Archive: 2004
People love this giant outdoor sculpture that spits out water

People love this giant outdoor sculpture that spits out water

Jaume Plensa - Crown Fountain, 2004, Glass, stainless steel, LED screens, light, wood, black granite and water, 16 m, Millennium Park, Chicago, Illinois, USA
Jaume PlensaCrown Fountain, 2004, Glass, stainless steel, LED screens, light, wood, black granite and water, 16 m, Millennium Park, Chicago, Illinois, USA

Within Chicago’s Millennium Park stands an interactive piece of art that the public never seems to have enough of. Designed by Jaume Plensa, a Catalan artist, the fountain is an illustration of how creativity and technology can mingle to form an enchanting piece of work. The work, which was unveiled in July 2004, was executed by Krueck and Sexton Architects and in it they use black granite which gives the illusion of a pool. The pool on which visitors stand on, is an area of space that separates two towers made from glass. Each one of the towers is 50 feet tall and LEDs are used on their surfaces to display inward faces developed by digital videography.

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How do 37,000 inflated balloons look like when put in a museum?

How do 37,000 inflated balloons look like when put in a museum?

Martin Creed - Work No. 247. Half the air in a given space, 2000, Museo de Arte Contemporanea de Vigo, 2011 - 2.jpg

Martin Creed - Work No. 247. Half the air in a given space, 2000, Museo de Arte Contemporanea de Vigo, 2011 - 2.jpg
Martin CreedWork No. 247. Half the air in a given space, 2000, Museo de Arte Contemporanea de Vigo, 2011

Martin Creed’s Work Half the Air in a Given Space, is brilliantly fun way to experience interactive art. As an audience member you find yourself pushing your way through a space, whether it be a room or a hallway or a lobby, filled (only halfway) with up to 37,000 balloons. You as an audience member are completely surrounded by marshmallows, and although the image is joyfully preposterous, however, as you get into the space you find you feel a mixture of emotions including exhilaration, disorientation, but don’t be surprised if you feel a little bit claustrophobic.

Half the Air in a Given Space can be described as an interactive installation (which is easily an understatement if anything). This is every child’s dream or every globophobic’s worst nightmare (globophobia is the fear of balloons), basically a space that’s filled with of hundreds or thousands of balloons of the same color. Half a room’s entire volume is filled with balloons, and visitors become a part of the art by walking through the balloon filled room.

For those who are not globophobic or clausterphobic, this piece is supposed to evoke the feeling of deep celebration and remanence of childhood memories. If you have no problem with balloons or small spaces, you can be pretty much guaranteed that you will leave the installation with a smile on your face from the touch of nostalgia you have emerged from.
In 2012, Creed installed four versions of this work in neighborhoods throughout the city, each site featured a different colored balloon. Thus not only are audience members who brave the balloons submerged in a room half filled with air, but they are submerged in the color, in a supernatural world in which their senses cannot fully be relied on, a world in which beauty and playfulness is combined.

Martin Creed - Work No. 200. Half the air in a given space, 1998 Courtesy the artist and Hauser © Martin Creed
Martin CreedWork No. 200. Half the air in a given space, 1998
Courtesy the artist and Hauser © Martin Creed

Martin Creed - Work No. 200. Half the air in a given space, at Tate St.Ives, 2011
Martin CreedWork No. 200. Half the air in a given space, at Tate St.Ives, 2011
Photo by Rosa Park

Martin Creed - Work No. 200. Half the air in a given space, at Tate St.Ives, 2011, Photo by Rosa Park
Martin CreedWork No. 200. Half the air in a given space, at Tate St.Ives, 2011
Photo by Rosa Park

Martin Creed - Work No. 200. Half the air in a given space, at Tate St.Ives, 2011
Martin CreedWork No. 200. Half the air in a given space, at Tate St.Ives, 2011

Martin Creed - Work No. 204. Half the air in a given space, 1999, dimensions variable, City Gallery, Historic Water Tower, Chicago, 2012, Photo- Nathan Keay, © MCA Chicago
Martin CreedWork No. 204. Half the air in a given space, 1999, dimensions variable, City Gallery, Historic Water Tower, Chicago, 2012
Photo: Nathan Keay, © MCA Chicago

Martin Creed - Work No. 247. Half the air in a given space, 2000, Museo de Arte Contemporanea de Vigo, 2011
Martin CreedWork No. 247. Half the air in a given space, 2000, Museo de Arte Contemporanea de Vigo, 2011

Martin Creed - Work No. 247. Half the air in a given space, 2000, Museo de Arte Contemporanea de Vigo, 2011
Martin CreedWork No. 247. Half the air in a given space, 2000, Museo de Arte Contemporanea de Vigo, 2011

Martin Creed - Work No. 247. Half the air in a given space, 2000, Museo de Arte Contemporanea de Vigo, 2011, Photo by Moby
Martin CreedWork No. 247. Half the air in a given space, 2000, Museo de Arte Contemporanea de Vigo, 2011
Photo: Moby

Martin Creed - Work No. 247. Half the air in a given space, 2000, Museo de Arte Contemporanea de Vigo, 2011
Martin CreedWork No. 247. Half the air in a given space, 2000, Museo de Arte Contemporanea de Vigo, 2011

Martin Creed - Work No. 329. Half the air in a given space, 2004. Rennie Collection
Martin CreedWork No. 329. Half the air in a given space, 2004, Rennie Collection

Martin Creed - Work No. 329. Half the Air in a Given Space
Martin CreedWork No. 329. Half the air in a given space

Martin Creed - Work No. 360. Half the Air in a Given Space, 2015, Henry Art Gallery, University of Washington, Seattle, Photo by Evan Chakroff
Martin CreedWork No. 360. Half the air in a given space, Henry Art Gallery, University of Washington, Seattle, 2015
Photo by Evan Chakroff

Martin Creed - Work No. 360. Half the Air in a Given Space, 2015, Henry Art Gallery, University of Washington, Seattle
Martin CreedWork No. 360. Half the air in a given space, Henry Art Gallery, University of Washington, Seattle, 2015

Martin Creed - Work No. 965. Half the Air in a Given Space, 2008, multiple pieces, The Cleveland Museum Of Art
Martin CreedWork No. 965. Half the air in a given space, 2008, multiple pieces, The Cleveland Museum Of Art

Martin Creed - Work No. 965. Half the Air in a Given Space, 2008, multiple pieces, The Cleveland Museum Of Art
Martin CreedWork No. 965. Half the air in a given space, 2008, multiple pieces, The Cleveland Museum Of Art

Martin Creed - Work No. 1562. Half the air in a given space, 2015, THEMUSEUM, Kitchener, Canada
Martin CreedWork No. 1562. Half the air in a given space, THEMUSEUM, Kitchener, Canada, 2015

Martin Creed - Work No. 1562. Half the air in a given space, 2015, THEMUSEUM, Kitchener, Canada
Martin CreedWork No. 1562. Half the air in a given space, THEMUSEUM, Kitchener, Canada, 2015

Martin Creed - Work No. 1562. Half the air in a given space, 2015, THEMUSEUM, Kitchener, Canada
Martin CreedWork No. 1562. Half the air in a given space, THEMUSEUM, Kitchener, Canada, 2015

Martin Creed - Work No. 2497. Half the air in a given space, 2015, Park Avenue Armory
Martin CreedWork No. 2497. Half the air in a given space, Park Avenue Armory, NYC, 2015

Martin Creed - Work No. 2497. Half the air in a given space, 2015. dimensions variable. Phoenix Art Museum. Courtesy the artist and Hauser & Wirth
Martin CreedWork No. 2497. Half the air in a given space, dimensions variable. Phoenix Art Museum
Courtesy the artist and Hauser & Wirth


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Why are hundreds of shirts flying in the air?

Why are hundreds of shirts flying in the air?

Kaarina-Kaikkonen-Hanging-Clothes-Helsinki
Kaarina Kaikkonen – Helsinki, Finland

Kaarina Kaikkonen is an artist best known for creating sculptural works using recycled materials, notably second-hand clothing seen in her memorable jacket installations. The environment is incorporated into these installations in some way, resulting in a beautiful, colorful cloth landscape. Each garment individually tells a story as an extension of its past wearer, and as a group they come together to create a history and visual retelling of their space.

About Kaarina Kaikkonen

Kaarina Kaikkonen (b. 1952) began as a painter, but has become known as a sculptor who shapes the urban landscape and makes installations emphasizing the sense of community. Kaikkonen studied at the Finnish Academy of Fine Arts School in 1978-1983. Kaikkonen’s first installation was on display in Helsinki in 1988. In Finland, one of her most famous works is the Way -installation, which she built on the steps of Helsinki Cathedral in 2000.

Kaarina Kaikkonen - Networking, 2009 - Piazza Calderini, Bologna, Italy
Kaarina KaikkonenNetworking, 2009 – Piazza Calderini, Bologna, Italy

Kaarina Kaikkone - Prato contemporanea - Crossing Borders - 1
Kaarina Kaikkonen – Prato contemporanea – Crossing Borders, 2014, Firenze, Italy

Kaarina Kaikkone - Prato contemporanea - Crossing Borders - 2
Kaarina Kaikkonen – Prato contemporanea – Crossing Borders, 2014, Firenze, Italy

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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

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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Acclaimed photo series: Chinese people are staring at the sea

Acclaimed photo series: Chinese people are staring at the sea

Weng Fen – Staring at the Sea, 2004, No. 1, c-print, 125x165cm

Weng FenStaring at the Sea, 2004, No. 1, c-print, 125x165cm

The transitional phases and changes in China since its opening up in the 1980’s, both physically and emotionally, have been the source of inspiration for Weng Fen (b. 1961) and his work. In his earlier series Sitting on the Wall and Bird’s Eye View, Weng’s epic images focus on the upraising of urbanism in cities such as Haikou, Shanghai and Shenzhen. His subjects start out as outsiders looking into this overwhelming transformation with anticipation, fear and curiosity to being in the centre of it all. Weng then follows and evolves inwardly, shifting his attention from physical changes to emotional and spiritual transformations, from urban cities to rural countries, exploring the possibility of finding an otherworldly utopia, a place that may have existed all along in our hearts and minds, in our memories and those innocent times, which results in the acclaimed Staring at The Sea series.

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More Chinese girls staring into the future

More Chinese girls staring into the future

Weng Fen – Bird’s Eye View – Heikou, 2002
Weng FenBird’s Eye View – Heikou, 2002

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