Posts Tagged ‘Projections

10
Jan
12

Doug Aitken : ‘Altered Earth’ (Arles, City of Moving Images)

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The surreal, cratered salt mines and desolate marshlands of the Camargue region of Southern France are hauntingly navigated in this exclusive excerpt from ALTERED EARTH: Arles, City of Moving Images, a new multimedia production from artist Doug Aitken. The culmination of three years’ work, ALTERED EARTH explores the ever-evolving geography and ecosystem of the Camargue, a boundless wilderness between the tributaries of the Rhone south of Arles. “It’s so remote, a natural place that does not seem to change. But then you start to notice that everything is in flux,” explains Aitken. [Ex : Nowness]

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“The project came out of a casual dinner amongst friends who had connections with the Camargue. They were speaking about this place that has an incredible resonance. It’s very surreal, very stark. There is a rawness and sense of survival that captured my imagination. I had a glass of wine that was on a paper napkin and I noticed drips from the red wine starting to bleed into the pulp of the napkin, just as they were talking about the Rhone River and how it cuts through the wetlands.

I felt like I was holding the geography in my hand almost, this perfect square with a river running through it. I began to fold the napkin as they were speaking into an origami-like shape and realized that what I was actually doing was taking the landscape and dividing it. When you divide something and multiply it, it creates shapes, forms and structure, which eventually creates architecture.

The idea came to me really quickly that it would be interesting to take the geography of Camargue itself and divide it—in so doing creating this set of restrictions, that this region, this space, will be the only space we film in. We’ll look at the different symptoms of this place and move from there; let the landscape, and what you find when exploring and discovering it, create the texture of the narrative.”

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Doug Aitken : Website

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16
Dec
10

Paul Chan : The 7 Lights

Fold into itself – (for 5th Light)
Paper and charcoal on Styrofoam
32 x 23 7/8 x 3/4 in
2006

Crystal into network – (for 5th Light)
Paper and charcoal on Styrofoam
32 x 23 3/4 x 3/4 in
2006

Chinese roof into pyramid – (for 5th Light)
Paper and charcoal on Styrofoam
32 1/8 x 23 1/8 x 3/4 in
2006

Network into line – (for 5th Light)
Paper and charcoal on Styrofoam
32 x 23 3.4 x 3/4 in
2006

Circle into spiral – (for 5th Light)
Paper and charcoal on Styrofoam
31 7/8 x 23 7/8 x 3/4 in
2006

Point into labyrinth – (for 5th Light)
Paper and charcoal on Styrofoam
31 3/4 x 23 7/8 x 3/4 in
2006

Paul Chan’s complete series “The 7 Lights,” offers a unique occasion to explore the practice of a New York-based artist whose work engages such fundamental themes as politics, poetry, war, death, and desire. Begun in 2005, Chan’s ambitious cycle combines obsolete computer technology with hypnotic imagery to create a series of enigmatic encounters with light and darkness. In the title, the word “light” has been struck through, drawing attention to its dramatic absence.

Presented alongside a selection of works on paper, older videos, and a new projection, the Lights create a vast image of cyclical destruction and rebirth, spread across floors and walls like light falling through windows. Structured over the course of a day, each of the Lights begins peacefully, with the warm colors of dawn. Slowly the atmosphere changes: silhouettes of objects rise up through the air and are dismantled by obscure forces, while human shadows plummet towards the ground. Like a dream deteriorating into a nightmare, the sequence becomes increasingly horrific until it fades to dusk and peace returns, waiting for day to break again.

Just as a shadow cannot fully describe the object from which it emanates, “The 7 Lights” convey a narrative that is inevitably incomplete, yet rich with historical references, including ancient Greek mythology and Baroque painting. “The 7 Lights” can also be related to Biblical accounts of the origin of the world and its impending end, suggesting a possible reading of Chan’s cycle as an allegory of the seven days of creation. Furthermore, Chan’s work calls to mind contemporary tragedies such as 9/11, the war in Iraq, and the ongoing eruptions of terrorist violence around the globe. Unfolding like a present-day Last Judgment, a subjective and anonymous hand decides what rises and what falls; touching on the viewer’s own fears, the result is not as one might have imagined – worthless objects ascend while human life is cast aside like rainfall. However, caught as they are in an endless repetition, the Lights suggest that perhaps there is no end, just an eternal beginning. [Extract : New Museum]

Paul Chan : Video Projections

Paul Chan : Drawings

Paul Chan : Audio

Paul Chan : Text

15
Jul
10

Jenny Holzer : Xenon Projections

Berlin
2001

Duisburg
2004

Cannes
2003

North Adams
2007

Vienna
2006

New York
2008

New York
2008

Jenny Holzer : Projections

Below : Jenny Holzer discusses the process behind her ongoing series of “Xenon Projections”




Ai : Series : Photography Book

aesthetic investig...
By Azurebumble

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