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    Overflowing with Flora and Fauna, Collaged Paper Installations Comment on Earth’s Dwindling Biodiversity

    
    Art

    #animals
    #found photographs
    #installation
    #nature
    #paper
    #plants

    October 21, 2020
    Grace Ebert

    “Intimate Immensity” (2016). Photograph by Trevor Good. All images © Clare Börsch, shared with permission
    Sprawling across paint-chipped walls and tiny alcoves, the collaged installations of artist Clare Börsch mimic overgrown jungles and whimsical forest scenes. Layers of flora, fauna, and the occasional gemstone or human figure comprise the amorphous paper artworks as they transform spaces into fantastical ecosystems.
    In a note to Colossal, Börsch shares that she began her artistic practice as a way to translate her dreams, which are often lucid and informed by memories and a strong tie to nature, into physical objects that others could immerse themselves in. “Growing up in Brazil, I had the ocean, rivers, and jungles that always existed in stark contrast to the industrial cities (I lived in Sao Paulo). So my earliest and most formative memories are of lush, humming tropical ecosystems —and the encroaching industrial landscapes of Brazil’s cities,” she says.
    The Berlin-based American artist sources her many of the vintage photographs from open source archives, including the Biodiversity Heritage Library (previously), Pixabay, and Unsplash. Some of the botanical elements she draws or photographs herself before cutting around the organic elements and assembling them in new, sometimes bizarre, compositions.

    Jungle installation commissioned by Book A Street Artist Berlin for Riem Arcaden in Munich. Photograph by the artist
    Despite the vibrancy and lively qualities of the three-dimensional collages, Börsch uses her artworks to reflect on the ongoing climate crisis and destruction of biodiversity, commentary that’s laced with themes of decay and death. She explains:
    This came into focus for me when I made a series of collages and then later realized that many of the species in the vintage illustrations had already gone extinct. Humanity has wiped out 68% of all our planet’s biodiversity since 1970, so working with vintage illustrations can be very heartbreaking as much of the diversity in these gorgeous old naturalist prints has been wiped out by human activity.
    Since then, Börsch has been collaborating with scientist Louisa Durkin, of the Nordic Academy of Biodiversity and Systematics Studies, to identify ways the artworks can spark awareness and dialogue about environmental issues. “I often say that I do not want my art to be a funerary dirge for everything we could have saved,” she says.
    In recent months, Börsch has been working on a commissioned series that will culminate in a forthcoming book, titled Why Do Tigers Have Whiskers? And Other Cool Things About Animals, which is scheduled for release by Thames & Hudson in May 2021. Follow the artist on Instagram to see her latest projects, including an immersive installation commenting on regenerative approaches to tackling problems of biodiversity, which she plans to unveil in early November. (thnx, Elsie!)

    “Intimate Immensity” (2016)
    “Intimate Immensity” (2016)
    Jungle installation commissioned by Book A Street Artist Berlin for Riem Arcaden in Munich
    Photograph by Kolja Raschke
    “Intimate Immensity” (2016). Photograph by Trevor Good
    Photograph by Kolja Raschke
    Photograph by Kolja Raschke

    #animals
    #found photographs
    #installation
    #nature
    #paper
    #plants

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    Lustrous Strips of Glass Bisect Debris, Bricks, and Semi-Precious Stones in Ramon Todo’s Sculptures

    
    Art

    #found objects
    #gemstones
    #glass
    #installation
    #sculpture
    #stone

    October 16, 2020
    Grace Ebert

    “Debris” (2016), debris and layered glass. All images courtesy of Art Front Gallery, shared with permission
    Between gnarly chunks of concrete, basalt pillars, and smooth rounds of lapis lazuli, Ramon Todo (previously) positions sleek segments of layered glass. The Tokyo-born artist splices fragments of found objects that otherwise would be regarded as refuse, like a crumbling brick from Iizuka City or coal waste, to repurpose the existing material with a lustrous embellishment.
    Whether volcanic rock or chunks of demolished architecture, the resulting juxtapositions carry the original history, although they’re presented anew. “The characteristics of the place. The uniqueness of the place. Like the memories of the place and time,” the artist says in an interview about a recent solo show at Art Front Gallery in Tokyo. “I use the rocks, debris, Bota (stone similar to coal) for my works believing they have such memories inside. I used the glasses as material in the middle to peek into the time and the history of inside the rocks.”
    Find more of Todo’s textured sculptures on Artsy, and see where his work is headed next on Art Front’s site.

    (2015), basalt and glass
    (2015), basalt and glass
    “Debris 267703” (2016), debris and glass, 23 4/5 × 7 7/10 × 5 3/5 inches
    Top: “Debris – 267411” (2014), debris and glass, 8 1/10 × 23 3/5 × 7 1/10 inches. Left: “o.T-GS” (2018) stone and layered glass, 11 × 16 1/2 × 8 3/10 inches. Right: “o.T. -dtk267801″ (2016), stone from Datekan and glass, 7 1/5 × 7 1/5 × 7 inches
    (2015), basalt and glass
    “Afghanistan” (2017), Lapis lazuli and glass, 7/10 × 2 1/2 × 1 3/5 inches
    “Chikuho Coal waste #15” (2020), coal waste from Chikuho and glass, 12 3/5 × 12 1/10 × 5 3/5 inches
    “Chikuho Red Brick” (2020), brick pieces collected from Iizuka City and glass, 7 1/5 × 4 2/5 × 2 2/5 inches

    #found objects
    #gemstones
    #glass
    #installation
    #sculpture
    #stone

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    Two Fabric Homes by Artist Do Ho Suh Float Above an Atrium in Incheon International Airport

    
    Art

    #architecture
    #fabric
    #installation
    #sculpture

    October 13, 2020
    Grace Ebert

    “Home within Home” (2019), polyester fabric, stainless steel, 292.91 x 325.59 x 316.93 inches. Images © Do Ho Suh, courtesy of Lehmann Maupin, shared with permission
    Living and working in London, Korean artist Do Ho Suh (previously) is concerned with “home, physical space, displacement, memory, individuality, and collectivity,” ideas he evokes in his life-sized fabric sculptures and installations. His 2019 piece “Home within Home,” which is suspended from an atrium in Incheon International Airport in Seoul, positions two structures vertically, with the larger polyester and steel construction on top. This newer work evokes a similar piece from 2013, titled “Home Within Home Within Home Within Home Within Home,” which placed replicas of Suh’s former living spaces within one another, from his first house in South Korea to an apartment building in Rhode Island.
    Often using his own experiences as source material, Suh’s multi-media practice explores both the physical and metaphorical understandings of home as he considers the ways people occupy structures in specific times, locations, forms, and histories. “The spaces we inhabit also contain psychological energy, and in his work, he makes visible those markers of memories, personal experiences, and a sense of security, regardless of geographic location,” a statement about his practice says.
    Suh is represented by Lehmann Maupin, and you can explore more of the artist’s architectural sculptures, installations, and smaller works on the international gallery’s site.

    “Home within Home” (2019), polyester fabric, stainless steel, 292.91 x 325.59 x 316.93 inches
    “Home within Home” (2019), polyester fabric, stainless steel, 292.91 x 325.59 x 316.93 inches
    “Home within Home” (2019), polyester fabric, stainless steel, 292.91 x 325.59 x 316.93 inches
    “Passage/s” (2017)
    “Passage/s” (2017)

    #architecture
    #fabric
    #installation
    #sculpture

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    MIMOSA: An Optimistic Collection of Temporary Installations Take Over Philadelphia’s Navy Yard

    
    Art

    #cross-stitch
    #installation
    #language
    #piñatas
    #public art
    #wire

    September 23, 2020
    Grace Ebert

    Justin Favela’s “Libertad (Freedom).” All images courtesy of Group X, shared with permission
    An eclectic array of installations recently popped up at the Navy Yard in Philadelphia, transforming the historic neighborhood into a temporary wonderland teeming with quirky characters, large-scale interventions, and optimism. A life-size piñata shaped like a 1984 Thunderbird is parked on 12th Street, cross-stitched roses trail across the brick facade of Building 99, and a typographic message casts shadows on a pavilion in a call for hope.
    Officially titled Mystery Island and the Marvelous Occurrence of Spontaneous Art, or MIMOSA, the entirely outdoor exhibition includes work from seven artists DAKU (previously), Justin Favela (previously), Kid Hazo with South Fellini, Reed Bmore, Liesbet Bussche, and Raquel Rodrigo (previously). It’s a collaboration between the anonymous collective Group X and the Navy Yard, which was overrun in 2018 by a gargantuan sea monster. MIMOSA‘s six site-specific installations are spread across 1,200 acres.

    DAKU’s “Ray of Hope”
    Activated by sunlight, DAKU’s installation “Rays of Hope” casts shadows in 25 different languages on a brick terrace in Crescent Park. Throughout the day as the light shifts, so do the silhouettes on the ground. “The sun has always been associated as a symbol of energy and so is hope,” DAKU says. Rays of light metaphorically serve as “a symbol of positivity and optimism.”
    By translating the word “hope” into dozens of languages, the anonymous Indian street artist puts forth a welcoming vision. “When we see a native language, we have a sense of belonging and familiarity with the space. Especially in a foreign land or a place, it makes it more relatable,” DAKU writes. “Languages have been a part of every culture and (have their) own visual aesthetic… Culture is common ground for any language or a form of visual art, and if one comes to think of it, language plays an essential role. It binds the culture in forming into a community.”

    Justin Favela’s “Libertad (Freedom)”
    A nod to his mother’s first purchase after immigrating from Guatemala to the United States in the 1980s, Favela’s paper-fringed car expands on the myth of “The American Dream.” “The promise that if you keep your head down, work really hard and save your money… you, too, can own a home with a two-car garage, get married, have kids, build an empire, and live an abundant and dignified life,” he says. Through his large-scale piñatas, Favela conveys stories like his mother’s, particularly in relation to her longing to return to Central America. “What about the immigrants that come here and realize that they moved to a country that does not want them here? Their stories are also important,” he says.
    Questions about identity, including his own as a first-generation, queer, Latinx American, and the experiences of people who have immigrated to the U.S. face inform Favela’s artworks. He subverts common narratives by offering a revised way of thinking centered on joy:
    What are we when we are not viewed as just a labor force? What if we stopped taking pride in suffering and the sacrifices that we had to make? What if we valued joy? Mental health? What if we could take a couple of days of…just because!? What would happen if could just be ourselves? When will we all be free?
    See the latest from GroupX and follow the installations popping up next in The Navy Yard on Instagram. If you’re in Philadelphia, check out MIMOSA before it closes November 2.

    DAKU’s “Ray of Hope”
    Raquel Rodrigo’s “Florecer (Flourish)”
    Reed Bmore’s “Bittersweetvine”
    Liesbet Bussche’s “Rusty Love / Urban Jewelry”
    Kid Hazo + South Fellini’s “Where the Wild Jawns Are”

    #cross-stitch
    #installation
    #language
    #piñatas
    #public art
    #wire

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    Uncoiled Rope Sprawls Across Canvases and Open Spaces in Organic Forms by Artist Janaina Mello Landini

    
    Art

    #installation
    #neural networks
    #rope
    #sculpture
    #trees

    September 3, 2020
    Grace Ebert

    “Ciclotrama (expansão)” (2019), 4 Ciclotramas of “expansion” series with varied sizes, black and blue ropes, 270 x 600 x 400 centimeters. Zipper Galeria, São Paulo, Brazil. Photo by Gui Gomes. All images © Janaina Mello Landini, shared with permission
    Janaina Mello Landini (previously) unbraids lengths of rope to create fibrous labyrinths that breach canvases’ edges and crawl from floor to ceiling. Including both sprawling site-specific installations and smaller pieces confined to a few dozen centimeters, the São Paulo-based artist’s body of work is broad. All of her projects, though, explore tension and space as they spread into arboreal forms or perfectly round networks.
    Her recent works include a massive tree-like installation that fans out across Zipper Gallery’s floor and walls into delicate, tape blossoms. Another is a smaller, numbered piece that was born from the artist’s response to the ongoing COVID-19 pandemic.  “My days are quite slow now, no more assistants around, but I’m still working and thinking a lot,” she shares with Colossal and notes that at the beginning of lockdowns, she completed “Ciclotrama 177 (Fibonacci),” which is shown below.
    Since 2010, Landini has been contributing to her Ciclotrama series, a moniker that defines each piece. “The social cartography of individual networks shows the infinite interconnectedness of personal trajectories throughout a system, society, and the world as a whole. The movement of bodies (ropes) and the relationship between rhythm and time are also fundamental aspects of these series,” she says.
    To dive further into Landini’s work, check out her Instagram or Artsy, and take a virtual tour of her recent show at Zipper Gallery.

    “Ciclotrama 177 (Fibonacci)” (2020), cotton threads and acrylic pen on canvas, 1.7 x 1.7 meters. Photo by Lucas Cimino
    “Ciclotrama 177 (Fibonacci)” (2020), cotton threads and acrylic pen on canvas, 1.7 x 1.7 meters. Photo by Lucas Cimino
    “Ciclotrama 141 (épura)” (2019), 20 meters of handmade cotton rope diameter 24 centimeters and 2880 meters of paper tape, 700 x 800 x 1600 centimeters. Zipper Galeria, São Paulo, Brazil. Photo by Gui Gomes
    Left: “Ciclotrama 153 (aglomeração)” (2020), rope on canvas, 43 3/10 × 43 3/10 inches. Right: “Ciclotrama 124” (2018), Dipado rope sewed on natural linen, 78 7/10 × 78 7/10 × 2 inches
    “Ciclotrama 141 (épura)” (2019), 20 meters of handmade cotton rope diameter 24 centimeters and 2880 meters of paper tape, 700 x 800 x 1600 centimeters. Photo by Gui Gomes
    “Ciclotrama (expansão)” (2019), 4 Ciclotramas of “expansion” series with varied sizes, black and blue ropes, 270 x 600 x 400 centimeters. Zipper Galeria, São Paulo, Brazil. Photo by Gui Gomes
    “Ciclotrama (expansão)” (2019), 4 Ciclotramas of “expansion” series with varied sizes, black and blue ropes, 270 x 600 x 400 centimeters. Zipper Galeria, São Paulo, Brazil. Photo by Gui Gomes
    “Ciclotrama 141 (épura)” (2019), 20 meters of handmade cotton rope diameter 24 centimeters and 2880 meters of paper tape, 700 x 800 x 1600 centimeters. Photo by Gui Gomes
    “Ciclotrama 141 (épura)” (2019), 20 meters of handmade cotton rope diameter 24 centimeters and 2880 meters of paper tape, 700 x 800 x 1600 centimeters. Photo by Gui Gomes
    “Ciclotrama 174 (impregnação)” (2019), 50 meters of black nylon rope 40 millimeters diameter and 4.200 black nails, 6 x 7 x 5 meters. Photo by Gui Gomes

    #installation
    #neural networks
    #rope
    #sculpture
    #trees

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    Suspended Orbs, Webs, and Air Plants Imagine an Alternative Ecological Future by Artist Tomás Saraceno

    
    Art

    #air
    #balloons
    #climate change
    #glass
    #installation
    #light
    #mirrors
    #plants

    September 1, 2020
    Grace Ebert

    “Thermodynamic Constellation.” All images © Tomás Saraceno, courtesy of Palazzo Strozzi by Ela Bialkowska, OKNO Studio, shared with permission
    Three reflective spheres hover above the courtyard of Florence’s Palazzo Strozzi in Tomás Saraceno’s immersive installation.  The metallic orbs mirror the historic Renaissance architecture in addition to visitors who pass by, while marking the entrance to the imagined space that explores life beyond anthropocentrism. As its name suggests, Aria is concerned with air, encompassing human travel, its ability to foster growth, and how it’s entwined with every living organism.
    The Argentinian artist (previously) is known for his large-scale works that fall at the intersection of science and art and consider the human toll on the natural world. Throughout Aria are various experiences dealing with contemporary environmental issues: Glass forms hang from the ceiling and house Tillandsia plants, which need only air to survive, while “A Thermodynamic Imaginary” considers the immensity of the sun and its unused potential.
    Each of the works also references one of Saraceno’s 33 arachnomancy cards that explore ecological interconnectivity. References to arachnids manifest in the complex systems that hold Weaire–Phelan structures in “Connectome” or in the stark “Aerographies,” a series of clear balloons and framed networks that explore how “the movements of people, heat, animals, and spider/webs affect and are affected by the air,” a statement from Saraceno says.
    Ecosystems have to be thought of as webs of interactions, within which each living being’s ecology co‐evolves, together with those of others. By focusing less on individuals and more on reciprocal relationships, we might think beyond what means are necessary to control our environments and more on the shared formation of our quotidian.
    If you’re in Florence, stop by the Palazzo Strozzi to see Saraceno’s work before it closes on November 1, 2020. Otherwise, find out more about what he has planned for the rest of the year, which includes a new solar-powered balloon, on his site and Instagram. (via This Isn’t Happiness)

    “Thermodynamic Constellation”
    “Flying Gardens,” (2020), Tillandsia plants and hand-blown glass
    “Thermodynamic Constellation”
    “Thermodynamic Constellation”
    “Aerographies,” by Studio Tomás Saraceno
    “Connectome”
    “A Thermodynamic Imaginary”

    #air
    #balloons
    #climate change
    #glass
    #installation
    #light
    #mirrors
    #plants

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    A Prismatic Installation with Giant, Abstract Forms Sweeps Across a Berlin Museum

    
    Art

    #abstract
    #installation
    #painting

    September 1, 2020
    Grace Ebert

    “It Wasn’t Us“ (2020), Hamburger Bahnhof – Museum für Gegenwart. All images © Katharina Grosse, VG Bild-Kunst, Bonn 202o. Photos by Jens Ziehe
    Katharina Grosse’s latest installation transcends the boundaries of the Hamburger Bahnhof – Museum für Gegenwart as it erupts into a sprawling kaleidoscope. From varicolored surges inside to the vast paintings on the ground and nearby outdoor walls, “It Wasn’t Us” is an expansive artwork on the site of a former railway building. As visitors walk throughout the work, the abstract forms swell in various directions, creating a new visual at each angle. “I painted my way out of the building,” Grosse (previously) said about the site-specific project.
    “It Wasn’t Us” will be on view at the Berlin museum until October 1, 2021, and if you can’t experience it in person, watch the immersive video and interview with the artist below. To dive further into Grosse’s work, purchase a copy of her forthcoming monograph or check out her Instagram. (via designboom)

    

    #abstract
    #installation
    #painting

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    Step Inside Petrit Halilaj’s Monumental Nest of Oversized Flowers Within Reina Sofia’s Palacio de Cristal

    
    Art

    #birds
    #flowers
    #installation
    #love

    August 28, 2020
    Christopher Jobson

    “To a raven and hurricanes that from unknown places bring back smells of humans in love,” 2020. Exhibition view at Palacio de Cristal. All photos courtesy Petrit Halilaj and © Museo Nacional Centro de Arte Reina Sofía, Madrid. Photo by ImagenSubliminal (Miguel de Guzmán and Rocío Romero). Shared with permisison.
    Bowerbirds are renowned for one of the most unusual courtship behaviors in the animal kingdom, where males build elaborately decorated nests—called bowers—in an attempt to court a mate. Kosovar visual artist Petrit Halilaj drew inspiration from this unique ritual for his first solo exhibition at Reina Sofia’s Palacio de Cristal (previously) in Madrid. Titled “To a raven and the hurricanes which bring back smells of humans in love from unknown places,” the installation serves as a metaphorical nest that connects the inside and outside spaces of the palace and features several avian elements like trays of birdseed and a giant pair of bird’s feet that descend from above.
    The collection of artworks is actually a collaborative effort between Halijaj and his life partner artist Álvaro Urbano, who helped construct the oversized forsythia, palm seeds, cherry blossom, poppy, carnation, and lily that fill the space. “I wanted to conceive Palacio de Cristal as a place for the celebration of love,” Halijaj shares. From the museum’s release:

    There is something strange and disproportionate about the size of this nest, the gigantic scale of its flowers, and the comfort and centrality it offers the birds. The artist thus suspends the logo-centric perspective that makes us believe we are the center and measure of all things, encouraging us to recognize ourselves as just one more element among many. The nest is thus revealed as the setting for a ritual that lies in wait for encounters, alliances and unions among its different visitors, altering and changing with the space.

    “To a raven…” is open now through February 28, 2021 at the Palacio de Cristal, and you can see more views on Yellowtrace.

    #birds
    #flowers
    #installation
    #love

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