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Subsculpture 14 motorised measuring tapes, kinect tracking systems, computers, cameras, thermal printer, custom-made hardware and software dimensions variable Rows of motorised measuring tapes record the amount of time that visitors stay in the the installation. As a computerised tracking system detects the presence of a person, the closest measuring tape starts to project upwards. When the tape reaches around 3m high it crashes and recoils back. Each hour, the system prints the total number of minutes spent by the sum of all visitors. Commissioned by the Museum of Contemporary Art, Sydney. 
About the project Starting a conversation about Capitalism is like walking up to a stranger and asking, “Can I talk to you about Jesus?” The word “capitalism” is a red flag. And for good reason—pretty soon either some dude is talking your ear off about “The System” or aggressively confronting you about taxes. Ugh. At the same time, capitalism is discussed every day using euphemisms like “jobs,” “job creation,” “the business climate,” and discussing whatever “crisis” is deemed relevant; a housing crisis, financial crisis, social security crisis, tax crisis, or fill- in-the blank crisis. But the whole is rarely a topic of frank discussion—much less alternatives or meaningful reform. As a culture, we need the vision and boldness it takes to discuss the problem itself. The idea that “there is no alternative” to the way our world works takes away our ability to dream. As citizens we need the courage to begin these discussions on order to move on to new and better visions for the future.
radio interview: http://www.breakthruradio.com/#/post/?dj=thomas&post=787&blog=64&autoplay=1 This week on Art Uncovered I speak with Steve Lambert. Steve makes objects and creates experiences that connect idealistic and radical ideas with everyday life. His projects help us imagine a better (dare I say utopian?) world, and allow us to ask, "well what if?" 
It is not everyday you walk into a building and see an enormous plane crashing into the floor. English artist Fiona Banner thought of adding a unique touch to the galleries of Britain Tate Modern Art Museum and created an installation that dazzles the mind. The official name of the project is Harriet and Jaguar, two plane models that were used in putting the installation together. According to Technabob, the two models were bought by Fiona for an undisclosed sum and were further modified in order to be exhibited in Tate Britain. The Sepecat Jaguar XZ118 was reconditioned and polished, so that viewers can see their reflection. It is positioned on the floor, reminding one of a wounded bird. The Harrier (first photos of the the post) was placed vertically, ensuring a strong visual effect. What is your stand on modern art installations?
Are we going to let it crash? That is the question! “Locomotive”, the most recent addition to the mosaic screen installation in the foyer of Place des Arts, is a fantastical portrayal of a human machine. The context resembles an elaborate organic dominos game. It begins with a musical impulse and is accompanied by an inexorable advancement of light. 
Doug Wheeler, a founder of the so-called Light and Space movement, constructs his first Manhattan “infinity environment” at the David Zwirner gallery in Chelsea. THE artist Doug Wheeler tells two stories, both having to do with light, that go a long way toward explaining why he is so revered by many fellow artists — as a visionary and a relentlessly stubborn perfectionist — and also why his work has been seen by so few American artgoers over the last few decades, particularly those in New York. 
Retour du festival TEMPS D'IMAGES créé par ARTE et La Ferme du Buisson avec 4 spectacles : L'Idée du Nord de Glenn Gould, Kiss & Cry, Memories from the Missing Room avec Moriarty, et le Concert dessiné de Rodolphe Burger, Dupuy & Berbérian... 
We are pleased to announce that our new video installation, The Shape of Our Best Intentions, will debut at the 2012 deCordova Biennial. We'll also be giving an artists’ talk at the museum on Saturday, March 10 at 2pm. There is a full list of events for the exhibition, as well as directions and hours, on the museum's website. http://www.decordova.org/art/exhibition/2012-decordova-biennial
A small child is entranced by an infinity room dot installation by Yayoi Kusama. Clearly this child is experiencing some of the more hallucinatory side effects of Kusama’s work. His dazed confusion is slowly overcome with excitement and joy, which is hopefully how we all feel when seeing great works of art. 
Looking for orientation as the vast aesthetic whirlwind of Art Basel descends on Miami, we asked a half-dozen art world players what they consider the most compelling trends today.
Shamim M. Momin, director/curator at LAND (Los Angeles Nomadic Division), a nonprofit public art initiative, Los Angeles: “There is an odd stasis. Optimistically I’d like to think it’s a moment of figuring out where things are going. … People are still really trying to work out where you go from here. It’s been a very drastic few years in a lot of ways. Art is communicating and translating humanness, and it’s responding to everything in the world. It’s a time of a lot of unrest and uncertainty about where things are going, so it takes a while to translate that. “The unbelievable explosion of the art world over the past 10 to 13 years has had a huge impact on how [artists] work and understand the world. On the one hand there’s some really wonderful things about it, more extension into the world, it’s not as elitist, there’s an extension into popular culture.“Unfortunately we live in a consumerist, multinational world, and those kinds of things get co-opted, too. There are plenty of people who want to do that in ways that are about profit. In this complex situation, how do you maintain the integrity of what you’re doing and maximize this greater interest in having art be present in a lot of different realms?” Read more here: http://www.miamiherald.com/2011/11/27/2518188/the-trend-is-no-trends-contemporary.html#storylink=cpy 
This December, in a surprisingly simple yet ridiculously amazing installation for the Gallery of Modern Art in Brisbane, artist Yayoi Kusama constructed a large domestic environment, painting every wall, chair, table, piano, and household decoration a brilliant white, effectively serving as a giant white canvas. Over the course of two weeks, the museum’s smallest visitors were given thousands upon thousands of colored dot stickers and were invited to collaborate in the transformation of the space, turning the house into a vibrantly mottled explosion of color. How great is this? Given the opportunity my son could probably cover the entire piano alone in about fifteen minutes. The installation, entitled The Obliteration Room, is part of Kusama’s Look Now, See Forever exhibition that runs through March 12. (via stuart addelsee, sccart, and heybubbles)
It's only with the heart that one can see clearly. What's essential is invisible to the eye. 
It is now nearly impossible to hear the word and not think of the Occupy movement. Even as distinguished an expert as the lexicographer and columnist Ben Zimmer admitted as much this week: “occupy,” he said, is the odds-on favorite to be chosen as the American Dialect Society’s Word of the Year. Yet in a very short time, this movement has dramatically changed how we think about occupation. In early September, “occupy” signaled on-going military incursions. Now it signifies progressive political protest. It’s no longer primarily about force of military power; instead it signifies standing up to injustice, inequality and abuse of power. It’s no longer about simply occupying a space; it’s about transforming that space.
A movement that challenges the power structure of language could help foster the sort of equality the protests aim to achieve. 
Emmanuelle Mason (Plasticienne) et ekito (cabinet d'Architectes en nouvelles technologies) ont eu l'idée créer un dispositif qui permet de dessiner dans l'espace : par le truchement de la machine, le geste de l'artiste est interprété en temps réel et transformé en tracé perceptible par des lunettes de réalité augmentée. Le spectateur peut ainsi déambuler dans cet espace, et se trouver "dedans" le dessin et non plus "devant". Translation: Emma Mason (visual artist) and ekito (architects in new technologies) had the idea to create a device that allows you to draw in space through the machine, the artist's gesture is interpreted in a timely transformed into real and perceptible trace of augmented reality glasses. The viewer can walk through this space, and be "inside" the design rather than "in front". Via Héloïse |
There is a place where it’s possible to listen to soundtracks of life from the other end of the world: cows from the pampas of Argentina, New York commuters rushing to catch their subway train, maritime life of Stockholm or the sounds of Berlin Central Station. The German design firm, Topotek1 was called by the Xi’An International Horticultural Exposition to create an installation for the Expo’s garden. The studio came up with the idea of creating an “endless” hole in the ground, close to the shape of a speaker or an ear, that offers a visual and auditory journey to different faraway places. It looks like a big dig, designed as the emerging point of a trans-national travel. When you come close to the edge, a sound installation stages discreetly the ambience of travelling – from the hole in the ground you can hear the noises of another side of the world. Artificial grass covers all surfaces, the hole, the lawn and the bench, and creates a monolithic appearance. A thin glass barrier encircles the hole and prevents the visitors from falling in the ‘abyss’ and, possibly, ending up in an unknown land. This is the world talking to China and China talking back to the world. An almost magnetic curiosity lures the visitors to get closer to the crater and look inside to listen to its messages. At the same time one is almost invited to send out its voice to the world by shouting in it. This evocative project concretizes the specific current role of China as an amplifier of cultural trends from all over the world. 
Ring was envisioned by artist Arnaud Lapierre and was a project implemented in VENDÔME square, Paris, as part of FIAC Art Fair. We received some information of the project from the developer, and we are happy to share them forward: “Ring is an installation which takes into consideration the urban space networking : the rhythm, flow, organization and spatial hierarchy. The installation embodies a visual effect that is to connect all of these interactions through the implementation of an optical effect: the repetition of an cubic mirror to break the perception of the place. This dynamic installation changes the relationships between individuals and the space they are going through. 
Milan : Dirty Corner d'Anish Kapoor à La Fabbrica del Vapore.
Dirty Corner, oversized sculpture by Anish Kapoor, is currently on display at La Fabbrica del Vapore Milan until 8 January. This masterly work has found its place in the "cathedral" of the former tram depot, next to the monumental, the great cemetery of the Lombard capital. 
Churchill used to say: “In England, everything is permitted, except that which is forbidden. In Germany, everything is forbidden, except that which is permitted. In France, everything is permitted even that which is forbidden. In the USSR, everything is forbidden, even that which is permitted.”
DMCA is England; the Movie Industry thinks it’s France and wants us to be in Germany but this could end up in the USSR.
More on why this matters for curators on the Scoop.it blog. Join the debate and make your voice heard! Via gdecugis 
This groundbreaking focus show explores the implications of tactile perception for enjoying sculpture by melding the research of a Johns Hopkins University neuroscientist studying how the brain reacts to tactile stimuli and a Walters curator interested in the increased appreciation of tactility as an aspect of European Renaissance art--a period marked by a new availability of small "collectibles" meant to be held. Did artists anticipate a reaction to tactile stimulus in shaping sculpture, specifically statuettes of female nudes? Visitors can hold and register their evaluations of replicas of "appealing" statuettes, as well as variants assumed to be unappealing. Displays illustrate the Renaissance attitudes towards touch, the sensation of touch being stimulated without actual contact and the neural processing and perception of objects during touch. 1st images of the preparation of the exhibition of Chiharu Shiota, "Infinity" Opening Saturday, January 7, 2012 from noon to 20H The exhibition runs until February 18, Daniel Templon Gallery, Paris Via Installation art 
Gallery I Johnathan Derry: Gallery II Alison Kotin: "Whisker Organ" (photo) "Listen Close" is an exhibition of tactile new media works exploring narrative, performance, and musical composition. Touch- and motion-activatedmusic and story interfaces (including an instrument made from cats’ whiskers and the voices of a 30-person chorus) add a layer of metaphorand responsiveness to familiar objects and places. Visitors are invited to touch, listen, and play. I create participatory works that spark collaborative, unscripted performance and play, as a means to explore the creative potential of interaction. By creating touch and motion activated digital interfaces modeled on musical instruments, I hope to encourage a spirit of curiosity and experimentation, leading participants to reflect on the process of creation as they perform. These open-ended, interactive situations favor chance and ambiguity, adding a layer of metaphor or unexpected responsiveness to familiar objects and places. http://virtualunrealityproject.com/studio/ Gallery III Lisa Olson:"Small Tallies " For an artist interested in finding ways to record bits of everyday experience, the question becomes how to structure a response that remains faithful to specific details but also creates a visually interesting result. 
To be less self-reflective in order to shift the reflection toward the audience. To do more outdoor activities... away from the art world ! To impose more of my ideas ... become a leading figure in my field. To build bigger things. larger than life! To bring more playfulness, confusion, and more beautiful hats! To stay occupied, keep fighting the 1%. Always remind myself to stay positive, to grow; but not a moustache! To become a better blogger & a more serious curator involved in the Contemporary Art Scene! 
Hailed simultaneously as a provocateur, prankster, and tragic poet of our times, Maurizio Cattelan has created some of the most unforgettable images in recent contemporary art. His source materials range widely, from popular culture, history, and organized religion to a meditation on the self that is at once humorous and profound. Working in a vein that can be described as hyperrealist, Cattelan creates unsettlingly veristic sculptures that reveal contradictions at the core of today’s society. While bold and irreverent, the work is also deadly serious in its scathing critique of authority and the abuse of power. ... Cattelan’s disruptive and disrespectful gestures have at times taken the form of creative theft and even overtly criminal activity. For an exhibition at the de Appel arts center in Amsterdam, he stole the entire contents of another artist’s show from a nearby gallery with the idea of passing it off as his own work (Another Fucking Readymade, 1996), until the police insisted he return the loot on threat of arrest. 
Unfolded Architecture by Pablo Rasgado.... 
The Whitney Museum of American Art. Explore works, exhibitions, and events online. Located in New York City. Patti Smith performed at the Wadsworth Atheneum Museum of Art as part of the opening of her exhibit "Camera Solo". For more info: http://www.thewadsworth.org... The pioneering artist, musician, and poet, Patti Smith has made her mark on the American cultural landscape throughout her 40-year career, from her earliest explorations of artistic expression with friend and vanguard photographer Robert Mapplethorpe in the 1960s and 70s to her profound influence on the nascent punk rock scene in the late 1970s and 80s. |
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