Flood installation by Alban Guého has been selected to participate in Paris in the next nuit blanche festival. The theme for this year is the climate echoing the COP 21 to be held in December 2015. A project with a minimalist look focusing on an essential matter for the planet. In recent years many extreme natural phenomena took place in the world with a frequency that is accelerating. The history of Paris has also experienced remarkable weather conditions including in 1910 with an exceptional flood that inundated much of the town and paralyzed public transport. This phenomenon of heavy precipitation remained, and over 100 years on should become more frequent due to the current climate change. Flood serves as a reminder of the fragility of our planet. This installation is composed of two overlying structures, placed opposite to one another on the floor and ceiling, connected by a series of PVC sections. A black liquid, either oil or paint, will be pumped through the PVC representing the slow and continuous degradation of natural elements and resources. A strong impression. A strong message. Support this beautiful project on Kickstarter.
Categorized “Art & Illustration”
Experiments in Natural Philosophy is Australian artist Todd Robinson‘s latest exhibition, having just wrapped up at the Galerie Pompom in Sydney, where large balloon sculptures combine a form of proto-engineering with weird yet wonderful studies in comparative materiality. This new body of work draws on an ongoing series of balloon inspired sculptures featured in his previous exhibitions, which feature balloons that droop and slump as the force of gravity appears to bear down upon them, presenting Robinson’s inquiry into sculptural presence, materiality and conditions of audience reception. In conceiving this body of work, Robinson references the history of science and Natural Philosophy, a predecessor of modern science that had yet to dismiss the concept of nature, rendering imaginary forces visible of which we are unaware, yet appear natural to conventional observation.
Imagine taking a stroll through the beautiful city of Rio de Janeiro, enjoying breathtaking views of the natural landscape that embraces the city. While visiting the famous Parque Lage you notice an unusual structure inside the central Palace. When you dare to enter the tiny citadel, everything is covered in plastic and overtly orange. You’ve been lured in by the art collective known as Penique Productions. The duo builds customized inflatable balloons that fit and fill their chosen venue, guerrilla style: Penique Productions appropriates the original site that loses its routine to become part of the work getting a new identity. The balloon acts as a border and frames a new space. The container is also the content blurring the idea of the art object. The beauty of this site specific lies in numerous factors: the invasion of space by a vessel that manages to alter the perception of a visitor but does not harm the building in any way; it denies the original textures to shower it with a homogeneous quality; and finally, it works as conceptual exercise in reduction and simplification. It is a variation of minimalism when a classic building, filled with details and adornments, finds itself...
The conflict between what the architect has on his mind and what is actually possible to build will always be a significant factor for pushing the possibilities of new technology and constructions. Fortunately, contemporary professionals can visualize and test their valued creations beforehand with digital tools; sometimes it’s the ideal method to clearly grasp the boundaries of each creation. Nevertheless, what happens when an architecture project is intentionally otherworldly? Italy-based artist Michele Durazzi explores many possibilities of surreal and grandiose buildings — the only limits he inflicts himself is a clear minimalist preference towards geometry and simple visual compositions. For each scenario, Durazzi lays a unique perspective for the camera and arranges the duality between human and construction carefully. On every building, there is an inquisitive inclusion of a guest; most are playfully or comfortably enjoying this absurd world around them. The white color plays a vital role as it reduces everything down to the essential: the symmetrical structures and exploration of details and textures. Of all the possibilities digital art can bestow to a creator, it is a pleasure to see a curious brand of minimalism and fantastic architecture take the center stage.
Crafted by Canadian artist Karen Zalamea, Pierre/Paysage (Stone/Landscape in French) is a collection of ten photographic images presenting transformed representations of space. Layers of acetate were cut into different geometric shapes, carefully positioned and lit to create different formal arrangements, alluding to abstract yet quite tangible architectonic, topographic and cartographic silhouettes – at once diaphanous and yet surprisingly solid. Zalamea’s work is involved in the material concerns of image-making practices, often incorporating intricate processes that fuse elements of drawing, sculpture, and performance in her photographic and video production. A stunning feat to coordinate so many disciplines into such sophisticated, minimalistic outputs.
Light in Water is a remarkably beautiful installation developed by Parisian DGT architects, initially four years ago during Milan Design Week, but has now been relaunched in the Éléphant Paname Art and Dance Centre, located in Paris, for its opening event of 2015. Sixteen rings of slotted tubes fitted to the ceiling, with each hole providing sixty drops of water per second falling due to gravity, for a total amount of three tons of water continually recirculating in the space. This creates an immersive and sensitive experience using two different tones of light. The architects tell us: Light and water are essences of everything; without any light and water, there is no evolution in life for all. Light in Water is part of the exhibition Lumieres — The Play of Brilliants and will be exhibited until 31 May.
Sarah Oppenheimer is challenging the distinction between art and architecture with a unique collection of windows and wall openings. Using wall incisions and glass as her mediums, Oppenheimer blurs the line between room and painting. From 2012 to present, Oppenheimer’s work has been featured in the PPOW Gallery in New York City, as well as in Kunsthaus Baselland and Von Bartha Garage in Switzerland. While each piece is unique in its form and location, they all bear striking similarities. Glass and black aluminum jut from the walls in a playful geometry. Each opening looks different from various angles and distances. These pieces play with the mind as they distort the structural components of the room and challenge our perception of size and space. The use of glass and cut-outs invites the user to interact with the work by looking out a window or passing through a doorway. In this sense Oppenheimer’s series is firmly rooted in architecture, as we rarely get the chance to interact with art in this way. Yet it is impossible not to relate the aesthetic of these pieces to the oversized cubist paintings of artists past and present. These gorgeous designs are architecture, painting, and sculpture all at once; a combination...
Dish 60 by Minimalux is a seductive and sophisticated gesture to the professional desktop. Amid the gadgets of interconnectedness, this piece sits as a sculptural nuance. Made with a stainless steel base and from solid brass, mirror polished by hand and electroplated in black nickel, this bowl is beautifully crafted. Also available in a plain, non-plated brass finish, this 60mm x 30mm piece is available through Leibal. The Liebal Store is a place of curated items focused on quality, minimalism and functionality. Dish 60 is no exception. Photography courtesy of Liebal Store.
A Wallpaper* Design Award 2015 winner for Best Brand Extension, the Vipp Shelter is a minimalist prefabricated house designed by Danish design company Vipp. This monochromatic 55m2 structure is designed to be placed in the natural setting of your choice. Furniture, appliances, lighting, tableware and towels have already been picked out and will be waiting for you on your first arrival, six months after you place your order. It contains a large kitchen with a dining and living area, a hall, separate bathroom and a stunning loft space. Morten Bo Jensen, Vipp’s chief designer, explains: We see the house as a product (such as a caravan, yacht, private jet, etc.) and not as a piece of architecture — hence the name “shelter”. The design is completely fixed and everything down to the smallest detail is designed in advance. 75 years of experience with steel processing is used to craft this prefabricated object designed to perfection. The only choice left to the customer is where to place it. So it is neither a house nor a mobile home. Rather it is a spacious, functional, and liveable industrial object. Amazing. Photography courtesy of Vipp.
Wide Eyed Legless is the blog and labour of love of Minneapolis-based designer and stylist Madelynn Furlong, who has now unveiled her latest project — The WEL shop, filled with highly curated goods that represent Wide Eyed Legless’ minimalist aesthetic and values. Drawn from collaborations with like-minded friends, WEL seeks to form a relationship between visual artists, designers and those who wish to inherit beautiful objects into their lives. We see ourselves as a “communal well” to partake of art and beauty — a place to celebrate the creator, the cerated and the space between. WEL’s selection of clothes, accessories, jewellery and art objects are beautifully offset by impeccable art direction and Liz Gardner and Bodega‘s styling. Everything in the shop is limited edition with only 10 or less of each piece, with most being even just 1 of 1. Photography by Caylon Hackwith.
Born in Eindhoven, Dutch abstract painter Arjan Janssen is the creator of incredibly striking, minimal canvases. With a background in art and philosophy, Janssen’s abstract work, with reduced elements, is always vertically oriented, keeping it grounded. He writes: I try to achieve this by the way I work with the material. You can see and feel the working process in the lines and in the paint. In the composition there are always elements which pull the work downwards. His arrangements, often muted and dark, alongside the balanced geometric elements placed upon the canvas, gives the viewer a sense of mystery. My art moves between being withdrawn into myself and being outwardly directed. A tension that requires a delicate balance. Beautiful work.
A hundred years after the start of the First World War in 1914, The International Memorial Notre-Dame de Lorette was inaugurated last week, to reconcile the 580,000 casualties of the war in northern France. With a great sense of respect, regardless of nationality, rank or religion, all names have been written in alphabetical order on three-metre high walls, along a giant elliptical ring comprised of concrete for the exterior, and inset with 500 copper-toned panels. The memorial has been designed be the architect Philippe Prost and explains that he looked for a sense of unity with this form: I was thinking about the rings you make when you’re a child, or a human ring when everyone holds each other’s hands in a sign of fellowship, and that seemed to me like the image, the form, best suited to speaking about these soldiers killed in the Nord-Pas-de-Calais region, and who today are brought together all in one place. Brusque and delicate at the same time, symbolic and sensitive, a work full of emotion that does not leave indifference.