Books: Gestalten
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Monthly Archives: September 2011
Julien Vallée
DIETRICH WEGNER
Poly-fil, steel, rope, wood
dirt, gravel, mollusk shells, resin-lifesize
LAURENT LE DENUFF
Carton ondulé, papier mâché, grillage à poules, bois /
Cardboard, papier mâché, chicken wire, wood
Cheveux, dreadlocks, scotch, fibre de verre, résine, kraft, grillage à poules /
Hair, dreadlocks, fiberglass, resin, tape, kraft paper, chicken wire
Hair, dreadlocks, fiberglass, resin, tape, kraft paper, chicken wire
plumes, compost, grillage à poules, bois /
Guano, feathers, compost, chicken wire, wood
GROTTE
Kraft, peinture, scotch, carton, bois
TARA DONOVAN
Sculptures made of paper, Styrofoam cups, tape, drinking straws, and other objects, by Tara Donovan. Brooklyn, New York.
JACOB WOLF MILLER
JULIEN BERTHIER
self
L’Altoviseur
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Les spécialistes
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En collaboration avec SIMON BOUDVIN 2006, Bois, peinture, colle, 220 x 200 x 10 cm environ |
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Un samedi, 7 heures du matin, sur un mur aveugle du 3ème arrondissement de Paris. Une façade aux codes architecturaux du quartier, occupant 10 cm d’espace public, est montée et collée en trente minutes. Presque 4 ans plus tard, l’adresse existe toujours. Régulièrement tagée, elle est nettoyée par la ville. |
INGRID HORA
Ingrid Hora works and lives in London/Berlin. Through her work Hora narrates the life of a disordered (or hyper ordered) society. People build walls around themselves to create order and borders. Hora shows what happens behind these walls, where obsessions, desires and fantasies hide. Some of the works resemble pieces of furniture, although their definitions don’t quite exist yet; they seem to support behaviors rather than bodies.
Lately her work has evolved around Functional Escape, a term she came up with to describe the tendency to seek distraction and relief from unpleasant realities, especially through a special activity, purpose, or task. The objects carry stories of loneliness and hope, the urge to hide and the desire to reach out.
I made it for my neighbor, who was constantly watching me. I don’t think he was a perverted man, he was just lonely. So I stared to build this long white bridge filled with air towards him. But it never reached him. The wind blew it away.
Fragile paper ball waits for the wind to be lifted up.
Or
A paper ball that was too 
impatient to become a hotairballon.Catching ghosts, March 2007
I met a Japanese community on Parliament Hill in Hampstead Heath, London.
We decided to catch ghosts.
There is this fine line of hope and supplication that connects you with the sky
It’s like you are holding onto the sky.To hold on, not to let go.
A group of elderly women were invited to join a walk in the Akiyoshidai plateau and asked to find a spot where they want to bury a secret or a regret they never told anyone.
WAITING FOR WIND, 2007
Longing. Waiting for something to happen. To float in nothingness.
One day I get up and leave.
Ready to take off.
performance/film
The Principle of Hope by Ernst Bloch, 3 Volumes, published by Surkamp Verlag 1959. It is a critical history of the utopian vision and a profound exploration of the possible reality of utopia.
Will call you. Ongoing project.
Mr Guo, 67. I was following this yellow line in the air for a while. It moved so elegantly and was the biggest kite in the sky over Heavens Park, Beijing. Coming closer I saw that there was a woman’s face painted on it. I asked him why and he replied: »I was an opera singer before and this is the face I used to paint on myself for the plays. I always played a woman and now I can’t let go of her face.«
Research project.
Research project.
MIA PEARLMAN: INSPIRATION
Raw Lightscapes from Enrique Pacheco. I want to go to there!
Rose galaxy from the Hubble telescope
Ohmigod this photo is amazing!
Giant crystal cave in Mexico
Giant crystal cave in Mexico
Giant’s Causeway, Ireland
Giant’s Causeway, Ireland
I want to go to there.
Turkey, maybe?
Navanax
Navanax
Crazy coral
Leafy Sea Dragon—this is an ANIMAL! Made of parsley, apparently.
Chelidonura Hirundinina
Jennifer McCurdy – Flame Vessel #1
Jennifer McCurdy – Vortex Vessel #2 (porcelain)
Black Eye Galaxy
Flame Nebula
Sombrero Galaxy
Crab Nebula
Light Echo
Interacting Galaxies
Overlapping Galaxies
Cat’s Eye Nebula
Nebula Within Cluster
Light Echo
Waffle Cone Sponge
Super-cool building in Madrid, inspired by Noriko Ambe’s work!
Mars—click photo for more images
Hundreds of new animal species discovered – MSNBC – look at the slide show!
Amazing iceberg photos courtesy of Andrew Long
The Cloud Appreciation Society – WARNING: you can waste hours on this site!
Lip creature, as if from a dream. Surreal.
Giant fungus found hiking in Woodstock, summer 2007
Moon water. The green spherules, made of glass, are pieces of the Moon, typically about one-fifth of a millimeter in diameter, that were erupted from the lunar mantle long ago.
Giant Spider Web in an East Texas State Park
Sculpture by Noriko Ambe
Tornado
click for AMAZING Altocumulus lenticularis slideshow
Clouds over Jones Beach – May 2008
Lichen, Lake Tahoe, Summer 2006
NASA Sees into the Eye of a Monster Storm on Saturn
Typhoon Eye
Hiroyuki Doi
Oort Cloud
Jellyfish
Alluvial Fan
Water Sky
Light Beam
Double Helix Nebula
Skin Cells
Ping Pong Tree Sponge
Nutball Clouds!!
Aurora Borealis
Tornado
The Andes
Snow
Jellyfish
Blur Building
Cell Division
Jellyfish
Fireworks
Nebula
Jellyfish
Bubble Nebula
Cells
Crazy Fillipino Plant
Blood Platelets
Tornado
Tornado
Cloud Vortices
Whirlpool Clouds
Whirlpool Tornado
Wave Clouds
Clouds
Double Light Beam
Tornado
MIA PEARLMAN: PROCESS
My process is very intuitive, based on spontaneous decisions in the moment. I begin by making loose line drawings in India ink on large rolls of paper. Then I cut out selected areas between the lines to make a new drawing in positive and negative space on the reverse. 30-80 of these cut paper pieces form the final installation, which I create on site by trial and error, a 2-3 day dance with chance and control. Existing only for the length of an exhibition, this weightless world totters on the brink of being and not being, continually in flux. It is my mediation on creation, destruction, and the transient nature of reality.
Since receiving her BFA from Cornell University in 1996, Mia Pearlman has exhibited internationally in numerous galleries, non-profit spaces and museums, including the Museum of Arts and Design (NY), the Montgomery Museum of Art (AL), the Centre for Recent Drawing (London), and Mixed Greens (NY). Upcoming shows include the Indianapolis Museum of Art, Morgan Lehman Gallery (NY) and the Renwick Gallery at the Smithsonian. Her work is featured in several books on the use of paper in contemporary art. Pearlman has participated in many residency programs, including Proyecto’Ace in Buenos Aires, the Lower East Side Printshop in NYC, and the Vermont Studio Center. She is a recipient of a 2008 Pollock-Krasner Foundation Grant and a 2009 Established Artist Fellowship from UrbanGlass. Pearlman lives and works in Brooklyn, NY.
How it begins. . .
I make a drawing in India ink on big rolls of paper. I may have a basic size, shape or style of mark-making in mind, but the process is very free-form and intuitive. (photo: Catrina Genovese)
Then I start cutting out the white parts between the lines. Each cut determines the next cut. (photo: Catrina Genovese)
(photo: Catrina Genovese)
The floor. . .and this is nothing! (photo: Catrina Genovese)
If I’m planning a show, sometimes I’ll put up the pieces in my studio to make sure I have enough for the final installation. I never fine-tune or place things purposely, because I want to keep the process at the gallery completely intuitive. I can’t recreate the arrangements, so I don’t want to fall in love with the mockup in the studio. This photo shows the preparation for EYE at the Centre for Recent Drawing in London. (photo: Catrina Genovese)
(photo: Catrina Genovese)
(photo: Catrina Genovese)
How I get the work to the gallery. . .
Believe it or not, I just stack up the pieces and roll them up in a dropcloth!
To get the work to London I had to roll the pieces up and fit the whole thing in a tube that I checked with my baggage! I was worried that security would make me open it to prove it wasn’t a grenade launcher, but things went very smoothly at JFK. They’ve definitely seen crazier baggage. . .
Et voila! Crossed the Atlantic with nary a crease.
How it comes together. . .
In the best of all possible worlds, I get A LOT of space to spread out the pieces before I start to install. At the Islip Art Museum, I had a whole extra gallery!
Everything I need and more. . .just in case!
The process involves lots of time on ladders. And as always, I have my head in the clouds! The Islip installation was a two person, two day, two ladder, two Advil endeavor. Make that four Advil.
Could not do it alone: much thanks to Gene Bahng, Danyel Ferrari and Sean Slemon for amazing help with installation, planning and most of all, SCHLEPPING.!
At Sears Peyton. . .on a 70 degree day in January. . .scary.
Head in the clouds, again.
With Sean’s help at Mixed Greens.
I don’t make sketches or design the installations ahead of time—it all happens on site. In advance I will take photos of the space, which I hang in the studio, and get the dimensions of the walls and ceiling. By the time I do the install I usually have some idea of what I’ll do, but it always turns out different than I imagined.
After all the long hours cutting paper alone in my studio, installing is almost euphoric—so much fun.
Pointing things out at the Centre for Recent Drawing in London. . .
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