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Large bright floating star blazes in white light

Large bright floating star blazes in white light

Jun Ong – Star, 2015, Penang, Malaysia
Jun OngStar, 2015, 500m steel cables, LED strips, Penang, Malaysia

Installed in Penang, Malaysia, Star was a large-scale light sculpture in the shape of a star by artist and architect Jun Ong.

The star is set at the core of an unfinished concrete building and spans all the five floors from the ground to the roof. It forms a 12-sided polygon also called a dodecahedron in 3D, which is visible from several kilometres away. The light installation blazes in white light encompassing the whole building but seems like a bright floating star when seen from far.

Star is made from over 500 meters of steel cables and LED light strips. The wires are attached to different surfaces; the ground, cantilever beams, slabs, and adjacent building. When lit and seen from a distance, the light beams look seamless. At a closer rance, it seems as though they penetrate the floors uninterrupted.

The idea of an abstract light installation was inspired by a ‘glitch’ which are the visible arcs of light that form when an electric carrying object experiences a spike in voltage. Jun Ong had an idea that such a glitch could be presented as a 3D object on a large scale. For a first time viewer, Star looks like an error, looking out of place with its placement in a bare concrete building, in a fading town.

Jun Ong says that like most of his works, Star was inspired by nature’s light and outer space. The artwork seeks to show both sides of the intangibility as well as tangibility of light. Jun Ong also transforms other generic LED strips and steel cables into art.

Jun Ong is known for his light sculptures. His ideas are applicable in many spaces. A majority of his works are done using pristine LED tubes. Star was his first attempt at a large scale light installation.

Jun Ong – Star, 2015, Penang, Malaysia
Jun OngStar, 2015, 500m steel cables, LED strips, Penang, Malaysia

Jun Ong – Star, 2015, Penang, Malaysia
Jun OngStar, 2015, 500m steel cables, LED strips, Penang, Malaysia

Jun Ong – Star, 2015, Penang, Malaysia
Jun OngStar, 2015, 500m steel cables, LED strips, Penang, Malaysia

Jun Ong – Star, 2015, Penang, Malaysia
Jun OngStar, 2015, 500m steel cables, LED strips, Penang, Malaysia

Jun Ong – Star, 2015, Penang, Malaysia
Jun OngStar, 2015, 500m steel cables, LED strips, Penang, Malaysia

Jun Ong – Star, 2015, Penang, Malaysia
Jun OngStar, 2015, 500m steel cables, LED strips, Penang, Malaysia

Jun Ong – Star, 2015, Penang, Malaysia
Jun OngStar, 2015, 500m steel cables, LED strips, Penang, Malaysia


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Our top 10: Massive organic sculptures by Jaehyo Lee (이재효)

Our top 10: Massive organic sculptures by Jaehyo Lee (이재효)

Jaehyo Lee 이재효 - 0121-1110=193061, 1993, stones
Jaehyo Lee0121-1110=193061, 1993, stones

Biography

Jaehyo Lee (b. 1965, Hapchen, South Korea) graduated in 1992 with a BFA from the Hong-Ik University in Seoul. Combining distinct traces of Land Art, Arte Povera and Minimalism Lee´s works cast a questioning eye over the roots of form, its function and its role within the natural world.

Lee´s works willfully play with the oft-contested boundaries between modern art and design, referencing the idealist´s cubes, cylinders and cones as perversions of the chaise longue, the coffee table, the lampshade, and even the humble doughnut. Revealing a subtly humorous and unsentimental attitude to nature, what unites these works is a belief that the beauty of art is a product of the labor from whence it comes, whether this be the meticulous carving of larch trunks into the form of a perfect sphere or, equally, the precise bending and sanding of thousands of nails hammered one after another into a hunk of cut lumber.

Artist’s Statement
“Until recently, my work has been about combining wood with nails or steel bars and integrating them into geometrical shapes such as spheres, hemispheres, or cylinders. Whenever I did this, one of my problems was to keep the nails and bolts out of sight. Now, on the contrary, I put an emphasis on the nails themselves. I drive countless nails into wood, bend them, grind them, and make them protrude. I then burn the wood, blackening its growth ring records and its natural color. The glittering metallic nails on the black charcoal become ever more conspicuous, and through this process, I draw a picture on wood using nails. Those who make a hard living may be the ones who make this world a beautiful place. I certainly do not have the power to make it beautiful. I just hope to reveal the beauty in what is usually seen but not noticed. It may be a rusty bent nail. If you take a close look at it, however, you’ll find out how beautiful it can be.”
-Jaehyo Lee

Jaehyo Lee 이재효 - Lotus, 2013, Wood (Korean Big Cone Pine), 216 in; 548.6 cm
Jaehyo LeeLotus, 2013, Wood (Korean Big Cone Pine), 216 in; 548.6 cm

Jaehyo Lee 이재효 - 0121-1110=102101, 2002, 350x350x350cm, wood
Jaehyo Lee0121-1110=102101, 2002, Wood, 350x350x350cm

Jaehyo Lee 이재효 - 0121-1110=107041, 520 x 520 x 520 cm, wood, Korean Eye, Saatchi, 2012
Jaehyo Lee0121-1110=107041, 2002, Wood, 520 x 520 x 520 cm, installed at the exhibition Korean Eye, Saatchi Gallery, London, 2012

Jaehyo Lee 이재효 - 0121-1110=114047, 2014, 700x700x700cm, wood
Jaehyo Lee0121-1110=114047, 2014, Wood, 700x700x700cm

Jaehyo Lee 이재효 - 0121-1110=191111, 1991, 300x300x350cm, stone
Jaehyo Lee0121-1110=191111, 1991, Stone, 300x300x350cm

Jaehyo Lee 이재효 - 0121-1110=197073, 1997, 220x220x350cm, stone
Jaehyo Lee0121-1110=197073, 1997, Stone, 220x220x350cm

Jaehyo Lee 이재효 - 0121-1110=194051, 1994, 150x150x150cm, grass
Jaehyo Lee0121-1110=194051, 1994, Grass, 150x150x150cm

Jaehyo Lee 이재효 - 0121-1110=115075, 2015, 560x130x360cm, wood
Jaehyo Lee0121-1110=115075, 2015, Wood, 560x130x360cm

Jaehyo Lee 이재효 - 0121-1110=1110112, 2011, size variable, snow
Jaehyo Lee0121-1110=1110112, 2011, Snow, size variable


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The exhibition of the year? Giacometti / Bacon at Fondation Beyeler

The exhibition of the year? Giacometti / Bacon at Fondation Beyeler

Installation view of Bacon - Giacometti at Fondation Beyeler, L Homme qui marche by Alberto Giacometti along other works 1
Installation view of BaconGiacometti at Fondation Beyeler, L Homme qui marche by Alberto Giacometti among other works, 2018
Photo: Public Delivery

About the Alberto Giacometti & Francis Bacon exhibition at Fondation Beyeler

The Fondation Beyeler sheds light on the exciting relationship between Alberto Giacometti and Francis Bacon. Both artists have created impressive works, which are now among the most expensive artworks.

The age difference between the older Giacometti and Bacon is eight years. Even before meeting him in person, the younger artist worshipped Bergell as “the greatest draughtsman of all time”. Later he was to say that Giacometti was the man who influenced him more than anyone else. Giacometti, on the other hand, was fascinated by the irrepressible energy in the art of Bacon. In addition to Bacon’s portraits, his own portraits would appear more prudish, says Giacometti.

The exhibition includes key works and is supplemented by rarely shown works by both artists, some of which have never before been shown to the public before. A multimedia room offers spectacular insight into the studios of both artists.

Installation views

Installation view of Bacon - Giacometti at Fondation Beyeler
Installation view of BaconGiacometti at Fondation Beyeler
Photo: Public Delivery

Triptychs by Francis Bacon

Francis Bacon - Triptych Inspired by the Oresteia of Aeschylus, 1981, Oil on canvas, Triptych, Each panel 78 x 58 in. (198 x 147.5 cm) installation view
Francis BaconTriptych Inspired by the Oresteia of Aeschylus, 1981, Oil on canvas, Triptych, Each panel 78 x 58 in. (198 x 147.5 cm), installation view at Fondation Beyeler, Basel, Switzerland
Photo: Public Delivery

Francis Bacon - Triptych Inspired by the Oresteia of Aeschylus, 1981, Oil on canvas, Triptych, Each panel 78 x 58 in. (198 x 147.5 cm)
Francis BaconTriptych Inspired by the Oresteia of Aeschylus, 1981, Oil on canvas, Triptych, Each panel 78 x 58 in. (198 x 147.5 cm)

Francis Bacon - Triptych, 1967 Oil on canvas
Francis BaconTriptych, 1967, Oil on canvas, Triptych, Each panel 78 x 58 in. (198 x 147.5 cm), installation view at Fondation Beyeler, Basel, Switzerland
Photo: Public Delivery

Francis Bacon - Triptych, 1967 Oil on canvas, triptych
Francis BaconTriptych, 1967, Oil on canvas, Triptych, Each panel 78 x 58 in. (198 x 147.5 cm)

Francis Bacon - In Memory of George Dyer, 1971, Oil and dry transfer lettering on canvas, Triptych, Each panel 78 x 58 in. (198 x 147.5 cm) installation view
Francis BaconIn Memory of George Dyer, 1971, Oil and dry transfer lettering on canvas, Triptych, Each panel 78 x 58 in. (198 x 147.5 cm), installation view at Fondation Beyeler, Basel, Switzerland
Photo: Public Delivery

Francis Bacon - In Memory of George Dyer, 1971, Oil and dry transfer lettering on canvas, Triptych, Each panel 78 x 58 in. (198 x 147.5 cm)
Francis BaconIn Memory of George Dyer, 1971, Oil and dry transfer lettering on canvas, Triptych, Each panel 78 x 58 in. (198 x 147.5 cm)

Paintings by Francis Bacon

Francis Bacon - Portrait of George Dyer Riding a Bicycle, 1966, Oil and sand on canvas
Francis BaconPortrait of George Dyer Riding a Bicycle, 1966, Oil and sand on canvas, 78 x 58 in. (198 x 147.5 cm), installation view at Fondation Beyeler, Basel, Switzerland
Photo: Public Delivery

Francis Bacon - Portrait of George Dyer Riding a Bicycle, 1966, Oil and sand on canvas, 78 x 58 in. (198 x 147.5 cm)
Francis BaconPortrait of George Dyer Riding a Bicycle, 1966, Oil and sand on canvas, 78 x 58 in. (198 x 147.5 cm)

Francis Bacon - Lying Figure, 1969, Oil on canvas, 78 x 58 in. (198 x 147.5 cm) installation view
Francis BaconLying Figure, 1969, Oil on canvas, 78 x 58 in. (198 x 147.5 cm), installation view at Fondation Beyeler, Basel, Switzerland
Photo: Public Delivery

Francis Bacon - Lying Figure, 1969, Oil on canvas, 78 x 58 in. (198 x 147.5 cm)
Francis BaconLying Figure, 1969, Oil on canvas, 78 x 58 in. (198 x 147.5 cm)

Francis Bacon - 1974 - 1975 Oil and dry transfer lettering on canvas 78 x 58 in. (198.1 x 147.3 cm), installation view
Francis BaconTwo Studies from the Human Body, 1974-1975, Oil and dry transfer lettering on canvas, 78 x 58 in. (198.1 x 147.3 cm), installation view at Fondation Beyeler, Basel, Switzerland
Photo: Public Delivery

Francis Bacon - Two Studies from the Human Body, 1975
Francis BaconTwo Studies from the Human Body, 1974-1975, Oil and dry transfer lettering on canvas, 78 x 58 in. (198.1 x 147.3 cm)

Francis Bacon - Lying Figure, 1961, oil on canvas, 198.0 × 142.0 Size (cm), 78.0 × 55.9 Size (in), installation view
Francis BaconLying Figure, 1961, oil on canvas, 198.0 × 142.0 Size (cm), 78.0 × 55.9 Size (in), installation view at Fondation Beyeler, Basel, Switzerland
Photo: Public Delivery

Francis Bacon - Lying Figure, 1961, oil on canvas, 198.0 × 142.0 Size (cm), 78.0 × 55.9 Size (in)
Francis Bacon – Lying Figure, 1961, oil on canvas, 198.0 × 142.0 Size (cm), 78.0 × 55.9 Size (in).jpg
Francis BaconLying Figure, 1961, oil on canvas, 198.0 × 142.0 Size (cm), 78.0 × 55.9 Size (in), installation view at Fondation Beyeler, Basel, Switzerland

Installation view of paintings by Francis Bacon at Fondation Beyeler
Installation view of paintings by Francis Bacon at Fondation Beyeler, Basel, Switzerland
Photo: Public Delivery

Alberto Giacometti sculptures

Francis Bacon - Head VI, 1949 and Alberto Giacometti - Le nez, 1947-49
Francis BaconHead VI, 1949 and Alberto GiacomettiLe nez, 1947-49
Photo: Fondation Beyeler

Alberto Giacometti - Le nez, 1947-49, 43,6 × 9 × 61,6 cm
Alberto GiacomettiLe nez, 1947-49, 43,6 × 9 × 61,6 cm, installation view at Fondation Beyeler, Basel, Switzerland
Photo: Public Delivery

Alberto Giacometti - Grande Tête Mince, 1954, 65.6 x 39.1 x 24.9 cm, installaton view
Alberto GiacomettiGrande Tête Mince, 1954, 65.6 x 39.1 x 24.9 cm, installation view at Fondation Beyeler, Basel, Switzerland
Photo: Public Delivery

Alberto Giacometti - Grande Tête Mince, 1954, 65.6 x 39.1 x 24.9 cm
Alberto GiacomettiGrande Tête Mince, 1954, 65.6 x 39.1 x 24.9 cm
Photo: Succession Alberto Giacometti/2018, ProLitteris, Zurich

Alberto Giacometti and Francis Bacon, 1965
Alberto Giacometti and Bacon, 1965, original photo by Graham Keen
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A first look at the new, intimate Giacometti museum in Paris

A first look at the new, intimate Giacometti museum in Paris

Alberto Giacometti museum, Montparnasse, Paris, reconstructed atelier
Reconstructed studio of Alberto Giacometti on 23m2 including more than 70 original artworks at Institut Giacometti, Paris
Photo: Public Delivery

About the Institut Giacometti, Paris

Swiss sculptor and painter Alberto Giacometti has a new exhibition space in Paris. Hosted in an Art Nouveau villa, this museum shows a reconstruction of his legendary studio, including furniture and walls on which he left numerous sketches. The new space is located in the former artists’ district of Montparnasse, just a few blocks from the original Parisian studio, where Giacometti worked from 1926 until his death in 1966.

Some of the artworks are very fragile and have never been shown in public. This project is initiated by the Fondation Giacometti, which owns the largest Giacometti collection worldwide.

Location of the Giacometti Institute, Paris

Address Giacometti Institute, 5 Rue Victor Schoelcher, 75014 Paris
Hours The Institute is open by an online reservation system
Visit Métro ligne 4 et 6 : Raspail ou Denfert-Rochereau; RER B : Denfert-Rochereau; Bus ligne : 38, 68, 88, ou 91

Photos of the Institut Giacometti, Paris

Alberto Giacometti museum, Montparnasse, Paris, outside
Exterior of the Art Nouveau villa which hosts the Institut Giacometti, Paris
Photo: Public Delivery

Alberto Giacometti - Femmes de Venise
Alberto GiacomettiFemmes de Venise, 1956, Institut Giacometti, Paris
Photo: Public Delivery

Alberto Giacometti - Portrait of Jean Genet, 1954-1955, Oil on canvas, 73 x 60 cm
Alberto GiacomettiPortrait of Jean Genet, 1954-1955, Oil on canvas, 73 x 60 cm, Institut Giacometti, Paris
Photo: Public Delivery

Alberto Giacometti - Institut Giacometti, Paris - interior
Interior of Institut Giacometti, Paris
Photo: Public Delivery

Alberto Giacometti - Institut Giacometti, Paris - interior
Interior of Institut Giacometti, Paris
Photo: Public Delivery

Alberto Giacometti - Institut Giacometti, Paris - sculpture
Alberto Giacometti, Institut Giacometti, Paris
Photo: Public Delivery

Alberto Giacometti - Institut Giacometti, Paris, Art Noveau Villa
Interior of Institut Giacometti, Paris
Photo: Public Delivery

Alberto Giacometti - Institut Giacometti, Paris - installation view
Installation view, Institut Giacometti, Paris
Photo: Public Delivery

Alberto Giacometti - Institut Giacometti, Paris - drawing 1
Alberto Giacometti drawing, Institut Giacometti, Paris
Photo: Public Delivery

Alberto Giacometti - Institut Giacometti, Paris - drawing 2
Alberto Giacometti drawing, Institut Giacometti, Paris
Photo: Public Delivery

Alberto Giacometti - Institut Giacometti, Paris - letter
Alberto Giacometti letter, Institut Giacometti, Paris
Photo: Public Delivery

Alberto Giacometti - Institut Giacometti, Paris - sculpture 1
Alberto Giacometti sculpture, Institut Giacometti, Paris
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Our Art Basel top 10

Our Art Basel top 10

Rirkrit Tiravanija - untitled 2015 (bangkok boogie woogie, no. 1), 2015, Art Basel Unlimited 2018
Rirkrit TiravanijaUntitled, 2015 (bangkok boogie woogie, no. 1), 2015, Art Basel Unlimited 2018
Video/Film, Bronze tires, copper sheets, video, color, sound
Dimensions variable
Photo: Public Delivery

Rirkrit TiravanijaUntitled, 2015 (bangkok boogie woogie, no. 1), 2015

“In 2010, Bangkok erupted in violence with protesters from both the Left and Right, battling the military in the streets. The main weapon on both sides was the tire, both as a barricade and as improvised Molotov cocktail, rolled instead of thrown. In 2015, Rirkrit Tiravanija created an installation, untitled 2015 (bangkok boogie woogie, no. 1), sourced from this particularly vernacular form of action, straight from the streets of his hometown. In what became the very last action at the old Gavin Brown’s enterprise space on Greenwich St. in New York before it was demolished, Tiravanija cast rubber tires into bronze doppelgängers, and rolled them flaming through the gallery filled with petroleum fuel; all of this was filmed, edited, and used as the backdrop for the installation. The mirrored copper floor reflects the rolling burning movement, while the metal tires produce a clanging soundtrack, conjuring a feeling of violent assault within the gallery space. Part political reflection, and part kinetic experiment, untitled 2015 (bangkok boogie woogie, no. 1) passes on messages from the protesters, and also from other brothers-in-arms: Fischli & Weiss, Allan Kaprow, and Jean Tinguely.”
Jetzer, Gianni (2018) retrieved from artbasel.com/artworks

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Your thoughts come to life in Mariko Mori’s UFO

Your thoughts come to life in Mariko Mori’s UFO

Mariko Mori - Wave Ufo, 2005
Mariko Mori – Wave UFO, 1999-2002
Brainwave interface, vision dome, projector, computer system, fiberglass
207 x 446 x 194 inches (528 x 113.4 x 493 cm)
Edition of 2 with 1 AP

How many times do art and science come together? In Mariko Mori’s Wave UFO art and science have come together in a creation that is just fascinating. This artwork uses neuroscience, computer graphics, architectural engineering, and sound to create an interactive experience where viewers can see their thoughts come to life in color and shape.

Wave UFO will take three viewers at a time. Each viewer gets electrodes attached to the head just like an EEG machine. The brainwaves of the viewers are transmitted and projected on to a screen. This will show six orbs, for two of each viewer’s left and right brain hemispheres. A waving line shows the facial movements for the viewer.

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Cao Fei’s Cosplayers and the power of costumes

Cao Fei’s Cosplayers and the power of costumes

Cao Fei - Golden Figher's despair
Cao FeiGolden Fighter’s

About Cosplayers

Chinese multimedia artist Cao Fei’s 2004 work explores the imagined identities of cosplayers (young people who dress up as game characters) and how they interact with the real world. To these individuals, a costume bestows magical powers upon the wearer, rendering their person more special and enabling them to transcend their mundane reality. These are people living in a video game world, alienated by the real, waking world, and seeking to unite the two spaces to live in a way that allows them to actually be this magic character by creating their own realities. Her work reflects the fluid identities of China as a growing, evolving culture, juxtaposing escapist fantasies alongside vivid realities.

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