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27 articles avec art

Showing the glass sailboat in a new light

Publié le par MarjorieQ

Showing the glass sailboat in a new light

It was a weekend to explore the places I meant to go for ages. The weather was cooperative enough to add the surreal dimension of this building #fondationlouisvuitton, completed in 2014 - designed by the architect #frankgehry. This cultural institute was commissioned by LVMH group CEO Bernard Arnault.

The structure of the glass roof allows the building to collect and reuse rain water and improves its geothermal power. Besides, the Fondation has attained its overall goal to reach HQE (Haute Qualité Environmentale) certification noted as Très Performant. The steps taken to achieve this level of certification could be considered equivalent to LEED Gold.

These glasses, originally transparent, have been covered by an array of colored filters - a temporary work by #danielburen since May 2016.

Showing the glass sailboat in a new light

Publié dans Art

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more ink, please

Publié le par MarjorieQ

more ink, please

Ed, artist and piece of art himself

Publié dans Portraits, Taiwan, Art

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Taipei Biennial 2014 (年台北雙年展)

Publié le par MarjorieQ

Taipei Biennial 2014 (年台北雙年展)

Titled The Great Acceleration, Taipei biennial 2014 refers to the idea of the Anthropocene, our geological era, marked by the effects of human activities on our biosphere, and shows how contemporary art expresses a new contract among human beings, animals, plants, machines, products and objects.

From: September 13, 2014–January 4, 2015

Ticket price: 15 NTD entrance / free on Fridays

Taipei Fine Arts Museum - No.181, Sec. 3, Zhongshan N. Rd., Zhongshan Dist., Taipei City 10461, Taiwan www.tfam.museum

Taiwanese artist Po-Chih Huang’s Production Line – Made in China and Made in Taiwan (2014) comprised a sewing space for finishing women’s denim shirts, which had been in part made at another production line at the 8th Shenzhen Biennale (each was overseen by a female member of the artist’s family), mirroring the industrial offshoring of the clothing industry that has dictated the movements of the artist’s mother throughout her working life.Based on his familiar essay Blue Skin: Mama’s Story, relating the trajectory of his mother’s working life, from farm to factory and back to farm again, and encompassing the evolution of the Taiwanese economy, including the offshoring of the clothing industry.
Taiwanese artist Po-Chih Huang’s Production Line – Made in China and Made in Taiwan (2014) comprised a sewing space for finishing women’s denim shirts, which had been in part made at another production line at the 8th Shenzhen Biennale (each was overseen by a female member of the artist’s family), mirroring the industrial offshoring of the clothing industry that has dictated the movements of the artist’s mother throughout her working life.Based on his familiar essay Blue Skin: Mama’s Story, relating the trajectory of his mother’s working life, from farm to factory and back to farm again, and encompassing the evolution of the Taiwanese economy, including the offshoring of the clothing industry.
Taiwanese artist Po-Chih Huang’s Production Line – Made in China and Made in Taiwan (2014) comprised a sewing space for finishing women’s denim shirts, which had been in part made at another production line at the 8th Shenzhen Biennale (each was overseen by a female member of the artist’s family), mirroring the industrial offshoring of the clothing industry that has dictated the movements of the artist’s mother throughout her working life.Based on his familiar essay Blue Skin: Mama’s Story, relating the trajectory of his mother’s working life, from farm to factory and back to farm again, and encompassing the evolution of the Taiwanese economy, including the offshoring of the clothing industry.
Taiwanese artist Po-Chih Huang’s Production Line – Made in China and Made in Taiwan (2014) comprised a sewing space for finishing women’s denim shirts, which had been in part made at another production line at the 8th Shenzhen Biennale (each was overseen by a female member of the artist’s family), mirroring the industrial offshoring of the clothing industry that has dictated the movements of the artist’s mother throughout her working life.Based on his familiar essay Blue Skin: Mama’s Story, relating the trajectory of his mother’s working life, from farm to factory and back to farm again, and encompassing the evolution of the Taiwanese economy, including the offshoring of the clothing industry.

Taiwanese artist Po-Chih Huang’s Production Line – Made in China and Made in Taiwan (2014) comprised a sewing space for finishing women’s denim shirts, which had been in part made at another production line at the 8th Shenzhen Biennale (each was overseen by a female member of the artist’s family), mirroring the industrial offshoring of the clothing industry that has dictated the movements of the artist’s mother throughout her working life.Based on his familiar essay Blue Skin: Mama’s Story, relating the trajectory of his mother’s working life, from farm to factory and back to farm again, and encompassing the evolution of the Taiwanese economy, including the offshoring of the clothing industry.

理想...(Ideally...)理想...(Ideally...)
理想...(Ideally...)理想...(Ideally...)

理想...(Ideally...)

So I woke up - Surasi Kusolwong, Golden Ghost. (Thai Artist). His  performative installations focus on consumerism and deal with the global economy and material values. In his large‐scale installation Golden Ghost, Kusolwong invites visitors to hunt through a huge industrial waste landscape of threads for pieces of art designed and made by himself, real gold necklaces with golden ghost symbols. If visitors are lucky enough to find one, they can take the hidden treasure home. As he once said, "It gives new sense and meaning to the phrase 'missing' or 'disappearing' work of art. It is the absence that makes the work complete at the 'hands' of the audience." Through his participatory and interactive work, Kusolwong integrates the traditional craft of goldsmithing with modern narrative, historical socio‐politics and current economics and ecology. He transforms the exhibition space into a place for experiencing, revoking and reconsidering such issues of human civilization.

So I woke up - Surasi Kusolwong, Golden Ghost. (Thai Artist). His performative installations focus on consumerism and deal with the global economy and material values. In his large‐scale installation Golden Ghost, Kusolwong invites visitors to hunt through a huge industrial waste landscape of threads for pieces of art designed and made by himself, real gold necklaces with golden ghost symbols. If visitors are lucky enough to find one, they can take the hidden treasure home. As he once said, "It gives new sense and meaning to the phrase 'missing' or 'disappearing' work of art. It is the absence that makes the work complete at the 'hands' of the audience." Through his participatory and interactive work, Kusolwong integrates the traditional craft of goldsmithing with modern narrative, historical socio‐politics and current economics and ecology. He transforms the exhibition space into a place for experiencing, revoking and reconsidering such issues of human civilization.

Best moment for my classmates - Opavivará, Formosa Decelerator. installation of hammocks linked in an octagonal structure with a tea service at the center, by the Rio de Janeiro collective Opavivará, opens the show. This is a mistake, as this convivial, relational work jarred with the cool, anxious tone of the rest of the works. Opavivará! is an art collective from Rio de Janeiro, which develops actions in public places of the city, galleries and cultural institutions, proposing inversions in the use of urban space, through the creation of relational devices that provide collective experiences.  Specially conceived for the Taipei Biennale 2014, Formosa Decelarator is also contaminated by local Brazilian traditions, rituals and tea ceremonies. The piece consists of 16 hammocks, held by an octagonal wood structure, with a table at the center, where a variety of tea herbs will be available for people to make tea. It is a relational device that blends two typically Brazilian indigenous traditions: the popular practice of shamanism through curative herbs, and the hammocks in which indigenous people sleep, which the first Portuguese colonists associated with laziness, as they thought the indigenous people wasted too much time in them.  The idea revolves around a sort of temple of idleness, an invitation to inactivity, a space that worships the non-productive and non-active and that stands as a counter-proposition to our accelerated, superficial and volatile times. It aims to evoke a collective ambience based on sharing and on the relationships that arise through the interaction of the public, a tool to transform the challenge of living together into a vibrant and pulsating exercise of pleasure, congregation and creative idleness.
Best moment for my classmates - Opavivará, Formosa Decelerator. installation of hammocks linked in an octagonal structure with a tea service at the center, by the Rio de Janeiro collective Opavivará, opens the show. This is a mistake, as this convivial, relational work jarred with the cool, anxious tone of the rest of the works. Opavivará! is an art collective from Rio de Janeiro, which develops actions in public places of the city, galleries and cultural institutions, proposing inversions in the use of urban space, through the creation of relational devices that provide collective experiences.  Specially conceived for the Taipei Biennale 2014, Formosa Decelarator is also contaminated by local Brazilian traditions, rituals and tea ceremonies. The piece consists of 16 hammocks, held by an octagonal wood structure, with a table at the center, where a variety of tea herbs will be available for people to make tea. It is a relational device that blends two typically Brazilian indigenous traditions: the popular practice of shamanism through curative herbs, and the hammocks in which indigenous people sleep, which the first Portuguese colonists associated with laziness, as they thought the indigenous people wasted too much time in them.  The idea revolves around a sort of temple of idleness, an invitation to inactivity, a space that worships the non-productive and non-active and that stands as a counter-proposition to our accelerated, superficial and volatile times. It aims to evoke a collective ambience based on sharing and on the relationships that arise through the interaction of the public, a tool to transform the challenge of living together into a vibrant and pulsating exercise of pleasure, congregation and creative idleness.

Best moment for my classmates - Opavivará, Formosa Decelerator. installation of hammocks linked in an octagonal structure with a tea service at the center, by the Rio de Janeiro collective Opavivará, opens the show. This is a mistake, as this convivial, relational work jarred with the cool, anxious tone of the rest of the works. Opavivará! is an art collective from Rio de Janeiro, which develops actions in public places of the city, galleries and cultural institutions, proposing inversions in the use of urban space, through the creation of relational devices that provide collective experiences. Specially conceived for the Taipei Biennale 2014, Formosa Decelarator is also contaminated by local Brazilian traditions, rituals and tea ceremonies. The piece consists of 16 hammocks, held by an octagonal wood structure, with a table at the center, where a variety of tea herbs will be available for people to make tea. It is a relational device that blends two typically Brazilian indigenous traditions: the popular practice of shamanism through curative herbs, and the hammocks in which indigenous people sleep, which the first Portuguese colonists associated with laziness, as they thought the indigenous people wasted too much time in them. The idea revolves around a sort of temple of idleness, an invitation to inactivity, a space that worships the non-productive and non-active and that stands as a counter-proposition to our accelerated, superficial and volatile times. It aims to evoke a collective ambience based on sharing and on the relationships that arise through the interaction of the public, a tool to transform the challenge of living together into a vibrant and pulsating exercise of pleasure, congregation and creative idleness.

3D Printing - Hung-ChiHung-Chih Peng’s army of 3D printers busily made parts for his sculpture The Deluge – Noah’s Ark (2014)

3D Printing - Hung-ChiHung-Chih Peng’s army of 3D printers busily made parts for his sculpture The Deluge – Noah’s Ark (2014)

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Haegue Yang - Female Natives & Medicine Men, Installation view

Haegue Yang - Female Natives & Medicine Men, Installation view

Publié dans Art, Taiwan

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Jean Pigozzi Exhibition Opening

Publié le par MQuach

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Luu Brothers from Pacific Rim movie (apparently)

UCCA link

About Jean Pigozzi link

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The garden of failure

Publié le par MQuach

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1. You can sacrifice your failures by describing them on a piece of paper and throwing them into the urn

2. You can also get comfort from the failures of others. Dig a few failures from the urn, and study the ways others have failed. Maybe someone else's failure sparks a discovery in you.

 

This garden is an utopia created on Brioni island in Croatia in 2013. In this utopia failures can be cultivated in order to create new symbiotic relationships betweens humans and actions. Failure is only failure from the viewpoint of success.

 

CAFAM - Biennale (Beijing) / The invisible hand: Curating as Gesture  . link



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Jompet Kuswidananto - Staging Collectivism

Publié le par MQuach

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@ Cafa Art Museum, until 20 April 2014. Entrance fees: 15RMB.

No.8 Hua Jia Di Nan St., Chao Yang District, Beijing

CAFAM Biennale - link

 

CAFAM Biennale is an exhibition organized by CAFA Art Museum every two years. The 2nd CAFAM Biennale, entitled The Invisible Hand: Curating as Gesture, will stick to the international, contemporary and pioneering academic orientations, and explore the spirit, feature and characteristics of contemporary culture, cultural development and experiment. It will adopt innovative curating method, aim at establishing and developing a curating department in art academy, as well as play a unique and important role in contemporary curating practices. In addition, this Biennale invite professional curating teachers from internationally significant art academies as academic supervisor and curating graduates with outstanding achievements as curator, to form a curators’ team which will fulfill the tasks of innovation, teaching and experiment. These recommended curators will be featured with their own academic interests, to enable the curatorial practice not only associate with art education, but also concern the ecology of contemporary art

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Chez Dongdong

Publié le par M. Quach

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The artist who can make last 30mn forever - www.mummy-tattoo.com

 

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Pop Mao

Publié le par Marjorie Quach

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www.798space.com

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798 - le melange des corps

Publié le par Marjorie Quach

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Give me a hug

Publié le par Marjorie Quach

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Contemplation

Publié le par 18-55.Pekin.over-blog.com

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Waiting for Lee Hom

Publié le par Marjorie Quach

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Living Walls

Publié le par Marjorie Quach

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Child Face on the wall of 798

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Time to explore new buildings in Beijing!

Publié le par Marjorie Quach

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Capturer la moitie du ciel (II)

Publié le par Marjorie Quach

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