Vincent Leroy, french artist, present in the international contemporary art world, creates sculptures and installations in movement mixing poetry and technology.
In the series of wall drawings entitled Vertical Earthquake, Carlos Amorales refers to the 1985 earthquake in Mexico City which he witnessed at the age of fifteen.
The earthquake destroyed a large part of the city and left thousands of victims. In the days after, the corrupted Mexican government manifested itself and the Mexican citizens took over the rescuing activities.
The earthquake was crucial for Amorales in regard to both his political and his aesthetic development. The wall drawings are made by rotating jagged rulers and remind one of the fault lines in collapsed buildings. The drawings can be seen as an ode to this meaningful event in Carlos Amorales’ artistic development.
More of Carlos Amorales:
We’ll See How All Reverberates, 2012. Courtesy of the artist and kurimanzutto, Mexico City / New York. Photo: Peter Tijhuis
Black Cloud, 2007 (installation view). Collection of Diane and Bruce Halle. Photo: Peter Tijhuis
Aprende a joderte (Learn to Fuck Yourself), 2019. Courtesy of the artist and kurimanzutto, Mexico City / New York; and Dark Mirror, 2008. Collection Vanhonsebrouck. Photo: Peter Tijhuis
Otto Piene & Light Ballet
Otto Piene was an artist whose light-based sculpture work occupied the intersection of light, technology, art, movement, and environment.
First produced using hand-operated lamps directed through perforated stencils, Piene’s “Lichtballett” (light ballet) performances of moving light became mechanized in the 1960s.
The artist’s early light sculptures consisted of revolving lamps, grids, globes, and discs operated by electric switchboards, causing what he described as “the steady flow of unfurling and dimming, reappearing, and vanishing light.”
Who is Otto?
Otto Piene (pronounced PEE-nah, 18 April 1928 – 17 July 2014) was a German-American artist specializing in kinetic and technology-based art, often working collaboratively. He lived and worked in Düsseldorf, Germany; Cambridge, Massachusetts; and Groton, Massachusetts.
Piene also experimented with multimedia combinations. In 1963, together with Günther Uecker and Heinz Mack, he became a spokesman of Neuen Idealismus (“the new idealism”). In 1967 Otto Piene premiered Proliferation of the Sun at Aldo Tambellini’s Black Gate Theater, and in 1968 he collaborated with Aldo Tambellini on the Black Air at the Black Gate Theater.
The Proliferation of the Sun 1966-1967 (35 minute performance hand painted glass slides, sound, and five carousel projectors)
Gravity defying mobile bamboo sculptures; bamboo calligraphies in balance. The mathematics and the energy of bamboo inhabiting the spaces.Laurent Martin
The gravity-defying bamboo sculptures by Laurent Martin “Lo” swing in the air, drawing curves of harmony like the gracious strokes of Chinese calligraphy. His creations immerse the viewer in the physical and sensorial virtues of the organic material. Following the knots and fibres of the plant, the sculptures’ structure is shaped using tension and fishing rods. The bamboo is then dried for months, exposed to the strong Mediterranean elements. This intervention is the basis for the final pieces which are constructed with the organic material, fishing lines and metal and ceramic weights. Like Calder’s mobiles, the sculptures follow strict mathematical laws of movement and balance. His manipulation of the bamboo plants from solid canes to thin and articulating contours, creates mobile sculptures where the artwork consists of not only the bamboo itself, but also the intangible hollow space within and the shadows and silhouettes they project. A fragile harmony is achieved through opposites: flexibility and strength, fullness and void, light and shadow, movement and quietness.
Born in France, Lo trained as a visual artist and for many years worked as a creative director in advertising and fashion. Lo’s first encounter with bamboo was completely circumstantial, but as he recalls “it was love at first slight”. Bamboo became his obsession, a passion so strong that drove him to set out on a journey of discovery which he refers to as his Bamboo Routes.
In 2004 he set out for Southeast Asia, attending the World Bamboo Congress in Delhi. From there he travelled to remote areas in Thailand, Vietnam and Laos, learning old techniques from the communities for whom bamboo is an essential resource. Beyond craftsmanship, Lo learned the strong spiritual and emotional charge within bamboo. In 2011, with the support of the World Bamboo Organisation, he began his second journey to Mexico, Guatemala, Nicaragua and Costa Rica. He studied the spatial properties of bamboo and met well-known members of an international community using contemporary techniques to build bamboo structures, including Architect Martín Coto and Engineer Mercedes Rodriguez. His final trip was to Indonesia in 2012, where he discovered the work of John Hardy in Bali. Hardy would invite Lo to give lessons in “bamboo art” at his Green School and Green Village and to develop a project during bamboo’s growing season.
Through his travels, Lo developed deep insight and knowledge into bamboo’s properties as well as traditional and contemporary techniques to grow and work with the material. Beyond its physical characteristics such as flexibility, resistance, density and lightness; it was the spiritual properties of bamboo that would captivate him and become the soul of his poetic creations.
Lo’s exquisite bamboo creations are well appreciated internationally as well as in the Asia Pacific region. Lo was recently invited by the National Taiwan Craft Research and Development Institute to participate in the Bamboo Traces Contemporary International Bamboo Art and Craft Exhibition. This exhibition is a worldwide collaboration project, gathering artists and designers from many different countries and cultures, exploring bamboo, a traditional material in Asia, from a modern context. His works have been acquired by prominent collectors including Hong Kong renowned architect and collector Mr. William Lim and Fine Jewellery Designer and board member of M+ Museum Hong Kong Ms. Kai-Yin Lo.
Laurent Martin “Lo” is member of the Royal British Society of Sculptors and currently lives and works in Spain. He is represented by Puerta Roja in Asia since 2015.
Nicola Galli works on body research, stated in artistic pieces and devices that ranges from choreo-graphy to performance, from body installations to graphics.
He starts as agonist gymnast and then approaches to the body research at Teatro Nucleo (Ferrara), studying the languages of physical theatre and contemporary dance.
In 2010 he starts a personal research focused on shape and definition of the “stratification” and “landscape” concepts in connection with the body, that develops in installations and choreographic pieces.
Starting from the geometry and the astronomy he is fascinated by anatomy, proportion and details; these elements compose the core of his trasversal scenic imaginary.
From 2010 to 2014 he worked as dancer and performer in the company Collettivo Cinetico directed by Francesca Pennini. Since 2014 he is choreographer supported by TIR Danza. In 2014 is selected artist at Italian Istitute of Culture in Paris with the performance Delle ultime visioni cutanee. From 2015 to 2016 creates the pièces Jupiter and beyond, Venus, Mars, a choreographic trilogy focused on solar system.
In 2017 creates the pièce De rerum natura with Balletto di Toscana Junior (Italy) and the support of Prove d’Autore XL – project of the Italian Network Anticorpi XL. In 2018 creates the interactive performance Ge- noma scenico for the Science Museum MUSE in Trento, with the support of Centro Culturale S. Chiara and Festival Oriente Occidente, and wins the prize Equilibrio – Fondazione Musica per Roma with the pièce Deserto digitale. In 2018 wins Danza & Danza Prize as best emerging choreographer with the pièce De rerum natura. In 2019 wins the italian national prize Sfera d’Oro per la danza.
His works are selected for Italian and international festivals: Vetrina della Giovane Danza d’Autore in 2012 and 2015 (Network Anticorpi XL – IT), Nid Platform 2015 and 2019, International Festival D-Caf (El Cairo), Tanzmesse (Dusseldörf). Moreover, he presents site-specific performance in collaboraction with important italian institutions: MUSE (Trento), Scuola Normale Superiore (Pisa), La Galleria Nazionale d’Arte Moderna e Contemporanea (Roma), Fondazione Perugia Musica Classica (Perugia).
An example of object theatre:
Cie. l’Insolite Mécanique (FR) ‘s “Je brasse de l’air”
Be transported into a mysterious world of shadow and light, where astonishingly engineered mechanical installations that defy the laws of gravity come alive, illuminating Magali Rousseau’s childhood dream of achieving flight.
An enigmatic yet charismatic artist tells her story: a little girl who wishes to escape by becoming a master of the air. As she leads us all to different parts of the atmospherically lit stage, her simple words become a symbolic force for this promenade performance in which exquisite metal creatures emerge from the dark.
Some small, some very large, each is an actor, a work of art in its own right, set into action through steam power, flame, time or weight, all playing their part in this ingenious theatrical tale. Rousseau’s machines are born out of a career working in set and prop design.
Here she collaborates with musician Stéphane Diskus, whose live clarinet playing heightens the unusual ambience, to relate a most personal memory: how trying to fly became an act of resistance. A journey into the imagination for all dreamers, young and old alike.
Duration: 45 mins
L’exposition : Il y a des oiseaux dans l’aquarium
Daniel Rozin & Self-Centered Mirror!
Self-Centered Mirror is an arrangement of 34 vertical panes of mirror. It has a retro-reflective behavior, and anyone standing in front of this mirror will see themselves reflected on all 34 panes. The mirror is designed to isolate a very narrow field of vision, and seemingly reflects the image of each viewer individually. It physically illustrates the narcissistic gaze that is usually associated with mirrored reflection. This piece is a wall-mounted sculpture that curves out from the wall on its left and right sides.
Artist and computer developer Daniel Rozin is best-known for incorporating ingenious engineering and his own algorithms to make installations that change and respond to the presence and point of view of the viewer. Exploring the subjectivity of self-perception, Rozin’s works are made from a wide array of materials from video to wooden pegs and even street refuse. Trash Mirror No. 3 (2011) uses motors and software designed by the artist that manipulate ‘pixels’ constructed out of flattened, reflective pieces of garbage, which shift to render the silhouette of whomever approaches it.
An exhibition that is about the artist’s process and is at once a scholarly retrospective, an experimental site and a laboratory.
A attempt to create an all-inclusive, top, comprehensive, first, grand, laboratory, experimental, superlative, everything type of exhibition, showing a major artwork next to a loose sketch or draft for other pieces, in retrospect, eclipses the simple, captivating beauty and impact of Eliasson’s installations.
A giant, circular-shaped mirror, 40 feet in diameter and weighing 600 pounds, is mounted to the ceiling at an angle, rotating at one revolution per minute. The installation destabilizes viewers’ perception of space as they pass beneath it. Through the reflection of the gallery in the mirror, the piece actually adds light and space to the whole exhibition. Inevitably, partially also due to the weird and unpredictable layout of the rest of the exhibition, this room becomes the centre of Take Your Time. The slow motion of the ceiling piece, as well as its awkward angle that evokes the illusion that the walls bend, turn the gallery in a fascinating surreal-meditative space. Spontaneously, visitors lie down on the vast, hardwood floor and stare into the bright reflective surface of the mirror, observing how the environment distorts glacially.
Mirror foil, aluminum, steel, motor, and control unit.
Light Art, Chance, Visual Perception, Site-Specific Art, Installation
Time, Line, Form, Color, Light as Subject, Linear Forms
Open Form, Mixed-Media, Contemporary Conceptualism
Performance Art, Focus on Materials, Geometric, Film/Video
“My light installations use the camera obscura as a point of departure. They are immersive optical environments, idealized spaces with discreet openings. In translating the outside world into moving fields of light and color, the projections make an argument for an unfixed notion of sight.”
Olafur Eliasson is a Danish-Icelandic artist known for sculptures and large-scale installation art employing elemental materials such as light, water, and air temperature to enhance the viewer’s experience.
Olafur Eliasson developed the visual concept for the contemporary ballet Tree of Codes, choreographed by Wayne McGregor and with music composed by Jamie xx.
The stage design uses intricate sets of reflective, transparent, and refractive surfaces and coloured light to create a dynamic, ever-evolving, and complexly layered space in which the dancers are multiplied and overlap.
Lights panning over the audience cause its spectral image to appear on the stage’s reflective, coloured scrims, integrating the viewers with the activity on the stage.
Triggered by Jonathan Safran Foer’s Tree of Codes (an artwork in the form of a book, which was in turn inspired by Street of Crocodiles, by Bruno Schulz), this new, evening-length work features a company of soloists from the Paris Opera Ballet and dancers from Wayne McGregor Random Dance.
The opera Phaedra by German composer Hans Werner Henze was commissioned by the Staatsoper in Berlin and premiered in September 2007.
Eliasson created the spatial concept.
The focus of the individual scenes alternated between the music and the visual elements. These comprised monofrequency lights; a kaleidoscope; the works Your space embracer 2004 and Square sphere 2007; and a vertical mirror that spanned the entire stage and reflected the audience as well as the orchestra, which had been moved to the back of the auditorium.