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Escultura "Julia" de Jaume Plensa. Se expone en la plaza de Colón de Madrid temporalmente. Espectacular.
One final shot from Calgary, Alberta before Betty Buick whisks us south to Lethbridge, Alberta.
This sculpture titled "Wonderland" sits on the plaza in front of the high-rise Bow Building. The piece was commissioned by Encana Corporation - a company that no longer exists in name - see below.
Designer Jaume Plensa allows you to get inside this young girl’s (her name is Anna) head or think outside of its box.
At 12 metres high, the sculpture is imminently accessible with two large doorways that allow you inside.
It’s interactive art and incredibly complicated in its deceptive simplicity.
Jaume Plensa was born in Barcelona in 1955 and was awarded the honour of creating this piece in a competition with 27 other artists from around the world.
THE BOW TOWER - a tangled web of corporate intrigue.
The Bow is named for its crescent shape and the view of Calgary's Bow River.
The Bow officially opened in June 2013 and became the headquarters of Encana Corporation (gas company) and Cenovus Energy (oil company), a spun-off piece of Encana in 2009.
August 2013 Cenovus announced it would be anchor tenant in the proposed Brookfield Place and completed the move to Brookfield Place in 2019 from the Bow.
Also in 2019, Encana announced it would be renamed Ovintiv and would move its corporate headquarters to Denver, Colorado - what a stupid name!.
November 2018 Nexen, a leader in the oil and gas industry, took sublease space from Cenovus Energy in the 58-storey tower. Nexen moved from its headquarters at 7th Avenue and 8th Street SW - that 600,000 sq. ft. building now sits empty.
CNOOC Petroleum North America ULC, formerly known as Nexen, is today a Chinese-owned oil and gas company based in Calgary, Alberta.
Originally the Canadian subsidiary of US-based Occidental Petroleum (known as Canadian Occidental Petroleum or CanOxy), it became an independent company, Nexen, in 2000. - I need a family tree diagram.
Nexen was acquired by Hong Kong-based CNOOC Limited in 2013, and was rebranded under the current name at the end of 2018.
October 2020, officials with Cenovus Energy confirm the acquisition of Husky Energy will result in the elimination of between 20 and 25 per cent of the staff of the combined company.
Together, the companies currently have 8,600 employees and contractors, which means between 1,720 and 2,150 layoffs are pending.
According to Cenovus, the majority of staffing cuts will occur in Calgary. Many of the targeted employees work in the Bow.
Calgary's once very vibrant oil and gas sector is in constant upheaval with mergers and acquisitions.
"Carmela", Barcelona.
Jaume Plensa (Barcelona, 1 de enero de 1955) es un artista plástico español, escultor y grabador. Artista muy polifacético que ha experimentado también con el dibujo, escenarios para ópera, videoproyecciones o instalaciones acústicas. Es conocido por sus grandes esculturas formadas por letras y números.
Nacido en Barcelona en 1955, estudió en la Escuela Llotja y en la Escuela Superior de Bellas Artes de Sant Jordi.
Carmela es una escultura de Jaume Plensa del año 2015
Carmela muestra la cabeza de una adolescente y hace hincapié sobre el momento de tránsito que se experimenta al dejar de ser una niña y pasó a ser una mujer adulta y proponiendo una reflexión en torno al concepto de que cada generación tiene de la idea de "clásico". De hecho, el rostro es el de una niña de Barcelona, al que Plensa fotografió en 2013 -cuando ésta tenía 14 años de edad- y escanear para obtener una imagen en tres dimensiones de su cabeza. Esta imagen, tras el proceso de manipulación, fue el punto de partida de la obra final, una cabeza comprimido lateralmente y fuerza alargado que, sin embargo, muestra una belleza mediterránea, atemporal. Las particularidades formales de la obra hacen que la escultura cambie su apariencia (desde una pieza en tres dimensiones y bien proporcionada hasta una imagen prácticamente plana) según el punto desde donde se observe, un juego de deformación que evoca el proceso que realiza la memoria humana cuando almacena los recuerdos.
Jaume Plensa (Barcelona, January 1, 1955) is a Spanish plastic artist, sculptor and engraver. A very versatile artist who has also experimented with drawing, stages for opera, video projections or acoustic installations. He is known for his large sculptures formed by letters and numbers.
Born in Barcelona in 1955, he studied at the Llotja School and at the Higher School of Fine Arts in Sant Jordi.
Carmela is a sculpture by Jaume Plensa de l'any 2015.
Carmela shows the head of a teenager and focuses on the time in traffic experienced ceased to be a child and became an adult and proposes a reflection on the concept that each generation has to the idea of "classic". In fact, the face is that of a girl from Barcelona, Plensa who photographed this in 2013, when he was 14 years of age and scan to obtain a three-dimensional image of his head. This image, after handling process, was the starting point of the final work, a head laterally compressed and elongated force, however, shows a Mediterranean beauty, timeless. The formal characteristics of the work make the sculpture changes its appearance (from a piece in three dimensions and shapely to an almost flat image) according to the point from which observed a game Warp evoking the process that makes human memory when it stores memories
The sculpture Awilda presents the artist’s large-scale portrait of a young girl from his native Barcelona, Spain.
The piece was initially shown in Rio de Janeiro by the sea, where it took on additional references, particularly Plensa’s interest in the Yoruba female deity of the sea, Lemanjá. The piece then traveled to Millennium Park in Chicago, where it became a popular icon for the city. Awilda’s new home in Miami returns her to a seaside location, as her serene face, with closed eyes, is positioned in front of the Port of Miami.
Jaume Plensa was born in 1955 in Barcelona, where he studied at the Llotja School of Art and Design and at the Sant Jordi School of Fine Art. Since 1980, the year of his first exhibition in Barcelona, he has lived and worked in Berlin, Brussels, England, France and the United States, as well as the Catalan capital.
He has been a teacher at the École nationale supérieure des Beaux-Arts in Paris and regularly cooperates with the School of the Art Institute of Chicago as a guest professor. He has also given many lectures and courses at other universities, museums and cultural institutions around the world.
Plensa regularly shows his work at galleries and museums in Europe, the United States and Asia. The landmark exhibitions in his career include one organised at the Fundació Joan Miró in Barcelona in 1996, which travelled to the Galerie nationale du Jeu de Paume in Paris and the Malmö Konsthall in Malmö (Sweden) the following year. In Germany, several museums have staged exhibitions of his work. These include Love Sounds at the Kestner Gesellschaft in Hannover in 1999 and the recent The Secret Heart, which was shown at three museums in the city of Augsburg in 2014. During 2015 and 2016 the exhibition Human Landscape has travelled by several North American museums: Cheekwood Botanical Gardens and Museum of Art and Frist Center of the Visual Arts in Nashville, TN, the Tampa Museum of Art in Tampa FL and the Toledo Museum of Art in Toledo, OH.
Credit for the data above is given to the following website:
" 'Love’ consists of two 7 meter high, white sculptures of a boy and a girl. They seem to be looking at each other, but their eyes are closed. The children’s facial expression is serene." More information:
Wilsis, which is 7 metres high, is part of a series of portraits of young girls with their eyes closed in a dreamlike state of contemplation. It is an exploration of persprective through flattening of form.
The sculpture Awilda presents the artist’s large-scale portrait of a young girl from his native Barcelona, Spain.
The piece was initially shown in Rio de Janeiro by the sea, where it took on additional references, particularly Plensa’s interest in the Yoruba female deity of the sea, Lemanjá. The piece then traveled to Millennium Park in Chicago, where it became a popular icon for the city. Awilda’s new home in Miami returns her to a seaside location, as her serene face, with closed eyes, is positioned in front of the Port of Miami.
Jaume Plensa was born in 1955 in Barcelona, where he studied at the Llotja School of Art and Design and at the Sant Jordi School of Fine Art. Since 1980, the year of his first exhibition in Barcelona, he has lived and worked in Berlin, Brussels, England, France and the United States, as well as the Catalan capital.
He has been a teacher at the École nationale supérieure des Beaux-Arts in Paris and regularly cooperates with the School of the Art Institute of Chicago as a guest professor. He has also given many lectures and courses at other universities, museums and cultural institutions around the world.
Plensa regularly shows his work at galleries and museums in Europe, the United States and Asia. The landmark exhibitions in his career include one organised at the Fundació Joan Miró in Barcelona in 1996, which travelled to the Galerie nationale du Jeu de Paume in Paris and the Malmö Konsthall in Malmö (Sweden) the following year. In Germany, several museums have staged exhibitions of his work. These include Love Sounds at the Kestner Gesellschaft in Hannover in 1999 and the recent The Secret Heart, which was shown at three museums in the city of Augsburg in 2014. During 2015 and 2016 the exhibition Human Landscape has travelled by several North American museums: Cheekwood Botanical Gardens and Museum of Art and Frist Center of the Visual Arts in Nashville, TN, the Tampa Museum of Art in Tampa FL and the Toledo Museum of Art in Toledo, OH.
Credit for the data above is given to the following website:
New installation at the University of Michigan Museum of Art.
Jaume Plensa's "Behind the Walls".
November 22, 2020.
IMG_7551 WM
The sculpture Awilda presents the artist’s large-scale portrait of a young girl from his native Barcelona, Spain.
The piece was initially shown in Rio de Janeiro by the sea, where it took on additional references, particularly Plensa’s interest in the Yoruba female deity of the sea, Lemanjá. The piece then traveled to Millennium Park in Chicago, where it became a popular icon for the city. Awilda’s new home in Miami returns her to a seaside location, as her serene face, with closed eyes, is positioned in front of the Port of Miami.
Jaume Plensa was born in 1955 in Barcelona, where he studied at the Llotja School of Art and Design and at the Sant Jordi School of Fine Art. Since 1980, the year of his first exhibition in Barcelona, he has lived and worked in Berlin, Brussels, England, France and the United States, as well as the Catalan capital.
He has been a teacher at the École nationale supérieure des Beaux-Arts in Paris and regularly cooperates with the School of the Art Institute of Chicago as a guest professor. He has also given many lectures and courses at other universities, museums and cultural institutions around the world.
Plensa regularly shows his work at galleries and museums in Europe, the United States and Asia. The landmark exhibitions in his career include one organised at the Fundació Joan Miró in Barcelona in 1996, which travelled to the Galerie nationale du Jeu de Paume in Paris and the Malmö Konsthall in Malmö (Sweden) the following year. In Germany, several museums have staged exhibitions of his work. These include Love Sounds at the Kestner Gesellschaft in Hannover in 1999 and the recent The Secret Heart, which was shown at three museums in the city of Augsburg in 2014. During 2015 and 2016 the exhibition Human Landscape has travelled by several North American museums: Cheekwood Botanical Gardens and Museum of Art and Frist Center of the Visual Arts in Nashville, TN, the Tampa Museum of Art in Tampa FL and the Toledo Museum of Art in Toledo, OH.
Credit for the data above is given to the following website:
Sited in the Richmond-Adelaide Centre, Plensa's remarkable work exudes a spirit in contrast to the pace of life of Toronto's financial district. Plensa is one Spain's great living artists.
Exposition "Clouds" Le Roeulx, Hainaut, Belgium.
Merveilleux et magique, branché sur l’infini, le nuage est pour tout être humain la plus fantastique des machines à rêves.
Combinaison de contraires et d’extrêmes, foisonnant, inépuisable, en perpétuelle métamorphose, il est de toute évidence la métaphore même du vivant.
En organisant une exposition sur ce thème dans le cadre prestigieux et historique du château des Princes de Croÿ, au Roeulx, la Fondation Croy-Roeulx propose “Clouds”, événement artistique majeur autour du regard d’artistes modernes et contemporains sur le plus humain des corps célestes. Une version inédite du thème, qui, en écho au génie du lieu – le Château, l’Orangerie et les jardins -, est pensée comme une véritable « horticulture » du nuage.
Une trentaine d’artistes – de Jean Arp à René Magritte, de Man Ray à Jaume Plensa, de Robert Therrien à Michel François… Associant photographies, peintures, vidéos, sculptures, installations, peupleront cette promenade-découverte du Château du Roeulx qui ouvrira exceptionnellement à l’occasion de cet événement.
Wonderful and magical, connected to the infinite, the cloud is for any human being the most fantastic dream machines.
Combination of opposites and extremes, teeming inexhaustible, in perpetual metamorphosis, it is obviously the same metaphor of the living.
By organizing an exhibition on this theme in the prestigious and historical part of the castle of the Princes of Croÿ at Roeulx, Croy-Roeulx Foundation offers "Clouds", a major artistic event around the look of modern and contemporary artists on the most human of celestial bodies. A new version of the theme, which, echoing the spirit of the place - the castle, the Orangerie and gardens - is conceived as a real "Horticulture" of the cloud.
Thirty artists - Jean Arp to René Magritte, Man Ray to Jaume Plensa, Robert Therrien Michel François ... Combining photographs, paintings, videos, sculptures, installations, populate this walk-discovery of the castle will open exceptionally Roeulx on the occasion of this event.
Plensa's work is varied, but he has done a series of heads of young women from around the world. There is another called The Dream near St Helens that can be seen from the M62.
Jaume Plensa, sculptor, at the MACBA (Barcelona Museum of Contemporary Art)
www.metropoliabierta.com/vivir-en-barcelona/cultura/jaume...
ENGISH
Jaume Plensa (Barcelona, 1955) is an artist of materials, sensations and ideas. His references include literature, especially poetry, music, religion and thought. He considers himself, above all, a sculptor, although his creative process has included multiple disciplines. His work addresses the very condition of being: its physical and spiritual essence, ontological awareness of present and past, moral codes and dogmas, and our relationship with nature. What we cannot explain is, precisely, what makes us human. Plensa’s objective is not to create objects, but to develop relationships that embrace everyone.
ESPAÑOL
Jaume Plensa (Barcelona, 1955) es un artista de materiales, sensaciones e ideas. Sus referencias abarcan la literatura ―en especial la poesía―, la música, la religión y el pensamiento. Él se considera, ante todo, escultor, aunque su proceso creativo ha transitado por múltiples disciplinas. Sus obras apelan a la condición misma del ser: su esencia física y espiritual, la conciencia de sí mismo y de su pasado, sus códigos morales y dogmas y su relación con la naturaleza. Lo que no podemos explicar es, precisamente, lo que nos explica como personas. Su objetivo no es construir objetos, sino desarrollar relaciones e incluirnos a todos en ellas.
CATALÀ
Jaume Plensa (Barcelona, 1955) és un artista de materials, sensacions i idees. Les seves referències abracen la literatura ―en especial la poesia―, la música, la religió i el pensament. Ell es considera, abans que res, escultor, tot i que el seu procés creatiu ha transitat per múltiples disciplines. Les seves obres s’adrecen a la condició mateixa de l’ésser: la seva essència física i espiritual, la consciència de si mateix i del seu passat, els seus codis morals i dogmes i la seva relació amb la natura. El que no podem explicar és, precisament, allò que ens explica com a persones. El seu objectiu no és fer objectes, sinó desenvolupar relacions i incloure’ns-hi a tots.
SOURCE(FUENTE/FONT: MACBA
On the occasion of the 56th International Art Exhibition of la Biennale di Venezia, one of Venice’s most celebrated landmarks, the Basilica of San Giorgio Maggiore, will host Together, a major exhibition of new works by Spanish artist Jaume Plensa.
Plensa (Spain, b.1955) is one of the world’s foremost artists working in the public art space, with permanent works spanning the globe including the Crown Fountain (Chicago), Echo (Seattle), Breathing (London) and Roots (Tokyo). The exhibition is curated by Clare Lilley, Director of Programmes at Yorkshire Sculpture Park. The works in the exhibition all make their debut in San Giorgio and reflect the artist’s continued interest in a bodily relationship to space, scale, material and place.
For four hundred years the Basilica of San Giorgio Maggiore has been a place of worship, communication and meditation, where Palladio’s profound architecture creates a stilling and contemplative environment. Plensa’s response to this powerful space is Together; a conversation between two sculptures - hand, suspended beneath the cupola in the foreground of the altar, and head, sited in the nave. Placed on the dominant west-east axis of the building, the works set up a line of spiritual and intellectual discourse which evokes emotion and seeks to connect with his viewers on an intuitive level.
As a speaker of five languages alongside a nomadic life that takes him around the globe, Plensa’s work reflects a desire to break down barriers. Merging difference is a cornerstone of his work, and here it is further emphasized by the installation of meticulous drawings and a group of five alabaster portraits in the contiguous Officina dell’Arte Spirituale, located 300 meters from the entrance to the Basilica on the island’s northern edge. Plunged in darkness and lit to reveal their luminous opacity, the sculptures were carved using reformed scans of real girls; chosen because, like nomads, they have traveled, settled and traveled again. Chosen, too, because they are teenage girls on the cusp of leaving and arriving, whose potential – like that of all humanity – so deeply glows.
Plensa’s sculptures reference a Judeo-Christian tradition while connecting with a much longer human history, where the making of art has social purpose and which we see played out across histories and geographies – in heads from the Croatian Upper Paleolithic, carved some 26,000 years ago; in exquisite, elongated hands incised in stone from 1300 BCE Egypt. For these and other reasons, Plensa’s forms will connect people and welcome them into the Basilica. Made from stainless steel which distills and diffuses light, Plensa’s hand and head are at times transmutable hazes that pull and root the gaze. The opening, gestural hand formed from characters of eight languages, speaks of a coming together of peoples and traditions. Similarly, Nuria’s face speaks of diversity; indeed the subject is the daughter of a Chinese friend in Barcelona, who in her young life has already crossed many borders.
Clare Lilley, Curator, commented: “Plensa’s installations for the Isola di San Georgio Maggiore are testament to his acute understanding of space and scale. His sculptures do not impose themselves on these historic spaces; rather they capture and reflect the actual light and shadows within to communicate a metaphorical language. Both visually stunning and intimate, they draw our attention to a world where migration and difference challenge civilized behavior; in this place, which for centuries has welcomed world travelers, Plensa’s work will connect people of many faiths and of no faith.
In collaboration with the monks of the Abbazia di San Giorgio, as part of the cultural activities of the Benedicti Claustra Onlus, Together hopes to advance the Benedictine community’s efforts to develop a number of restoration projects of the monumental Palladian complex on San Giorgio Maggiore. Inspired by textual elements in the body of Plensa’s work, the project has contributed a significant donation to restore the Abbazia’s 15th and 16th Century illuminated manuscripts; prayer books previously too delicate for public view. (Press release)
Jaume Plensa, sculptor, at the MACBA (Barcelona Museum of Contemporary Art)
ENGISH
Jaume Plensa (Barcelona, 1955) is an artist of materials, sensations and ideas. His references include literature, especially poetry, music, religion and thought. He considers himself, above all, a sculptor, although his creative process has included multiple disciplines. His work addresses the very condition of being: its physical and spiritual essence, ontological awareness of present and past, moral codes and dogmas, and our relationship with nature. What we cannot explain is, precisely, what makes us human. Plensa’s objective is not to create objects, but to develop relationships that embrace everyone.
ESPAÑOL
Jaume Plensa (Barcelona, 1955) es un artista de materiales, sensaciones e ideas. Sus referencias abarcan la literatura ―en especial la poesía―, la música, la religión y el pensamiento. Él se considera, ante todo, escultor, aunque su proceso creativo ha transitado por múltiples disciplinas. Sus obras apelan a la condición misma del ser: su esencia física y espiritual, la conciencia de sí mismo y de su pasado, sus códigos morales y dogmas y su relación con la naturaleza. Lo que no podemos explicar es, precisamente, lo que nos explica como personas. Su objetivo no es construir objetos, sino desarrollar relaciones e incluirnos a todos en ellas.
CATALÀ
Jaume Plensa (Barcelona, 1955) és un artista de materials, sensacions i idees. Les seves referències abracen la literatura ―en especial la poesia―, la música, la religió i el pensament. Ell es considera, abans que res, escultor, tot i que el seu procés creatiu ha transitat per múltiples disciplines. Les seves obres s’adrecen a la condició mateixa de l’ésser: la seva essència física i espiritual, la consciència de si mateix i del seu passat, els seus codis morals i dogmes i la seva relació amb la natura. El que no podem explicar és, precisament, allò que ens explica com a persones. El seu objectiu no és fer objectes, sinó desenvolupar relacions i incloure’ns-hi a tots.
SOURCE(FUENTE/FONT: MACBA
Plensa's amazing exhibition at YSP. These pieces are a self portrait. This panel was printed for 'three on a theme' competition.
Located in front of the Bow Building in downtown Calgary, Alberta, western Canada.
(cellphone camera shot, July 2014)
C. J.R. Devaney
Wonderland is a 12 meter sculpture created by Jaume Plensa standing outside The Bow Tower. It is the face of a young girl created by a mesh grid with doorways on either side of the base.
Is it Alice? Perhaps. The idea is you step inside the head and explore your dreams – Alice’s Wonderland? Perhaps.
‘My vision for Wonderland is to inspire everyone who experiences the sculpture: I believe the architecture of our bodies is the palace for our dreams’ said Plensa.
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Wonderland es una escultura de arte, diseñada por Jaume Plensa localizada frente al edificio Bow en el centro de Calgary. La torre de 59 pisos es el edificio de oficinas más alto en el oeste de Canadá y alberga la sede de las empresas energéticas del país. La escultura, llamada “Wonderland”, es un retrato de alambre, de la cabeza de una niña. Mide 12 m de altura.
Un jurado eligió al escultor español entre las 27 propuestas para completar el proyecto. Los factores importantes incluyeron la resistencia de los efectos del invierno y la capacidad de involucrar a una amplia audiencia.
This isn't exactly the 'flagship' aspect of the YSP's exhibition of the works of Catalan artist Jaume Plensa, but it's the one they tended to feature in exhibition publicity, presumably because it highlights both Plensa's exploration of the human body's architectural nature and the YSP's objective to display sculpture as a seamless element of the landscape of Bretton Hall's parkland.
That may be a reason why it's taken me over 4½ years to write a caption and upload this photo, though I processed it at the same time as others from this day and uploaded them rather promptly: pretty as it may be, the photo was taken from the most 'obvious' (cliched!) angle, captured by virtually every visitor.
For the record, then: this excellent exhibition is long over, and all (but one) of the installations gone. I understand this one is in a private collection in the USA.
As usual for Plensa, the huge (4×4×3 m) heads are based on scans of real people (Nuria, on the left, is the young daughter of a Chinese restaurateur and Irma is an older Dominican woman working as a maid, both in Barcelona), though somewhat idealised, the results becoming of indeterminate race, age and even gender.
Many of Plensa's heads are digitally distorted before being carved or cast, with elongation or flattening of such familar forms challenging the eye, but in this case, the computer models were physically rendered at 'normal' proportions, in a white-painted stainless steel openwork mesh which both stands-out well from the terrestrial background and vanishes against the sky. Yet the translucence alone has a disorientating effect: when standing on the right it's easy to think the left ear is the nearer one, and seeing each face through the mesh, inside-out, is distinctly odd. There's even an aspect of the 'hollow face' optical illusion whereby each huge head seems to turn to follow the viewer.
The Yorkshire Sculpture Park covers a large area; the building on the right of the background, ~2 km away, is the Longside Gallery, a space shared by the YSP and the national Arts Council Collection; temporary exhibitions alternate between sources.
The building to the left is Jebb Farm, a working, er, farm. Incidentally, the entire background is across the county border in South Yorkshire.
Antibes Le Nomade #antibes #art #jaumeplensa #statue #lenomade #sculpture #mediterranee #mermediterranee #cotedazur #rempartsdantibes #bleuazur #patm666photos
Jaume Plensa (Spanish, b. 1955)
Nikon D4 + 24-70mm f/2.8G | Calgary, AB, 11 Nov 2015
© 2015 José Francisco Salgado, PhD.
Do not use without permission. 2015.11.11_93670
Millenium Park, Chicago, Illinois
Jaume Plensa, artist
We're back and I have no idea where to start uploading, so I simply started at the end of our travels. Still digesting everything we saw and experienced--a state of being I expect will continue for a bit. It now being almost 1 in the morning could also mean that I am now over my jet-lag and life is getting back to normal.
Fantastic pair of glass-block monoliths facing each other across a 3cm deep reflecting pool which, during the day, is a sea of children of all ages. There are about 1000 different (moving) faces of Chicago residents which appear in the LED screens, blinking, smiling, staring and occasionally pursing their lips at which point they 'spit' huge streams of water out of a shower-nozzle within the glass blocks.
It is great to see these embedded within the tapestry of the surrounding buildings.