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German video artist Marcus Kreiss created art for urban spaces and made large paintings. He played with the idea of going back to film again since he had studied filmmaking in Rome (Cinecitta) before he finished his fine art studies in Aix-en-Provence. After he lost his studio he decided to combine both sides in what he calls video paintings. From this idea sprouted the television channel Souvenirs from Earth, a fascinating cable TV station broadcasting a 24/7 art program. It transforms flat screens into art terminals and gives viewers access to the avant-garde of visual cultures.
In the above mini documentary by Kiki Allgeier, Kreiss explains some more about the channel. The below video shows one of his works titeld “Glibberings”. The video, featuring Isabel Ruzafa, illustrates his personal approach of the video paintings concept. He explores the physical possibilities of the bi dimensional space of the flat screen by using hypnotic and often iconic images in extreme slow motion.
We recently stumbled upon this fascinating conceptual art installation by Jesper Norda. At first glance it would be a perfect, silent and serene place to project random thoughts into. It could be related to minimal art pieces where the light plays an important role in transformation and meaning or it could be a totally boring and uninteresting place which perhaps is completely unnoticed by the audience. But the voice of a man starts describing the space and some of the things which go on in it at the very same moment the viewer looks at it or stands in it. The man projects the scientific reality onto the space. He describes the rooms dimensions and moves on to the amount of air molecules, the weight of the air,how the air molecules behave differently when exposed to different kind of sound waves.The space is suddenly not so empty anymore. It fills with violent movement and vibration, the invisible reality reveals itself and influences the thoughts of the viewers/listeners. The voice of the man goes on about the intense air pressure in the room and the intense air pressure in the cranium of the listener and the balance between those two spaces: the state we call silence.
The centre of silence
Kalmar Konstmuseum,Sweden, 2009
Curated by Bengt Olof Johansson.
Voice (interleaved by silence, sinus-wave and white noise). White filter on window.
We have been following Norwegian artist Kjell Varvins “online” installations now for some years and the works keep fascinating us. He creates temporary minimalistic installations consisting of insignificant objects in a corner of his studio. He does this similar compared to writing in a daily dairy. After manipulating the objects in a certain composition he documents them and publishes them on the internet. He sees this work , which he titles Unstable Variables, as proposals in the context of art and not as final statements. The works contain mostly neutral elements to avoid symbolic associations. By doing this, a context is created where the spectator can wander with his eyes through the installation without hanging on to elements that can generate ideas about things they already experienced or fantasized. He has worked as an assistant to conceptual artist Sol Lewitt who had influence on his work however where Sol Lewitt used perfect strict written rules during the execution of for example a wall drawing, Varvin leaves room for imperfection and deviations. We for sure will keep following Varvins proposals and explorations of composition, objects, space and time.
Photos from top to bottom:
Unstable Variables 1.1.2013
Unstable Variables 4.12.2010
Detail: Unstable Variables 4.12.2010
Detail: Unstable Variables 13.2.2011
Unstable Variables 13.2.2011
Song Dong emerged from the Beijing-based avant-garde performance art community and is an important artist in the development of Chinese conceptual art since the early 1990s.His oevre contains performance, photography, projection, video and installation pieces. With his work Song Dong explores notions of perception and the ephemeral nature of existence.
Writing diary with water is an ongoing conceptual performance project by Song Dong. He uses a calligraphy brush to write daily diary entries in water on a selected block of stone.The writing in this invisible diary rapidly evaporates, though still represents an act of purification for the artist. This conceptual performance piece is documented by 4 photo’s. Song Dong about this piece: “although it is just a stone, it actually has become thicker day by day, with my own thoughts added on it”. The water diary has now become an important part of his life and art and from it other performance pieces evolved like for example Dong’s “Stamping the water” and “Writing time in water.
Photos by Song Dong | Photo 1 top: Haupt & Binder, Photo 2 to 8: Mark Hansen, Photo 9 bottom: Charlie Samuels |
An interesting retrospective exhibition which shows works by the French-Israeli artist Absalon (1964 – 1993) is running at Museum Boijmans Van Beuningen, Rotterdam. This exhibition transferred from the KW Institute for Contemporary Art in Berlin.
The works on display are a fascinating statement around key concepts like: re-defining spaces, systematic and successive cataloguing, human activities, the primitive shapes and the human body.
A fragment from the press release:
As in the KW in Berlin, the exhibition will display Absalon’s enigmatic works – living cells painted neutral white and made entirely of wood. These so called ‘Cellules’ are, as it were, living pods for just one person, in which everything can be found for day-to-day, ritual activities down to the smallest detail, including window slits to keep unwanted guests at a distance. Absalon created these units for six World cities: Tokyo, New York, Tel Aviv, Paris, Zurich and Frankfurt. The form of Absalon’s Cellules is reminiscent of the modernist architectural styles of Le Corbusier, Bauhaus, De Stijl and the Russian constructivism. They are, however, stripped of their Utopian ideals. The living cells are based on the dimensions of Absalon’s own body and are, as it were, air-raid shelters for just a single person. The spaces suggest a need for protection and shielding from the chaotic daily life. Absalon described his Cellules as “a bastion of resistance against a society that prevents me from becoming what I must become.”
Ralf Hütter and Florian Schneider began the Kraftwerk project in Düsseldorf, Germany, in 1970, setting up the pioneering Kling Klang studio, where all of Kraftwerk’s albums were conceived and composed. By the mid-1970s the group had achieved international recognition for their revolutionary electro “sound paintings” and their musical experimentation with tapes and synthesizers. Their compositions, which feature distant melodies, multilingual vocals, robotic rhythms, and custom-made vocoders and computer-speech technology, almost single-handedly created the soundtrack for our digital future. Kraftwerk anticipated the impact of technology on art and everyday life, creating sounds and visuals that capture the human condition in the age of mobility and telecommunication. Their innovative looping techniques and computerized rhythms, which had a major influence on the early development of hip-hop and electronic dance music, remain among the most commonly sampled sounds across a wide range of music genres. Furthermore, the use of robotics and other technical innovations in their live performances illustrates Kraftwerk’s belief in the respective contributions of both people and machines in creating art.
The below video by Vive Les Robots, gives a small impression of The Robots installation recorded at Kunstbau in Munich, during the exhibition “Kraftwerk. 3-D Video-Installation” in 2011.
Over eight consecutive nights in April 2012, MoMA presents a chronological exploration of the sonic and visual experiments of Kraftwerk with a live presentation of their complete repertoire in the Museum’s Marron Atrium. Each evening consists of a live performance and 3-D visualization of one of Kraftwerk’s studio albums. Kraftwerk will follow each evening’s album performance with additional compositions from their catalog, all adapted specifically for this exhibition. This reinterpretation showcases Kraftwerk’s historical contributions to and contemporary influence on global sound and image culture.
The work of Tobias his recent exhibition at the Museum Dhondt-Dhaenens in Belgium has now moved on and is on show at the Pilar Corrias Gallery in London. The show carries the title: Sex and Friends
Tobias his conceptual art installation set up at Pilar Corrias Gallery explores again the conflict between functionalism and aesthetics and again questions and plays with the notion of art and its various strategies. The main key element of this specific installation is transformation. This key element is not only linked to the change of the space itself but also to the transformation during a specific time frame and especially the transformation of the viewer, his/her behaviour and thoughts.
The series of sculptures in this installation seem abstract and find their “ghost-image” counterpart in the amorphous shadows they project on the walls. The art works transmit words and patterns onto the surfaces around them. The sculptures and their shadows are dynamic in a reversed way. They encourage the viewer to move and look at them from various perspectives. By doing that they shift and transform themselves. During brief moments of the day the shadows come together and form a “hidden” message. The visual message itself becomes less important as the event is basically already known and announced to the viewer who visits the gallery space, however what is important in this conceptual installation is that the upfront announced “hidden” feature/message does right away influence and transform the viewers behaviour and thoughts.
Sex and Friends is running until February 17, 2012 at Pilar Corrias Gallery, London. You can read more about Tobias Rehberger and his work in this, this and this article on the Warmenhoven & Venderbos blog.
Tokujin Yoshioka is a Japanese designer and artist who has worked under Shiro Kuramata and Issey Miyake and established his ow studio, Tokujin Yoshioka Design in 2000. He created the installation called The Snow as part of the exhibition Sensing Nature at the Tokyo Mori Art museum last year. This spatial design made from artificial materials gives the viewer the sensation of experiencing light, snow, storms and other phenomena. Tokujin Yoshioka explores the potential future of design and how it will incorporate natural principles, effects and by integrating natural science technologies. His installation is similar to looking at or walking through a snowstorm. It is an expanded version of the original ‘snow’ which was exhibited in 1997.
Skate 1.0 is a conceptual sound and light installation by Electroland. Space, movement, context and virtual locations are the key words for this interesting installation. Skate 1.0 puts the viewer into an abstract virtual skateboard park. Skater sounds travel above, below, around and through the viewers and serve as a kind of portal for them. The sounds are a recognisable and approachable door for the audience, a door through which they can travel into the abstract conceptual layers of this work. The light links to both sides. It registers the virtual movement of the skaters and at the same time pushes the viewer beyond.
“The Seven Seals” is a work by Chinese contemporary artist Tsang Kin-Wah. It is a fascinating ongoing series of seven conceptual digital video art installations using texts and computer technology to show Tsang’s thoughts on various issues of the day. “The Seven Seals” draws its reference from various sources such as: existentialism, metaphysics and politics. With this work Tsang Kin-wah attempts to articulate the complex situation of the world and the dilemmas that people are facing while approaching “the end of the world”.
Animated phrases and short sentences appear, move and float, sometimes, like a murmur and sometimes like an admonition that reveals the nature of human beings and the changes of our emotions. Without a clear beginning or end, each installation in the “The Seven Seals” creates different cycles of text on continuous loops that appear to repeat without end; echoing the concept of “eternal recurrence” whereby all the issues and dilemmas of daily existence are seen perpetually recurring for an infinite number of fleeting instances, even though we recognize and are aware of them for a longer time.
Photos and videos from the The Fifth Seal installation which is part of the Seven Seals project.
Esther Stocker’s work mainly consists of paintings, photo’s and installations in an abstract and geometrical perspective, the various genres being closely related to each other.She works with a visually complex repertory of geometric sign and grid systems which explore the general conditions of perception and, in a broader sense, the effects of digital image technologies. Esther Stocker’s reflexion is focused on the question: “How is a perfect system imperfect in reality?” Her geometric structures are based upon eternally self-repeating modules that create a seemingly ordered visual rhythm, to which the artist adds aberrations in order to generate an adjacent but new rhythm. This introduction of deviation in the optical balance, similar to 16th century’s mannerist architectural approach, creates surprise and emotion through the purposeful disruption of order and plane dimension.
Esther Stocker presents her work in her first solo show in France from the September 10 to October 15, 2011 at the Alberta Pane Gallery, Paris. This exhibition carries the title: Dirty Geometry.
Each year Monumenta invites an internationally renowned artist to turn their vision to the vast Nave of Paris’ Grand Palais and to create a new artwork especially for this space. The first challenge was met by German artist Anselm Kiefer followed by American artist Richard Serra in 2008 and French artist Christian Boltanski in 2010. For its fourth incarnation, the French Ministry for Culture and Communication has invited Anish Kapoor to produce a new work for the Nave’s monumental space.
The artist describes the work he is creating for Monumenta as follows: “A single object, a single form, a single colour.” “My ambition”, he adds, “is to create a space within a space that responds to the height and luminosity of the Nave at the Grand Palais. Visitors are invited to walk inside the work, to immerse themselves in colour, and it will, I hope, be a contemplative and poetic experience.”
The work is not merely speaking visually, but it leads the visitor on a journey of total sensorial and mental discovery. It questions what we think we know about art, our body, our most intimate experiences and our origins.
leviathan by Anish Kapoor will be on display untill 23rd June 2011 at the Grand Palais, Paris, France.