Related posts:

1. Displacements / Displacements 2005 Displacements is an immersive film installation. An archetypal Americana living room was installed in an exhibition space. Then two performers were filmed in the space using a 16mm motion picture camera on a slowly rotating turntable in the room’s center. After filming, the camera was replaced with a film loop projector and the entire contents of the room were spray-painted white. The reason was to make a projection screen the right shape for projecting everything back onto itself. The result was that everything appears strikingly 3D, except for the people, who of course weren’t spray-paint white, and consequently appeared very ghostlike and unreal. Displacements was produced three times between 1980 and 1984. By the third time, at the San Francisco Museum of Modern Art in 1984, it was done. Twenty-one years later, in 2005, my long-time friend and colleague Brenda Laurel cajoled me into a redux. The young couple in the original living room are now middle age with a teenage daughter. Mom is still pensive, Dad still watches TV, and the daugther is curious. Displacements 2005 was shot and projected in digital video rather than 16mm film, which, it turns out, was much more challenging. Displacements - Michael Naimark from today and tomorrow on Vimeo. See also: "Two Unusual Projection Spaces" Presence journal, Special Issue on Projection, MIT Press, 14.5, October 2005. "Spatial Correspondence in Motion Picture Display" SPIE Proceedings, vol. 462, Optics and Entertainment, Los Angeles, 1984 Exhibitions Naimark 1977-1997 Exhibition, Art Center College of Design, Pasadena, 2005 "Displacements," San Francisco Museum of Modern Art, San Francisco, 1984 "Movie Room," Center for Advanced Visual Studies, M.I.T., 1980 "Beyond Object," Aspen Art Museum, Aspen, 1980 Original Credits Concept and Production: Michael Naimark Special Advisors: Patty Graves and Bob Armstrong Performers: Madelyn Morton and JC Garrett Photography: Scott Fisher Supported by the MIT Council for the Arts, the NEA Media Arts Fellowships, the Society for the Encouragement of Contemporary Arts of the SF MOMA, and Austin Conckey. 2005 Credits Thanks to Stephen Nowlin, Julian Goldwhite, Peter Lunenfeld, Nikolaus Hafermaas, and Nate Young; Peter Di Sabatino, Brenda Laurel, and Katelyn McDougle; Matthew Biederman, Bernie Lubell, Matt McKissick, and Ludmil Trenkov; and Mark Bolas, Paul Debevec, and special thanks to Perry Hoberman via Dembot

2. 

   10 South Street, New York, NY (Map) 31 May – 10 August 2008 Open Friday, Saturday, Sunday: Noon – 6PM (Free) Opening Reception: 31 May, 6–8 PM [Download press release] Creative Time Presents Playing the Building: An Installation by David Byrne

   Playing the building is a sound installation in which the infrastructure, the physical plant of the building, is converted into a giant musical instrument. Devices are attached to the building structure — to the metal beams and pillars, the heating pipes, the water pipes — and are used to make these things produce sound. The activations are of three types: wind, vibration, striking. The devices do not produce sound themselves, but they cause the building elements to vibrate, resonate and oscillate so that the building itself becomes a very large musical instrument.

   via David Byrne

   hat tip Quipsologies

Related posts brought to you by Yet Another Related Posts Plugin.

Cy Twombly, Untitled (from Blooming. A Scattering of Blossoms & Other Things), 2007

BILBAO - Coinciding with Cy Twombly’s eightieth birthday, the Guggenheim Museum Bilbao will present the most important monographic exhibition that any Spanish institution has ever dedicated to this artist—one of the most influential of the latter half of the 20th century and the dawn of the 21st—from October 28, 2008, to February 15, 2009, organized in collaboration with the Tate Modern in London.

A selection of nearly 100 works, including paintings, sculptures and drawings, will occupy the second floor and one gallery on the first floor, with particular emphasis on the most important thematic series created by the artist over the course of his career. Saving a few exceptions, the works are arranged in chronological order.

Cy Twombly, Cold Stream, 1966.

This exhibition also emphasizes the museum’s special relationship and commitment to this artist in recent years with the 2007 acquisition of his series Nine Discourses on Commodus (1963), the first unitarily conceived series that Cy Twombly has ever designed and around which the exhibit revolves. The curator of the exhibition is Carmen Giménez, a great expert on the artist’s work who was also responsible for organizing Cy Twombly in spring 1987, the first major retrospective of this artist in Spain. The show was curated by Harald Szeemann and presented in the Palacio de Velázquez and the Palacio de Cristal in Madrid while she was director of the National Exhibitions Centre. Previously, in 1986, Cy Twombly was among the artist included in the inaugural exhibition of the Centro de Arte Reina Sofía entitled Referencias: un encuentro artístico en el tiempo (References: An Artistic Encounter in Time), also curated by Carmen Giménez. Later on, in autumn 1987, the exhibition of La Colección Sonnabend (The Sonnabend Collection), curated by Jean Louis Froment at the same museum also included a significant representation of the artist’s work.

The presentation of the works that comprise this unique monographic show establishes an interesting dialogue with the unmistakable architecture of Frank Gehry’s building, whose curving galleries and great fanlights bring out the strength of Twombly’s work and the rich tonalities and textures of his paintings and sculptures.

via Artdaily.org

Related posts:

1. Tate Liverpool Albert Dock Liverpool Fourth floor galleries Peter Blake: A Retrospective June 29-September 23, 2008 A highly influential and original artist, Peter Blake is often described as the godfather of British Pop art. The Tate Liverpool exhibition will survey his rich and diverse oeuvre, presenting familiar works alongside other rarely-seen ones. The show will include major iconic works such as On the Balcony (1955-57), Self-Portrait with Badges (1961), The Toy Shop (1962), The Beatles (1963-68) and ‘The Meeting’ or ‘Have a Nice Day, Mr Hockney’ (1981-83). It will conclude with recent works, such as the Marcel Duchamp World Tour, a project which has occupied the artist for the last decade. At the core of Blake’s work has been his fascination with popular culture, including music, film and sports. A prolific artist, he has worked in a variety of media including painting, drawing, printmaking, illustration, collage and sculpture. During the late 1950s and early 1960s Blake became one of the best-known British Pop artists. He defined a specifically British pop aesthetic and, has on several occasions, seamlessly blended his work with popular culture itself, the best known examples being his cover for the Beatles album Sergeant Pepper’s Lonely Hearts Club Band and the recent cover design for Stop the Clocks by Oasis. Read on and view more work here. via Art Tattler | Tate Collection
2. Have you ever felt drawn to a particular painting, sculpture, or handmade thing but you weren't quite sure why? It could be that the item was made by an artist who infused his or her chi into the work. The spirit energy per say of the artist; focused emotional energy implanted in the piece while it was being made. The artist puts an impression of his spirit and mental energy into the work. Even with all the best technique in the world, a painting that lacks chi also lacks a certain vitality, that kind of ephemeral underlying energy that draws me to some work. via Modern Art Quotes
3. Kunstmuseum Bonn Presents Today Bulgarian Artist Nedko Solakov - Emotions

   

   BONN, GERMANY.- Kunstmuseum Bonn presents today Nedko Solakov - Emotions, on view through November 16, 2008. Nedko Solakov’s broadly spanned, sprawling and formally almost uncontainable work is thematically one great assault on any demand for the perfect, the definitive and the unequivocal. Beginning with his education in wall painting at the Art Academy in Sophia, the Bulgarian artist, born 1957, has developed an oeuvre just as humorous as it is playful, as biting as it is melancholic, and which fundamentally calls in question any kind of representative system. Since his exhibitions at Ujazdow Castle near Warsaw (2000), New York’s PS1 (2001), the Rooseum, Malmö and the Reina Sofia, Madrid (2003) and, at the very latest, since his participation in the Venice Biennale (2007) and documenta 12 (2007), Solakov has been at the cutting edge of current European art. Kunstmuseum Bonn is now devoting the first large, institutional survey of this important work in Germany, which includes artworks from the end of the 1980s to 2007, combined with pieces that the artist has created specifically for this exhibit. In hardly any other work does the artist’s fundamental skepticism towards our longing for clarity and lucidity become so explicit as in A Life (Black & White), conceived in 1998, in which a painter paints the walls of a gallery white, while a second painter covers the white paint black, whose effort is in turn painted over by the first painter in white, for the entire duration of the exhibition. Across the entire formulation of his work, it has been Solakov’s aspiration to compile an encyclopedia of the absurd, the arcane, a history of deviations, differences, embarrassments and broken utopias. The breakdown of the communist system at the end of the 1980s was a defining experience and, at the same time, the curtain-raiser for his search for a new, personal language (Encyclopaedia Utopia, 1989/90) with which the complexity and fragility of reality could be adequately expressed. Top Secret (1989/90), the publication of an index box, filled with a series of cards detailing the artist’s youthful collaboration with the Bulgarian secret police, which he stopped in 1983, at one fell swoop makes absolutely clear the artist’s method that is both provocative and rejects any kind of safety net. In Bulgaria, nineteen years after the changeover, the official files remain closed, and there are no publicly known documents on the artist’s collaboration. His drawings, texts, videos, photographs, performances, installations, sculptures and murals scratch at the seemingly smooth surface of collective truths, call the givens of the art system and art market into question (A (not so) White Cube, 2001, Leftovers, 2005), reflect on failure as a metaphor of human existence with the help of his own publicly admitted anxieties (Fear, 2002/3), and discover the paradox in the course of political history as the dominant structure in Discussion (Property), 2007). Solakov’s ability to touch on all these different thematic fields in the form of stories that hold a precise balance between poetic-rhapsodic pleasure in the narration and constant ironic ruptures makes this work not only thoroughly unmistakable, but to the greatest degree also entertaining and humorous. Re-blog via ArtDaily

Related posts brought to you by Yet Another Related Posts Plugin.

10 South Street, New York, NY (Map)
31 May – 10 August 2008
Open Friday, Saturday, Sunday: Noon – 6PM (Free)
Opening Reception: 31 May, 6–8 PM [Download press release]

Creative Time Presents Playing the Building: An Installation by David Byrne

Playing the building is a sound installation in which the infrastructure, the physical plant of the building, is converted into a giant musical instrument. Devices are attached to the building structure — to the metal beams and pillars, the heating pipes, the water pipes — and are used to make these things produce sound. The activations are of three types: wind, vibration, striking. The devices do not produce sound themselves, but they cause the building elements to vibrate, resonate and oscillate so that the building itself becomes a very large musical instrument.

via David Byrne

hat tip Quipsologies

Related posts:

1. Thought someone here might be interested. Enjoy.
2. One of your remarkable discoveries is that water responds to words, whether they are spoken, written, or even thought, as in prayer. Kind, uplifting words tend to produce beautifully shaped water crystals, while angry discordant expressions have produced warped crystals. via HADO | Interview with Dr. Emoto
3. Fold Loud by JooYoun Paek is a (de)constructing musical play interface that uses origami paper-folding techniques and ritualistic Taoist principles to give users a sense of slow, soothing relaxation. Fold Loud interconnects ancient traditions and modern technology by combining origami, vocal sound and interactive techniques. Unlike mainstream technology intended for fast-paced life, Fold Loud is healing, recovering and balancing. Playing Fold Loud involves folding origami shapes to create soothing harmonic vocal sounds. Each fold is assigned to a different human vocal sound so that combinations of folds create harmonies. via JooYoun Paek | hat tip Swiss Miss

Related posts brought to you by Yet Another Related Posts Plugin.

Rather than a conventional opening bridge mechanism, consisting of a single rigid element that lifts to let boats pass, the Rolling Bridge gets out of the way by curling up until its two ends touch. While in its horizontal position, the bridge is a normal, inconspicuous steel and timber footbridge; fully open, it forms a circle on one bank of the water that bears little resemblance to its former self. Twelve metres long, the bridge is made in eight steel and timber sections, and is made to curl by hydraulic rams set into the handrail between each section.

The Rolling Bridge won the 2005 British Structural Steel Award.

Related posts:

1. One of your remarkable discoveries is that water responds to words, whether they are spoken, written, or even thought, as in prayer. Kind, uplifting words tend to produce beautifully shaped water crystals, while angry discordant expressions have produced warped crystals. via HADO | Interview with Dr. Emoto

Related posts brought to you by Yet Another Related Posts Plugin.