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    Nøne Futbol Club’s ‘Hot Wheels’ Drive at the Dualities of Systems and Society

    Detail of “Work n°144 : Hot Wheels” from the series ‘Wheeling and dealing’ (2017), charred plane wood, 59 x 59 x 21 centimeters each. All images © ADAGP, Paris, 2025, courtesy of Nøne Futbol Club, shared with permission

    Nøne Futbol Club’s ‘Hot Wheels’ Drive at the Dualities of Systems and Society

    February 13, 2025

    Art

    Kate Mothes

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    Combining sculpture and performative interventions, Nøne Futbol Club—sometimes referred to as Nonefutbolclub—expresses conceptual messages through ephemeral objects and time-based actions. The name is the alias of Colas Claisse, who co-founded the project as a collective but now works solo under the moniker. The initiative continues to delve into potent dichotomies like tragedy and humor, vulnerability and security, disruption and calm, and politics and fiction. 

    “Nøne Futbol Club’s work may sometimes make you smile, but it can also be serious,” says a statement. “It highlights the violence inherent in our world, where speed and productivity are seen as all-powerful.” The artist describes the project’s role as one that “takes hold of our immediate environment,” expressing social divides and examining socio-political issues with a spark of wry humor.

    Installation view of “Work n°144 : Hot Wheels” from the series ‘Wheeling and dealing’ (2017), charred plane wood, 59 x 59 x 21 centimeters each

    An ongoing series of sculptures assume the form of tires fashioned from wooden rings. Scorched with fire, the series Wheeling and dealing includes multimedia works all titled “Work nº144: Hot Wheels.” The pieces appear in the guise of Cooper or Pirelli racing tires, yet upon closer inspection, they reveal their surprising composition. Layered meanings emerge through the flames, which initially create, and in some cases destroy, the works.

    Each life-size wooden object is made from sliced tree trunks that have been carbonized, producing the rich, black texture and facets redolent of treads. “Since a tree does not grow from its core but from the periphery of its trunk, the cracks resulting from combustion are created concentrically,” the artist says, describing how the resulting patterns mimic brand new, rubber car tires.

    A double entendre in the sense that the sculptures refer to the American toy brand of the same name and the literal temperature of the pieces as they burn, the artist plays with perception by creating a material that pretends to be another.

    Nøne Futbol Club continues to revel in this subtle deception, trapping the spectator in the simulacrum: “Subjected to form but destroying function, Wheeling and dealing introduces the silent unease of a double game: real tire or wood? Voluntary combustion or fatal car accident?”

    Detail of “Work n°144 : Hot Wheels”

    The series also spawns drawings made from charcoal chipped off of the sculptures when handled. Video works, such as the half-hour piece included below, chronicle the tires’ destruction in atmospheric landscapes. Bespoke molds cast tire shapes in plaster, aluminum, and—coming full circle—rubber. And later pieces incorporate puddles of metal underneath the tires, symbolizing overheating as the rims melt and serve as a display pedestal. Literally and figuratively a loop, the pieces define the cyclical nature of much of Nøne Futbol Club’s practice.

    The artist describes his approach as a “systematic hijacking or reversal of the system,” tapping into the powerful symbolism of objects that are burned or smashed amidst revolt. “Faced with a sense of powerlessness, car vandals and rioters seek an accessible way to convey a radical message,” he says. “As the embodiment of a comfortable and cushioned system, the car is a perfect target.”

    Nøne Futbol Club is slated to show work at Iconoscope Gallery in May in Montpellier and at MacBar in September in Lyon. Find more on his website and Instagram.

    “Work nº144: Hot Wheels” from the series ‘Wheeling and dealing’ (2017), burnt wood on paper, 100 x 77 centimeters

    “Work n°144 : Hot Wheels” from the series ‘Wheeling and dealing’ (2017), charred plane wood, 59 x 59 x 21 centimeters each

    “Work n°144 : Hot Wheels” from the series ‘Wheeling and dealing’ (2017), charred plane wood, 59 x 59 x 21 centimeters

    “Work nº144: Hot Wheels” from the series ‘Wheeling and dealing’ (2017), burnt wood on paper, 100 x 77 centimeters

    Still from “Work nº144: Hot wheels (Dompcevrin I)” (2017), video, 18 minutes, 23 seconds

    “Work nº144: Hot Wheels” from the series ‘Wheeling and dealing’ (2017), burnt wood, 28 x 82 x 103 centimeters

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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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    Hundreds of Photos of the New York Sky Pinned to a Massive, Spherical Sculpture by Sarah Sze

     ” Shorter than the Day” (2020), powder-coated aluminum and steel, 48 x 30 x 30 feet. All images © Sarah Sze by Nicholas Knight Artist Sarah Sze explores the myriad conceptions of time and space through a tremendous, new spherical sculpture. Titled “Shorter than the Day” —a reference to Emily Dickinson’s poem “Because I […] More

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     All images © Lane Shordee, Caitlind r.c. Brown, and Wayne Garrett, shared with permission One-hundred five hourglasses dangle from the entranceway ceiling at cSPACE King Edward in Calgary. Every day at both noon and midnight, the sand-filled vessels flip in tandem and reset. They’re part of a 2018 project called “Yesterday, Today, Tomorrow,” a site-specific […] More

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