Archive: Germany
Colorful artworks: Designed to be walked over

Colorful artworks: Designed to be walked over

Joan Miró - 1970, earthenware, 10x50m, Terminal B, El Prat Airport, Barcelona, Spain detail
Joan MiróWall of the Barcelona Airport (detail), 1970, earthenware, 10x50m, Terminal B, El Prat Airport, Barcelona, Spain

If you have ever been to Barcelona, you must have walked over one of Joan Miro’s mosaics. The artist began to publicly display his work in 1976 when he chose the centre of Barcelona’s Rambla to permanently incorporate his work into a pavement. This was in fulfilment of a pledge he had made in 1968 to create four pieces of art which he would donate to the city of Barcelona where he was born. The use of different colors in the mosaic brings out the vibrancy that is his style of art. All the artwork that is associated with Joan Miró speaks the language of simplicity; generous use of color and simple shapes. More than four decades after his first outdoor work of art, the works of Joan Miró located in various parts of the world are enjoying facelifts of massive proportions.

For those who grew up in Wichita or attended the Wichita State University campus, the past is reclaiming its space. The mosaic which was made in France was shipped to the United States in 1978. When the restoration was handed over to a conservation service, their focus was to not only restore the original glamor but also retain the integrity of the artwork. Since the piece was an outdoor structure, it disintegrated due to high winds, lightning, thunder, and fluctuating temperatures.

Another notable Miró mosaic is located at the Barcelona Airport, Terminal 2. It is easy to spot because it is inevitably the first thing travellers step on when they get off from a flight. This is a great orientation to visitors coming to the city for the first time and rightfully so because the large mural made up of ceramic pieces is at the entry point to the city. The airport mural which measures 9 metres in length and 5 metres in width was completed in 1970. A ceramicist friend of Joan known as Josep Llorens Artigas, who he had collaborated with on various projects in the 1960s helped him to put the mural together. Joan would spend a lot of his time to create the robust mosaic but some unexpected details occurred at the kiln which fascinated the two friends. It is such details that take a lot of time to preserve that have made facelifts of the various art pieces rather time consuming. The airport mural for instance took a record 9 years to restore but the outcome is worth every second spend.

The third of the four donations dedicated to the city of Barcelona is the Pla de l’Os Mosaic which is a symbol that ushers in visitors coming into Barcelona through the sea. The mosaic, in line with the style of the artist comprises of circular forms to represent the cosmos and depicts entry into the city through the sea. Similar to his other works which have lots of colors and shapes, this mosaic situated at the seaport is made up of round shapes in bright colors. The mosaic was commissioned and installed in 1976.

The Woman and Bird statue is the last work of art done by Miró in the series which he had purposed to act as a welcome to travellers arriving into Barcelona. This particular artwork is to be found in the main train station in Barcelona and was unveiled in 1983.

Apart from the Woman and Bird statue, all the other works of the artist were designed to be walked over in public places. This did not at all bother the artist, in fact, the reality that it would undergo faster wear and tear and thus be restored regularly, could have been inspiring to him.

Joan Miró - 1970, earthenware, 10x50m, Terminal B, El Prat Airport, Barcelona, Spain
Joan MiróWall of the Barcelona Airport, 1970, earthenware, 10x50m, Terminal B, El Prat Airport, Barcelona, Spain

Joan Miró - 1970, earthenware, 10x50m, Terminal B, El Prat Airport, Barcelona, Spain
Joan MiróWall of the Barcelona Airport, 1970, earthenware, 10x50m, Terminal B, El Prat Airport, Barcelona, Spain

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Beautiful sculptures made entirely from soap

Beautiful sculptures made entirely from soap

Meekyoung Shin - Crouching Aphrodite, 2002
Meekyoung ShinCrouching Aphrodite, 2002

Meekyoung Shin, a South Korean sculptor, became popular for her Translation series, using soap as her medium of art. Trained in the tradition of European sculpture, her statuettes are made factoring in the Western and Eastern style of relief. Her works are usually made from palm oil, a vegetarian soap.

The free-standing ancient Greek sculptures of nude male youths made by Shin are perfect replicas of the originals. She actually preserved the missing limbs, crack and the other defects that were on the classical sculptures. Shin’s vases are also replica. The originals from China were created and sold in the European market between the 16th and 20th centuries. The vases feature dragons, warriors and other essential elements that depict the Chinese culture. When you look at them, you will notice the careful carving and also will be attracted by the scent of the soap, used to make the works.

While most people choose to go to the public toilets as a last resort, for Meekyoung Shin, this is the best place to place her art and latest pieces. Using the Toilet Project, she has been able to display some of her sculptures in public toilets. This is an art program that is aimed at having galleries display their art in toilets.

Meekyoung Shin has faced some challenges in the line of duty. For instance, the statue of Buddha that was in public toilets has been removed by the Korean Cultural Centre UK after a number of visitors complained. For most people, having a religion icon in the toilet does not seem right, and this has been a big hindrance to the growth of the Toilet Project. Shin’s work is a great wonder for most people who wash their hands using these soap statutes and illustrates the transition that happens in life.

Meekyoung Shin - Untitled (Red Series), 2013, Soap, varnish, pigments, 22x22x43cm and Untitled (Blue Series), 2013, Soap, varnish, pigments, 21x21x33cm
Meekyoung ShinUntitled (Red Series), 2013, Soap, varnish, pigments, 22x22x43cm, Untitled (Blue Series), 2013, Soap, varnish, pigments, 21x21x33cm

Meekyoung Shin - Translation, Vase Series, 2013, soap, pigment, varnish and wooden crate
Meekyoung ShinUntitled (Red Series), 2013, Soap, varnish, pigments, 22x22x43cm

Meekyoung Shin - Translation, Vase Series, 2009, soap, pigment, varnish and wooden crate
Meekyoung ShinUntitled (Blue Series), 2013, Soap, varnish, pigments, 21x21x33cm

Meekyoung Shin - Translation, Vase Series. Korean Cultural Centre, 2013-14, Photo- STF
Meekyoung ShinTranslation, Vase Series, Korean Cultural Centre, London, UK
Photo: STF

Meekyoung Shin - Translation, Vase Series, 2006-ongoing, Soap, pigment, varnish, mirrored stainless steel plates, wooden crates, Dimensions variable
Meekyoung ShinTranslation, Vase series, 2006-ongoing, Soap, pigment, varnish, mirrored stainless steel plates, wooden crates, Dimensions variable

Meekyoung Shin - Translation, Vase series, Soap, pigment, varnish, mirrored steel, fragrance, wooden crate, Leeum, Samsung Museum of Art
Meekyoung ShinTranslation, Vase series, Soap, pigment, varnish, mirrored steel, fragrance, wooden crate, Leeum, Samsung Museum of Art, Seoul, South Korea

Meekyoung Shin - Translated Vases series, 2009, Soap, fragrance, dimensions variable
Meekyoung ShinTranslation, Vase series, 2009, Soap, fragrance, dimensions variable

Meekyoung Shin - Translation, Vase Series, 2006-ongoing, Soap, pigment, varnish, mirrored stainless steel plates, wooden crates, Dimensions variable, Humboldt Lab Dahlem, Berlin, Germany, Foto Uwe Walter
Meekyoung ShinTranslation, Vase Series, 2006-ongoing, Soap, pigment, varnish, mirrored stainless steel plates, wooden crates, Dimensions variable, Humboldt Lab Dahlem, Berlin, Germany
Photo: Uwe Walter

Meekyoung Shin - Translation, Vase Series, 2006-ongoing, Soap, pigment, varnish, mirrored stainless steel plates, wooden crates, Dimensions variable, Humboldt Lab Dahlem, Berlin, Germany, Foto Uwe Walter
Meekyoung ShinTranslation, Vase Series, 2006-ongoing, Soap, pigment, varnish, mirrored stainless steel plates, wooden crates, Dimensions variable, Humboldt Lab Dahlem, Berlin, Germany
Photo: Uwe Walter

Meekyoung Shin - Installation View @Hakgojae Shanghai, 2015 3
Meekyoung Shin – Installation View, Hakgojae Gallery, Shanghai, China, 2015

Meekyoung Shin - Installation View @Hakgojae Shanghai, 2015
Meekyoung Shin – Installation View, Hakgojae Gallery, Shanghai, China, 2015

Meekyoung Shin - Installation View @Hakgojae Shanghai, 2015
Meekyoung Shin – Installation View, Hakgojae Gallery, Shanghai, China, 2015

Meekyoung Shin - Installation View @Hakgojae Shanghai, 2015 5
Meekyoung Shin – Installation View, Hakgojae Gallery, Shanghai, China, 2015

Meekyoung Shin - Installation View @Hakgojae Shanghai, 2015, Translation, Ghost Series(Red), 2007-ongoing, Soap, varnish, fragrance, Dimensions variable
Meekyoung ShinTranslation, Ghost Series(Red), Soap, varnish, fragrance, Dimensions variable, Installation View, Hakgojae Gallery, Shanghai, China, 2015

Meekyoung Shin - Toilet Project 2, 2014, Soap, fragrance, dimensions variable
Meekyoung ShinToilet Project, 2014, Soap, fragrance, dimensions variable

Meekyoung Shin - Toilet Project 1, 2014, Soap, fragrance, dimensions variable
Meekyoung ShinToilet Project, 2014, Soap, fragrance, dimensions variable

Meekyoung Shin - Weathering Project, 2013, Soap, fragrance, dimensions variable
Meekyoung ShinWeathering Project, 2013, Soap, fragrance, dimensions variable

Meekyoung Shin - Gilt Buddha, 2011, Soap, gold leaf, varnish, 90x28x28cm
Meekyoung ShinGilt Buddha, 2011, Soap, gold leaf, varnish, 90x28x28cm

Meekyoung Shin - Toilet project bust, 2013, Soap, fragrance, dimensions variable, photo jim varney
Meekyoung ShinToilet project bust, 2013, Soap, fragrance, dimensions variable
Photo: Jim Varney

Meekyoung Shin - Toilet project, 2013, Soap, fragrance, dimensions variable, photo jim varney
Meekyoung ShinToilet project, 2013, Soap, fragrance, dimensions variable
Photo: Jim Varney

Meekyoung Shin - Toilet Project, Taipei, Soap, fragrance, dimensions variable
Meekyoung ShinToilet project, 2013, Soap, fragrance, dimensions variable, Taipei, Taiwan

Meekyoung Shin - Toilet project, dimensions variable, Unfixed A Solo Exhibition, Korean Cultural Centre UK, London, UK, 2013
Meekyoung ShinToilet project, dimensions variable, Unfixed: A Solo Exhibition, Korean Cultural Centre UK, London, UK, 2013

Toilet Project, 2004-ongoing, Soap, fragrance, Dimensions variable
Meekyoung ShinToilet project, dimensions variable

Meekyoung Shin - Buddha, 2011
Meekyoung ShinBuddha, 2011

Meekyoung Shin - Pensive Maitreya Boddhisatva, dimensions variable, Unfixed- A Solo Exhibition, Korean Cultural Centre UK, London, UK, 2013
Meekyoung ShinPensive Maitreya Boddhisatva, dimensions variable, Unfixed: A Solo Exhibition, Korean Cultural Centre UK, London, UK, 2013

​Meekyoung Shin - Untitled (Black Series), 2013, Soap, varnish, pigments, 24x14x10cm
Meekyoung ShinUntitled (Black Series), 2013, Soap, varnish, pigments, 24x14x10cm

​Meekyoung Shin - Untitled (Black Series), 2013, Soap, varnish, pigments, 47x19x20cm
Meekyoung ShinUntitled (Black Series), 2013, Soap, varnish, pigments, 47x19x20cm

​Meekyoung Shin - Untitled (Black Series), 2013, Soap, varnish, pigments, 83x18x40cm
Meekyoung ShinUntitled (Black Series), 2013, Soap, varnish, pigments, 83x18x40cm

​Meekyoung Shin - Untitled (Black Series), 2013, Soap, varnish, pigments, dimensions variable
Meekyoung ShinUntitled (Black Series), 2013, Soap, varnish, pigments, dimensions variable

​Meekyoung Shin - Untitled (Black Series), 2013, Soap, varnish, pigments, dimensions variable
Meekyoung ShinUntitled (Black Series), 2013, Soap, varnish, pigments, dimensions variable

Meekyoung Shin - Ghost Series; Pink, Soap, varnish, pigment, 2012. 32 x 42 x 44 cm
Meekyoung Shin Ghost Series; Pink, 2012, Soap, varnish, pigment, 32x42x44cm


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Immaculate larger than life sculptures as sanctified haven

Immaculate larger than life sculptures as sanctified haven

Jaume Plensa - Paula, 2013, Bronze, 179 x 63 x 63 cm, Toledo Museum of Art, 2016, Photo The Blade:Andy Morrison

Jaume Plensa
Jaume Plensa

Jaume Plensa is arguably one of the top sculptors today. He is largely known for creating huge-sized ethereal sculptures, and has also worked with different other types of contemporary art media, including from acoustic installations to video projections.

By juxtaposing the poetic and the intellectual, Jaume Plensa manages to come up with evocative sculptures that have a robust conceptual foundation. While most conceptual artists usually feel the need of refusing beauty to convey ideas, the romanticism, and beauty of Plensa’s sculptures are able to make his ideas more tangible. One way that he does this is through introducing his sculptures in public spaces, which enables his works to be appreciated by the inhabitants of the city.

The interaction between his work and the audience and the entire city in general give a breath of life to Plensa’s sculptures. Even in all the chaos and hustle of city life, Plensa’s work provides a sanctified haven where people can play, laugh, collect themselves or reunite.

In most of his work, Plensa’s likes articulating the external and the internal. These ideas can also been seen in his most recognizable sculptures; for instance, in his immaculate sculptures of girl’s faces and human bodies. He uses alabaster stone and a combination of brightly colored LED lighting to highlight the translucency and link the internal psychological thoughts of a human with the exterior façade.

Jaume Plensa is an ardent reader, and his work is inspired by poetry and literature. He cites Shakespeare, Goethe, and Black as some of his major inspirations. The Catalan artist incorporates words and language in his work to pay homage to his deep love of all things literature. This includes works like the Nomade sculpture that allows the audience to look through the spaces between the letters and see mankind as a single unified piece.

All of Jaume Plena’s works do not have any negative assertions. Rather, the artist is always sharing a strong message of unity, hope, and beauty. His works promote unity despite all the barriers that often separate mankind.

Jaume Plensa – Awilda, Salzburg University , Salzburg, Austria 2010, Courtesy Salzburg Foundation, Photo Wolfgang Lienbacher 1
Jaume PlensaAwilda, Salzburg University, Salzburg, Austria, 2010
Courtesy: Salzburg Foundation, Photo: Wolfgang Lienbacher

Jaume Plensa – Awilda, Salzburg University , Salzburg, Austria 2010, Courtesy Salzburg Foundation, Photo Wolfgang Lienbacher 2
Jaume PlensaAwilda, Salzburg University, Salzburg, Austria, 2010
Courtesy: Salzburg Foundation, Photo: Wolfgang Lienbacher

Jaume Plensa – Awilda, Salzburg University , Salzburg, Austria 2010, Courtesy Salzburg Foundation, Photo Wolfgang Lienbacher 3
Jaume PlensaAwilda, Salzburg University, Salzburg, Austria, 2010
Courtesy: Salzburg Foundation, Photo: Wolfgang Lienbacher

Jaume Plensa - Wonderland, 2012, Painted stainless steel, 12 meters high, The Bow, Calgary, Alberta, Canada
Jaume PlensaWonderland, 2012, painted stainless steel, 12 meters high, The Bow, Calgary, Alberta, Canada

Jaume Plensa - Together, 2014, San Gorgio Maggiore, Venice, Italy
Jaume PlensaTogether, 2014, San Gorgio Maggiore, Venice, Italy

Jaume Plensa - Soul of Words I and II, 2014. Cheekwood Botanical Garden & Museum of Art, Nashville, Tennessee. 2015. Courtesy Galerie Lelong, New York, Photo Dean Dixon
Jaume PlensaSoul of Words I and II, 2014, Cheekwood Botanical Garden & Museum of Art, Nashville, Tennessee, 2015

Jaume Plensa - Paula, 2013, Bronze, 179 x 63 x 63 cm, Toledo Museum of Art, 2016, Photo The Blade:Andy Morrison
Jaume PlensaPaula, 2013, Bronze, 179 x 63 x 63 cm, Toledo Museum of Art, 2016
Photo: The Blade/Andy Morrison

Jaume Plensa - Nomade, 2007, painted steel, Pappajohn Sculpture Park, Greater Des Moines, Iowa, USA, 2010
Jaume PlensaNomade, 2007, painted steel, Pappajohn Sculpture Park, Greater Des Moines, Iowa, USA, 2010

Jaume Plensa - Looking Into My Dreams, Awilda, Millennium Park, Chicago, 2016, Photo City of Chicago : Patrick Pyszka
Jaume PlensaLooking Into My Dreams, Awilda, Millennium Park, Chicago, 2016
Photo City of Chicago/Patrick Pyszka

Jaume Plensa - Looking Into My Dreams, Awilda, Botafogo Beach, Brazil, Photo Christophe Simon
Jaume PlensaLooking Into My Dreams, Awilda, Botafogo Beach, Brazil
Photo: Christophe Simon

Jaume Plensa - Irma's White Head, 2008, enameled stainless steel, Place Vendome, Paris, France, 2012
Jaume PlensaIrma's White Head, 2008, enameled stainless steel, Place Vendome, Paris, France, 2012

Jaume Plensa - Irma-Nuria, 2010, Yorkshire Sculpture Park, West Bretton, West Yorkshire, England 1
Jaume PlensaIrma-Nuria, 2010, Yorkshire Sculpture Park, West Bretton, West Yorkshire, England

Jaume Plensa - Irma-Nuria, 2010, Yorkshire Sculpture Park, West Bretton, West Yorkshire, England 2
Jaume PlensaIrma-Nuria, 2010, Yorkshire Sculpture Park, West Bretton, West Yorkshire, England

Jaume Plensa - Echo, polyester resin, marble dust, Olympic Sculpture Park, Seattle Art Museum, Washington, USA 1
Jaume PlensaEcho, polyester resin, marble dust, Olympic Sculpture Park, Seattle Art Museum, Washington, USA

Jaume Plensa - Echo, polyester resin, marble dust, Olympic Sculpture Park, Seattle Art Museum, Washington, USA 1
Jaume PlensaEcho, polyester resin, marble dust, Olympic Sculpture Park, Seattle Art Museum, Washington, USA

Jaume Plensa - Echo, polyester resin, marble dust, Olympic Sculpture Park, Seattle Art Museum, Washington, USA 1
Jaume PlensaEcho, polyester resin, marble dust, Olympic Sculpture Park, Seattle Art Museum, Washington, USA

Jaume Plensa - Echo, polyester resin, marble dust, Madison Square Park, New York City in 2011, Photo James Ewing
Jaume PlensaEcho, polyester resin, marble dust, Madison Square Park, New York City in 2011
Photo: James Ewing

Jaume Plensa - Dream, 2009, Dolomite on cast concrete, Sutton, St Helens, Merseyside, United Kingdom
Jaume PlensaDream, 2009, Dolomite on cast concrete, Sutton, St Helens, Merseyside, United Kingdom

Jaume Plensa - Awilda and Laura, Palm Springs Art Museum, California, USA, Photo David Blank
Jaume PlensaAwilda and Laura, 2014, Palm Springs Art Museum, California, USA
Photo: David Blank

Jaume Plensa - Awilda and Irma, 2014, Stainless steel, 400 x 400 x 300 cm (each), Around 600 Kg (each), Toledo Museum of Art, Ohio, USA, 2016
Jaume PlensaAwilda and Laura, 2014, Stainless steel, 400 x 400 x 300 cm (each), Around 600 Kg (each), Toledo Museum of Art, Ohio, USA, 2016

Jaume Plensa - Awilda and Irma, 2014, Stainless steel, 400 x 400 x 300 cm (each), Around 600 Kg (each), Cheekwood Botanical Garden & Museum of Art, Nashville, Tennessee. 2015, Photo Dean Dixon

Jaume PlensaAwilda and Laura, 2014, Stainless steel, 400 x 400 x 300 cm (each), Around 600 Kg (each), Cheekwood Botanical Garden & Museum of Art, Nashville, Tennessee, 2015
Photo: Dean Dixon

Jaume Plensa – Body of Knowledge, Goethe University, Frankfurt, Germany, 2010 1
Jaume PlensaBody of Knowledge, Goethe University, Frankfurt, Germany, 2010

Jaume Plensa – Body of Knowledge, Goethe University, Frankfurt, Germany, 2010 3
Jaume PlensaBody of Knowledge, Goethe University, Frankfurt, Germany, 2010

Jaume Plensa – Body of Knowledge, Goethe University, Frankfurt, Germany, 2010 3
Jaume PlensaBody of Knowledge, Goethe University, Frankfurt, Germany, 2010

Jaume Plensa - Air, Water, Void, 2014, 215 x 500 x 500 cm, Schaezlerpalais Festsaal, Kunstsammlungen Augsburg, Augsburg, Germany 1
Jaume PlensaAir, Water, Void, 2014, 215 x 500 x 500 cm, Schaezlerpalais Festsaal, Kunstsammlungen Augsburg, Augsburg, Germany

Jaume Plensa - Air, Water, Void, 2014, 215 x 500 x 500 cm, Schaezlerpalais Festsaal, Kunstsammlungen Augsburg, Augsburg, Germany 2
Jaume PlensaAir, Water, Void, 2014, 215 x 500 x 500 cm, Schaezlerpalais Festsaal, Kunstsammlungen Augsburg, Augsburg, Germany


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Complete castle covered with photorealistic print

Complete castle covered with photorealistic print

Bettina Pousttchi - The City, 2014
Bettina Pousttchi – The City, 2014, photo installation, facade of Wolfsburg Castle, photo by Norbert Miguletz

Bettina Pousttchi is a German-Iranian artist, living and working in Berlin. She works equally in the field of media, photography, video and sculpture, often involving architecture in urban and historical contexts. Her exhibition at the Städtische Galerie Wolfsburg is a site-specific photo installation called “The City”: an artwork covering the façade of the city’s castle. This work is a reference to the history of the 20th century planned city Wolfsburg.

Working on architecture about architecture allows for an artistic practice between architecture, sculpture, and photography. It is a different way to materialize a photographic file and to bring back the digital to the physical world.

Castle of Wolfsburg
The northern wing of the castle before the renovation (photo by Städtische Galerie Wolfsburg)

Bettina Pousttchi - The City, 2014
Bettina Pousttchi – The City, 2014, photo installation, facade of Wolfsburg Castle, photo by Norbert Miguletz

Bettina Pousttchi - The City, 2014
Bettina Pousttchi – The City, 2014, photo installation, facade of Wolfsburg Castle, photo by Norbert Miguletz

Bettina Pousttchi - The City, 2014
Bettina Pousttchi – The City, 2014, photo installation, facade of Wolfsburg Castle, photo by Norbert Miguletz

Bettina Pousttchi - The City, 2014
Bettina Pousttchi – The City, 2014, photo installation, facade of Wolfsburg Castle, photo by Norbert Miguletz


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Lida Abdul seducing her audience with a defiant flag in the water

Lida Abdul seducing her audience with a defiant flag in the water

Lida Abdul - What we have overlooked

Lida Abdul - What we have overlooked
Lida Abdul, still from What We Have Overlooked, 2011, 16mm film, 3.44 min, 2 channel video installation

Lida Abdul’s two-channel work entitled What we have overlooked (2011) was first presented at dOCUMENTA (13), Kassel. She is an Afghan video and performance artist born in 1973 in Kabul. Forced to flee Afghanistan following the Russian invasion and the war that followed, Abdul lived as a refugee in Germany and India before settling in the US.

The video, filmed by a bright blue lake near Kabul, shows a man slipping underwater holding a black flag. She alternates between close-up and distant views, following the actions of the man to whom the subtitles give a voice, until he finally vanishes under the surface. It is at the same time elegant, ethereal, beautiful, and strongly defiant.

Lida Abdul examines the relationship between individual and nation, represented by the flag, its abstract symbol.
Yes, there’s politics involved, because I work in a place that’s been so political for the past 25 years, she says. Yes, it is about Afghanistan; yes, [my work] deals with politics, but it also deals with form. I’m really interested in beautiful images. I would like to seduce the audience with images.

Lida Abdul - What we have overlooked
Lida Abdul, still from What We Have Overlooked, 2011, 16mm film, 3.44 min, 2 channel video installation

Lida Abdul - What we have overlooked
Lida Abdul, still from What We Have Overlooked, 2011, 16mm film, 3.44 min, 2 channel video installation

Lida Abdul - What we have overlooked
Lida Abdul, still from What We Have Overlooked, 2011, 16mm film, 3.44 min, 2 channel video installation, installation view, photo by Paolo Pellion

Lida Abdul - What we have overlooked
Lida Abdul, still from What We Have Overlooked, 2011, 16mm film, 3.44 min, 2 channel video installation, installation view, photo by Paolo Pellion

Lida Abdul - What we have overlooked
Lida Abdul, still from What We Have Overlooked, 2011, 16mm film, 3.44 min, 2 channel video installation, installation view, photo by Paolo Pellion


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What is Ai Weiwei doing with 9000 children’s backpacks?

What is Ai Weiwei doing with 9000 children’s backpacks?

Ai Weiwei - Remembering, 2009
Ai WeiweiRemembering, 2009, 100x1000cm, Haus der Kunst, München (Germany)

ABOUT REMEBERING

In 2009, Ai Weiwei created a large 10x100m installation, made out of 9000 children’s backpacks. Displayed on the facade of the Haus der Kunst in Munich, Germany, each backpack represents a life lost in the earthquake that took place in the Chinese province of Sichuan in 2008.

Ai used five different colors that make up the sentence For seven years she lived happily on this earth in Chinese lettering, a sentence with which a mother of one of the earthquake victims commemorated her daughter. The bright, vibrant colors, such as blue, red, yellow and green reflect the psyche of a child, their joy and innocence. In addition, the colors have been used for the Toys R Us logo.

ABOUT AI WEIWEI

Ai is known as one of China’s most provocative and vocal artists. His focus on human rights and social change eventually led to his detainment by Chinese authorities for nearly three months in 2011. The Chinese government later supplied charges of tax evasion against Ai, which he vehemently denies. Since his detainment, Ai has been kept under constant surveillance by the government—a circumstance that has led him to create a series of new works.

Ai Weiwei - Remembering (detail), 2009
Ai WeiweiRemembering (detail), 2009, 100x1000cm, Haus der Kunst, München (Germany)

Ai Weiwei - Remembering (detail), 2009
Ai WeiweiRemembering (detail), 2009, 100x1000cm, Haus der Kunst, München (Germany)

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Unbelievable: Sculpture is 1200m2 and 67 tons, and vibrating!

Unbelievable: Sculpture is 1200m2 and 67 tons, and vibrating!

antony-gormley-horizon-field-deichtorhallen-hamburg-henning-rogge-1

antony-gormley-horizon-field-deichtorhallen-hamburg-henning-rogge-1

antony-gormley-horizon-field-deichtorhallen-hamburg-henning-rogge-2

antony-gormley-horizon-field-deichtorhallen-hamburg-henning-rogge-4

antony-gormley-horizon-field-deichtorhallen-hamburg-henning-rogge-3

Over the past 1 1/2 years British artist Antony Gormley has prepared an exhibition at the Deichtorhallen Hamburg, Europe’s biggest space for contemporary art. Rather than following through with the proposed retrospective, Gormley decided creating a huge interactive sculpture that only comes alive by the participation of the visitors. To enforce his point Gormley accomplished to keep the exhibition that runs until 9th of September 2012 free of charge.

The sculpture itself stretches over 1200m2 big and weighs 67 tons. One single person can make it vibrate, by walking, running or jumping. The experience is enhanced by the reflecting ground which makes a gigantic mirror. A dedicated website allows visitors uploading their own photos of the art work which then appear in a blog.

> extensive documentation and additional info at deichtorhallen.de

(photos by Henning Rogge)


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