Archive: London
This is not America – Alfredo Jaar

This is not America – Alfredo Jaar

Alfredo Jaar - A Logo for America, 1987:2014, Times Square, New York

Alfredo Jaar - A Logo for America, 1987:2014, Times Square, New York 4
Alfredo JaarA Logo for America, 1987/2014, Times Square, New York, 1987

The Times Square in New York is characterized by an epic display of contemporary consumerism; it is flooded with tourists from all regions of the world and filled with numerous electric billboards displaying services and a range of products for sale. If you are going to install an art exhibition, and a successful one at that, there is no better location that offers as much visibility as the Times Square.

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Throwback: New visual language in the field of photography

Throwback: New visual language in the field of photography

Thomas Struth - Pantheon, Rome, 1990

Thomas Struth - Pantheon, Rome, 1990
Thomas StruthPantheon, Rome, 1990

Thomas Struth is one of the most critically acclaimed contemporary photographers of our time. He is renowned for his black and white photographs of cities such as Düsseldorf and New York, as well as his family portraits. The artist who lives in Dusseldorf acquired his inspiration for his series of Museum Photographs while he was residing in Naples and Rome, where he discovered that there was a connection between paintings of art and religion and how these paintings connect audiences to their spirituality. The Museum Photographs, which was showcased at the Art Institute of Chicago, Chicago, marshaled in a new visual language in the field of photography.

In his series, Struth photographed the art and the visitors viewing it, as well as the viewer observing other audiences. As such, with the many layers of observation, Struth’s intention was to assess the museum’s control of their audience and the criteria that each museum has for exhibiting pieces in the way that it does. The purpose behind the Museum Photographs was to remind people that the iconic subjects of his photographs were once just unfamiliar paintings done by ordinary individuals.

For instance, his Galleria dell’Accademia I, Venice piece shows regular tourists in shorts and casual clothing as they wander around an exhibition hall that is dominated by Paolo Veronese’s 1573 painting The Feast in the House of Levi. Struth’s color print is as large as Veronese’s painting, yet the scene in his photograph is reminiscent of memories of an outing on a Saturday or Sunday afternoon. He specifically selected Veronese’s interpretation of the Feast in the House of Levi as a subject because it had a feel of a regular dinner or lunch and it depicted a rather large party atmosphere where people have gathered to drink and make merry. As a result, his photograph of the feast allows today’s audiences to look upon the masterpiece with a new energy and perspective, just like the first time it was put on public display.

For the project, Struth utilized a European 13×18 camera, and he positioned himself strategically so that every photograph he took, whether inside a museum or in the crowded streets of Paris and Vienna, rendered onlookers in random areas, which gives his pictures more power.

In the end, he managed to create a dialogue between photography and paintings, where his choice of paintings echoes his earlier black and white work in Düsseldorf. He effectively manages to bridge the gap between space and time, where the figures in the painting and the figures observing the paintings are connected despite how much time has passed since the paintings were first made public or the space that exists between them.

Thomas Struth - Pergamon Museum I, Berlin, 2001
Thomas StruthPergamon Museum I, Berlin, 2001

Thomas Struth - Pergamon Museum II, Berlin, 2001
Thomas StruthPergamon Museum II, Berlin, 2001

Thomas Struth - Pergamon Museum III, Berlin, 2001
Thomas StruthPergamon Museum III, Berlin, 2001

Thomas Struth - Pergamon Museum VI, Berlin, 1996
Thomas StruthPergamon Museum VI, Berlin, 2001

Thomas Struth - Stanze di Raffaello 2, Rome, 1990
Thomas StruthStanze di Raffaello 2, Rome, 1990

Thomas Struth - Art Institute of Chicago I, Chicago, 1990
Thomas StruthArt Institute of Chicago I, Chicago, 1990

Thomas Struth - Art Institute of Chicago II, Chicago, 1990
Thomas StruthArt Institute of Chicago II, Chicago, 1990

Thomas Struth - Galleria dell'Accademia I, Venice, 1992
Thomas StruthGalleria dell'Accademia I, Venice, 1992

Thomas Struth - Kunsthistorisches Museum III Wien, 1989
Thomas StruthKunsthistorisches Museum III Wien, 1989

Thomas Struth - Louvre 1, Paris, 1989
Thomas StruthLouvre 1, Paris, 1989

Thomas Struth - Louvre 4, Paris, 1989
Thomas StruthLouvre 4, Paris, 1989

Thomas Struth - Pergamon Museum IV, Berlin, 2001
Thomas StruthPergamon Museum IV, Berlin, 2001

Thomas Struth - National Gallery 1, London, 1989
Thomas StruthNational Gallery I, London, 1989

Thomas Struth - National Gallery II, London, 2001
Thomas StruthNational Gallery II, London, 2001

Thomas Struth - Alte Pinakothek, Self Portrait, Munich, 2000
Thomas StruthAlte Pinakothek, Self Portrait, Munich, 2000


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Ambitious installation recreated sun inside of museum

Ambitious installation recreated sun inside of museum

Olafur Eliasson - The Weather Project, 2003, Tate Modern, London
Olafur EliassonThe Weather Project, 2003, Monofrequency lights, projection foil, haze machines, mirror foil, aluminium, and scaffolding, 26.7×22.3×155.4m, Turbine Hall, Tate Modern, London
Photo: Olafur Eliasson / Tate, London

Olafur Eliasson has created a gigantic installation which in 2003 took over all space in Tate Modern, London. The artwork, a sun rising out of a mist was bound to keep any visitor in awe. In this project named The Weather Project, the Scandinavian artist recreated the sun and the sky to occupy the Turbine Hall. The whole space was covered with a fine mist that seeps into the whole space like it was coming from the outside space. Looking ahead to see if the mist escapes into the outer space, visitors saw in place of the ceiling, a replica of the space below – like a mirror. There were 200 low-sodium mono-frequency lamps at the extreme end of the hall as well. Mono-frequency lamps are mostly used in street lights and the frequency at which they emit light is so low that any other colour besides black and yellow are invisible. These lamps therefore change the view and landscape of the environment into one with two tones.

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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.

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Suicide car bomb from Iraq turned into art piece

Suicide car bomb from Iraq turned into art piece

 Jeremy Deller - It is what it is- Conversations About Iraq, 2009, at Joy in People at the Hayward Gallery, Southbank Centre,  Photos: Linda Nylind
Jeremy DellerIt is what it is- Conversations About Iraq, 2009, at Joy in People at the Hayward Gallery, Southbank Centre
Photo: Linda Nylind

In the Imperial War Museum in London, surrounded by some of the most powerful military hardware of the last 100 years rests a rusting, crumpled car. This is a clear example of what war does. The car is a piece by Jeremy Deller, and was a car that was contorted in a street bombing that killed 38 people and wounded many more at Baghdad’s Al-Mutanabbi book market. Al-Mutanabbi book market was at the heart of the Baghdad’s cultural and intellectual life.

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Entire museum buildings covered by jute sack

Entire museum buildings covered by jute sack

Ibrahim Mahama - Untitled (K.N.U.S.T.)
Ibrahim MahamaUntitled (K.N.U.S.T.), 2013 (Detail), Jute coal sacks, dimensions Variable

Ibrahim Mahama is an artist born and working with Ghana. His installation works using Jute sacks (reappropriated material he has purchased from markets, which were first cocoa sacks and then coal sacks) are the result of his investigation of the conditions of supply and demand in African markets. Torn, patched, stamped with PRODUCT OF GHANA, and written over with owners’ names, the bags are variously marred, marked, and transformed. These installations are displayed in Ghanaian markets as well as galleries, thus defying the artifacts’ intrinsic value system. Ibrahim uses the coal sacks as a device to explore process, material, value, and meaning. He creates an artistic vision out of a commonplace material, repurposing them and exhibiting them in the very marketplaces from which they came.

Ibrahim Mahama - Installation at Accra’s National Theatre, Central Ghana
Ibrahim Mahama – Installation at Accra’s National Theatre, Ghana

Ibrahim Mahama - Installation at Accra’s National Theatre
Ibrahim Mahama – Installation at Accra’s National Theatre, Ghana

Ibrahim Mahama - Civil Aviation, Airport. Accra, Ghana, 2014
Ibrahim MahamaCivil Aviation, Airport. Accra, Ghana, 2014

Ibrahim Mahama - Civil Occupation, 2014, Jute coal sacks, Installation view
Ibrahim MahamaCivil Occupation (installation view), 2014, Jute coal sacks

Ibrahim Mahama - Juli Baw, 2015, Coal sacks, dye sack with makins and creen print, 548 x 767 cm
Ibrahim MahamaJuli Baw, 2015, Coal sacks, dye sack with makins and creen print, 548 x 767 cm

Ibrahim Mahama - K.N.U.S.T Library. Occupation and labour. Kumasi, Ghana, 2014
Ibrahim MahamaK.N.U.S.T Library. Occupation and labour. Kumasi, Ghana, 2014

Ibrahim Mahama - Untitled
Ibrahim Mahama – Untitled, Jute coal sacks, dimensions Variable

Ibrahim Mahama - Markings and body on coal sacks
Ibrahim Mahama – Markings and body on coal sacks

Ibrahim Mahama - Nyhavn Kaplang. Installation View, Kunsthal Charlottenborg, Denmark
Ibrahim MahamaNyhavn Kaplang (installation view), Kunsthal Charlottenborg, Denmark
Photo by Anders Sune Berg

Ibrahim Mahama - Nyhavn Kaplang. Installation View, Kunsthal Charlottenborg, Denmark
Ibrahim MahamaNyhavn Kaplang (installation view), Kunsthal Charlottenborg, Denmark
Photo by Anders Sune Berg

Ibrahim Mahama - Nyhavn Kaplang. Installation View, Kunsthal Charlottenborg, Denmark
Ibrahim MahamaNyhavn Kaplang (installation view), Kunsthal Charlottenborg, Denmark
Photo by Anders Sune Berg

Ibrahim Mahama - Out of Bounds (detail), 2015, Venice Biennale
Ibrahim MahamaOut of Bounds (detail), 2015, Venice Biennale, Italy

Ibrahim Mahama - Out of Bounds (Installation view), 2015, 56th Venice Biennale
Ibrahim MahamaOut of Bounds (installation view), 2015, Venice Biennale, Italy

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Artificial lake installed on top of museum

Artificial lake installed on top of museum

Gelitin – Normally, Proceeding and Unrestricted With Without Title

Gelitin – Normally, Proceeding and Unrestricted With Without Title
Gelitin – Normally, Proceeding and Unrestricted With Without Title

Starting a rainy day, a day filled with grey shades, feels empty but it will slowly fade.

Nothing but a monotone day is the first impression in the city of London. But with such gloomy ambiance, comes an experience, a life where beauty lies in every aspect. That beauty is art. It is when you enter a different world, appreciating such fine intricacy with a colorful explanation, its secrecy, the intimacy and the mystery behind the piece of work: The Gelitin – Normally, Proceeding and Unrestricted With Without Title.

The voyage around the Hayward buildings give you an art adventure, having to merely roam around like it was an artist’s playground. Not knowing what’s next and what surprises you in the end. There lies a pond, where you can bring back your childhood memory of riding a boat in a bizarre architectural art, filled with amusement comes an immersing experience of appreciation. That’s beauty, where a day is filled with shades of grey that turns its meaningless ambiance to countless appreciation and vibrant elucidation with familiarity in art.

About Gelitin

Gelitin is an Austrian artist collective and comprised of four artists. They met first in 1978 when they all attended a summer camp. They have been playing and working together. 1993 they began exhibiting internationally.

Gelitin - Normally, Proceeding and Unrestricted With Without Title

Gelitin - Normally, Proceeding and Unrestricted With Without Title

Gelitin - Normally, Proceeding and Unrestricted With Without Title

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Public Delivery

Public Delivery