Amsterdam based artist Berndnaut Smilde is known for his cloud installations. After the TIME magazine listed them as one of the Top 10 inventions of 2012, people’s fascination with Smilde’s work became widespread. The latest cloud installation, called Nimbus Green Room, took place this summer at the Veterans Building in downtown San Francisco. Here is how artist comments on this project: It’s not so much about the shape of the cloud but about placing it out of its natural context. It brings duality, because you can’t really grasp how to interpret the situation you are viewing. People have always had strong metaphysical connections to clouds as they symbolize the ominous. Even though the clouds look spontaneous, each takes meticulous preparation. The room has to have the right temperature and humidity for the effect to last several seconds. Probably the most fleeting installation in history, Numbus creates a profound impact. And each chosen room adds new context and atmosphere. Watch the film about the Nimbus project to see it in the making.
James Turrell’s latest exhibition, A Retrospective, pays homage to a much celebrated career spanning over half a century. The exhibition is currently being shown at LACMA, where Turrell himself was a driving force behind the curation of his work with instruction; you have to reserve a ticket and there are strict maximum capacities of certain pieces. Such detailing of experience is imperative to his work. Installations that encompass entire rooms and yet are composed of singular lines encompass minimalist principles at best, with vast impact through light and scale. Born in California, Turrell’s career has seen the composition of works that comprise a combination of light projections, prints, drawings and installations. This latest exhibition is about exploring sensory deprivation and highlights work from his past and most recent works. Said to have been a key artist in the Southern California Light and Space movement of the 1960s and 70s, the importance of this exhibition is great. Turrell says, I make spaces that apprehend light in our perception, and in some ways gather it, or seem to hold it. His work is represented across the US and throughout Europe and is not about light, or a record of light; it is...
Australian artist and designer Belinda Winkler has produced yet another series to the evolution of her beautiful voluptuous forms, respectively named Gravity + Align + Brink. The collections evoke connections, sensually, emotionally and imaginatively, all embodying a recurring theme of light and shadow while playing on a sense of tension between the objects. Finished from a combination of porcelain and bronze, this minimalist artist describes the process as soft, dove grey dewy forms emerging from their moulds. Winkler has contributed to both solo and group exhibitions, having won awards internationally and within Australia, where she studied. She is based in Hobart, Tasmania where she creates her sculptures and public art. Self described as a maker by nature, her work is represented by the Bett Gallery in Hobart, Tasmania. Described as biotic minimalism, I find her work to be extremely beautiful, intriguing and playful. The performance that each piece plays on gravity, and the traditional expectations of form is incredible and challenges the imagination. Gravity + Align + Brink all tempt touch, be that with the eyes, the hands, the memory or the imagination where the relationship between forms, where curve almost meets curve, nearly, but not quite touching, creating a...
Last month we featured the talented Bern-based Studio Zimoun and their wonderful sound sculptures. The studio’s latest offering is no exception. Introducing thier first permanent installation, Zimoun closely collaborated with architect Hannes Zweifel, producing a large, towering mechanical sound sculpture inside a beautiful abandoned toluene tank from 1951, located in Dottikon, Switzerland. The installation presents a complex kinetic sound sculpture, this time with 329 DC-motors and cotton balls arranged meticulously throughout the interior fabric of the space, producing a stunningly stark appearance and hypnotic hum. I’m happy this is a permanent installation, as it gives me time to get out there and see it for myself. Great work. → Watch the Toluene Tank installation video
2084 is a wall lamp by French-born product designer and visual artist Geoffroy Gillant, whose design intent uses the electric cord to suspend the lamp, maintaining an equilibrium and lightness. Electric cords are often left aside the conception of lamps and therefore rarely considered as part of their aesthetic. In the contrary, the cord of “2084″ is used as a structural element that allows a modular lighting, so the lamp could adapt to various daily needs. I especially love this element behind Gillant’s design since it not only challenges what we expect from an ubiquitous object, but it has also produced a visually inspiring silhouette that changes the illumination of a space so elegantly, and so cleverly. There is something so beautiful in the sharp contrast of how even the light is against the minimalist black linear tubes and wires. Gillant had worked with ToolsGalerie to produce an edition exhibited for their gallery which was made with black leather over bended PMMA tubes and dimmable LED strips. Images courtesy of Geoffroy Gillant.
Having previously been featured on Minimalissimo, thrilling us with his exceptional sound installations, Swiss artist Zimoun has returned with three new terrific pieces. It is one in particular that I would like to share with you however – 198 prepared DC-motors, wire isolated, cardboard boxes. Curated by CAN Neuchatel, this installation not only offers a beautiful minimalist aesthetic, but it also embodies some of the purest elements of contemporary culture – constant speed, constant noise and constant motion. In an obsessive display of simple and functional materials, these works articulate a tension between the orderly patterns of Modernism and the chaotic forces of life. Carrying an emotional depth, the acoustic hum of natural phenomena in Zimoun’s minimalist constructions, effortlessly reverberates. → Watch the 198 DC-motors video
Trace Heavens by James Nizam, is an installation that plays with light in its natural form, through manipulation of the building it exists through. Primarily, his work is based on manipulating the form of homes and buildings slated for demolition with the intention to repurpose their inevitable future, through capturing a moment. The resulting works are photographic. Trace Heavens was originally composed in 2011, and exhibited in Vancouver in 2012. Nizam, originally from England, now living in Canada, is represented in galleries across Canada and Switzerland. His work is a combined portfolio of his own solo work, and collaborations with other artists, across these geographical platforms. His work can be found in a number of private collections across the United States, Europe and Canada also. Trace Heavens, as well as Nizam’s other work, centres around the idea of the rooms becoming backdrops for the discarded contents and architectural debris that he accumulated and constructed into sculptures of elegant complexity. The emphasis on re-inventing and giving meaning to an otherwise discarded object, through manipulation of its form, is at the heart of this inquiry of Nizam’s understanding of the photograph as a trace; a documentary image that comes to act as...
Fabian Bürgy is a Swiss born sculptor and independent digital creative, who’s diverse and artistic practice includes sculpture, installation and digital imaging. His work explores the aesthetic of things through random encounters of materials, misplaced situations and spatial relationships. It is a series of Bürgy’s incredible installations and digital creations that I would like to share with you here. He creates conceptual situations and small interventions, which are inspired by a wide range of mundane objects and appearances. All of which are characterised by a slightly violent and disturbing process of transformation, misplacement and dysfunction of things. Bürgy takes specific thoughts and develops conflicts with precise and absolutely minimalistic means – constantly exploring the point where known things become something else, where metamorphosis is reached. Personal favourite has to be the lonely and misplaced black cloud floating in space. Wonderful.
Danish design office, Kollision, who specialise in interaction design, recently introduced me to their truly remarkable kinetic media sculpture, Spine. Spine is an interactive installation based on twenty glowing cubes and an atmospheric sound composition. Each cube is moved precisely in fluid motions by two computer-controlled motors. The movements of the cubes as well as the sound composition react to nearby visitors by working together as one coherent expression in dialogue with the surroundings – a fifty meter long spine floating in space continually displaying new movements, light scenes and sounds. Spine was displayed between November 15th and December 15th 2012 at Godsbanen in Aarhus, Denmark, during the Media Architecture Biennale 2012. Did any of you see this in person? What I find particularly striking about Spine, beyond the basic geometric shapes, is the different atmospheres it can create for passers by. I only wish I was one of them. To better appreciate this installation, please watch the video to see the lighting and sound effects in action.
Richard Long (b. 1945) is an English artist working in the mediums of painting, photography and sculpture. He is perhaps best known as a land artist, and the works featured here derive from this genre. Beautiful installations of natural material, including rock and bark, arranged in meticulous geometric forms. Whether situated in modern or old buildings, outdoors or near the sea, they never cease to juxtapose their surroundings exquisitely. Having seen some of this work in person at AGNSW recently, I was particularly impressed by their scale and struck with a feeling of awe. Can anyone else relay an encounter of Long’s work?
Italian street artist Moneyless creates two and three dimensional abstract installations made of cotton threads combined with geometrical paintings often featured in forests and open fields of green across Europe. His Ropes installations, many of which appear to be floating in the air, are not only impressive, but they have a structural simplicity and neatness, which I really do enjoy. Moneyless explains: My shapes are reduced to the minimum, at the same time they carry some kind of an intense tension, an invisible movement; most of my patterns hide multiple visions and different perspectives. I think my art now speaks through geometry. It’s an art I haven’t often come across and so I hope you enjoy these as much as I do.
In March of this year, multidisciplinary designers Signe Emma and Alice Young produced and exhibited an installation titled The Edge, at the Stour Space Gallery in Hackney Wick, London. The beautifully crafted project focuses on the vulnerability of the Eurozone, illustrating how the Euro is teetering ever closer to the edge of collapse. To demonstrate the effect of this collapse we used 100 sheets of A0 paper, which were individually cut to represent the imminence of a foreclosing gap. The assembly of the economy is ultimately the bane of its existence as expressed through each layer and finally to the last where none of the edges of the countries are cut out. An almost transparent Euro symbol in the top left hand corner serves to further the idea of weakness in the currency. I really enjoy the visual effect and simplicity of this installation whilst communicating a very complex issue. Very nice work.