installationmagazine

[installationmagazine]

Looking at 2024 with that side eye.

" Eye candy “ paper collage

© Sammy Slabbinck 2024

[installationmagazine]

Words that we should never forget.

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After this life, we will rise. 

By Castro 

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In celebration of #PrideMonth we are reminded of the power of the site-specific installation “Lover’s Rainbow,” by Pia Camil at the second edition of Desert. Constructed with exposed rebar, the sculpture carried a symbolic power and unified visitors with love and hope when we need it the most.

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The wonder of project mapping. 

A project of many “firsts.”

The US debut of “Luminessenz: Space is Only Noise,” an immersive project mapping masterpiece realized by Visualpilots, a London and Switzerland based collective. The founders Christoph Thüer and Simon Haenggi brought the vision to life during Armory Week at the Spring/Break. 

The site-specific installation marked the curatorial debut of our Editor-in-Chief A. Moret

“Luminessenz” remains a work of effortless beauty, innovation, sophistication, and sheer wonder. 

📍Armory Week, NYC, 2015

📷 by @rainerhosch 

[installationmagazine]

e·the·re·al/əˈTHirēəl/

“extremely delicate and light in a way that seems too perfect for this world.”

The “Ethereal” Series was born during a time of darkness when the universe felt rather small and the only refuge was an inward escape and an intent focus on the photographic process.  The discovery of accidental light leaks transformed the abstract compositions and helped to shine a light when it is was needed the most. Read our complete interview with the artist @castrofrank 

[installationmagazine]

In keeping with the spirit of quantifying time, we revisit our interview with David Adey who created “Omega Man,” a trillion second countdown to zero.

Created using Nixie tubes, the standard technology before the classic alarm clock, the design features a pre-segmented LED display that seeks to visualize one trillion seconds.

In an interview with A. Moret, the artist explains that “time is a relative concept, and with “Omega Man” I was thinking about a trillion.  After researching the number I realized that one trillion seconds is 31,688 years and this fact blew me away. I thought a trillion seconds was about a month or so.  I had no concept of what a trillion actually was.  Then I started thinking about what was happening 32,000 years ago.  At that time the last known Neanderthals were walking around the plains of Europe and Homo sapiens were on the rise.  We are talking about the dawn of civilization.”

From the archives, “David Adey: Hither and Yon,” featured in Issue 40 from the weekly installments of Installation Magazine

__________________________

David Adey, “Omega Man” (Trillion Second Countdown) (detail), Russian-suplus nixie tubes, GPS receivers, custom electronics, 2.5″ x 9.125″, 2013

Artwork courtesy of the artist

[installationmagazine]

A vibrant moment from “The Vanguard Diaries” featuring artists in their studios by @rainerhosch. 

Mark Grotjahn, “Horizontals,” an exhibition of new and recent paintings from the “Capri” series (2016-) recently opened at Gagosian, Hong Kong. The exhibition will be on view through August 7, 2021. 

[installationmagazine]

Something “mar”velous is about to happen… 

counting down to the opening “This Too Shall Last” at [ SPACE ] by @bmwusa at The Grove in Los Angeles, CA June 1st-30th, 2021.

The artist in his studio photographed by @rainerhosch

[installationmagazine]

Congratulations to our friends @friendswithyou!

“Sweet Little Cloud,” a three foot bronze sculpture adorned with an acrylic smiling face is currently on view @artbasel Hong Kong with #NanzukaUnderground. Art in real life is back and we can’t stop smiling. 

The artists Sam & Tury in their studio photographed by #RainerHosch for @installationmagazine. 

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Returning to the archives of Weekly Issue 05, the glass sculptures of #EricFranklin continue to illuminate the body and mind. 

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Fuji developments from #DesertX21

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“With Life, I work actively to create a space of coexistence among those involved in and affected by the exhibition – the art institution, my artwork, the visitors, other beings that join in, the trees and other plants in the park, the urban landscape that surrounds the museum, and beyond. Through collectively exploring the world we share, we can, I hope, make it livable for all species.”

 - Olafur Eliasson 

The artist wished to keep the museum open day and night. The windows and doors at Foundation Beyeler have been removed for the duration of the exhibition, blurring the distinction between the inside and outside, and make the museum a living entity. The artist opens the museum to its surroundings and the elements- the plants and animals native to the public park, changing weather patterns, and variations in light and darkness.

The time of day influences the experience. In the daylight the water appears a bright green and assumes an electric quality at night. To achieve this effect, a fluorescent dye called uranine was applied to the water along with the application of ultraviolet light. 

Traversing along dark wooden walk ways, visitors can interact with the hypnotizing green pond that invites flora to thrive. 

“Life” inspires the creation, existence and evolution of new life and energy into an unexpected space. 

Olafur Eliasson, “Life” on view at Foundation Beyeler, April- July 2021 

“LIFE” by Olafur Eliasson,

Fondation Beyeler, Basel, Switzerland

Photo: Mark Niederman / Courtesy: architecturephoto

[installationmagazine]

“All that is solid melts into air.” 

Suspending the intangible, documenting the impermanent and filling beautiful interiors with a cloud... welcome to the practice of Berndnaut Smilde. 

Berndnaut Smilde.

[installationmagazine]

Distilling a piece of art down to its very data- extracting the code and creating a new work. The mastery and wizardry of @refikanadol is nothing short of awe-inspiring. 

Exploring latent space for new Data Paintings.

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Gliding on asphalt with the fluidity of water. 

Hugh Holland

Down on the Street, Hollywood Hills, 1975

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“Keep your actions faithful.” 

Enrique Martínez Celaya in his Los Angeles studio. Photograph by Rainer Hosch.