The Swiss artist Zimoun is currently exhibiting his latest installation at the Ringling Museum of Art in Sarasota, Florida (USA), which runs until January 08 2012. Zimoun, previously featured on Minimalissimo, builds architecturally-minded platforms of sound using simple and functional components, which result in unique and quite beautiful soundscapes.
The Sculpting Sound installation, curated by Matthew McLendon is an example of structural simplicity in an industrial-like setting, which reveals an intricate relationship between the artificial and the organic. Zimoun’s creations often use multiples of the same prepared mechanical elements to examine the creation and degeneration of patterns.
If I was in the vicinity, this would be a must-see. Fantastic.
→ Watch the Sculpting Sound video
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Sculpting Sound is a post by Carl MH Barenbrug on Minimalissimo.
Berlin-based artist Olafur Eliasson, a Minimalissimo favourite, conceptualised Your House. The book, designed in 2006 by Michael Heimann and Claudia Baulesch, is a limited-edition artist’s book with a laser-cut negative impression of Eliasson’s house in Copenhagen. Each of the 454 pages are individually cut and corresponds to 2.2 cm of the actual house.
Commissioned by the Library Council of The Museum of Modern Art in New York, Your House is a remarkable arrangement of cutouts and imagery presented in a minimalist yet technical format. Readers gradually build a physical and mental narrative, whilst also examining the perceptual and spatial experience of domestic architecture of the house.
Although I haven’t had the pleasure of reading one of the 225 printed copies (perhaps one day), I love of the combination of sculpture and architecture and the illusion of being inside the house.
Sydney-based freelance designer and paper artist Bianca Chang has created a beautiful bespoke collection of 3-dimensional letterforms – Works in Paper.
The recreation of the 3D effect was achieved by hand-plotting and cutting multiple sheets of 80gsm 100% post consumer waste recycled paper. This minimises the impact of paper consumption and consciously transforms a typically disposable medium into a long term piece of art.
Whether or not you’re a type fiend, the shadow-play and subtlety of tones are undeniably brilliant.
Ryoji Ikeda is one of the most innovative electronic musicians who has a worldwide impact on electronic music development. The Paris based Japanese artist is one of the earliest to reduce electronic music to sheer ultrasonics, frequencies and tonal variations. His work has been internationally exhibited, toured and released.
Datamatics is a series of work that takes live, present data as a source to generate visuals and music. Ikeda pushes the limit of minimalism by combining abstract and mimetic presentations of matter, time and space and uses the least of graphics to visualize them.
The idea of turning the invisible to visible and how the visualized result interacts with a 3D space and human being offer a powerful and deep reflection of our living in this data exploding century.
Ryoji Ikeda’s latest solo exhibition The Transfinite will find its way to the Park Avenue Armory, New York from May 20 to June 11, 2011.
Photos courtesy of Liz Hingley, Ryuichi Maruo (YCAM) & Forma
Memes is a series of sculptures by British-sculptor Antony Gormley, recently exhibited at Anna Schwartz Gallery in Melbourne, Australia. According to the publication on the work released by Anna Schwartz in conjunction to the exhibition, Gormley states that the project started as an investigation into scale and modular construction.
Of the work, Anna Schwartz Gallery says:
A Meme is a cultural analogue to a gene. Forms that are transmitted in thought or behaviour from one body to another, responding to conditional environments, self-replicating and capable of mutation.
The miniature or the model allows the totality of a body to be seen at once. These small solid iron works use the formal language of architecture to replace anatomy and construct volumes to articulate a range of 32 body postures. The ambition is to make intelligible forms that form an abstract lexicon of body-posture but which nevertheless carry the invitation of empathy and the transmission of states of mind.
Displayed widely spaced within the architecture of Anna Schwartz Gallery in Melbourne, the works interface with the architecture of the gallery. Placed directly on the floor they become acupuncture points within the volume of the space, allowing the viewer to become conscious, through the disparity of scale, of his/her own mass and spatial displacement as s/he moves around and amongst the works.
Larry Bell has had a long and varied career, and also influential enough to land himself on the cover of The Beatles’ 1967 album Sgt. Pepper’s Lonely Hearts Club Band.
Born in 1939 in Chicago, Illinois, and now based in Toas, New Mexico and Venice, California, his earliest work were, like Donald Judd, Abstract-expressionist paintings.
In the 1960s, Bell began making some of his most recognisable works: Cube structures that sit on transparent plinths. Three of these works were featured in the influential 1966 minimalist exhibition Primary Structures, which also featured the work of Donald Judd, Dan Flavin, Ellsworth Kelly, Carl Andre and Sol LeWitt (amongst others).
I often see people disregard the relationship between the plinth and a sculpture, and furthermore the plinth’s sculptural presence. It’s always refreshing to look at Bell’s work, because he brings an awareness to the plinth by making it part of the work itself.
This year, Olafur Eliasson joins Ma Yansong for joint project, Feelings are Facts, at Ullens Center for Contemporary Art, Beijing.
It reminds me of the Weather Project at Tate a few years ago, the Weather Project, again Eliasson marries the space and the art itself wonderfully together. The result literally envelops the viewers completely. The artificial colours created by the fluorescent lights, really confuses the visitors by the use of fog, as it forces you to readjust your senses in this infinite space.
The works are always something that must be experienced in person, if another work comes to your city, do take a visit.
French-based “abstract minimalist” Daniel Buren is well known for his trademark use of stripes, sized consistently at 8.7cm wide. His fascination with the motif has been materialised in the form of paintings, site specific installations and unauthorised public artworks, using striped awning canvases in France, and posting striped posters around Paris including various metro stations. He is perhaps best known for his black and white striped columns installed in a 3000 square metre area outside of the Palais Royal in Paris in 1986, called Les Deux Plateaux and nicknamed Colonnes de Buren.
Sometimes called a conceptual artist for his dealings with space and the gallery setting, Buren blocked the entrance to his first solo exhibition with one of his striped works. Of the Guggenheim Museum, where Buren has exhibited before, he says “[it] really kills a piece of art, primarily because it’s a work of art itself.”
Room for One Colour by Berlin-based artist Olafur Eliasson is pretty much as minimal as installations get. (Unless you recount Yves Klein’s exhibition called The Void.)
In this work, Eliasson is perhaps expressing his dissastisfaction with the materiality of art, and the notion that an exhibition is about putting art into a space. Instead, he seems to be interested in using a space as the actual artwork. In this instance, he reconfigures the space using mono-frequency lights to transform it into a room filled with a single colour. I find this quite a clean, minimal and slick method.
Having seen this work in person earlier this year at the MCA, I can say from experience that it has a disorienting affect on people within and outside of the space. In the pictures, you can see how the lighting drains colour out of anything within the space.