Posts Tagged ‘installations

05
Feb
12

Felice Varini : Site-Specific Installations (Paintings)

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‘Ellipse in red trapezoid’
Site-specific installation
Felice Varini
2008
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‘Trapezoid in red ellipse’
Site-specific installation
Felice Varini
2008
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‘Red ellipse for the window’
Site-specific installation
Felice Varini
1995
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‘Eight eccentric circles No.1’
Site-specific installation
Felice Varini
1998
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‘Three red triangles’
Site-specific installation
Felice Varini
2001
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‘Ellipse on two points’
Site-specific installation
Felice Varini
1997
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‘Ellipse with six circular holes’
Site-specific installation
Felice Varini
2000
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“My field of action is architectural space and everything that constitutes such space These spaces are and remain the original media for my painting. I work “on site” each time in a different space and my work develops itself in relation to the spaces I encounter. I generally roam through the space noting its architecture, materials, history and function. From these spatial data and in reference to the last piece I produced, I designate a specific vantage point for viewing from which my intervention takes shape.

The vantage point is carefully chosen: it is generally situated at my eye level and located preferably along an inevitable route, for instance an aperture between one room and another, a landing… I do not, however, make a rule out of this, for all spaces do not systematically possess an evident line. It is often an arbitrary choice. The vantage point will function as a reading point, that is to say, as a potential starting point to approaching painting and space.

The painted form achieves its coherence when the viewer stands at the vantage point.When he moves out of it, the work meets with space generating infinite vantage points on the form. It is not therefore through this original vantage point that I see the work achieved; it takes place in the set of vantage points the viewer can have on it. If I establish a particular relation to architectural features that influence the installation shape, my work still preserves its independence whatever architectural spaces I encounter. I start from an actual situation to construct my painting. Reality is never altered, erased or modified, it interests and seduces me in its complexity. I work “here and now”. – Felice Varini

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Felice Varini : Website

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26
Jan
12

Elín Hansdóttir : ‘Path’ (Site-Specific Installation)

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Elín Hansdóttir’s site-specific installations take many forms, including auditory or optical illusions, labyrinthian tunnels and motion-activated architectural elements. Hansdóttir creates self-contained worlds that seem to operate under their own set of rules, completely transforming a benign space into one that defies expectations and seems only to exist at a particular moment in time. Though her site-specific installations are complex in construction and technical craft, they take on a stark aesthetic, so that her work operates as a kind of blank slate for viewer experience and interaction.

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Elín Hansdóttir
Sound: Úlfur Hansson
‘Path’ : Site-Specific Installation
Construction : Jeannot Dupont & Ulf Sturhann
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Elín Hansdóttir
Sound: Úlfur Hansson
‘Path’ : Site-Specific Installation
Construction : Jeannot Dupont & Ulf Sturhann
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Elín Hansdóttir
Sound: Úlfur Hansson
‘Path’ : Site-Specific Installation
Construction : Jeannot Dupont & Ulf Sturhann
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Elín Hansdóttir
Sound: Úlfur Hansson
‘Path’ : Site-Specific Installation
Construction : Jeannot Dupont & Ulf Sturhann
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Elín Hansdóttir
Sound: Úlfur Hansson
‘Path’ : Site-Specific Installation
Construction : Jeannot Dupont & Ulf Sturhann
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Elín Hansdóttir
Sound: Úlfur Hansson
‘Path’ : Site-Specific Installation
Construction : Jeannot Dupont & Ulf Sturhann
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Path is a site-specific labyrinthine structure that weaves through each space it inhabits, filling the physical area with its winding course. Each exhibition site dictates the form of the zigzagging tunnel. Working with the boundaries determined by the external space, the structure is outlined directly on the floor, with the objective of having the structure occupy as much of the site as possible, thus creating a unique shape each time. The only light source emanates from vertical and horizontal slits throughout the construction. Due to the structure´s sharp edges, the light is dispersed in such a way that one mistakes shadows for walls, walls for space, and light for walls…

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Elín Hansdóttir : Website

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20
Jan
12

Byoungho Kim : Sound Sculptures

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“My artwork begins with an assumption that “mankind is in continuous pursuit of new desires.” All kinds of desires are exaggerated, minimized, and deleted in order to achieve a pre-established goal. And the more these desires gather together, the larger and more complicated the constructed being becomes. Thus, this is the constructed fantasy, a fantasy of desire, and a fantasy of our time.” – Byoungho Kim

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‘Horizontal Intervention’
aluminum, piezo, arduino
96 x 280 x 25 cm
2010
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‘White Flowers’
steel, stainless steel, piezo
condenser microphone, mixer, amplifier
120 x 80 x 180 cm
2006
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‘A Host’
aluminum, piezo, arduino duemilanove
180 x 60 x 290 cm
2009
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‘A Colloidal Body’
aluminum, arduino, piezo
277 x 277 x 90 cm
2010
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‘Triffid’
aluminum, piezo, arduino
276 x 276 x 32 cm
2010
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‘Three Hundreds Silent Pollens’
aluminum, piezo speakers, microspeaker
condenser microphone, mixer, amplifier
600 x 900 x 450 cm
2009
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‘Three Hundreds Silent Pollens’
aluminum, piezo speakers, microspeaker
condenser microphone, mixer, amplifier
600 x 900 x 450 cm
2009
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“Human desire sought consistently in a social structure is like non-material sound from material.” according to Kim. His attractive work involves confusion between material and immaterial, product and artwork, ‘cool’ and ‘hot’. His sound product’s functionality and practicality is diluted with his work’s beauty and form. The artist also pays attention to aura, derived from discourse on sound.

The advent of new technologies, especially the computer, brought radial changes in most of art genres. With the emergence of the computer, our ability to capture and adjust sounds has reinforced, and sound creation and compensation has accelerated through its strong, attractive filtering system. Most interesting is all information is interpreted in the common language of computer codes. Kim’s work is characterized by its distinction leading viewers to a sort of hyper-synesthesia through its functionality inherent in thorough standardization and aesthetic beauty of form.

Trying to discover proper sound waves and its suitable space among found sounds and audio information to be deciphered, Kim intends to encourage viewers to pay attention to his work’s aura through these sounds. This attitude seems derived from his experience in a media lab where he studied video engineering as a printmaking major. Based on his understanding of John Cage’s concept of silence implying that silence is not the absence of sound but an atmosphere, he persistently pursues sounds like an engineer, not as an artist. [Text Extract : ‘Variations in Synesthesia’ By Younjeong Park]

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Byoungho Kim : Website

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18
Jan
12

Magdalena Jetelová : Site-Specific Installations

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‘Iceland’ Series
Site-Specific Installation
Photograph
1992
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‘Iceland’ Series
Site-Specific Installation
Photograph
1992
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‘Iceland’ Series
Site-Specific Installation
Photograph
1992
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‘Crossing King’s Cross’ Series
Site-Specific Installation
Photograph
1996
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‘Crossing King’s Cross’ Series
Site-Specific Installation
Photograph
1996
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‘Crossing King’s Cross’ Series
Site-Specific Installation
Photograph
1996
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‘Crossing King’s Cross’ Series
Site-Specific Installation
Photograph
1996
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Jetelová works with concrete spaces. She exposes their suppressed history and stories and tries to rehabilitate their memory. In her lit installations she uses mainly lasers. Important aspects of her creations then become ephemeral, movement, constant change; all connected by different spaces and times. Ultimately the work exists only in the form of photographs and supplementary documentation.

Work with the landscape’s memory accents the changes created by man – using illuminated lines she exposes the one-time communications structure of the landscape (e.g. ‘Crossing King’s Cross’ where she uses lights to map out the future path of a train route) as well as natural changes (i.e. the ‘Iceland Project’ where she enlists lasers to draw attention to the undersea intercontinental divide). – [ArtList]

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Magdalena Jetelova : ArtList

Magdalena Jetelova : Website

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05
Mar
11

Daniel Alcalá : Paper Cut Outs

Constructors II
graphite on paper cut out
51 x 63.5 cm
2009

Miami Landscape
graphite on paper cut out
50 x 50 cm
2009

México City landscape
graphite on paper cut out
33 x 33 cm
2009

Constructors I
graphite on paper cut out
60 x 63 cm
2009

American Landscape
graphite on paper cut out
30 x 30 cm
2009

N.Y. Billboard
graphite on paper cut out
34 x 32 cm
2008

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My work talks about the human being, not his image, but through the objects that surround him. my research starts from the elements that inhabit and define our everyday life. Those places, where the individual has contact and relationships with others, with the city, being the main player. To achieve this purpose i employ graphic media such as drawings, prints and hand cut paper works. Artist’s books, objects, installations and site-specific interventions also represent a very important part in my work.

Whilst maps, buildings, billboards, and cityscapes, also constitute an important body of my work. In my pieces there is a need to connect with the spectator, where using a minimum range of colors, i pretend to invite the viewer to come closer and discover the details. By doing this, i intend not only to reveal my experience reflected in the work, but also to propitiate a personal experience in each person.

[Extract : Arroniz-Arte Contemporary]

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Daniel Alcalá : Website

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06
Dec
10

Francisco Infante-Arana & Nonna Gorunova : ‘Mirrors’

Francisco Infante-Arana & Nonna Gorunova
Mirror installations
1970-1980s
Russia

Francisco Infante-Arana & Nonna Gorunova
Mirror installations
1970-1980s
Russia

Francisco Infante-Arana & Nonna Gorunova
Mirror installations
1970-1980s
Russia

Francisco Infante-Arana & Nonna Gorunova
Mirror installations
1970-1980s
Russia

Francisco Infante-Arana & Nonna Gorunova
Mirror installations
1970-1980s
Russia

Francisco Infante-Arana & Nonna Gorunova
Mirror installations
1970-1980s
Russia

It is often assumed that during the Soviet era there was no alternative art in Russia, that only portraits of Lenin or scenes of everyday Soviet life were depicted, therefore I was a bit shocked when I found these installations by Russian artists Francisco Infante-Arana and Nonna Gorunova. Using no computer manipulation, mainly because most of the images above are from 1970-1980s, they used only natural objects like mirrors, ropes and cords to investigate the effects of light and shadow. [English Russia]




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