SML Data
+ Date: 2013-05-23T18:31:42+0800
+ Dimensions: 5197 x 3632
+ Exposure: 1/40 sec at f/4.0
+ Focal Length: 17 mm
+ ISO: 320
+ Camera: Canon EOS 6D
+ Lens: Canon EF 17-40 f/4L USM
+ GPS: 22°16'59" N 114°10'22" E
+ Location: 香港會議展覽中心 Hong Kong Convention and Exhibition Centre (HKCEC)
+ Workflow: Lightroom 4
+ Serial: SML.20130523.6D.14240
+ Series: 新聞攝影 Photojournalism, SML Fine Art, Art Basel Hong Kong 2013
# Media Licensing
Creative Commons (CCBY) See-ming Lee 李思明 / SML Photography / SML Universe Limited
“Installation by Theaster Gates (b. 1973): Red line with black soot and enthusiasm, 2013 (Decommissioned fire hose and wood)” / Kavi Gupta / Art Basel Hong Kong 2013 / SML.20130523.6D.14240
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