Sunday, 10 April 2016
Thursday, 7 April 2016
Russell Moreton VITRINES : Art Spaces/interiors/interventions. 3
Anselm Kiefer :
In the Annenberg Courtyard 2014.
Velimir Khlebnikov: Fates of Nations: The New Theory of War
Anselm Kiefer often dedicates his works to intriguing figures of the past, be they poets or philosophers. This piece is one of a number of works emerging from Kiefer’s ongoing exploration of the Russian Futurist avant-garde writer, theorist and absurdist Velimir Khlebnikov (1885-1922).
After years of study, Khlebnikov concluded that a major sea battle took place every 317 years, or multiples thereof. Kiefer celebrates this heroic and ludicrous activity with a work that is both monument and anti-monument. Measuring almost 17 metres in total and consisting of two large glass vitrines, Kiefer creates a transparent, reflective sea-scape in three dimensions that calls to mind the Romantic sublime of painters from JMW Turner to Caspar David Friedrich. Kiefer uses the frames of the vitrines to stage a mysterious drama, in which viewers, seeing each other and their own reflections, become participants.
https://www.royalacademy.org.uk/article/kiefer-and-chipperfield-talk-space
In the Annenberg Courtyard 2014.
Velimir Khlebnikov: Fates of Nations: The New Theory of War
Anselm Kiefer often dedicates his works to intriguing figures of the past, be they poets or philosophers. This piece is one of a number of works emerging from Kiefer’s ongoing exploration of the Russian Futurist avant-garde writer, theorist and absurdist Velimir Khlebnikov (1885-1922).
After years of study, Khlebnikov concluded that a major sea battle took place every 317 years, or multiples thereof. Kiefer celebrates this heroic and ludicrous activity with a work that is both monument and anti-monument. Measuring almost 17 metres in total and consisting of two large glass vitrines, Kiefer creates a transparent, reflective sea-scape in three dimensions that calls to mind the Romantic sublime of painters from JMW Turner to Caspar David Friedrich. Kiefer uses the frames of the vitrines to stage a mysterious drama, in which viewers, seeing each other and their own reflections, become participants.
Monday, 7 March 2016
Friday, 26 February 2016
Lucio Fontana : Beyond The Picture
"There is no stage at which "man" does not demarcate, beacon or sign his space, leaving traces that are both symbolic and practical."
Lefebvre, The Production of Space,
Lefebvre, The Production of Space,
My art rests wholly on this purity, on this philosophy of nothingness, which is not a nothingness of destruction, but a nothingness of creation. And the cut, or properly, truly, the hole, the first holes, was not the destruction of the picture. The formless gesture … was precisely a dimension beyond the picture, the freedom to conceive art through any medium, through any form. —Lucio FontanaThe Italian artist born February 19, 1899 in Rosario, Argentina.__________Image: Lucio Fontana at his exhibition opening, Galerie Iris Clert, Paris, 1964, Photo by Shunk-Kender, © Fondazione Lucio Fontana http://russellmoreton.tumblr.com/post/139739887062/gagosiangallery-my-art-rests-wholly-on-this
Thursday, 25 February 2016
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