Grönlund – Nisunen : “Flux of Matter” (Kinetic Installation)

::

::

Tommi Grönlund – Petteri Nisunen
“Flux of Matter”
Galerie Anhava Helsinki
Art Basel 2012

photography by Andrea Rossetti

::

Tommi Grönlund – Petteri Nisunen : Vimeo

::

William Klein : “Painted Contact Sheets” Series

::

“The idea for the colour and graphics comes from the red lines
photographers put around their choices on a contact sheet.” W.K.

::

::
William Klein
‘painted contact’ series
silver gelatin print with paint,
20 x 24″
::

::
William Klein
‘painted contact’ series
silver gelatin print with paint,
20 x 24″
::

::
William Klein
‘painted contact’ series
silver gelatin print with paint,
20 x 24″
::

::
William Klein
‘painted contact’ series
silver gelatin print with paint,
20 x 24″
::

::
William Klein
‘painted contact’ series
silver gelatin print with paint,
20 x 24″
::

::
William Klein
‘painted contact’ series
silver gelatin print with paint,
20 x 24″
::

::
William Klein
‘painted contact’ series
silver gelatin print with paint,
20 x 24″
::

::
William Klein
‘painted contact’ series
silver gelatin print with paint,
24 x 20″
::

Klein returned to still photography in the 1980’s, ever progressive and unrelenting in his approach. Revisiting his work to that date, he made large-scale blow-ups of his photographic contact sheets, revealing on an unparalleled scale the frames before and after the decisive image. Liberally applying gloss brush strokes in bold colours to these mural-sized prints, Klein brought together key elements from his long career: graphic form, composition and colour from the early murals and paintings juxtaposed with ground-breaking fashion and street photos, along with the narrative and bold visual language of his experimental films. A defining moment where his unique vision came full circle. – Extract

::

William Klein + Daido Moriyama : Tate Modern – Exhibition

::

rAndom International : “Rain Room at the Barbican”

::

::

Music by Max Richter
Filming by Gramafilm

::

Random International invites you to experience what it’s like to control the rain. Visitors can choose to simply watch the spectacle or find their way carefully through the rain, putting their trust in the work to the test. More than the technical virtuosity necessary for its success, the piece relies on a sculptural rigour, with the entire Curve transformed by the monumental proportions of a carefully choreographed downpour and the sound of water. R.I. are known for their distinctive approach to digital-based contemporary art. Their experiments come alive through audience interaction and staged performance…

::

rAndom International

::

antonia low : “gewicht des sehens” installation (on paper)

::

::
“gewicht des sehens”
20 x 29 cm
C-print
2012
::

::
“gewicht des sehens”
20 x 29 cm
C-print
2012
::

::
“gewicht des sehens”
20 x 29 cm
C-print
2012
::

::
“gewicht des sehens”
20 x 29 cm
C-print
2012
::

::
“gewicht des sehens”
20 x 29 cm
C-print
2012
::

::
“gewicht des sehens”
20 x 29 cm
C-print
2012
::

::
“gewicht des sehens”
20 x 29 cm
C-print
2012
::

::
“gewicht des sehens”
20 x 29 cm
C-print
2012
::

::
“gewicht des sehens”
20 x 29 cm
C-print
2012
::

The exhibition pavillion designed by the Irish artist Stephen Craig is set inside an old factory building. The floor of the pavillion is covered entirely with mirror glass and a black spray-painted scaffolding is installed on top of the fragile surface. The modernistic architecture of the building, which refers to Mies van de Rohe‘s pavillion, is reflected in the floor. The visitiors can see themselves, the space from the top of the scaffolding structure and observe the entire space in a completely different way. But through the installation and with each movement of the spectators the weight of the structure cause a continous destruction of the mirror surface. A few scaffolding elements are even thrown over onto the cracking glass while other elements remain either partly constructed or partly deconstructed in the space. Seeing their own reflections the spectators become aware of themselves, they see the caused damage and realise that the perfection was gone instantly, or had never even been achieved. [Extract]

::

Antonia Low : Website

::

U-Ram Choe : ‘Custos Cavum’ (Sculpture Video)

::

::

Custos Cavum, 2011
size : 220(h) x 360(w) x 260(d)cm
material : metallic material, resin, motor, gear, custom CPU board, LED

::

Once upon a time, there were two worlds. Each connected to the other through a number of small holes, as if the worlds were breathing through these holes. However, the holes had a tendency to close up, so there were guardians next to each one to keep them open. The guardians were called “Custos Cavum.” They took the form of seals and had large front teeth, which they used to gnaw the holes to prevent them from closing up. Whenever a Custos Cavum felt the generation of a new hole somewhere, it fell into a deep sleep. From the body of the quietly sleeping Custos Cavum grew winged spores called “Unicuses.” These spores took flight and each flew to a new hole, giving rise to a new Custos Cavum. As time went on, the people of each world forgot about the other. The guardians lost their power and died. When the last Custos Cavum died, the last hole closed, separating the two worlds completely. The existence of the other world was entirely erased from people’s memories. – [X]

::

U-Ram Choe : Website

U-Ram Choe : Vimeo

::

Jeremy Blake : Artworks

::

::
“silent symmetry”
jeremy blake
2012
::

::
“industrial prose”
jeremy blake
2012
::

::
“industrial prose #3″
jeremy blake
2012
::

::
“rusted reflection”
jeremy blake
2012
::

::
“mare”
jeremy blake
2012
::

::
“lost legend”
jeremy blake
2012
::

Rhythm can be experienced both aurally and visually, and I am intrigued by this notion of visual cadence. This body of work represents a personal synthesis of these principles. The forms and tonalities in the final images are my rendering of the effects I undergo when translating these minor and major chords. I equate the emotional attributes of these chords with a subdued yet inflective element of a unified sequence. It is the evasive and ever changing element of rhythm that fascinates me, and the work is my interpretation of this delicate balance between harmony and discord: capturing the moment which causes refrain, the pause of introspection, in which the rhythms are viewed through individual terms. When viewed on a fundamental level, rhythm is innate. Specifically, when one contemplates the function of rhythm in such acts as breathing, the blinking of the eyes and the beating of the heart. In essence, the experience of rhythm is an intrinsic aspect in the experience of life. It is through the questioning and exploration of this concept that I arrived at the notion of visual cadence. This body of work is meant to explore the kaleidoscopic nature of perception where terms such as wrong or right do not apply for perception itself changes as much as the individual. ~ [Artist Statement]

::

Jeremy Blake : Website

::