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Exposition “L'autre côté du miroir, le monde de Charles Matton“ à l'Espace culturel Chapelle Sainte-Anne
Step into a world of words at the Hirshhorn Museum, where this immersive, black-and-white text installation completely transforms the gallery space into a thought-provoking, visually striking experience. The artist’s dynamic brushwork covers every inch of the floor, walls, and even the ceiling with handwritten text, illustrations, and graffiti-like scrawls, all in stark black and white. Snippets of phrases, poetry, and protest statements intermingle, challenging visitors to consider questions of identity, politics, history, and the human condition.
Visitors are dwarfed by towering phrases that ask, “What is truth?” and “Who owns the future?”, while figures and animals emerge from the painted chaos, including a prominent black sculpture of a raven—a potent symbol of transformation and observation. At the center of the room, a bright yellow canoe pops against the monochrome backdrop, an unexpected dash of color that invites both curiosity and contemplation.
The installation’s scale and detail create a sense of total immersion, urging visitors to physically move through and around the words, reading, pondering, and engaging with the artist’s urgent message. Each visitor becomes part of the artwork itself, their shadows cast on the text-laden floor as they navigate the space.
This installation exemplifies contemporary art’s power to challenge perceptions and invite dialogue, transforming a museum into an interactive environment where language and imagery converge. It’s a place where every footstep lands on a phrase or thought, and every glance finds new questions to ponder.
The Hirshhorn Museum, part of the Smithsonian Institution, continues to champion innovative, boundary-pushing contemporary art, and this installation stands as a testament to that mission. For those seeking an unforgettable, interactive experience that bridges text and visual art, this exhibit offers a unique journey through the written word’s raw energy and expressive power.
#Reconstructing the old look.
#Interplay between art and its surroundings.
@Bengal boi, Dhaka
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#public_art #Installation_art
I wanted to take a moment and thank all the people who have supported my work. I am very grateful to anyone who has blogged, shown my work or has stopped to show their support and everyone i haven't met but can appreciate my work. Thank you. Here are a few supporters.
Starting with the first blog post a few years back.
VITA.MN
MPLS/ST.PAUL MAGAZINE
CONVERSE and all the friendly folks at INTRO Partnership
and so many more.....
A special thank you to Vincent Shim, Anthony Kwan,Eli Eijadi, Thomas Dunning, Chloe Hayward, Mat Cook, Mark Rigney,Kristoffer Knutson, Emma Berg, Tristan Pollock,The musical awesomeness of ESTATE, and all of my friends and family. Thank you.
Be on the lookout for the next big install coming very, very soon. :-)
One of the questions I am most frequently asked at exhibits and events is "How do you transport your work?". I am always happy to answer but I thought I'd create a visual representation of how I do it as well. I ship my work to events and exhibits packed in large wooden shipping crates. This piece shows a pallet jack and a crate containing a small version of New Youk City's Woolworth Building. The whole piece is about eight feet long by five feet wide when displayed together.
Mercier–Hochelaga-Maisonneuve, Ruelle Sansregret, 3607, rue Ontario Est Montréal, QC H1W 1R8.
Catégorie : Installation, peinture.
Matériaux : Acier peint
Technique(s) : Impression par sublimation thermique
Description de l’œuvre :
L’œuvre Farandole a vu le jour dans le quartier Hochelaga-Maisonneuve, sous le regard attentif des passants. Elle dialogue avec le concept architectural de l’édifice et interpelle avec finesse et subtilité notre imaginaire. Cette peinture numérique tout en relief nous invite à célébrer la vie dans toutes ses strates, tous ses passages. Grâce à ses lignes horizontales aux couleurs terreuses et lumineuses, l’œuvre recrée par cet effet de « dispersion polychromatique » l’équivalent de ce que peut produire en nous un paysage qui nous fait rêver et qui nous amène ailleurs. Entre le tangible et l’intangible, Farandole emprunte à la nature la lumière et les couleurs, la force et la vulnérabilité; elle tire de l’enfance le désir d’explorer, le jeu et la créativité; elle évoque de l’âge adulte l’ambition de s’élever et l’importance de la mémoire, de l’histoire.
Biographie de l’artiste :
Peintre plasticien, Gil Pître poursuit depuis plus de 30 ans une exploration portant sur la peinture, le paysage et l’identité; quête qui insuffle une dimension humaniste à son œuvre. Ses intérêts le poussent continuellement à explorer à travers la diversité des pratiques picturales traditionnelles, de différentes cultures et horizons temporels, les notions qui alimentent sa grammaire visuelle.
Il a obtenu, en 2011, une bourse de recherche et de production et, en 2012, la bourse l’Atelier studio-résidence du Conseil des arts et des lettres du Québec de Montréal de six mois. Ses œuvres ont été présentées dans l’exposition Nature inconnue à la Maison de la Culture Notre-Dame-de-Grâce de MTL en 2013 – 2014. En 2017, le Prix CALQ – Créateur de l’année en Gaspésie et la réalisation dans la métropole d’une œuvre d’art public extérieure de grand format s’avèrent être un écho positif aux efforts déployés ces dernières années. Son objectif à moyen terme : faire rayonner son œuvre au-delà des frontières nationales et contribuer à l’aventure de la créativité entreprise par les peintres plasticiens cela, dans le continuum du médium numérique.
Il compte à son actif une vingtaine d’œuvres d’art public réparties sur le territoire québécois. De nombreuses conférences et expositions, individuelles ou collectives, marquent aussi le parcours de cet artiste engagé.
The central figure here is not a man with pizza on his head, but a tambourine seller. The tambourine is one of the traditional instruments in the popular street music of Naples.
To the left is a strange figure walking inside what looks like an umbrella frame. It is in fact a bleaching frame used in the fullers' workshops of Roman Pompei. The bird on top is an owl. Minerva was the patron saint of fullers. Note that the figure is carrying a bucket inside which is probably human urine, one of the key ingredients in the bleaching process. This figure is derived from a fresco found in Pompei called the Fullonica of L. Veranius Hypsaeus" - now in the collection of the National Archaeological Museum, Naples.
Behind them is a map of the city and reference to the project for the building of a central railway in the city in 1906 - a year in which Vesuvius erupted.
Another Place is an installation art work undertaken by Anthony Gormley that was created and exhibited across Europe before being accepted by Sefton BC for permanent installation on Crosby Beach.
The work consists of 100 life size anotomically correct life size casts of Anthony Gormley's figure that have been installed between Waterloo and Blundellsands parts of Crosby.
Each figure is 189cm tall and weights 650 kg. As the tides ebb and flow, the figures are revealed and submerged by the sea.
Interestingly, there is another place where Gormley exhibits lifesize body casts, namely Time Horizon installed amongst olive trees in Calabria, Southern Italy. Where Another Place look in the same direction, the Time Horizon figures look in differing directions.
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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.
h|u|m|b|o|t installation in net_condition show ZKM Karlsruhe Germany 1999-2000 - Uploaded with a demo version of FlickrExport 2.
The children from K2 Shooting Stars finalised their interactive map installation today on the Atelier floor. India, Singapore and England have been connected to a sea map, an MRT map and a 'Numberjack's' tower'. Clay pieces have also been added, including "a small island where noone lives. It's in the middle of the Earth. It's a very small island. You can't land the plane there. You have to call the boat... only trees can live there."
For the moment in monochrome, please click on my blog link here: www.michikofujii.co.uk/blog/tlsbfljeme82rspkkabghyg5jw3cjr
This lovely couch appeared not too long ago and has yet to be picked up by the city. We often see homeless people sleeping on it in the early hours of the day creating an installation art of a sort...just a part of urban living.
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.
Watch video HERE
The Collector was inspired by my design background and by the process of taking two different mediums and helping them to co-exist. Yarn and the computer don't have much in common except for maybe ordering it (yarn) online. This disconnect was the starting point for the installation. One of the most commonly used tools in any creative computer software is the "color picker." I chose this tool as inspiration because of the concept of limitless possibilities.
I have never felt so strongly about one medium until I started working with yarn. I feel that yarn is a medium too often overlooked because of its association with grandmother's and their passion for knitting. As an artist, I have found that there are many ways to use the medium of yarn. For this installation I want to demonstrate that by using yarn in an atypical way, it loses its usual appearance and becomes a beautifully elaborate, yet simple, presence.