Minimalissimo


Categorized “Art & Illustration”

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


The String Lights installation, created by London based designer Michael Anastassiades for Italian brand Flos, was presented during Euroluche 2013 in Milan. Thin electrical cords, arranged into laconic shapes, held pendants, fitted with LED light sources. Here is how the designer describes his inspiration: Every time I take the train, I sit by the window and watch the series of perfectly parallel strings connecting the pylons, as we move at high speed. I love the way they divide the landscape and how spheres are occasionally beaded through the wires at random intervals. I also love how, in Mediterranean cultures, strings of lights are stretched between posts to mark an outdoor space for an evening party in a village square. And finally, I love how human ingenuity works around problems created by everyday things in the house (like switches and power points) that others have chosen to position where we don’t want them. I love how these delicate pensil-thin lines create the shapes our mind finishes and makes three-dimensional. Who ever said that the electrical cord is not a beautiful thing?


Toronto based visual artist, Kal Mansur, specialises in solid acrylic sculpture. It is Mansur’s minimalist styled Pixels collection that I am delighted to share with you today. The Pixels bring to mind scaled-down architectural models. Empty spaces, walls and blocks are suggested, subtly visible through the semi-opaque acrylic. There is no point of entry, sealed completely on all six sides. The viewer gets just a hint of the interior as available light creates shadows, exposing voids. Created in 2010 and 2011, each piece is made up of solid acrylic, beautifully hand carved, featuring straight painted lines. All measuring 16 x 16 x 3 inches, it is certainly the dark canvas sculptures that I find most striking, particularly that entitled, Secrets.


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...


Manhattan-based artist, Tim Furzer’s Atheist’s Day Off is a collection of photographic pieces taken from the summit of Sugar Loaf Mountain, Rio De Janeiro. This collection further cements his presence on an international platform as an emerging talent. Although his body of work is primarily comprised of watercolour in media, this collection taps into the fragility of the human state; of suspension and a certain unearthed-ness. Tim Furzer’s work focuses on the interconnection of natural phenomena, the persistence of chronic conditions and the inherent difficulty in recording moments of epiphany. The Atheist’s Day Off collection has both a luminescent and ethereal quality, where the feeling of being in-amongst and above the blanket of clouds is notable and voiced. The cable lines that disappear into the distance help with this withdrawal from gravity. Central to the work is the ideal of simplification – any subject or entity expressed by the complex interaction of energy and information. Initially exhibited in 2011, I find the composition expresses a beauty and lightness.


This week I have been reminded of the work of Yves Klein (1928-1962) who is perhaps best remembered as a painter of blue monochrome paintings. More specifically, he is known for the particular shade of blue paint employed in his paintings and sculptures, the trademarked International Klein Blue (IKB). But what has drawn my attention to Klein’s work this week is more the conceptual side of his practice (although this is not to imply that his blue monochromes are not conceptual), especially the work in which Klein explored (and exposed) throughout many mediums what he dubbed ‘the void.’ To this effect, Wikipedia recounts works by Klein such as a composition with no actual composition, painting without painting, and an exhibition without any content whatsoever (his Iris Clert Gallery exhibition of April, 1958). I’ve stressed in the past that where minimal art succeeds for me is in its ability to be reductive and to reveal the essence of being and matter. Klein took this to—what was at the time—extremes, and in his idiosyncratic grand and theatrical manner. We’re all better off for having him.


Chris Packer exhibited a series of paintings titled ‘The Planes’ for Factory 49 in February in what’s known as the ‘Office Space'; for the same duration, I exhibited a new project in the ‘Showroom’. The paintings were white canvases with cotton tape arranged geometrically across them; the cotton tape was white on the outside, but coloured on the underside. As a result, the white canvases were illuminated by the reflection of colour from the underside of tape in a very alluring way. In the catalogue available at the gallery, Packer comments: In the present work, the cotton tape acts as ground and curtain, at once carrying and hiding the painting. What struck me most with Packer’s exhibition was the way he utilised a small space with comparatively quite large paintings that were compositionally connected. Speaking of this aspect of his work on his website, Packer writes: Where you might ordinarily create a series which you then cull to make a cohesive offering, this show proceeded from a design based on the shape of the space, then isolated parts of the whole to produce independent ‘easel paintings’. It was a delight to exhibit alongside Packer and I look forward to seeing...


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.


Brazilian photographer and architecture student Vinícius Vitoriano Barbosa, based in São Paulo, has recently created a minimalist photographic paper series titled, Less is More. The whole concept of the project can be summarised in this phrase by legendary abstract expressionist painter Hans Hofmann: The ability to simplify means to eliminate the unnecessary so that the necessary may speak. Vitoriano explains that the goal was to find an object as simple as possible that was capable of creating diversity, textures, shadow and light: the essence of photography. The chosen object to achieve this, was paper. Through this simple and commonplace industrialised material, were framed compositions of organic shapes that recall nature. What I particularly like about this project is that it gives the viewer a chance to be in touch with the essence of photography, rather than distract them with the trivial. Vitoriano has produced something really quite beautiful with this series. Less is indeed more.


AaPFAFF is the artistic project of Catalan painter Guillermo Pfaff. His GRADO:0 exhibition in the prestigious La Taché gallery in Barcelona is an exploration in concise, self-contained geometry. His Portable Paintings, canvases that can be folded and stowed away at one’s leisure, are quite a pragmatic and maybe even revolutionary approach to art as a consumer product. I had the opportunity to ask the artist a few questions and was fascinated by his system and methodology, very minimalistic and sustainable in nature, consisting basically of producing art with minimal gestures and materials, as well as only producing work that has a specific finality. Quite the example of precision.


Dutch artist Ine Vermee, based in Tilburg, has created a minimal and tranquil series of colour planes carried out in enamel on steelplate, adopting a colour sample by the well-known American architect Richard Meier (Thirty Colours 2004) and beautifully demonstrating there is not simply one kind of white. 15 Meier Whites is currently being exhibited at the Arp Museum Bahnhof Rolandseck Remagen, Germany until March 3, 2013. Vermee writes: In this exhibition my work functions as a transition between the architecture of Richard Meier and the artworks in the Arp Museum. Here the main focus is how the colours and nuances of colour relate to each other, how they emerge in successions and gradations. If you happen to visit this exhibition, be sure to share your thoughts.


Italian abstract artist Agostino Bonalumi is renowned for his estroflessioni works or painting objects from 1960 to present. They are essentially made from structures and frames, which, when placed at the backs of canvases, causes them to stretch and deform, creating plays on light and shadow. The result allows the viewer to actively participate in each three dimensional piece. It is a collection of Bonalumni’s recent painting objects that I would like to share with you today. From 2010 to 2012, he has created these elegant and deceptively simple acrylic on canvas works. Gallery Vedovi, where Bonalumi’s work was recently exhibited, writes: Bonalumi uses special substructures in wood or metal to break the evenness of the canvas that lent it a plastic relief, thus allowing to capture light and to throw shadows on its own. The strength of these geometrical shapes is enhanced by the monochrome in a homogeneous, nuance free and flat colour. I would love to check out one of his exhibitions in the future. If any of you have had the pleasure, please share your thoughts.