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designboom | architecture & design magazine

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miranda july: eleven heavy things at MOCA 'pedestals for guilty ones', eleven heavy things moca pacific design center, 2011, photo by olivia jaffe
miranda july: eleven heavy things MOCA pacific design center, los angeles on now until october 23rd, 2011
'eleven heavy things' is an exhibition of interactive works by artist, filmmaker and writer miranda july. installed within the pacific design centre plaza at MOCA, los angeles, the series of 11 sculptures consists of cast fiberglass, steel-lined pieces which include pedestals to stand on, tablets fashioned with holes for body parts and freestanding abstract headresses. the work was first presented within the giardino delle vergini for the 53rd international venice art biennale and most recently at union square park in new york in 2010.

somebody app by miranda july sends a stranger to verbally deliver texts

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miranda july: eleven heavy things at MOCA

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miranda july: eleven heavy things at MOCA 'pedestals for guilty ones', eleven heavy things moca pacific design center, 2011, photo by olivia jaffe miranda july: eleven heavy things MOCA pacific design center, los angeles on now until october 23rd, 2011 'eleven heavy things' is an exhibition of interactive works by artist, filmmaker and writer miranda july.

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MCA Curator Rachel Kent on War Is Over! (if you want it): Yoko Ono

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MCA Chief Curator Rachel Kent discusses Yoko Ono's practice in the context of Ono's exhibition at MCA Australia, running 15 November 2013-23 February 2014. Learn more here: http://www.mca.com.au/exhibition/war-over-if-you-want-it-yoko-ono/

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Our designs for a temporary pavilion, erected in Chicago's Millennium Park as part of the Burnham Plan centennial celebrations in 2009, reflect Chicago's long tradition for embracing cutting edge architecture.

The design merged new formal concepts, while also incorporating hidden traces of Burnham and Bennett's organizational systems and architectural representations to produce a structure that was both complex but strikingly coherent.

The pavilion was composed of an intricate bent-aluminum frame, each element shaped and welded to create a unique curvilinear form. Outer and inner fabrics were wrapped tightly around the interior frame to create a distinctively fluid shape. The skins also served as screens for video-installations within the pavilion.

Viewed within the context of the wider Centennial celebrations, the pavilion's design and construction undoubtedly invited and encouraged public discourse on the future of cities. Designed and built to maximize recycling and re-use of materials, it will be undoubtedly be used again in the future, either in Chicago or other locations.

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We work at all scales and in all sectors. We create transformative cultural, corporate, residential and other spaces that work in synchronicity with their surroundings. 950 projects 44 countries 400 staff 55 nations Welcome to the interactive archive of Zaha Hadid Architects.

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VCD Approach

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Installation artworks (also sometimes described as ' environments') often occupy an entire room or gallery space that the spectator has to walk through in order to engage fully with the work of art. Some installations, however, are designed simply to be walked around and contemplated, or are so fragile that they can only be viewed from a doorway, or one end of a room. What makes installation art different from sculpture or other traditional art forms is that it is a complete unified experience, rather than a display of separate, individual artworks. The focus on how the viewer experiences the work and the desire to provide an intense experience for them is a dominant theme in installation art. As artist Ilya Kabakov said:

The main actor in the total installation, the main centre toward which everything is addressed, for which everything is intended, is the viewer.

Installation art emerged out of environments which artists such as Allan Kaprow, made from about 1957 onward, though there were important precursors, such as Kurt Schwitters's Merzbau 1933, an environment of several rooms created in the artist's own house in Hanover. In an undated interview published in 1965 Allan Kaprow said of his first environment:

I just simply filled the whole gallery up ... When you opened the door you found yourself in the midst of an entire environment ... The materials were varied: sheets of plastic, crumpled up cellophane, tangles of Scotch tape, sections of slashed and daubed enamel and pieces of coloured cloth ... five tape machines spread around the space played electronic sounds which I had composed.

From the 1960s the creation of installations has become a major strand in modern art. This was increasingly the case from the early 1990s when the 'crash' of the art market in the late 1980s led to a reawakening of interest in conceptual art (art focused on ideas rather than objects). Miscellaneous materials (mixed media), light and sound have remained fundamental to installation art.

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Installation artworks (also sometimes described as ' environments') often occupy an entire room or gallery space that the spectator has to walk through in order to engage fully with the work of art. Some installations, however, are designed simply to be walked around and contemplated, or are so fragile that they can only be viewed from a doorway, or one end of a room.

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Nasher Sculpture Center Anuncia Doris Salcedo Como Ganadora Inaugural del Premio Nasher

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Doris Salcedo on the importance of memory

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Colombian-born sculptor Doris Salcedo discusses the role memory plays in the work she creates. See more videos at http://www.sfmoma.org/video

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There is music to be revealed in every object, image or place. Céleste Boursier-Mougenot, quoted in Untitled (Series #3), Rice University Gallery, Houston TX, 2001, p. 8.

One hundred and more white porcelain bowls float on the surface of an expansive, intensely blue pool. The water is heated to optimise the porcelain's acoustic resonance. Swept along by submarine currents, the floating crockery circulates gently, colliding as percussive instruments which create a resonant, chiming soundscape.

The title of clinamen, 2013, by French artist and composer Céleste Boursier-Mougenot, refers to the curve and swerve of celestial configurations; to the arc of the sun and the unpredictable motion of atoms moving through and colliding in space. This aquatic, acoustic installation set within the forecourt of the National Gallery of Victoria fills the space with colour and sound and creates an uncertain and changing form of chamber music, whose aleatory form is echoed aurally and pictorially.

In addition to its acoustic properties, porcelain is known for its hardness, whiteness and translucency, and clinamen 's sonic register is accompanied by a commensurate visual element. Set against a spherical, celestial blue ground, the ceramic vessels of varying scale create tonal arrangements and cosmological patterns, perceptible to both eye and ear, which converge and disperse according to laws of nature and the artist's design. The music is all the time the same, and all the time different - circulating in space and extending through time.

As they move about the pool, the white vessels create a visible score for the viewer, translating the aural into the pictorial, establishing a visual equivalent to the act of listening. Having set in train this free-floating score, unpredictable patterns emerge, shifting the role of the artist from composer to listener; a listener who encounters - as if for the first time - the evolving sound and shape of an artistic work which is no longer fixed, but exists as an autonomous, complex and ever-changing world.

Boursier-Mougenot is well known for creating large-scale acoustic installations and environments that place art and nature in playful dialogue and confrontation to produce new forms of art and music. He trained at the Conservatory for Music in Nice, and initially worked as a composer for avant-garde music and theatre before turning to the long-duration sound installations that he has presented in galleries internationally for almost two decades.

The shift from the specific and concise format of musical composition and performance to the temporal, extended duration of installation and exhibition practice opened Bousier-Mougenot's work to sculptural, performative and avant-garde music traditions. His use of unorthodox musical instruments promotes chance and indeterminacy in musical composition, albeit within highly controlled environments, and specific patterns have emerged in his work: the spatial and sculptural elaboration of sound and music; the creation of social, technical and organic systems to generate durational musical scores; and the active involvement of the viewer in the visual perception of sonic work, encouraging a spatial, multi-sensory experience.

With Boursier-Mougenot, quoted in Emilie Gouband, 'A Q&A with Marcel Duchamp Prize finalist Céleste Boursier-Mougenot', 2 Sept. 2010, Boursier-Mougenot, quoted in clinamen, Boursier-Mougenot continues his interest in revealing the musical potential of objects and materials not produced for their acoustic properties. Blouin Artinfo, < Art & Music: Search for New Synaesthesia, Museum of Contemporary Art Tokyo, Tokyo, 2012, p. 60. http://www.blouinartinfo.com/news/story/35689/a-qa-with-marcel-duchamp-prize-finalist-cleste-boursier-mougenot/?page=2>, accessed 28 April 2013. The artist convenes elemental forms - water, clay (in the form of porcelain ceramics), electricity and air - which are transformed for musical emphasis. Elegant and classical in form, the choreography of earth, water, electricity and sky allows for elaborate patterns and complexity to emerge, as if generated by nature, beyond the control of the artist's will or intentionality. As Boursier-Mougenot states, 'The work is a way to do some thinking about complexity in real time. For me, complexity is all around us; it is life'.

The potential for Boursier-Mougenot's complex ecosystems to unleash free-form acoustic soundscapes is realised in an ongoing, related work, From hear to ear, 1999-, in which the exhibition space is turned into an aviary in which electric and bass guitars, plugged into amplifiers, serve as perches for a community of zebra finches. Viewers were invited enter and participate in this sonic ecosystem, 'designed to make the biorhythms and modulations of living phenomena perceptible'. Boursier-Mougenot, quoted in Gouband.

As Gilda Williams observed of the work installed at The Curve, Barbican Art Gallery, London, in 2010:

The birds flew freely, inadvertently making music when they landed on the horizontal strings, offering random plucking, brusque staccato riffs, or maybe a thunderous power-rock chord when a small flock of them settled at once on an instrument's neck. Gilda Williams, 'Céleste Boursier-Mougenot', Artforum, Summer 2010, p. 364.

Boursier-Mougenot's works explore a dramatic threshold between nature and design, control and unpredictability, architecture and the random event. clinamen and From hear to earboth play with tensions between composition and improvisation, between the idea of the score and the impetus of free music. Drawing on natural and technological systems, these works produce 'unintentional music that results from situations, actions, and logical systems that are foreign to music, whether they be animal, machine or human'. Boursier-Mougenot, quoted in Gouband.

Designed specifically by Boursier-Mougenot for the atrium space of Federation Court at NGV International, clinamen is framed by a perimeter bench which welcomes the audience as a collective. This space, in which free-floating patterns circulate, converge and disperse, lures the viewer/listener in, sharpening our perception of musical composition, the nature of things and the complex rhythms of life and cosmos.

clinamen channels the spirits of Marcel Duchamp, John Cage, free jazz and Fluxus and might be likened to an outsized rotorelief, a Zen orchestra without musicians, a musical score composed of found objects, or a chance-driven performance event. Its beguiling unification of colour, sound and space, and investigation of sonic materiality, patterns and resonance offers a multi-sensory, synaesthetic experience at the same time as creating a social space for reflection, wonder and contemplation.
Notes

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Céleste Boursier-Mougenot: clinamen | NGV

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There is music to be revealed in every object, image or place. Céleste Boursier-Mougenot, quoted in Untitled (Series #3), Rice University Gallery, Houston TX, 2001, p. 8. One hundred and more white porcelain bowls float on the surface of an expansive, intensely blue pool. The water is heated to optimise the porcelain's acoustic resonance.

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Doris Salcedo | The Guggenheim Museums and Foundation

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This retrospective surveys the searing, deeply poetic work of Doris Salcedo (b. 1958, Bogotá, Colombia), including her work from the late 1980s to the present.

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Damien Hirst (b.1965) is a British contemporary artist. His varied practice explores the complex relationships between art, religion, science, life and death.

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Official website of artists Christo and Jeanne-Claude. Features photographs and texts about all major projects, early works, and works in progress. Includes biographical and bibliographical information as well as past, current, and upcoming exhibitions.

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Google Arts & Culture features content from over 2000 leading museums and archives who have partnered with the Google Cultural Institute to bring the world’s treasures online.

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Art Instruction For Beginners - Online Art Lessons

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Art Instruction For Beginners - Online Art Lessons -

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The Art Instruction Blog offers free art lessons on a variety of different mediums including oil painting,acrylic painting,watercolor, drawing and more.