Posts Tagged ‘Installation’

Tomás Saraceno: Arachnid Orchestra. Jam Sessions at NTU Centre for Contemporary Art Singapore

Tomás Saraceno, Omega Centauri 1 Nephila Kenianensis 4 Cyrtophora citricola, 2014; Spidersilk, carbon fibre, light, Tripod. Courtesy of the artist and Esther Schipper Gallery, Berlin.

The gallery hums with screechy sounds resembling acoustic feedback, punctuated by random bursts of bass and cartoonish sound effects. The soundscape is queasily amorphous and disorienting, built on dissonance and the chaotic rhythms resonating from a handful of arachnids that have woven fine, thick webs around delicate wire frames. Featuring a plethora of spiderweb sound installations, Tomás Saraceno’s latest show Arachnid Orchestra. Jam Sessions is[…..]

Vesna Pavlović: LOST ART at Zeitgeist Gallery

Vesna Pavlović. Video Still, May 25, 1979, Television, Belgrade. 2015. Endura metallic print. 20.5 x 14 inches. Image courtesy of the artist and Zeitgeist Gallery (Nashville, TN).

Oscillating between archival research, anthropological studies, conceptual photography, and documentary film, Lost Art—Zeitgeist Gallery’s current exhibition of the work of Vesna Pavlović—examines the artist’s deep engagement with institutional resources, specifically slides and photographic ephemera culled from university libraries and the Museum of Yugoslav History in Belgrade, Serbia. Founded in 1996, the museum is the result of the integration of two other institutions: the Museum of[…..]

Chen Zhen: Without Going to New York and Paris, Life Could Be Internationalised at Rockbund Art Museum

Chen Zhen, Purification Room, 2000 - 2015. found objects, clay, approx 850 x 1100 x 450cm, image courtesy Rockbund Museum and Galleria Continua, San Gimignano/Beijing/Les Moulins

Chen Zhen, who died (much too young) in Paris in 2000, was a significant artist with a hybrid Chinese and European identity. Although after 1986 he essentially lived and worked in Paris, his personal history and deep cultural roots lay in China, and specifically in Shanghai. From the mid-1990s he returned over and over to a city on fast-forward. Shanghai was undergoing a massive, controversial transformation,[…..]

Alejandro Almanza Pereda

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From our friends at Kadist Art Foundation in San Francisco, today we bring you a video of Alejandro Almanza Pereda’s installation at San Francisco Art Institute, which is installed in front of Diego Rivera’s famous mural The Making of a Fresco Showing the Building of a City (1930–1931). Almanza Pereda says, “We were thinking about how to re-think Diego’s piece, and question it a little bit, and question[…..]

Martin Creed: Work No. 360 at the Henry Art Gallery

Martin Creed. Work No. 360: Half the air in a given space, 2015. Installation view. Courtesy of the Henry Art Gallery, University of Washington, Seattle, Washington. Photo: RJ Sánchez, Solstream Studios.

Let’s just state the obvious: Martin Creed’s Work No. 360: Half the Air in a Given Space, on view at Henry Art Gallery, is insanely fun to experience. Pushing your way through a space filled (true to the installation’s title, only halfway) with over 37,000 pearly gray balloons is like being in a mosh pit, surrounded by marshmallows. It’s a ridiculous image, to be sure,[…..]

Talk to Me: Samuel Levi Jones at ProArts

Samuel Levi Jones. Talk to Me, 2015; installation view; mixed media on canvas. Courtesy of the Artist and Pro Arts Gallery, Oakland.

Shotgun Reviews are an open forum where we invite the international art community to contribute timely, short-format responses to an exhibition or event. If you are interested in submitting a Shotgun Review, please click this link for more information. In this Shotgun Review, Marie Martraire reviews Talk to Me: Samuel Levi Jones at ProArts in Oakland. In front of Oakland City Hall, thirty-three large square collages are hung on[…..]

Thomas Hirschhorn: In-Between at South London Gallery

Thomas Hirschhorn. In-Between, 2015; installation view, South London Gallery, London. Courtesy Thomas Hirschhorn. Photo: Mark Blower.

Thomas Hirschhorn’s show at the South London Gallery is a precarious, postapocalyptic mess. Collapsing floors are propped up with broken posts, and adjoining walls are held together by packing tape, which creates a foreboding sense that the installation could come down on the viewers at any moment. Yet the actual threat of fabricated precariousness is quite different than the threat posed to the viewer who[…..]