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found this empty turtle shell just a few feet away from one of the graves/orbs in my "convergence" installation. turtles have always been important to me. they carry their home with them wherever they go! they are equally adept on land or in water. i strive to be like the turtle (but i'm not teenage nor mutant... maybe). turtles guide and protect me; turtle is my totem! 🐢
via Instagram www.instagram.com/p/BLJ0WqPDbI8/
Créations-sur-le-champ, Land art Mont-Saint-Hilaire 2012 - 6e édition.
Du 10 octobre 2012 jusqu'aux premières neiges.
(avec la collaboration de Lucie Bernard et de 131 élèves du secondaire 1 du Collège Saint-Hilaire)
« Un paradis pas tout à fait perdu est enfoui sous le réel de la vie quotidienne. En creusant un fossé, pour drainer le verger, sont apparus quelques-uns des traits terrestres du paradis. Le merveilleux se montre sous-jacent au réel du paysage. Les racines de couleurs sont ici à la fois prolongement des mélèzes et racines d’un arc-en-ciel, partiellement révélé, circonscrivant l’ensemble de la terre. L’arc-en-ciel est dans la mythologie un chemin, un pont entre deux mondes; ici l’omniprésence du paradis sur terre. »
Opening night of I CAN DO THAT, an interactive art show created and independently curated by Jenny Lam. Named the audience choice for 2012's "Best Art Exhibit" in the 20th anniversary edition of NewCity's Best of Chicago issue.
Photo by Sophia Nahli Allison.
More info at artistsonthelam.blogspot.com/p/i-can-do-that.html and artistsonthelam.blogspot.com
Entitled Playboy Marfa and created by artist Richard Phillips, the controversial art piece was formerly located in Marfa, TX but was moved to Dallas in the Spring of 2014 when the Texas Department of Transportation deemed it illegal.
This shot was taken at around 7pm.
These two pieces of installation art are sort of landmark for the newly built promenade in Kwun Tong. However, it seems to be copycat of another work located on a Barcelona beach, created by an installation artist, Rebecca Horn.
www.designerhk.com/forum/post/1938
www.ethanham.com/blog/labels/semiotics.html
What do you think?
Part of an installation art event during Brighton Festival. The team piled into or onto something in a seemingly impossible way for a few minutes, then moved on to a different challenge.
‘’The ancient objects of the world are mainly sphere-like, and ever revolving.’’
In different contexts these objects which are representative of nothingness carry different types of significances.
One of the integral characteristics of spheres is their rotatability, and mobility.
.
‘গোলক’
'Golok'
.
Community art project 'Hamra'
organize by Gidree Bawlee
23 to 30 jun at Balia, Thakurgong
An example of a "bloom" type piece on display at Survival Kit gallery. There were eight similar styled pieces on display. With the exception of the one paper piece, these pieces were an attempt by me to see what I could do with Styrofoam. So far, Styrofoam has proven to be a difficult medium to use. I may in the future attempt further pieces using this medium, but for now I am content working with more malleable recycled and up-cylced materials like paper and cardboard.
Materials used: Styrofoam, cotton swabs, paint, dye, and paper.
Exposition “L'autre côté du miroir, le monde de Charles Matton“ à l'Espace culturel Chapelle Sainte-Anne
"Queloides" is an art exhibit that seeks to contribute to current debates about the persistence of racism in contemporary Cuba and elsewhere in the world. The exhibit was hosted at the Centro Wifredo Lam in Havana (April 16 - May 31, 2010), and is being transferred to the Mattress Factory (October 15, 2010 - February 27, 2011). The twelve artists invited to participate are renowned for their critical work on issues of race, discrimination, and identity. Several of them collaborated in three important exhibits in Havana between 1997 and 1999 (titled “Queloides I”, “Queloides II”, and “Neither Musicians nor Athletes”). The last two were curated by the late Cuban art critic Ariel Ribeaux. All these exhibits dealt with issues of race and racism in contemporary Cuba, issues that had been taboo in public debates in the island for decades. “Keloids” are wound-induced scars. Although any wound may result in keloids, many people in Cuba believe that black skin is particularly susceptible to them. Thus the title evokes the persistence of racial stereotypes, on the one hand, and the traumatic process of dealing with racism, discrimination, and centuries of cultural conflict, on the other. "Queloides" includes several art forms--paintings, photographs, installations, sculptures, videos--and offers novel ways to ridicule and to dismantle the so-called racial differences.
The artists, who were all born in Cuba, include Pedro Álvarez, Manuel Arenas, Belkis Ayón, María Magdalena Campos-Pons, Roberto Diago, Alexis Equivel, Armando Mariño, René Peña, Marta María Pérez Bravo, Douglas Pérez, Elio Rodíguez, and José Toirac/Meira Marrero.
"This is the first time in post-revolutionary Cuba the word ‘racism’ has appeared in the title of an exhibition. Because of this, I have now been banned from Cuba. It is a high price to pay, but we must do what we can to help break the official silence on racism.”
– Alejandro de la Fuente, Co-Curator of "Queloides"
Zone : Palais des congrès de Montréal
Installation
Les caractéristiques de couleurs, de motifs et de taches de l’iris de l’œil étant plus spécifiques que l’empreinte digitale, la science de la biométrie permet maintenant de les représenter sous forme de code binaire afin de rendre l’identification plus efficace. "Les Iris" évoque ce phénomène de numérisation d’attributs biologiques uniques et d’atomisation des moyens de reconnaissance qui s’en suit.
Next time I find myself needing to prop up a heavy limb on a live oak tree, I'll certainly consider an option like this!
A one room exhibit at the Peabody Essex Museum. More at pem.org/exhibitions/193-intersections_anila_quayyum_agha
Handmade museum vitrine, found objects (ballet slippers, photo locket), museum didactic,
Vitrine: 46” x 23” x 17” (overall); objects various dimensions
(2008)
Opening night of I CAN DO THAT, an interactive art show created and independently curated by Jenny Lam. Named the audience choice for 2012's "Best Art Exhibit" in the 20th anniversary edition of NewCity's Best of Chicago issue.
Photo by Sophia Nahli Allison.
More info at artistsonthelam.blogspot.com/p/i-can-do-that.html and artistsonthelam.blogspot.com
Opening night of I CAN DO THAT, an interactive art show created and independently curated by Jenny Lam. Named the audience choice for 2012's "Best Art Exhibit" in the 20th anniversary edition of NewCity's Best of Chicago issue.
Photo by Sophia Nahli Allison.
More info at artistsonthelam.blogspot.com/p/i-can-do-that.html and artistsonthelam.blogspot.com
"Queloides" is an art exhibit that seeks to contribute to current debates about the persistence of racism in contemporary Cuba and elsewhere in the world. The exhibit was hosted at the Centro Wifredo Lam in Havana (April 16 - May 31, 2010), and is being transferred to the Mattress Factory (October 15, 2010 - February 27, 2011). The twelve artists invited to participate are renowned for their critical work on issues of race, discrimination, and identity. Several of them collaborated in three important exhibits in Havana between 1997 and 1999 (titled “Queloides I”, “Queloides II”, and “Neither Musicians nor Athletes”). The last two were curated by the late Cuban art critic Ariel Ribeaux. All these exhibits dealt with issues of race and racism in contemporary Cuba, issues that had been taboo in public debates in the island for decades. “Keloids” are wound-induced scars. Although any wound may result in keloids, many people in Cuba believe that black skin is particularly susceptible to them. Thus the title evokes the persistence of racial stereotypes, on the one hand, and the traumatic process of dealing with racism, discrimination, and centuries of cultural conflict, on the other. "Queloides" includes several art forms--paintings, photographs, installations, sculptures, videos--and offers novel ways to ridicule and to dismantle the so-called racial differences.
The artists, who were all born in Cuba, include Pedro Álvarez, Manuel Arenas, Belkis Ayón, María Magdalena Campos-Pons, Roberto Diago, Alexis Equivel, Armando Mariño, René Peña, Marta María Pérez Bravo, Douglas Pérez, Elio Rodíguez, and José Toirac/Meira Marrero.
"This is the first time in post-revolutionary Cuba the word ‘racism’ has appeared in the title of an exhibition. Because of this, I have now been banned from Cuba. It is a high price to pay, but we must do what we can to help break the official silence on racism.”
– Alejandro de la Fuente, Co-Curator of "Queloides"
Neighborhood art installation by Suzanne Scherberger Sherman, inspired by similar works by Yoko Ono, located in a West Ghent neighborhood, Norfolk, Virginia.
Visit my album to view all of the images that document the story of this neighborhood art installation, Wishing Tree, here...
www.flickr.com/photos/peacecorrespondent/albums/721576769...
"Queloides" is an art exhibit that seeks to contribute to current debates about the persistence of racism in contemporary Cuba and elsewhere in the world. The exhibit was hosted at the Centro Wifredo Lam in Havana (April 16 - May 31, 2010), and is being transferred to the Mattress Factory (October 15, 2010 - February 27, 2011). The twelve artists invited to participate are renowned for their critical work on issues of race, discrimination, and identity. Several of them collaborated in three important exhibits in Havana between 1997 and 1999 (titled “Queloides I”, “Queloides II”, and “Neither Musicians nor Athletes”). The last two were curated by the late Cuban art critic Ariel Ribeaux. All these exhibits dealt with issues of race and racism in contemporary Cuba, issues that had been taboo in public debates in the island for decades. “Keloids” are wound-induced scars. Although any wound may result in keloids, many people in Cuba believe that black skin is particularly susceptible to them. Thus the title evokes the persistence of racial stereotypes, on the one hand, and the traumatic process of dealing with racism, discrimination, and centuries of cultural conflict, on the other. "Queloides" includes several art forms--paintings, photographs, installations, sculptures, videos--and offers novel ways to ridicule and to dismantle the so-called racial differences.
The artists, who were all born in Cuba, include Pedro Álvarez, Manuel Arenas, Belkis Ayón, María Magdalena Campos-Pons, Roberto Diago, Alexis Equivel, Armando Mariño, René Peña, Marta María Pérez Bravo, Douglas Pérez, Elio Rodíguez, and José Toirac/Meira Marrero.
"This is the first time in post-revolutionary Cuba the word ‘racism’ has appeared in the title of an exhibition. Because of this, I have now been banned from Cuba. It is a high price to pay, but we must do what we can to help break the official silence on racism.”
– Alejandro de la Fuente, Co-Curator of "Queloides"
"Queloides" is an art exhibit that seeks to contribute to current debates about the persistence of racism in contemporary Cuba and elsewhere in the world. The exhibit was hosted at the Centro Wifredo Lam in Havana (April 16 - May 31, 2010), and is being transferred to the Mattress Factory (October 15, 2010 - February 27, 2011). The twelve artists invited to participate are renowned for their critical work on issues of race, discrimination, and identity. Several of them collaborated in three important exhibits in Havana between 1997 and 1999 (titled “Queloides I”, “Queloides II”, and “Neither Musicians nor Athletes”). The last two were curated by the late Cuban art critic Ariel Ribeaux. All these exhibits dealt with issues of race and racism in contemporary Cuba, issues that had been taboo in public debates in the island for decades. “Keloids” are wound-induced scars. Although any wound may result in keloids, many people in Cuba believe that black skin is particularly susceptible to them. Thus the title evokes the persistence of racial stereotypes, on the one hand, and the traumatic process of dealing with racism, discrimination, and centuries of cultural conflict, on the other. "Queloides" includes several art forms--paintings, photographs, installations, sculptures, videos--and offers novel ways to ridicule and to dismantle the so-called racial differences.
The artists, who were all born in Cuba, include Pedro Álvarez, Manuel Arenas, Belkis Ayón, María Magdalena Campos-Pons, Roberto Diago, Alexis Equivel, Armando Mariño, René Peña, Marta María Pérez Bravo, Douglas Pérez, Elio Rodíguez, and José Toirac/Meira Marrero.
"This is the first time in post-revolutionary Cuba the word ‘racism’ has appeared in the title of an exhibition. Because of this, I have now been banned from Cuba. It is a high price to pay, but we must do what we can to help break the official silence on racism.”
– Alejandro de la Fuente, Co-Curator of "Queloides"
I don't remember the name of the artist that set this up In the Mass. MOCA, but I think it's the best piece of installation art I have ever seen. Machines along the cieling drop single sheets of tissue all over the room...
[edit: Found another pic of this on flickr, it is called Corpus and it is by Ann Hamilton]
"Queloides" is an art exhibit that seeks to contribute to current debates about the persistence of racism in contemporary Cuba and elsewhere in the world. The exhibit was hosted at the Centro Wifredo Lam in Havana (April 16 - May 31, 2010), and is being transferred to the Mattress Factory (October 15, 2010 - February 27, 2011). The twelve artists invited to participate are renowned for their critical work on issues of race, discrimination, and identity. Several of them collaborated in three important exhibits in Havana between 1997 and 1999 (titled “Queloides I”, “Queloides II”, and “Neither Musicians nor Athletes”). The last two were curated by the late Cuban art critic Ariel Ribeaux. All these exhibits dealt with issues of race and racism in contemporary Cuba, issues that had been taboo in public debates in the island for decades. “Keloids” are wound-induced scars. Although any wound may result in keloids, many people in Cuba believe that black skin is particularly susceptible to them. Thus the title evokes the persistence of racial stereotypes, on the one hand, and the traumatic process of dealing with racism, discrimination, and centuries of cultural conflict, on the other. "Queloides" includes several art forms--paintings, photographs, installations, sculptures, videos--and offers novel ways to ridicule and to dismantle the so-called racial differences.
The artists, who were all born in Cuba, include Pedro Álvarez, Manuel Arenas, Belkis Ayón, María Magdalena Campos-Pons, Roberto Diago, Alexis Equivel, Armando Mariño, René Peña, Marta María Pérez Bravo, Douglas Pérez, Elio Rodíguez, and José Toirac/Meira Marrero.
"This is the first time in post-revolutionary Cuba the word ‘racism’ has appeared in the title of an exhibition. Because of this, I have now been banned from Cuba. It is a high price to pay, but we must do what we can to help break the official silence on racism.”
– Alejandro de la Fuente, Co-Curator of "Queloides"
"Queloides" is an art exhibit that seeks to contribute to current debates about the persistence of racism in contemporary Cuba and elsewhere in the world. The exhibit was hosted at the Centro Wifredo Lam in Havana (April 16 - May 31, 2010), and is being transferred to the Mattress Factory (October 15, 2010 - February 27, 2011). The twelve artists invited to participate are renowned for their critical work on issues of race, discrimination, and identity. Several of them collaborated in three important exhibits in Havana between 1997 and 1999 (titled “Queloides I”, “Queloides II”, and “Neither Musicians nor Athletes”). The last two were curated by the late Cuban art critic Ariel Ribeaux. All these exhibits dealt with issues of race and racism in contemporary Cuba, issues that had been taboo in public debates in the island for decades. “Keloids” are wound-induced scars. Although any wound may result in keloids, many people in Cuba believe that black skin is particularly susceptible to them. Thus the title evokes the persistence of racial stereotypes, on the one hand, and the traumatic process of dealing with racism, discrimination, and centuries of cultural conflict, on the other. "Queloides" includes several art forms--paintings, photographs, installations, sculptures, videos--and offers novel ways to ridicule and to dismantle the so-called racial differences.
The artists, who were all born in Cuba, include Pedro Álvarez, Manuel Arenas, Belkis Ayón, María Magdalena Campos-Pons, Roberto Diago, Alexis Equivel, Armando Mariño, René Peña, Marta María Pérez Bravo, Douglas Pérez, Elio Rodíguez, and José Toirac/Meira Marrero.
"This is the first time in post-revolutionary Cuba the word ‘racism’ has appeared in the title of an exhibition. Because of this, I have now been banned from Cuba. It is a high price to pay, but we must do what we can to help break the official silence on racism.”
– Alejandro de la Fuente, Co-Curator of "Queloides"
"Queloides" is an art exhibit that seeks to contribute to current debates about the persistence of racism in contemporary Cuba and elsewhere in the world. The exhibit was hosted at the Centro Wifredo Lam in Havana (April 16 - May 31, 2010), and is being transferred to the Mattress Factory (October 15, 2010 - February 27, 2011). The twelve artists invited to participate are renowned for their critical work on issues of race, discrimination, and identity. Several of them collaborated in three important exhibits in Havana between 1997 and 1999 (titled “Queloides I”, “Queloides II”, and “Neither Musicians nor Athletes”). The last two were curated by the late Cuban art critic Ariel Ribeaux. All these exhibits dealt with issues of race and racism in contemporary Cuba, issues that had been taboo in public debates in the island for decades. “Keloids” are wound-induced scars. Although any wound may result in keloids, many people in Cuba believe that black skin is particularly susceptible to them. Thus the title evokes the persistence of racial stereotypes, on the one hand, and the traumatic process of dealing with racism, discrimination, and centuries of cultural conflict, on the other. "Queloides" includes several art forms--paintings, photographs, installations, sculptures, videos--and offers novel ways to ridicule and to dismantle the so-called racial differences.
The artists, who were all born in Cuba, include Pedro Álvarez, Manuel Arenas, Belkis Ayón, María Magdalena Campos-Pons, Roberto Diago, Alexis Equivel, Armando Mariño, René Peña, Marta María Pérez Bravo, Douglas Pérez, Elio Rodíguez, and José Toirac/Meira Marrero.
"This is the first time in post-revolutionary Cuba the word ‘racism’ has appeared in the title of an exhibition. Because of this, I have now been banned from Cuba. It is a high price to pay, but we must do what we can to help break the official silence on racism.”
– Alejandro de la Fuente, Co-Curator of "Queloides"
Opening night of I CAN DO THAT, an interactive art show created and independently curated by Jenny Lam. Named the audience choice for 2012's "Best Art Exhibit" in the 20th anniversary edition of NewCity's Best of Chicago issue.
Photo by Sophia Nahli Allison.
More info at artistsonthelam.blogspot.com/p/i-can-do-that.html and artistsonthelam.blogspot.com