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

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

photography by Andrea Rossetti

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Tommi Grönlund – Petteri Nisunen : Vimeo

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Jerry Reed : “Paper Work” Series (Photography)

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“Paper Work” series
photograph
16″ x 16″
2012
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“Paper Work” series
photograph
16″ x 16″
2012
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“Paper Work” series
photograph
16″ x 16″
2012
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“Paper Work” series
photograph
16″ x 16″
2012
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“Paper Work” series
photograph
16″ x 16″
2012
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“Paper Work” series
photograph
16″ x 16″
2012
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“Paper Work” series
photograph
16″ x 16″
2012
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“Paper Work” series
photograph
16″ x 16″
2012
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Over time, I’ve come to see that what motivates me is the result of my having redirected how I make images, turning from the externally directed position of witness to that of author. In so doing, I accept the entire authorship of the creative process from my creation of the paper sculpture to making of the print. Paper Work, my three-year project is comprised of twenty-six images. In my studio, I shaped two dimensional art papers giving them edges and volumes, then lit them utilizing Fresnel lighting to emphasize their three-dimensional forms. Though ephemeral, my forms are preserved photographically.

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Jerry Reed : Website

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

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

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Antonia Low : Website

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

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

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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]

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U-Ram Choe : Website

U-Ram Choe : Vimeo

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Mathilde Roussel : ‘Carbon’ Series (Cut paper)

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Anatomia Botanica exhibition at the Cheekwood Botanical Garden and Museum of Art, Nashville.

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‘Carbon’ Series
Cut paper and graphite
Mathilde Roussel
2012
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‘Carbon’ Series
Cut paper and graphite
Mathilde Roussel
2012
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‘Carbon’ Series
Cut paper and graphite
Mathilde Roussel
2012
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‘Carbon’ Series
Cut paper and graphite
Mathilde Roussel
2012
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‘Carbon’ Series
Cut paper and graphite
Mathilde Roussel
2012
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‘Carbon’ Series
Cut paper and graphite
Mathilde Roussel
2012
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‘Carbon’ Series
Cut paper and graphite
Mathilde Roussel
2012
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“Inspired by scientific, anatomical and botanical illustrations, the constellation of graphite cut
paper drawings evokes the carbon cycle operated between plants, animals, soil and humans
as it moves from one organism to the other to make life appear and continue.” ~ [M Roussel]

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Mathilde Roussel : Website

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Zeke Berman : Photography

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‘Crushed Can & Scratchboard’
Photograph
34 X 26 in
1992
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‘Necker Shelves’
Photograph
34 X 26 in
1993
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‘Web 1′
Photograph
16 X 20 in
1988
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‘Web 2′
Photograph
16 X 20 in
1987
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‘Branch’
Photograph
16 X 20 in
1987
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‘Head’
Photograph
16 X 20 in
1987
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‘Teapot and Ball’
Photograph
16 X 20 in
1986
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‘Letter Rack’
Photograph
16 X 20 in
1986
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Since the late 1970′s Zeke Berman has been making singular, studio-based photographs. These works reflect his long standing interest in visual cognition, optics and the intersection between sculpture, photography and drawing. The formal range of his work, and his sculptural use of materials can be varied, original and idiosyncratic… – [Extract : Zeke Berman Website - Introduction]

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Zeke Berman : Website

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