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    Aerial Net Sculptures Loom Over Public Squares in Janet Echelman’s ‘Earthtime’ Installations

    
    Art

    #earthquakes
    #fiber art
    #installation
    #sculpture
    #site-specific
    #time

    October 7, 2021
    Grace Ebert

    “Earthtime 1.78” (2021), Vienna. All images © Janet Echelman, shared with permission
    Suspended in public squares and parks, the knotted sculptures that comprise Janet Echelman’s Earthtime series respond to the destructive, overpowering, and uncontrollable forces that impact life on the planet. The Boston-based artist (previously) braids nylon and polyurethane fibers into striped weavings that loom over passersby and glow with embedded lights after nightfall. With a single gust of air, the amorphous masses billow and contort into new forms. “Each time a single knot moves in the wind, the location of every other knot in the sculpture’s surface is changed in an ever-unfolding dance,” a statement about the series says.
    The outdoor installations are modeled after geological events that have extensive effects beyond their original locations and the power to increase the planet’s daily rotational speed. All of the titles allude to the number of seconds lost during a specific occurrence, with “Earthtime 1.78” referring to Japan’s 2011 earthquake and tsunami and “Earthtime 1.26” speaking to a 2010 tremor in Chile.
    Containing innumerable knots and weighing hundreds of pounds, the monumental nets are the product of countless hours and a team of architects, designers, and engineers who interpret scientific data to imagine the original form. Each mesh piece begins in the studio with techniques done by hand and on the loom, and the threads are custom-designed to be fifteen times stronger than steel once intertwined. This allows them to withstand and remain flexible as they’re exposed to the elements, a material component that serves as a metaphorical guide for human existence.
    Echelman will exhibit an iteration of “Earthtime 1.26” in Jeddah from December 2021 to April 2022, with another slated to be on view in Amsterdam this winter. You can see more of the prolific artist’s works on her site and Instagram.

    “Earthtime 1.26” (2021), Munich
    Detail of “Earthtime 1.26” (2021), Munich
    “Earthtime 1.78” (2021), Vienna
    “Earthtime 1.78” (2021), Helsinki
    “Earthtime 1.78” (2021), Vienna
    “Earthtime 1.78” (2021), Borås, Sweden

    #earthquakes
    #fiber art
    #installation
    #sculpture
    #site-specific
    #time

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    Woven Bamboo Installations by Tanabe Chikuunsai IV Sprout from Ceilings and Walls in Tangled Forms

    
    Art

    #bamboo
    #installation
    #site-specific
    #weaving
    #wood

    October 5, 2021
    Grace Ebert

    All images courtesy of Mingei Gallery, shared with permission
    Japanese artist Tanabe Chikuunsai IV threads strips of bamboo together into monumental works that appear to grow from walls and ceilings. His hollow, circular creations utilize a style of rough weaving that his family has practiced for generations—Tanabe’s father, grandfather, and great-grandfather all worked with traditional craft techniques and shared the name Chikuunsai, which translates to “bamboo cloud”—and result in installations that are massive in scale as they coil across rooms, stretch dozens of feet into the air, and loop around support beams.
    Because his family has been steeped in the practice for decades, Tanabe began weaving as a child, and today, he continues to build on the traditions he learned early on, expanding from smaller baskets and pods to larger, site-specific works made with the pliable wood material. “The appearance of my grandfather weaving a basket was very beautiful and elegant. I felt art. Now I feel that bamboo is the most beautiful material, and I believe that bamboo art has endless possibilities,” he tells Colossal.
    Tanabe currently lives in Sakai, near Osaka, and will show his spiraling constructions at the Baur Foundation in Geneva from November 16, 2021, to March 27, 2022. You can see more of his projects on Instagram.

    #bamboo
    #installation
    #site-specific
    #weaving
    #wood

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    Artist Thierry Mandon Lives in Suspended Domestic Scenes Within the Ghost Rooms of Severed Buildings

    
    Art

    #humor
    #performance art
    #public art
    #site-specific
    #video

    September 13, 2021
    Grace Ebert

    “Tableau vivant” (2007-2008). All images © Thierry Mandon, shared with permission
    Multidisciplinary artist Thierry Mandon casts himself as the subject of his satirical works as he reads in a bed hazardously suspended feet above the ground or sips a glass of wine at a halved dining table. The humorous and discomforting pieces, titled “Inside–Outside” and “Tableau vivant,” respectively, unveil a series of slow, solitary activities that, once outdoors, become a performative spectacle rather than a mundane moment. They speak to Mandon’s “search for harmony and for a stable unity between humans and their environment,” he says, as he literally slices and adheres domestic objects to a building’s facade.
    “Each video portrays a character that, as a kind of archetype of the individual, is confronted by his human condition, his limits, his power, and helplessness,” Mandon writes to Colossal. “These themes are rendered by works where two elements, two worlds are exposed in a precarious balance.”
    Mandon lives and works in Ardèche, France, and you can find a larger collection of his works on his site and Vimeo.

    [embedded content]
    “Inside–Outside” (2015)
    “Tableau vivant” (2007-2008)
    “Inside–Outside” (2015)
    “Inside–Outside” (2015)
    

    #humor
    #performance art
    #public art
    #site-specific
    #video

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    Entangled Figures Grasp a Small Footbridge Above a Philadelphia Street in Miguel Horn’s New Installation

    
    Art

    #aluminum
    #installation
    #public art
    #sculpture
    #site-specific
    #street art

    August 31, 2021
    Grace Ebert

    All images courtesy of Streets Dept, shared with permission
    Clinging to a concrete footbridge in Philadelphia are two groups of figures in tangled clusters. The striking installation is attached to a 20-foot walkway arched over 1200 Cuthbert Street in City Center and is the latest work of artist Miguel Horn, who is known for his fragmented sculptures and large-scale installations comprised of CNC-cut plates. Each of the forms in “ContraFuerte” features topographic layers constructed with thousands of stacked aluminum pieces—Horn shares much of his process from initial sketches to clay prototypes on Instagram—which fuse together to create figures that appear in the midst of struggle. Similar to the artist’s previous works that directly respond to their location, the oversized piece is designed to “grapple with the task to sustain, or raise up a bridge that spans the width of the street,” Horn says. (via Streets Dept)

    #aluminum
    #installation
    #public art
    #sculpture
    #site-specific
    #street art

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    Lights and Painted Blocks of Color Intersect in a Perspective-Bending Installation by Luftwerk

    
    Art

    #color
    #installation
    #LED lights
    #light
    #site-specific

    August 9, 2021
    Grace Ebert

    All images © Luftwerk, shared with permission
    A deceptively trippy installation by Chicago-based duo Luftwerk (previously) immerses viewers in a distorted environment of color and sound. Relying entirely on physical properties for its illusions, Open Square connects two spaces that are painted with clean, angled blocks of color in cool and warm tones. Prismatic LED lights flash across the rooms, skewing their boundaries and creating perpetually changing settings that appear to emerge and fade over time.
    The abstract installation is part of Factory Installed 2021, a group exhibition at Mattress Factory on view now through November 14. One of five projects, Luftwerk’s Open Square transforms the historic building into a kaleidoscopic experience that’s “designed to mesmerize and shed the outside world, holding limitless possibilities for exploration,” a statement says. “Developed throughout the Covid-19 lockdowns of 2020, the exhibition reflects on the habitat that defines our everyday experience.”
    Artists Petra Bachmaier and Sean Gallero are behind Luftwerk, and you can explore more of their site-specific installations on their site and Instagram.

    #color
    #installation
    #LED lights
    #light
    #site-specific

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    Thousands of Fresh and Artificial Flowers Overrun an Abandoned Convenience Store in a Small Michigan Town

    
    Art

    #consumerism
    #flowers
    #installation
    #site-specific
    #stores

    July 30, 2021
    Grace Ebert

    All images by Christian Gerard, courtesy of Lisa Waud, shared with permission
    Port Austin, Michigan, is a picturesque village on the Lake Huron shoreline lauded for its beaches, water sports, and vegetable-shaped rock formations. With a population in the hundreds, the small community relies heavily on tourism to fund its economy, a reality Detroit-based botanical artist Lisa Waud contended with in a recent pop-up installation in one of the town’s abandoned convenience stores.
    Titled “Party Store”—this colloquialism refers to a small shop selling snacks, alcohol, lottery tickets, and other cheap staples—the immersive project transforms a dilapidated space into a lush garden of fresh-cut flowers grown in Michigan and artificial replicas sourced from resale shops around the state. A water-damaged drop ceiling, stained carpeting, and wood paneling peek through the colorful botanicals, which envelop a commercial coffee machine, crawl across shelving, and bulge out of dimly lit coolers.

    Similar to her other site-specific works like her 2015 transformation of a condemned duplex in Detroit, Waud describes “Party Store” as a “cleansing reset,” one that uses the tension between life and decay as a prompt to consider cultural understandings of permanence and disposability. She references pieces like Robin Frohardt’s grocery store stocked with plastic food and Prada Marfa as influences, two large-scale projects that criticize consumerism through their satirical imitations of common and luxury goods. “In spending time in Port Austin, I recognized a similarity between its tourism culture and that of my hometown of Petoskey,” Waud writes in a statement. “The local economy relies on the tourists, but often the folks who come can have a ‘disposable’ quality to their visit, exemplified in the increase of consuming convenient items—often packaged in single-use plastic.”
    “Party Store” was dismantled after its July 16-18 run, when many of the materials were recycled or reused. “By installing flowers that will ultimately be composted into a space that historically sells items that cannot be biodegraded, I hoped to bridge a connection for responsible choice-making in its visitors’ future,” the artist says.
    To keep up with Waud’s floral transformations, head to her site and follow her on Instagram.

    #consumerism
    #flowers
    #installation
    #site-specific
    #stores

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    Interlocking Cable Ties Form Undulating Water and Biomorphic Sculptures by Sui Park

    
    Art

    #installation
    #sculpture
    #site-specific
    #waves

    July 28, 2021
    Grace Ebert

    “Undulating Beauty” (2018), black cable ties, 21 x 7.5 x 2.5 fee. All images © Sui Park, shared with permission
    Artist Sui Park (previously) zips together simple nylon cable ties to create sprawling biomorphic sculptures and site-specific installations that resemble heaving nighttime seas, prickly moss, and vibrant amorphous creatures. Park, who was born in Seoul and currently lives in New York, started hand-dying the uniform fasteners a few years ago to deepen the contrast between the mass-produced material and her spiky organic masses. “Each has a subtle difference in shape and angle, and when grouped and connected together to develop into a larger form, the subtlety creates a dynamic and a characteristic of my work,” she says.
    Whether suspended in a gallery or staked into a patch of grass, Park’s abstract pieces are porous, each revealing the surrounding environment through its body. This focus on permeability “opens the inner space of my work and makes the inside visible. At the same time, I think it opens and creates a moment to pause, reflect, and ponder personal imageries surrounding nature. Different shapes and angles of modules provide various perspectives of the inner space,” she shares.
    Park has multiple upcoming exhibitions, including shows running August 11 to November 27 at Cahoon Museum of American Art, September 7 to December 11 at Suwon Museum of Art, September 2021 to August 2023 at the Site-Responsive Art Biennale at I-Park Foundation, and another at Poikilo Museot starting in September. Until then, explore more of her sprawling installations and standalone pieces on Behance and Instagram.

    “Summer Vibe” (2021), hand-dyed cable ties and tent stakes, 
78th Street at Riverside Park, New York
    “Summer Vibe” (2021), hand-dyed cable ties and tent stakes, 
78th Street at Riverside Park, New York
    Detail of “Undulating Beauty” (2018), black cable ties, 21 x 7.5 x 2.5 feet
    “Experiment (Untitled)” (2021), monofilament
    “Experiment (Untitled)” (2021), monofilament
    Detail of “Where the Wind Stays” (2021), cable ties and monofilament
, I-Park Foundation, East Haddam, Connecticut
    “Where the Wind Stays” (2021), cable ties and monofilament
, I-Park Foundation, East Haddam, Connecticut
    Detail of “Moss” (2018), hand-dyed cable ties and tent stakes
    “Moss” (2018), hand-dyed cable ties and tent stakes
    “Where the Wind Stays” (2021), cable ties and monofilament
, I-Park Foundation, East Haddam, Connecticut

    #installation
    #sculpture
    #site-specific
    #waves

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    Sarah Sze Implants a Fragmented Installation of Individual Mirrors in a Lush Hudson Valley Landscape

    
    Art

    #installation
    #mirrors
    #site-specific

    July 8, 2021
    Grace Ebert

    “Fallen Sky” (2021) at Storm King Art Center, Mountainville, New York. Photos by Nick Knight, courtesy of Sarah Sze Studio, shared with permission
    Artist Sarah Sze (previously) is known for precisely arranging unique images like photos, paintings, projections into massive sculptural constellations that collapse time and space, and one of her newest installations works in a similar manner, drawing on the tensions between the individual and collective and past, present, and future. Nestled into the lush hillside of Storm King Arts Center in New York’s Hudson Valley, Sze’s “Fallen Sky” is comprised of 132 distinct pieces of polished stainless steel arranged in a fragmented circle.
    The sloping, slightly hidden installation, which is now part of the center’s permanent collection, reflects the landscape, shifting the mirrored images it displays depending on the time of day, season, and the location of the viewer. All of the grasses surrounding the metal components were chosen and planted by hand, creating a contrast between the sleek tops of the steel and the natural growths.
    Spanning 26 feet, the amorphous, segmented forms evoke the process of erosion and the ways elements change and deteriorate over time. Sze pairs “Fallen Sky” with an immersive collaged installation titled “Fifth Season,” which will be on view inside the center through November 8, an accompaniment that speaks to her vision for the pieces. “The relationship of the human to landscape is this age-old exploration of artists, but both works I’ve made are much more about how the landscape is fragile, it’s in flux, and our relationship to it is fractured,” she said in a recent interview. “I think this has to do with our generation. Our relationship to landscape is not one of owning it.”
    Sze speaks at length about the process behind “Fallen Sky” in the video below, and you can explore more of her projects on her site. (via designboom)

    

    #installation
    #mirrors
    #site-specific

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