Tag Archives: installations
“This series of images is a site specific project that took place in a Venetian palace in Italy. The intention was to transform the historic environment of the palace into a metaphysical space playing with the contrast between classic and contemporary.”
Lorenzo Vitturi (Venice, 1980) lives and works between London, Milan and Venice. After graduating in photography and design at IED in Rome (2004) he has been on a two years residency at Fabrica, the Benetton centre for research in communication (2005-2007). Formerly a cinema set painter, Vitturi has brought this experience into his photography practice, which revolves around site-specific interventions in accurately researched locations. He uses photography to set the scenes of thoughts and ideas through the manipulation of space, following his projects from creative ideation to realization. – Artist statement
“Untitled” (Placebo) was a piece created by the artist after his partner died of AIDs-related complications; the title is a reflection of the incurability of the illness. Visitors are invited to take a piece of silver-wrapped candy from the constantly replenished expanse, initiating a continual process of depletion and regeneration.
“Well-known for her repeating dot patterns, her art encompasses an astonishing variety of media, including painting, drawing, sculpture, film, performance and immersive installation. It ranges from works on paper featuring intense semi-abstract imagery, to soft sculpture known as “Accumulations”, to her “Infinity Net” paintings, made up of carefully repeated arcs of paint built up into large patterns. Since 1977 Kusama has lived voluntarily in a psychiatric institution, and much of her work has been marked with obsessiveness and a desire to escape from psychological trauma. In an attempt to share her experiences, she creates installations that immerse the viewer in her obsessively charged vision of endless dots and nets or infinitely mirrored space.” via [Tate Modern]
Images via [IGNANT]
My favourite (and also the only permanent) installation at the Saatchi Gallery.
“Viewed from the entrance platform 20:50 appears as a holographic field: simultaneously a polished floor, infinite clear pool, an expansive and indefinable virtual space that clinically absorbs and mirrors the gallery architecture. The room is in fact entirely flooded in oil.
Visitors are invited to examine the piece close-up via a walkway that extends into the lake, placing the viewer, waist deep, at the centre of a perfect mathematically symmetrical scope. Through this altered perspective 20:50’s phantasmical aura is enhanced, amplifying the disorientating and mesmerising experience of the space, and further confounding physical logic.
20:50 takes its name from the type of recycled engine oil used. It is thick, pitch black, and absolutely indelible: please take extreme care with your clothing and belongings, and no matter how tempting, please do not touch. 20:50 often has to be demonstrated to be believed: the liquid can be seen by blowing very gently on the surface.” via [The Saatchi Gallery]
“Our work encourages the viewer to walk into and around typography, an immersive experience considering that their usual relationship with type would normally be realised on a two dimensional surface be it printed or computerised. Being able to appreciate it physically painted onto walls of buildings which the viewers are used to interacting with every day draws attention to the beauty of typography and at same time highlighting the architectural forms that it adorns.”
“Designed to draw attention to the magical properties of weather events, the installation consisted of a series of passively activated pressure vessels linked to an array of humidity tanks. Over a period of time, energy and water is collected and stored. When the ‘ideal’ circumstances were in place a fine mist was dispersed creating a rainbow. This installation in the Kielder Forest was an ephemeral moment. Using the scan as an almanac, sun path studies predicted potential territories and times when the installation could operate. This was then visualised by placing designed elements back in amongst pointcloud data to produce a series of drawings which amalgamate digital and real.”
Woah. Some really interesting concepts here by William Trossell and Matthew Shaw! (ScanLAB Projects)