Posts Tagged ‘site-specific

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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29
Jan
12

Georges Rousse : ‘Site-Specific Installations’

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Georges Rousse
Site-Specific Installation
Photograph
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Georges Rousse
Site-Specific Installation
Photograph
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Georges Rousse
Site-Specific Installation
Photograph
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Georges Rousse
Site-Specific Installation
Photograph
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Georges Rousse
Site-Specific Installation
Photograph
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Georges Rousse
Site-Specific Installation
Photograph
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After he discovered Land Art and Malevich’s Black Square against a white field, Georges Rousse altered his relationship to photography, inventing a unique approach that shifted the relationship of painting to space. He began making installations in the types of abandoned or derelict buildings that have long held an attraction for him – creating ephemeral, one-of-a-kind artworks by transforming these sites into pictorial spaces that are visible only in his photographs.

Rousse is unmistakably a photographer: his photographs are intrinsic to revealing his images, and deciding the composition, cropping and lighting and clicking the shutter are all essential to his process. But he is simultaneously a painter, sculptor, and architect, carrying out the same relationship to his worksites as a painter to his canvas. His raw material is Space: the space of deserted buildings. Taking his inspiration from a site’s architectonic quality and the light he finds there, he chooses a “fragment” and creates a mise-en-scène, keeping in mind his ultimate goal, that of creating a photographic image.

In these empty spaces, Rousse constructs a kind of utopia that projects his vision of the world–his imaginary “universe.” His creation both expresses his artistic intentions and resonates with his impressions of the site, its history and its culture. Finally, this results in a photograph, a flat plane, so the shapes he paints and draws, and the volumes and architectural constructions he creates in those massive spaces seem fractured or split on different levels. His photo brings together painting, architecture, and drawing. It carves out a new space in which the artist’s fictive world becomes visible. At the heart of this questioning, his work deals with our relationship to Space and Time. [Extract : Bio]

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Georges Rousse : 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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25
Jan
12

Jordan Tull : ‘Re/Activate’ (Installation)

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Wieden + Kennedy Gallery – Portland, Oregon
Re/Activate is a collaborative installation with artist Damien Gilley

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‘Re/Activate’
amber acrylic, mirror acrylic, fluorescent lamps
paint, screws, artist’s tape, vinyl, wood
dimensions variable
2011
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‘Re/Activate’
amber acrylic, mirror acrylic, fluorescent lamps
paint, screws, artist’s tape, vinyl, wood
dimensions variable
2011
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‘Re/Activate’
amber acrylic, mirror acrylic, fluorescent lamps
paint, screws, artist’s tape, vinyl, wood
dimensions variable
2011
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‘Re/Activate’
amber acrylic, mirror acrylic, fluorescent lamps
paint, screws, artist’s tape, vinyl, wood
dimensions variable
2011
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‘Re/Activate’
amber acrylic, mirror acrylic, fluorescent lamps
paint, screws, artist’s tape, vinyl, wood
dimensions variable
2011
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‘Re/Activate’
amber acrylic, mirror acrylic, fluorescent lamps
paint, screws, artist’s tape, vinyl, wood
dimensions variable
2011
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Jordan Tull explores the exchange between artwork, site, and viewer through sculpture and installation. Tull has produced site-specific sculpture responding to architectural settings throughout Portland, OR. His object-based sculptures explore structural and perceptual phenomenon through geometric abstraction and allusive metaphor. Tull’s current work advances for the development of new spatial languages experienced within the context of contemporary architecture and sculptural discourse. Through technology, collaboration and experimentation Tull creates radical asymmetries, ordering systems and dynamic geometric progressions as applied to site-specific contexts and computer-generated models. Tull’s works aim to establish an alternative perceptual approach to spatial applications through the employment of computer-aided fabrication technology and space manipulation.

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Jordan Tull : 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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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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Ai : Series : Photography Book

aesthetic investig...
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