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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.
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...
Installation art @ the Joinery Gallery, Stoneybatter. Dublin during the DEAF festival,
23rd-26th October 2008.
Arnold Dreyblatt’s musical and artistic practice ranges from large multi-day performances to permanent installations, digital projections, dynamic textual objects and multi-layered lenticular text panels. His visual artworks are complex textual and spatial visualizations about memory, reflecting upon such themes as recollection and the archive. Arnold Dreyblatt was a Visiting Scholar at MIT and taught a course entitled “The Harmonic Archive: Music, Sound and Installation Art as Artistic Research.”
A member of the second generation of New York minimal composers, Dreyblatt continues to develop his work in composition and music performance, having invented a new set of original instruments, performance techniques and a system of tuning. He has formed and led numerous ensembles under the title “The Orchestra of Excited Strings” for over thirty years.
Arnold Dreyblatt studied music with Pauline Oliveros, La Monte Young and Alvin Lucier. He has been based in Berlin, Germany since 1984. In 2007, Dreyblatt was elected to lifetime membership in the visual arts section at the German Academy of Art (Akademie der Künste, Berlin). He is currently Professor of Media Art at the Muthesius Academy of Art and Design in Kiel, Germany.
Presented by the MIT Center for Art, Science & Technology (CAST).
Learn more at artsm.it/1DPfNbc
All photos ©L. Barry Hetherington
lbarryhetherington.com/
Please ask before use
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
Arnold Dreyblatt’s musical and artistic practice ranges from large multi-day performances to permanent installations, digital projections, dynamic textual objects and multi-layered lenticular text panels. His visual artworks are complex textual and spatial visualizations about memory, reflecting upon such themes as recollection and the archive. Arnold Dreyblatt was a Visiting Scholar at MIT and taught a course entitled “The Harmonic Archive: Music, Sound and Installation Art as Artistic Research.”
A member of the second generation of New York minimal composers, Dreyblatt continues to develop his work in composition and music performance, having invented a new set of original instruments, performance techniques and a system of tuning. He has formed and led numerous ensembles under the title “The Orchestra of Excited Strings” for over thirty years.
Arnold Dreyblatt studied music with Pauline Oliveros, La Monte Young and Alvin Lucier. He has been based in Berlin, Germany since 1984. In 2007, Dreyblatt was elected to lifetime membership in the visual arts section at the German Academy of Art (Akademie der Künste, Berlin). He is currently Professor of Media Art at the Muthesius Academy of Art and Design in Kiel, Germany.
Presented by the MIT Center for Art, Science & Technology (CAST).
Learn more at artsm.it/1DPfNbc
All photos ©L. Barry Hetherington
lbarryhetherington.com/
Please ask before use
Arnold Dreyblatt’s musical and artistic practice ranges from large multi-day performances to permanent installations, digital projections, dynamic textual objects and multi-layered lenticular text panels. His visual artworks are complex textual and spatial visualizations about memory, reflecting upon such themes as recollection and the archive. Arnold Dreyblatt was a Visiting Scholar at MIT and taught a course entitled “The Harmonic Archive: Music, Sound and Installation Art as Artistic Research.”
A member of the second generation of New York minimal composers, Dreyblatt continues to develop his work in composition and music performance, having invented a new set of original instruments, performance techniques and a system of tuning. He has formed and led numerous ensembles under the title “The Orchestra of Excited Strings” for over thirty years.
Arnold Dreyblatt studied music with Pauline Oliveros, La Monte Young and Alvin Lucier. He has been based in Berlin, Germany since 1984. In 2007, Dreyblatt was elected to lifetime membership in the visual arts section at the German Academy of Art (Akademie der Künste, Berlin). He is currently Professor of Media Art at the Muthesius Academy of Art and Design in Kiel, Germany.
Presented by the MIT Center for Art, Science & Technology (CAST).
Learn more at artsm.it/1DPfNbc
All photos ©L. Barry Hetherington
lbarryhetherington.com/
Please ask before use
Caneta permanente sobre parede, 3 x 7,45 metros.
Caixa Cultural - RJ - Exposição: In Memoriam.
Curadoria de Fernanda Lopes.
Foto: Rafael Pereira.
"Language Generator" (by Lewis Gesner) has been a solo piece, a duet, and ensemble piece, as well as a public workshop project. It had a duration of anywhere from 6 hours to one week. This is what is done. I enter a gallery space with newsprint paper, markers, scotch tape, and a box of objects. For the duration of the piece, I examine the objects, one at a time, and make a noise to go with it, then, a line or symbol on the paper. I then post the result on the walls. Performance/Installation at Meme gallery, Camb., MA. Photo: ©Bob Raymond, 1/14/11.
Monumento de Vento, 2016.
50 peças de tecido e aro de madeira, dimensões variadas.
Trabalho instalado nos arcos do Museu de Arte de Londrina, aproximadamente 600 m2.
Márcio Diegues
In 2002 or so this was parked at Hoyne & Fulton alongside some other
strange installation art, like a mattress painted with a bulls' eye. It's all gone now, of course.
part 2 of 2
Process
Kinetic Rain was created over a span of 20 months. A team of artists, programmers and engineers collaborated on its development. After analyzing the qualities of the available space, the piece was conceptualized. The initial idea was to create a kinetic sculpture made of metal blades that combine to form a continuously undulating wave. This concept was discarded in favor of a three-dimensional matrix of droplets that can be choreographed to express abstract to more concrete shapes and whose beauty and almost mystical harmony would captivate people’s attention. After a prototype was tested, the choreography was computationally designed. The 16 sequences through which Kinetic Rain moves were developed as a kind of non-linear story around the theme of flying. As one of the last steps in the process, copper-plated lightweight aluminum was chosen as material for the drops. With their polished copper surface the droplets’ glisten in the ambient light. In addition, the surrounding space is mirrored in each droplet, including everybody watching it. This multiplication of space and oneself however becomes visible only when standing very close to the installation, thus creating another fascinating experience. A video on the making-of can be viewed here: www.youtube.com/watch?v=v4-AUVBuZ-4&feature=youtu.be
Additional Info
Kinetic Rain’s incredible popularity has found expression in 1.1 million views of its videos on Vimeo and Youtube up to today, and through being selected as “Staff Pick” on Vimeo. The piece’s appeal was reemphasized in November 2013, when a young woman climbed onto the safety net under the installation in order to pick some droplets. A news report on this hazardous action can be found here: sg.news.yahoo.com/woman-shown-grabbing-at-kinetic-rain-in...
Source: www.codaworx.com/project/kinetic-rain-changi-airport-grou...
see previous: www.flickr.com/photos/leonghong/35661177941/
Deluxe Log
an amplified habitat sculpture for solitary bees and solitary wasps
.
Sarah Peebles, concept; John Kuisma, fabrication; Rob Cruickshank,
electronics
Here's the full view of Deluxe Log, complete with headphones and bee house in the back. On top of the bee house is a small amplifyer (which headphones plug into), and a 'bee plank' . Note that this is not just 'mason bee house', but a habitat structure for the many species of solitary, cavity nesting bees in our area (see side view photo to get a sense of the different hole dimensions) . Why limit bee houses to just mason bees when there are hundreds of bee species - sometimes thousands - all around us?
Details and more photos at resonatingbodies.wordpress.com/art/logplank/
Photo by Sarah Peebles. See close-up, side view.
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 chosen 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...