Archive: exhibition
This daring painting became one of Pablo Picasso’s most famous works

This daring painting became one of Pablo Picasso’s most famous works

Pablo Picasso - Guernica, 1937, oil painting on canvas, 3.49x7.77m, Museo Reina Sofía, Madrid, Spain

Pablo Picasso - Guernica, 1937, oil painting on canvas, 3.49x7.77m, Museo Reina Sofía, Madrid, Spain
Pablo PicassoGuernica, 1937, oil painting on canvas, 3.49×7.77m, Museo Reina Sofía, Madrid, Spain

Guernica is one of Pablo Picasso’s most famous works. This mural-sized oil painting on canvas was done in 1937. He used a palette of gray, white, and black colors to bring out a political statement denouncing the unnecessary sufferings brought about by Nazi bombings.

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The birth of brutalism – Rick Owen’s weird furniture

The birth of brutalism – Rick Owen’s weird furniture

Rick Owens - Black Marble 2 Prong Bench, 2012, black marble, Edition of 8, 80x300 or 380x90cm

Installation view of Rick Owens- Furniture, December 17, 2016–April 2, 2017 at MOCA Pacific Design Center, courtesy of The Museum of Contemporary Art, Los Angeles, photo by Brian Forrest
Installation view of Rick Owens: Furniture at The Museum of Contemporary Art, Los Angeles, 2016-2017
Photo: Brian Forrest

When asked to speak about his art, Rick Owens appreciates designers who make hand beads or ball gowns but he loves his style more. By making use of rare materials and working with highly skilled artisans, he is able to create unique items. With an emphasis on art as opposed to lifestyle, Owens creates massive monuments with little assembly work compared to the carving involved.

Owens is fascinated by the contrast created when different material comes together to create expensive looking furniture pieces. He began this line of his work in 2007 and since then, some pieces have travelled the international art circuit and as new shows come up, more designs are born. Every year there is a bit of stray from the original art vision. In the first year when he began, Owen imagined a rock which was covered in fur and placed next to a fireplace; it is from this vision that the boulder signature was created.

To date, this original block has undergone various versions of transformation to create a bench, chair and daybed. The latest version of the block, as can be seen at MOCA, gets its shape from German bankers that were made from concrete and used during the Second World War. In his own words, Owens describes these banker looking furniture pieces as images of futuristic temples. Since they have no ornamentation, and are too square, with rounded corners that look weird, he thinks of them as the birth of brutalism.

It is obvious that much of what Owen does and his level of recognition in art circles is due to his creativity but much of what he has achieved would not be possible without his wife Michèle Lamy who is also his creative partner. The teamwork begins at prototyping after Owen had already drawn the designs on paper. At this stage, their main tools are a passion for art, a kitchen knife and two pairs of loving hands. They then use the services of a dealer who travels the world sourcing for elements and unique materials.

Armed with a prototype and unique elements, the team gets into action to supervise the production team. Did you know that colossal slabs made out of stone weigh up to 2 tons? These are the bases on which carvings are made by cutting through them using laser before they get to be polished.

For people who only know Rick Owen as a fashion designer, it comes as a pleasant surprise that he makes furniture with such magnificence.

Installation view of Rick Owens- Furniture, December 17, 2016–April 2, 2017 at MOCA Pacific Design Center, courtesy of The Museum of Contemporary Art, Los Angeles
Installation view of Rick Owens: Furniture at The Museum of Contemporary Art, Los Angeles, 2016-2017

Installation view of Rick Owens- Furniture, December 17, 2016–April 2, 2017 at MOCA Pacific Design Center, courtesy of The Museum of Contemporary Art, Los Angeles
Installation view of Rick Owens: Furniture at The Museum of Contemporary Art, Los Angeles, 2016-2017

Installation view of Rick Owens- Furniture, December 17, 2016–April 2, 2017 at MOCA Pacific Design Center, courtesy of The Museum of Contemporary Art, Los Angeles
Installation view of Rick Owens: Furniture at The Museum of Contemporary Art, Los Angeles, 2016-2017

Rick Owens - Black Marble 2 Prong Bench, 2012, black marble, Edition of 8, 80x300 or 380x90cm
Rick OwensBlack Marble 2 Prong Bench, 2012, black marble, Edition of 8, 80×300 or 380x90cm

Rick Owens - Black Plywood 3 Prong Bench, 2013, Black Plywood, Edition of 8, 85.5x670x116cm
Rick OwensBlack Plywood 3 Prong Bench, 2013, Black Plywood, Edition of 8, 85.5x670x116cm

Rick Owens - Screen, 2011, Black Plywood, Edition of 12, 270x170.5x75cm
Rick OwensScreen, 2011, Black Plywood, Edition of 12, 270×170.5x75cm

Rick Owens, Daybed, 2012, Black Plywood, Edition of 12, 86x325x90cm
Rick OwensDaybed, 2012, Black Plywood, Edition of 12, 86x325x90cm

Rick Owens - Daybed, 2012, Black Plywood, Edition of 12, 86x325x90cm
Rick OwensDaybed, 2012, Black Plywood, Edition of 12, 86x325x90cm

Rick Owens - Plug Table, 2012, Petrified wood base, black plywood, plan top, 110x100x360cm
Rick OwensPlug Table, 2012, Petrified wood base, black plywood, plan top, 110x100x360ccm

Rick Owens - Plug Table, 2011, Alabaster base, black plywood, plan top, 110x100x360cm
Rick OwensPlug Table, 2011, Alabaster base, black plywood, plan top, 110x100x360cm

Rick Owens - Plug Table, 2013, white marble, Edition of 8, 77x270x90cm
Rick OwensPlug Table, 2013, white marble, Edition of 8, 77x270x90cm

Rick Owens - Small Plug Table, 2013, Black Plywood, Edition of 50, 41x140x75cm
Rick OwensSmall Plug Table, 2013, Black Plywood, Edition of 50, 41x140x75cm

Rick Owens - Showroom Table, 2007, Brass and plywood, 75x183x83cm
Rick OwensShowroom Table, 2007, Brass and plywood, 75x183x83cm

Rick Owens - Curial, 2006, natural plywood, Edition of 25, 66x83x60cm
Rick OwensCurial, 2006, natural plywood, Edition of 25, 66x83x60cm

Rick Owens - Design Days Dubai | Swan, 2011, Black Plywood, Edition of 50, 67x60x65cm
Rick OwensDesign Days Dubai | Swan, 2011, Black Plywood, Edition of 50, 67x60x65cm

Rick Owens - Curial, 2009, White Marble, Edition of 8, 66x83x60cm
Rick OwensCurial, 2009, White Marble, Edition of 8, 66x83x60cm

Rick Owens - Half Box (Ox Bone), 2011, Black Plywood, Edition of 50, 77x50x50cm
Rick OwensHalf Box (Ox Bone), 2011, Black Plywood, Edition of 50, 77x50x50cm

Rick Owens - Half Box Chair, 2011, Alabaster, 50x50x77cm
Rick OwensHalf Box Chair, 2011, Alabaster, 50x50x77cm

Rick Owens - Half Box Chair, 2011, black plywood, 77x50x50cm
Rick OwensHalf Box Chair, 2011, black plywood, 77x50x50cm

Rick Owens - Stag Bench (pair), 2006, Black Plywood, stained wood, fallow deer antlers, Edition of 20, 135.9x112.4x72.4 cm, 126x109.2x71.8 cm
Rick OwensStag Bench (pair), 2006, Black Plywood, stained wood, fallow deer antlers, Edition of 20, left: 135.9×112.4×72.4cm, right: 126×109.2×71.8 cm

Rick Owens - Stag Bench (Right), 2006, Black Plywood, Moose Antler, Edition of 20, 98x128x58cm
Rick OwensStag Bench (Right), 2006, Black Plywood, Moose Antler, Edition of 20, 98x128x58cm

Rick Owens - Stag Stool (Right), 2012, White Marble, Moose Antler, Edition of 8, 86x63x56cm
Rick OwensStag Stool (Right), 2012, White Marble, Moose Antler, Edition of 8, 86x63x56cm

Rick Owens - Alchemy Chair, 2012, bronze, leather, 71x62x50cm
Rick OwensAlchemy Chair, 2012, bronze, leather, 71x62x50cm


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World’s worst criminal regretting his sins

World’s worst criminal regretting his sins

Maurizio Cattelan - Him
Maurizio CattelanHim, 2001, wax, human hair, suit, polyester resin and pigment, 101×43.1×63.5cm, Edition of 3 + AP

How much penance do the atrocities that Adolf Hitler committed in his lifetime require to be forgiven? This is perhaps the question which Maurizio Cattelan wanted to arouse in his audience when he drew a picture of the Nazi leader in a kneeling position. There is nothing wrong with someone kneeling down in prayer and in fact, it is an aspect of humanity that keeps us humble. With this in mind, it is hard to imagine that the person seeking forgiveness exercised untold torture on fellow human beings. If approached from behind, one cannot help but marvel at the self-discipline and commitment that this young boy eludes. It is not until one gets close enough that they realize that the neatly pressed school boy attire, fresh raven hair and well-polished shoes, actually belong to a leader whose name still raises goose bumps in the present day.

We might never fully understand the inspiration behind Him, which even in comparison to other works by Cattelan that were created at the same time, stands out as the most shocking piece on display. In his defense, Maurizio Cattelan has distances himself from provocative art but instead choses to refer to himself as a realistic artist. By borrowing pieces of reality from different eras throughout history, he has been able to create classics like the Him.

To choose to use Hitler as the subject of an art piece is rather bold as he represents such profound evil that is even hard to come to terms with. Is the dictator actually seeking for forgiveness? Having lived like he was above the authority of God, it does seem awkward yet humbling that he would kneel down. People do not like to be judged because they feel that all their actions are justifiable and this artwork contradicts this very nature of humanity. For as many as questioned the sincerity of Hitler in this assumed praying position, the lingering questions is whether he deserves to be forgiven.

Him, has definitely aroused its fair share of controversy; Hitler is the epitome of human suffering and pain inflicted by one’s own kind so it can be quite disheartening to fathom him walking free of any blame. From the rear, this picture of a small boy kneeling down in prayer causes one to appreciate the upbringing of the boy so far. Hitler is no young man neither is he innocent and the face, when viewed from the front, gives this away. Everybody seems to have a different opinion of why the artist chose to do this piece, but the record $17.2 million at Christie’s in 2016 for his work is proof enough that the artist created a masterpiece.

Maurizio Cattelan - Him
Maurizio CattelanHim, 2001, wax, human hair, suit, polyester resin and pigment, 101×43.1×63.5cm, Edition of 3 + AP
Photo: AP Photo/Mary Altaffer

Maurizio Cattelan - Him
Maurizio CattelanHim, 2001, wax, human hair, suit, polyester resin and pigment, 101×43.1×63.5cm, Edition of 3 + AP, Monnaie de Paris, Paris, France, 2016
Photo: Silvia Neri

Maurizio Cattelan - Him
Maurizio CattelanHim, 2001, wax, human hair, suit, polyester resin and pigment, 101×43.1×63.5cm, Edition of 3 + AP, Monnaie de Paris, Paris, France, 2016

Maurizio Cattelan - Him
Maurizio CattelanHim, 2001, wax, human hair, suit, polyester resin and pigment, 101×43.1×63.5cm, Edition of 3 + AP, Monnaie de Paris, Paris, France, 2016

Maurizio Cattelan - Him
Maurizio CattelanHim, 2001, wax, human hair, suit, polyester resin and pigment, 101×43.1×63.5cm, Edition of 3 + AP


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The Obscenity, Profanity and Heartache in Neon

The Obscenity, Profanity and Heartache in Neon

Tracey Emin at Museum of Contemporary Art North Miami, 2014

Tracey Emin at Museum of Contemporary Art North Miami, 2014
Tracey EminTrust Yourself, Museum of Contemporary Art North Miami, Miami, USA, 2014

Neon lights are commonly used to make attractive business signs and are mostly preferred for outdoor use especially at night. The colorful array of neon light options makes it a creative marketing tool since lights are used to illuminate an underlying text message or image. There is no limit to what medium an artist can use to express themselves and for Tracey Emin (b.1963), it has been over 26 years of using neon consistently as a creative medium. The process of creating an art piece for her often begins with coming up with a message, usually a thought or a feeling. This is then followed by bending light tubes to assume the curves and profile of what has been written. Many artists have used neon lights as a medium since the 1960s but while many preferred to use molded letters and neutral writing, Tracey Emin stands out because she has chosen to use her own handwriting. Art critics will admit that using one’s own handwriting is rather daring but also a way to stamp personality and individuality in all pieces created.

It is ironic how the artist uses simple every day phrases to provoke feelings and thoughts in the audience. By expressing her own emotions, thoughts, and aspirations, she connects to the soul of the observers. This is the role that art should play in people’s lives and finding the best medium to achieve it is the greatest hurdle for many. By incorporating poetry, mystery, color and light into an art piece, the artist immortalizes herself in the work she does.

Tracey Emin at Museum of Contemporary Art North Miami, 2014
Tracey EminTrust Yourself, Museum of Contemporary Art North Miami, Miami, USA, 2014

Tracey Emin at Museum of Contemporary Art North Miami, 2014
Tracey EminTrust Yourself, Museum of Contemporary Art North Miami, Miami, USA, 2014

Tracey Emin at Museum of Contemporary Art North Miami, 2014
Tracey EminTrust Yourself, Museum of Contemporary Art North Miami, Miami, USA, 2014

Tracey Emin at Museum of Contemporary Art North Miami, 2014
Tracey EminTrust Yourself, Museum of Contemporary Art North Miami, Miami, USA, 2014
Tracey Emin - Be Faithful to Your Dreams, 1998, blue neon on plexiglas, 40.5 x 223.5 x 7.5 cm
Tracey EminFaithful to Your Dreams, 1998, blue neon on plexiglas, 40.5 x 223.5 x 7.5 cm

Tracey Emin - For You, 2008, neon, 186 x 174 cmTracey EminFor You, 2008, neon, 186 x 174 cm

Tracey Emin - Her Soft Lips Touched Mine and Every Thing Became Hard, 2008, neon, 99.7 x 213.8 cm
Tracey EminHer Soft Lips Touched Mine and Every Thing Became Hard, 2008, neon, 99.7 x 213.8 cm

Tracey Emin - I Cried Because I Love You, 2015
Tracey EminI Cried Because I Love You, 2015

Tracey Emin - I Kiss You, 2004
Tracey EminI Kiss You, 2004

Tracey Emin - I Listen to The Ocean And All I Hear is You, 2011, Neon, 91 x 211 cm
Tracey EminI Listen to The Ocean And All I Hear is You, 2011, Neon, 91 x 211 cm

Tracey Emin - I Loved You More Than I Can Love, 2009, Neon, 76.2 × 191.7 cm
Tracey EminI Loved You More Than I Can Love, 2009, Neon, 76.2 × 191.7 cm

Tracey Emin - I promise to Love You, 2010, Neon, 145.8 x 143 cm
Tracey EminI promise to Love You, 2010, Neon, 145.8 x 143 cm

Tracey Emin - Is Legal Sex Anal?, 1998, pink neon, 34 x 148 cm
Tracey EminIs Legal Sex Anal?, 1998, pink neon, 34 x 148 cm

Tracey Emin - Meet me in Heaven I will wait For You, 2004, Blue neon, 32.5 x 164.1 cm
Tracey EminMeet me in Heaven I will wait For You, 2004, Blue neon, 32.5 x 164.1 cm

Tracey Emin - Meet Me In Heaven I Will Wait For You, 2016, 110 x 359 cm
Tracey EminMeet Me In Heaven I Will Wait For You, 2016, 110 x 359 cm

Tracey Emin - People Like You Need To Fuck People Like Me, 2007, Neon, 45 x 72.01 in
Tracey EminPeople Like You Need To Fuck People Like Me, 2007, Neon, 45 x 72.01 in

Tracey Emin - She Lay down Deep Beneath The Sea, 2012
Tracey EminShe Lay down Deep Beneath The Sea, 2012

Tracey Emin - The Kiss Was Beautiful, 2012, Neon 135 x 120 cm
Tracey EminThe Kiss Was Beautiful, 2012, Neon 135 x 120 cm

Tracey Emin - Trust Yourself, Museum of Contemporary Art North Miami, Miami, USA
Tracey EminTrust Yourself, Museum of Contemporary Art North Miami, Miami, USA, 2014

Tracey Emin - With You I Want To Live, 2008, neon, 76.2 x 99.1 x 5.7 cm
Tracey EminWith You I Want To Live, 2008, neon, 76.2 x 99.1 x 5.7 cm

Tracey Emin - You Loved Me Like A Distant Star, 2016
Tracey EminYou Loved Me Like A Distant Star, 2016

Tracey Emin - Your Lips Moved Across My Face, 2015
Tracey EminYour Lips Moved Across My Face, 2015

Tracey Emin - Your Name Try Cunt International, 2004
Tracey EminYour Name Try Cunt International, 2004

Tracey Emin - My Heart is With You Always, 2014, laser animation, The Peninsula, Hong Kong, China
Tracey EminMy Heart is With You Always, 2014, laser animation, The Peninsula, Hong Kong, China


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20 tons of incense ash to create 5m statue

20 tons of incense ash to create 5m statue

Zhang Huan - Sydney Buddha, 2015, aluminum, 5m height, Carriageworks, Sydney, Australia

Zhang Huan - Sydney Buddha, 2015, aluminum, 5m height, Carriageworks, Sydney, Australia 1
Zhang HuanSydney Buddha, left: Aluminium Buddha, 370x290x260cm, right: Ash Buddha, 350x480x290cm, Carriageworks, Sydney, Australia, 2015

Zhang Huan, born in 1965, started out his career as a painter and then moved to performance art and then resorted back to painting. He is also a sculptor and photographer, but his main focus is being a performance artist. Throughout his career, he has made extensive use of ash, and even built a few sculptures with it. Zhang says that he considers ash to be symbolic as it represents the hopes and the prayers of those who usually burn the incense. To him, the ash sculptures represent collective blessing, memory, and soul of the Chinese people. The ash is collected from various temples in Shanghai, a time-consuming process that involves many hands.

When making such sculptures, the ash is compacted into the mold for a number of days, and then the aluminum sculpture is removed and reassembled facing the ash sculpture. Eventually, the ash sculpture will start trampling down after sometime, while the aluminum sculpture remains intact.

In 2015, Zhang created the Sydney Buddha, one headless metal statue, and another one made from over 20 tons of incense ash, crumbling gradually. It was named Sydney Buddha for purposes of its presentation in Australia. Initially, it was known as Taiwan Buddha. The Sydney Buddha is a meditation on the briefness of life and the various cycles that facilitate the renewal and destruction of life. This piece is made using two parts: the main sculpture made of aluminum and the incense-ash casting as the interior. These pieces are placed facing each other, and as time elapses, one of them depreciates. The Berlin Buddha is another monumental ash sculpture of Buddha, made from 6 tons of ash from burned incense. This ash has been poured into an aluminum mold that stands at 4 meters tall.

Zhang believes that each ash Buddha represents the prayers, thoughts, and hopes of mankind, which eventually collapse. This is the cycle of life and the taking action when there should be no action taken, upsets nature, in a way.

Zhang Huan - Sydney Buddha, 2015, aluminum, 5m height, Carriageworks, Sydney, Australia
Zhang HuanSydney Buddha, Ash Buddha, 350x480x290cm, Carriageworks, Sydney, Australia, 2015

Zhang Huan - Sydney Buddha, 2015, aluminum, 5m height, Carriageworks, Sydney, Australia
Zhang HuanSydney Buddha, Aluminium Buddha, 370x290x260cm, Carriageworks, Sydney, Australia, 2015

Zhang Huan - Sydney Buddha, 2015, aluminum, 5m height, Carriageworks, Sydney, Australia
Zhang HuanSydney Buddha, left: Aluminium Buddha, 370x290x260cm, right: Ash Buddha, 350x480x290cm, Carriageworks, Sydney, Australia, 2015

Zhang Huan - Sydney Buddha, 2015, aluminum, 5m height, Carriageworks, Sydney, Australia 10
Zhang HuanSydney Buddha, Ash Buddha, 350x480x290cm, Carriageworks, Sydney, Australia, 2015

Zhang Huan - Sydney Buddha, 2015, aluminum, 5m height, Carriageworks, Sydney, Australia 10c
Zhang HuanSydney Buddha, Ash Buddha, 350x480x290cm, Carriageworks, Sydney, Australia, 2015

Zhang Huan - Sydney Buddha, 2015, aluminum, 5m height, Carriageworks, Sydney, Australia, Photo Michael Young
Zhang HuanSydney Buddha, Aluminium Buddha, 370x290x260cm, Carriageworks, Sydney, Australia, 2015

Zhang Huan - Sydney Buddha, 2015, aluminum, 5m height, Carriageworks, Sydney, Australia 7d
Zhang HuanSydney Buddha, Aluminium Buddha, 370x290x260cm, Carriageworks, Sydney, Australia, 2015

Zhang Huan - Sydney Buddha, 2015, aluminum, 5m height, Carriageworks, Sydney, Australia 7b
Zhang HuanSydney Buddha, Aluminium Buddha (detail), 370x290x260cm, Carriageworks, Sydney, Australia, 2015

Zhang Huan - Berlin Buddha - Art Stage Singapore, 2013
Zhang HuanBerlin Buddha, Art Stage Singapore, Singapore, 2013

Zhang Huan - Berlin Buddha - Museum of Old and New Art, 2014
Zhang HuanBerlin Buddha, Museum of Old and New Art, Hobart, Tasmania, Australia, 2014

Zhang Huan - Berlin Buddha - Museum of Old and New Art, 2014 3
Zhang HuanBerlin Buddha, Museum of Old and New Art, Hobart, Tasmania, Australia, 2014

Zhang Huan - Berlin Buddha - Museum of Old and New Art, 2014 2
Zhang HuanBerlin Buddha, Museum of Old and New Art, Hobart, Tasmania, Australia, 2014

Zhang Huan - Berlin Buddha (Preparatory Drawing) 4, 2007, ink on paper, 82.5 x 102cm
Zhang HuanBerlin Buddha (Preparatory Drawing) 4, 2007, ink on paper, 82.5 x 102cm

Zhang Huan - Berlin Buddha (Preparatory Drawing) 5, 2007, ink on paper, 82.5 x 102cm
Zhang HuanBerlin Buddha (Preparatory Drawing) 5, 2007, ink on paper, 82.5 x 102cm

Zhang Huan - Berlin Buddha (Preparatory Drawing) 7, 2007, ink on paper, 82.5 x 102cm
Zhang HuanBerlin Buddha (Preparatory Drawing) 7, 2007, ink on paper, 82.5 x 102cm

Zhang Huan - Berlin Buddha (Preparatory Drawing) 9, 2007, ink on paper, 82.5 x 102cm
Zhang HuanBerlin Buddha (Preparatory Drawing) 9, 2007, ink on paper, 82.5 x 102cm

Zhang Huan - Berlin Buddha (Preparatory Drawing), 2007, ink on paper, 82.5 x 102cm
Zhang HuanBerlin Buddha (Preparatory Drawing), 2007, ink on paper, 82.5 x 102cm

Zhang Huan - Berlin Buddha (Preparatory Drawing), 2007, ink and soya sauce on paper, 82.5 x 102cm
Zhang HuanBerlin Buddha (Preparatory Drawing), 2007, ink and soya sauce on paper, 82.5 x 102cm


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Colorful life-sized recreation of entire apartment

Colorful life-sized recreation of entire apartment

Do Ho Suh - New York City Apartment, Apartment A, 348 West 22nd Street, New York, NY 10011, USA, at MOCA Cleveland, 2015, Photo Jerry Birchfield 2
Do Ho SuhNew York City Apartment, Apartment A, 348 West 22nd Street, New York, NY 10011, USA, MOCA Cleveland, 2015
Photo: Jerry Birchfield

South Korean artist Do Ho Suh created an installation based on his New York home. It serves to highlight the permeable margins that are said to disconnect private and public in addition to the normalized concepts global identity, space and place, diasporic movement, memory, and displacement. Do Ho Su’s biography is the inspiration of the architectural settings and abstracted figures.

New York City Apartment is a piece that is cognizant of the artists individual lived experiences, significantly lamp lighting his move from South Korea to the United States, in addition to the places he has called home such as his childhood home (a traditional hanok-style Korean house), the house in Rhode Island where he once lived as a student, and his current apartment in New York City.

His work invokes transparency, gradating space and intermediate areas in Korean architecture, and has been taken various physical forms such as the recapitulations of large-scale house sculptures, identifying the ostinatos of his past and present family homes, intersected in a way that makes the interiors visible. Do’s use of monochrome polyester transparent structures are luminous, architectural, and fleeting, allowing audiences to roam through the disorienting interior passageways.

The main installation seems to represent almost any and every single bedroom apartment in New York with its one living room, bedroom, kitchen, and bathroom. Each piece of the home-like installation hanging in apparent stability, however, with the lack of foundation alerts audiences to the precarious fragility of the polyester home. Even the items featured that your mind wants you to think are hard, a toilet made of solid porcelain, a heater, a light switch embedded into a wall is truly soft and material that is hardly there- leading many viewers to question if the solid objects that these translucent representations epitomize are any less precarious than the monochrome polyester. Is home, the thing we feel is most stable, truly something forever, or something that delicately hangs in the balance and can change?

Do Ho Suh - New York City Apartment, Apartment A, 348 West 22nd Street, New York, NY 10011, USA, at MOCA Cleveland, 2015, Photo Jerry Birchfield 1
Do Ho SuhNew York City Apartment, Apartment A, 348 West 22nd Street, New York, NY 10011, USA, MOCA Cleveland, 2015
Photo: Jerry Birchfield

Do Ho Suh - New York City Apartment, MOCA Cleveland, Photo Jerry Birchfield 1
Do Ho SuhNew York City Apartment, MOCA Cleveland, 2015
Photo: Jerry Birchfield

Do Ho Suh - New York City Apartment, MOCA Cleveland, Photo Jerry Birchfield 2
Do Ho SuhNew York City Apartment, MOCA Cleveland, 2015
Photo: Jerry Birchfield

Do Ho Suh - New York City Apartment, MOCA Cleveland, Photo Jerry Birchfield 3
Do Ho SuhNew York City Apartment, MOCA Cleveland, 2015
Photo: Jerry Birchfield

Do Ho Suh - New York City Apartment, MOCA Cleveland, Photo Jerry Birchfield 4
Do Ho SuhNew York City Apartment, MOCA Cleveland, 2015
Photo: Jerry Birchfield

Do Ho Suh - New York City Apartment, MOCA Cleveland, Photo Jerry Birchfield 6

Do Ho Suh - New York City Apartment, MOCA Cleveland, Photo Jerry Birchfield 7
Do Ho SuhNew York City Apartment, MOCA Cleveland, 2015
Photo: Jerry Birchfield

Do Ho Suh - New York City Apartment, MOCA Cleveland, Photo Jerry Birchfield 8
Do Ho SuhNew York City Apartment, MOCA Cleveland, 2015
Photo: Jerry Birchfield

Do Ho Suh - New York City Apartment, MOCA Cleveland, Photo Jerry Birchfield 9
Do Ho SuhNew York City Apartment, MOCA Cleveland, 2015
Photo: Jerry Birchfield

Do Ho Suh - New York City Apartment, MOCA Cleveland, Photo Jerry Birchfield 10
Do Ho SuhNew York City Apartment, MOCA Cleveland, 2015
Photo: Jerry Birchfield

Do Ho Suh - New York City Apartment, Cincinnati Contemporary Arts Center 2
Do Ho SuhNew York City Apartment, Cincinnati Contemporary Arts Center

Do Ho Suh - New York City Apartment, Cincinnati Contemporary Arts Center 1
Do Ho SuhNew York City Apartment, Cincinnati Contemporary Arts Center

Do Ho Suh - New York City Apartment, The Contemporary Austin, Photo by Brian Fitzsimmons
Do Ho SuhNew York City Apartment, The Contemporary Austin
Photo: Brian Fitzsimmons

Do Ho Suh - New York City Apartment, The Contemporary Austin 1
Do Ho SuhNew York City Apartment, The Contemporary Austin
Photo: Brian Fitzsimmons

Do Ho Suh - New York City Apartment, Apartment A, Unit 2, Corridor and Staircase, 348 West 22nd Street, New York, NY, 10011, USA. 2011–2014 (detail), The Contemporary Austin, Photo Brian Fitzsimmons 4
Do Ho SuhNew York City Apartment, Apartment A, Unit 2, Corridor and Staircase, 348 West 22nd Street, New York, NY, 10011, USA. 2011–2014 (detail), The Contemporary Austin
Photo: Brian Fitzsimmons

Do Ho Suh - New York City Apartment, Apartment A, Unit 2, Corridor and Staircase, 348 West 22nd Street, New York, NY, 10011, USA. 2011–2014, The Contemporary Austin, Photo Brian Fitzsimmons 2
Do Ho SuhNew York City Apartment, Apartment A, Unit 2, Corridor and Staircase, 348 West 22nd Street, New York, NY, 10011, USA. 2011–2014 (detail), The Contemporary Austin
Photo: Brian Fitzsimmons

Do Ho Suh - New York City Apartment, Apartment A, Unit 2, Corridor and Staircase, 348 West 22nd Street, New York, NY, 10011, USA. 2011–2014 (detail), The Contemporary Austin, Photo Brian Fitzsimmons 3
Do Ho SuhNew York City Apartment, Apartment A, Unit 2, Corridor and Staircase, 348 West 22nd Street, New York, NY, 10011, USA. 2011–2014 (detail), The Contemporary Austin
Photo: Brian Fitzsimmons

Do Ho Suh - New York City Apartment, Corridor : Ground Floor Plus Staircase, Bristol Museum and Art Gallery, 2015
Do Ho SuhNew York City Apartment, Corridor : Ground Floor Plus Staircase (detail), Bristol Museum and Art Gallery, 2015

Do Ho Suh - New York City Apartment, Bristol Museum and Art Gallery, 2015
Do Ho SuhNew York City Apartment, Bristol Museum and Art Gallery, 2015

Do Ho Suh - New York City Apartment, Corridor : Ground Floor Plus Staircase, Bristol Museum and Art Gallery, 2015 2
Do Ho SuhNew York City Apartment, Corridor : Ground Floor Plus Staircase, Bristol Museum and Art Gallery, 2015

Do Ho Suh - New York City Apartment, Staircase detail, Bristol Museum and Art Gallery, 2015
Do Ho SuhNew York City Apartment, Staircase (detail), Bristol Museum and Art Gallery, 2015

Do Ho Suh - New York City Apartment, Corridor : Ground Floor Plus Staircase, Bristol Museum and Art Gallery, 2015 3
Do Ho SuhNew York City Apartment, Corridor : Ground Floor Plus Staircase, Bristol Museum and Art Gallery, 2015


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“Hunger King” is artist’s fast food reply to social inequality and homelessness

“Hunger King” is artist’s fast food reply to social inequality and homelessness

Jani Leinonen - Hunger King, 2014, Hungary, Budapest 1
Jani LeinonenHunger King, 2014, Hungary, Budapest

Located behind a resplendent Opera House in Budapest on the same road as Louis Vuitton, sits Hunger King, a place that seems to be just like any other burger joint, however, it is anything but. Hunger King is a regular fast food outlet that is pushed onto the masses; Hunger King is a critical sociopolitical art installation serving to highlight Hungary’s significant crises of social inequality and homelessness.

The sign at Hunger King directs customers who identify as “rich” onto a red carpet, which leads them to the entrance, while the succession of “poor”, many of which are homeless takes them around the side of the building.

The sign that features a crown and burger logo is given a representational twist as it is given a new name, as it references the 3.7 million Hungarians living below the breadline. During the three-week long installation individuals who are in financial need have the ability to wait in the succession around the building for six hours and in turn will receive 3,400 forints (around £9 or $13.60 US) in a burger box for their trouble. This would be the same amount of money they would have made by working a minimum wage job in Hungary. All while, those who self-identify as rich can skip the line, walk up the red carpet cardboard burgers for 600,000 forints (£1,560 or $2357.39 US).

This three-week installation served as a critical response to a law that allows Hungarian councils to ban homeless people from sleeping in public areas, basically dispossessing the dispossessed. Those who are homeless and have little or nothing can be fined or even sent to jail for being out on the streets. Jani Leinonen’s work protests the “criminalization of homelessness” and somehow making the lives of those who have little stability even more precarious.

Jani Leinonen - Hunger King, 2014, Hungary, Budapest 2
Jani LeinonenHunger King, 2014, Hungary, Budapest

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