Stretching to infinity with the help of two mirrors – one on the ceiling, another on the floor – and colour changing LED lights. I’m not sure about the ”heaven” part, the effect is more like ”as above so below”, with worshippers debating on which direction is better to take.
From ”Yayoi Kusama: EVERY DAY I PRAY FOR LOVE”, an exhibition at David Zwirner, New York, 2019
November 29th, 2019
The Gaze Within (The Hour Blue) (2011-2013), by Jan Fabre
Royal Museums of Fine Arts of Belgium [Musée Oldmasters Museum], Brussels
October 19th, 2019
by Chiharu Shiota
‘‘Chiharu Shiota’s (Osaka, 1972) spectacular installations transform the spaces in which they unfold, and immerse the visitor in the artist’s universe. They combine textile materials such as wool and cotton with various elements, sculpted shapes or used objects.
The artist combines performance, body art and installation in a process that places the body at its center. Her protean artistic practice explores the notions of temporality, movement, memory and dream; and requires both the mental and physical involvement of the spectator. Chiharu Shiota’s highly acclaimed participation in the Venice Biennale, where she represented Japan in 2015, confirmed the international scope of her work.
Me Somewhere Else (2018), a work of great visual strength, occupies a very special place in the artist’s production. Shiota talks about her fight against her illness, and the certainty that her mind will survive her body. “Before I was diagnosed with cancer I thought that if I die, everything about me is going to die; I am going to die, but now I know only my body dies – not my mind. My mind remains somewhere else.”
Royal Museums of Fine Arts of Belgium
October 19th, 2019
”Cosmic Latte, refers to the name of the average color of the universe, which in 2009 was determined to be more beige than what has been traditionally thought of as blue. Two American astrophysicists studied the color of the light emitted by 200,000 galaxies and created a cosmic spectrum, which they then blended according to the light spectrum visible to human eyes. Finch represents that specific warm, yellowish-white shade of light with LED lights (designed to look like incandescent bulbs), which are then arranged in the shape of the molecular models of the pigments needed to create this “cosmic latte” color: titanium white, Mars yellow, chrome yellow, and a touch of cadmium red.” [source]
”North Adams is still an ideal place to live and to bring up children. We have the mountains. In the summertime, it’s not as hot as in the big cities. You have the change of seasons. You can see the change of scenery on the mountains. You see the trees blossoming, which is a beautiful sight. In the wintertime, the woods have a tremendous attraction. There’s a lot of noise in the woods in the winter. You see the footprints of so many animals. Of course, we get accustomed to this and don’t notice it as much. But those people who left North Adams miss the mountains. That’s the first thing they mention when they come back.”
– Benjamin Apkin, 78 years old (1996)
From a series of interviews with local residents, gathered and edited by author and historian Joe Manning
MASS MoCA, North Adams, MA
September 2nd, 2019
Dark || Stark || Emotional || Intense. Art that will stop you in your tracks.
Images from the Anselm Kiefer long-term exhibition:
die Schechina (Sefiroth), 2010
Painted resin dress, glass shards, steel, numbered glass discs, and wire in inscribed glass and steel vitrine
Engel-Sturz (The Fall of the Angels), 2010
Painted cotton dresses, wire, steel frame, glass pane, and oil, emulsion, acrylic, shellac, clay on canvas in inscribed glass and steel vitrine
Jakobs Traum (Jacob’s Dream), 2010
Lead ladder, painted cotton dresses, wire, resin fern, and oil, emulsion, acrylic, shellac, clay on canvas in inscribed glass and steel vitrine
Étroits sont les vaisseaux (Narrow are the Vessels), 2002 (detail)
concrete, steel, lead and earth
The Women of the Revolution (Les Femmes de la Révolution), 1992/2013 (detail)
Lead beds: dimensions variable
Winterwald (Winter Forest), 2010 (detail)
Oil, emulsion, acrylic, shellac, ash, thorn bushes, synthetic teeth, and snakeskin on canvas in glass and steel frames
Velimir Chlebnikov, 2004 (detail)
30 paintings: oil, emulsion, acrylic, lead and mixed media on canvas
MASS MoCA, North Adams, MA
September 2nd, 2019
Except the one by Michael Oatman; this one is still standing.
”The Shining is a 1970s-era satellite in the form of an Airstream trailer, that has seemingly just crash-landed; it was inspired by an earlier era of pulp aeronauts such as Buck Rogers, Tom Swift, and Tom Corbett: Space Cadet, as well as the works of Giotto, Jules Verne, NASA, and Chris Marker’s 1962 film La Jetée.
Intrepid visitors can climb a staircase through the Boiler House and enter the craft where they will encounter The Library of the Sun. Hybridizing a domestic space, a laboratory, and a library, this tight environment has the feel of a hermitage, where the occupant will “be right back,” only it is now 30 years later. Videos relating to the sun and its mythology flicker to life on the cockpit’s instrumentation panels.
Once inside the craft, visitors will be able to view Codex Solis, a massive field of photovoltaic (PVs) or solar panels. At 50kw, the field generates 3% of the power consumed by MASS MoCA. Within this 230-foot long grid, mirrors are interspersed in the middle of the field, the reflective gaps suggesting an absent text. The arrangement of mirrors and solar panels is based on a specific quote by an unnamed author, and will not be revealed by the artist; instead the public will be encouraged to spend time with the piece, watch the reflected sky, and solve the riddle as birds and planes, inverted, fly by.” [source]
MASS MoCA, North Adams, MA
September 2nd, 2019
”We interact with an infinity of objects from birth to the grave.
Over time our ‘belongings’ become more steeped and resonant with memory and nostalgia.
In many ways, personal objects express aspects of who we are — our identity: our values: our statements and choices.
The passages of time through which we exist become defined by the objects with which we interact.
The artefacts contained within the earthen mound — partially buried — partially excavated — have all played a part in my life.
I have had a special connection to each item presented — a connection that has been hard to relinquish.
In time, we will all disappear from this earth.
This is our destiny.
What will we leave behind? Who will remember us — and for how long?
The mound is a glorious metaphor for the ultimate conclusion of all material manifestations.
We cling — consciously or unconsciously to ‘things’ that are endowed with emotional significance — keeping memories alive, while the uncomfortable awareness of the inevitable moment of departure is held at bay.‘
Annie Lennox, May 2019
The exhibition was accompanied by a printed “field guide” in which Lennox annotated many of the objects on display, identifying the objects and adding recollections, personal stories, and provenance. [source & guide]
MASS MoCA, North Adams, MA
September 2nd, 2019
Mind of the Mound: Critical Mass by Trenton Doyle Hancock
MASS MoCA, North Adams, MA
September 1st, 2019
Welcome to Trenton Doyle Hancock’s Moundverse
What is a Moundverse… I hear you ask? Watch this space, you are about to find out.
MASS MoCA, North Adams, MA
September 1st, 2019
But, what exactly is Realness?
From an exhibition at MASS MoCA
North Adams, MA
September 1st, 2019
subjective worldview
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