Ryoji Ikeda - The Transfinite (2011)
“A huge, immersive, electronic light-and-sound installation consisting of an immense wall — 54 feet wide by 40 feet tall — which serves as a screen for streaming video projections.
On one side, horizontal black, gray and white stripes and bands divided into left and right sections scroll downward, flickering furiously to the sound of aggressively percussive, buzzing and whistling electronic music emitted by powerful speakers. The bar-code-like patterns extend across the white floor in front of the wall, where visitors who have doffed their shoes may loll, dance or meditate. It’s like a walk-in, animated Op Art painting.
On the other side, the floor is covered by soft black fabric and the wall is flooded by finely articulated, incomprehensibly complicated numerical and graphic data.
What is it to be human in such a universe? What values other than statistical ones sustain us?”
Freaking prolific as all hell in my opinion. He deals with a lot of subject matter, but I find his pieces that deal with the holocaust to be the most poignent.
Gego (Gertrud Goldschmidt) - Reticulárea, 1969-1980s, aluminum and stainless steel wire
These have always bothered me, in some obvious ways and some not-so-obvious ways. I’ve been reluctant to post them until now. I’m not sure why.
Berlinde de Bruyckere - We are All Flesh (2004-12)
“An unsettling, reconfigured concept of the body, helpless and contorted, takes center stage in Bruyckere’s faceless sculptures. Abject deformation is turned into beauty as if the artist were trying to wrest a shape from abstract form.”
Guy Laramee - The Cloud of Unknowing (2008)
“Beat away at the cloud of unknowing…with the sharp dart of longing love.”
by Jiri Kovanda
Installation III 15 March 1979, Prague is the documentation of an installation work, made and then photographed by the artist. The black and white photograph shows a long wooden pole, made of two shorter wooden poles strapped together with string. The pole stretches from the floor to the ceiling in a room resembling an empty gallery space. It is propped against a beam in the ceiling, and casts a distinct shadow in the space. As it stands unfixed, its uncertain balance seems to express the notion of a moment captured in time. The tension between a sense of the ephemeral and the fixedness of an exact time and place is central to Kovanda’s practice, as is indicated by the precise documentation of his interventions. Read More
i can’t remember if i reblogged this already or not… but it’s amazing.