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The arrangement of matter, its behaviour, addition to or subtraction from it, its shape and difference in position, and its rearrangement create chaos in the normal activity of the human brain. Apparently, all of this is without a reason, but the following can be experienced from this:
- A temporary feeling of stillness (or a partial feeling of emptiness)
- A strong reaction of the inquisitive cells
- A realization of meaninglessness.
Wise men say:
"Be empty if you want to be full".
Does he know about the distance between existence and annihilation, or the difference between what is visible and what is not?
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#nothing_is_real
Installation art
At the Taragaon Museum, Kathmandu, Nepal
July 26 - August 03, 2019
#KIAR
Installation art @ the Joinery Gallery, Stoneybatter. Dublin during the DEAF festival,
23rd-26th October 2008.
Installation art @ the Joinery Gallery, Stoneybatter. Dublin during the DEAF festival,
23rd-26th October 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
Caneta permanente sobre parede, 3 x 7,45 metros.
Caixa Cultural - RJ - Exposição: In Memoriam.
Curadoria de Fernanda Lopes.
Foto: Rafael Pereira.
Installation art @ the Joinery Gallery, Stoneybatter. Dublin during the DEAF festival,
23rd-26th October 2008.
Installation art @ the Joinery Gallery, Stoneybatter. Dublin during the DEAF festival,
23rd-26th October 2008.
When faced with the prospect of creating her first large-scale installation at the Mattress Factory, Lankton knew that she wanted to re-create her studio, in an ideal form, designing an environment of "artificial nature/total indulgence," filled with "dolls engrossed in glamour and self abuse." Like then artist herself, Lankton's dolls and environments possess a disarming mix of innocence and decadence, hope and pathos. she said her work was "all about me," reflecting her life as an artist, a transsexual, and a drug addict. But beyond this, from her position as an outsider, Lankton eloquently explored and questioned accepted norms of gender and sexuality, as well as the powerful imagery of popular culture and consumerism. Her work also describes the difficult mandate of these pervasive, seductive models and the pain of those who do not conform. It is tempting to think that Lankton created her installation at the Mattress Factory as of she knew it was her last (she died in late November, a month after the exhibition opened), filing the space with a retrospective selection of her beloved dolls and everything that was most meaningful to her.
Greer Lankton's "It's all about ME, Not You" is being permanently installed at the Mattress Factory. Opening October 10, 2009.
Palais des congrès de Montréal, Art Souterrain, 2019
Decisions, Decisions est une œuvre textuelle participative qui invite l’auditoire à répéter l’acte de prendre des décisions anonymes dans des lieux publics très en vue. Les textes de Decisions,
Decisions sont basés sur des exagérations et des distorsions de la rhétorique connue des consultations communautaires, du développement urbain, des slogans de campagne et des panneaux revendicatifs. Le texte est ambigu ou mouvant, se situe souvent entre le vrai et le faux, vise à favoriser une pluralité d’interprétations et souligne la diversité de nos propres intérêts et affinités dans un lieu public. S’appuyant sur cette forme de langage, la série d’affiches intègre aussi d’autres logiques et possibilités en favorisant la participation fondée sur l’accord, le désaccord ou l’ambivalence. Decisions, Decisions vise à saisir une impression de possibilité et de pouvoir dans le langage que nous employons pour décrire une lutte politique incessante mais subtile.
Commissaire : Art Souterrain
Justin Langlois s’intéresse à ce que l’art peut faire dans la vie quotidienne et civique. Il travaille collectivement et selon une approche de collaboration sociale pour comprendre les notions de pouvoir et de lieu et les manières dont nous pouvons façonner celles-ci. Son art repose sur des explorations naissantes d’interventions textuelles, sur l’esthétique organisationnelle et sur des activités de création axées sur l’engagement social dans les lieux publics. Ses œuvres visent à insérer des contre-discours, des possibilités de collaboration et des dialogues alternatifs et dont on fait souvent l’expérience collectivement dans des situations et des lieux courants.
Installation art @ the Joinery Gallery, Stoneybatter. Dublin during the DEAF festival,
23rd-26th October 2008.
My final (with Kim Dean) for Space-Time I, a graduate level 3-dimensional art class at Drexel University. Kim and I bought 50 pounds of 3.5-inch coated sinker nails and set them up on the floor in a melting/dissipating grid pattern.
(Photo courtesy Ephraim Russell's DSLR)
Installation art @ the Joinery Gallery, Stoneybatter. Dublin during the DEAF festival,
23rd-26th October 2008.
Pipework has always made me think of installation art.
Geometry, choice of colours, sensitivity to place - it has it all.
Morakot "Emerald" (2007)
อภิชาติพงศ์ วีระเศรษฐกุล (Apichatpong Weerasethakul)
Single channel video installation (11 minutes)
Apichatpong Weerasethakul (Thai: อภิชาติพงศ์ วีระเศรษฐกุล), born July 16, 1970 in Bangkok, Thailand) is a Thai independent film director, screenwriter, and film producer. His feature films include Tropical Malady, which won a jury prize at the 2004 Cannes Film Festival, Blissfully Yours, which won the top prize in the Un Certain Regard program at the 2003 Cannes Film Festival, and Syndromes and a Century, which premiered at the 63rd Venice Film Festival and was the first Thai film to be entered in competition there.
Working outside the strict confines of the Thai film studio system, Apichatpong Weerasethakul has directed several features and dozens of short films. Themes reflected in his films (frequently discussed in interviews) include dreams, nature, sexuality (including his own homosexuality), and Western perceptions of Thailand and Asia, and his films display a preference for unconventional narrative structures (like placing titles/credits at the middle of a film) and for working with non-actors. Cinephiles affectionately refer to him as "Joe" (a nickname that he, like many with similarly long Thai names, has adopted out of convenience).
Apichatpong Weerasethakul chose to show the Single Channel Film/Installation piece Morakot (Emerald, 2007), in response to the theme of Wonder in the Biennale. The ‘Emerald’ is a disused hotel in Bangkok, which opened its doors in the 1980s when Thailand was going through social change and an accelerated economy. Things changed with the Asian economic crisis in the late 1990s. As he was researching rooms for another shoot, the experience of being in the now empty spaces, with motes lingering in the air made an impact, perhaps like a star first bursting into life then later slowly disappearing. He returned to the hotel a year later, re-engaging with this experience together with his actors as they recounted their own memories and dreams to make Morakot.
More information on universes-in-universe.org/eng/magazine/articles/2008/apic...
Reminds me of the Tenement Museum, though they don't actually have anything quite like this, or perhaps of a Holocaust Museum, though obviously not nearly so dire as that... because of the association with ancestors, right?
Here we have letters from immigrants, floating in the wind, and being read out.
Sorry the video is tilted. I'm guilty of that most horrible crime of internet video posting...