Filipino artist and designer Leeroy New has created a fluorescent installation in Pintô International's new gallery space in New York City's East Village. After a two-week residency in February 2019, New created the sculptures along with multi-colored costumes that performers have donned while traipsing around Lower Manhattan. Aliens of Manila: New York Colony has a sort of psychedelic, fungal look, as though prosaic objects had somehow mutated into funky new lifeforms. Both the sculptures and the costumes are made of cheap plastic home goods and fabrication supplies like zip ties and fiberglass strips. The photos of performers on the street are part of the artist's broader Aliens of Manila project that "speaks to the wider experience of cultural displacement but is profoundly informed by the artist’s own familial experience with the phenomenon of what he refers to as 'OFW'—Overseas Filipino Workers." The photos show people in the costumes popping against the backdrop of day-to-day activity in New York City. Pintô International is the new space from the Phillippines-based Pintô Art Museum, a museum that collects and exhibits the work of many prominent local artists. Aliens of Manila: New York Colony marks the launch of a quarterly exhibition schedule, an artist residency, and a monthly Pintô Sessions event series. Aliens of Manila: New York Colony Pintô International 431 East 12th Street, New York, New York Through May 27, 2019
Posts tagged with "Art Installations":
Miami’s Institute of Contemporary Art (ICA Miami), in collaboration with Miami Design District, will unveil a towering art installation by Yona Friedman, Hungarian-born French architect, designer, sculptor, and urban planner, whose innovative works represent humans’ complex relationship with the environment. The public sculpture, titled Space-Chain Phantasy-Miami 2019, features intertwined, geometric cubes composed of metal wire. The lightweight installation reflects Friedman’s perception that architecture should be flexible and capable of adjusting to the needs of its users and inhabitants. This concept originates from his personal history as an emigrant and nomadic refugee who often depended on temporary shelters to survive. While major urban centers can be dense, harsh, and chaotic, Friedman believes that temporary, ephemeral architecture can help democratize a city and empower its inhabitants, promoting a city that evolves with its people. Friedman's work, including temporary structures similar to Space-Chain Phantasy-Miami 2019, has been featured in collections of the Getty Research Institute in Los Angeles, the Museum of Modern Art in New York City, and the Centre Pompidou in Paris, among many other locations. The sculpture will be unveiled on February 22 at Paradise Plaza in the Miami Design District. ICA Miami is free and open to the public all year.
As temperatures continue to plummet in New York, it may not be a total surprise that a giant iceberg has found its way onto the city's streets. Last week, the Garment District Alliance bared its latest interactive art installation, Iceberg, which can be found at the Broadway pedestrian plazas between 37th and 38th Streets. The installation, composed of jagged metallic arches that illuminate and make noises evocative of melting ice as visitors walk through them, was created by ATOMIC3 and Appareil Architecture in collaboration with Jean-Sébastien Côté and Philippe Jean. The work was inspired by actual icebergs and is intended to chronicle the life cycle of a floe, from when it first breaks off the edge of a glacier to when it ultimately melts due to climate change. Part of the motive behind creating the installation was to acknowledge the significance of climate change and global warming, and how they will continue to worsen if people don't make more environmentally-conscious changes to their lifestyles. “This is an astonishing installation that transforms Broadway into a gleaming, interactive experience for pedestrians, while reinforcing an important environmental message,” said Garment District Alliance president Barbara Blair in a statement. Despite the serious message that the piece tries to convey, it appears to be a fun addition to the streetscape, where visitors can playfully interact with the structure, as well as pose for a photo-op. Aside from the arches flashing different colors and emitting loud “drip” noises as people pass under them, the arches make thunderous crashing sounds every so often to indicate an iceberg calving. The energetic spectacle draws in large crowds to the already bustling Garment District, just a few blocks south of Times Square. This isn’t the first time the sculpture has been unveiled to the public; it made its first debut at the 2012 Luminothérapie festival in Montreal. The installation is part of the year-round public art program, “Garment District on the Plazas,” and it will be on view through February 24.
This past month, architect-turned-artist Phillip K. Smith III revived the 100-foot-long walkway that links two of Detroit’s most celebrated skyscrapers with a dynamic light installation. Wedged between the Guardian Building and One Woodward Avenue, the suspended passageway was built in the 1970s to allow employees of the American Natural Resources Company and Michigan Consolidated Gas Company to pass freely between the two office buildings without interference from inner-city traffic and congestion. When one of the companies relocated in the 1990s, however, the bulky walkway was abandoned. Fortunately, the sky bridge has now been revitalized with a permanent installation by the California designer known for his extravagant, light-based, and Coachella-esque works of art. Phillip K. Smith III has completely transformed the neglected passageway into a vibrant, floating bar of light that electrifies the streets of downtown Detroit. “Detroit Skybridge is another example of how underutilized spaces can be reimagined for the benefit of the public,” said the owner of Library Street Collective, the art organization that conceptualized the project. “Phillip’s use of light and color, along with his understanding of architecture and scale, makes this a compelling project for the city.” Smith drew inspiration from the geometric white concrete of Minoru Yamasaki’s 1962 One Woodward building and the variegated interior of the 1929 Guardian Building. His design, which is composed of shifting tones and moving planes of light, has added a pop of color and a renewed interest to the historic city’s constantly evolving skyline. “By day, the Skybridge will continue to be seen as its historic self within the architecture and massing of Downtown. But by night, it will become a beacon for the beauty, creativity, and innovation of Detroit,” said Smith. “I am interested in creating experiences that tap into ‘universal beauty’—experiences that make us step away from our pattern, our life, our work, our errands, and allow us to see sublime beauty shifting and changing before our eyes.”
On October 10, the doors of Detroit’s long-abandoned State Savings Bank will open to the public and reveal a space radically different from the building's original interior. Among the building’s elegant columns, historic bank vault, and vast interior space sits Doug Aitken’s latest art installation, a mystifying sculpture in the form of a one-story American suburban house, equipped with a maze of mirror-clad rooms and hallways that will leave visitors both disoriented and perplexed. The sprawling design, known as Mirage Detroit, diffracts and reflects every aspect of its surroundings, including the historic architecture of the antiquated building in which it resides. The resulting contrast is intense: the bank, with its bold sculptural supports, decorative enrichments, elaborate cornice, and over-scaled features, is juxtaposed with Aitken’s angular, mirrored sculpture and the room’s marble floor, which has been completely obscured by raw earth and river rocks. The merging of these elements conjures images of “a constantly shifting landscape that incorporates the organic and inorganic, reflects the past, and questions the future,” according to a statement from the artist's studio. Mirage Detroit will mark one of the first times that the public has had open access to the State Savings Bank, which was built in 1900 and has been vacant for decades. The bank, which is impressive by virtue of its sheer size, classical décor, and adaptation to the urban American landscape, represents the history of Detroit while looking towards its future. It was saved from demolition after it was purchased by Bedrock in late 2014. “In many ways, Mirage will become its surroundings,” says Anthony Curis, owner of Detroit-based art gallery Library Street Collective. “It will reflect and intensify one of the city’s greatest historical and cultural contributions—its grand architecture.” Over the course of the exhibition period, Mirage Detroit will host an array of cultural events ranging from educational programs, musical performances, and community programs funded by organizations like Cranbrook Academy of Art, Art Museum, Museum of Modern Art Detroit (MOCAD), and College for Creative Studies.
"How might we determine the facts and values that motivate the production of architecture in a post-truth era?" That was the question that entrants were asked to respond to for this year's Prize for Young Architects + Designers from The Architectural League of New York. The winners presented an array of proposals across a variety of media that obliquely took on the theme. The 2018 competition, titled Objective, was won by Anya Sirota of Akoaki, Bryony Roberts of Bryony Roberts Studio, Gabriel Cuéllar and Athar Mufreh of Cadaster, Coryn Kempster of Julia Jamrozik and Coryn Kempster, Alison Von Glinow and Lap Chi Kwong of Kwong Von Glinow, and Dan Spiegel of SAW // Spiegel Aihara Workshop. The Prize is an annual award established in 1981 to celebrate young, successful practices from across the United States, and the exhibition of winners is now on view at the Sheila C. Johnson Design Center at the Parsons School of Design, running through August 4. Visitors to the Design Center are first confronted by Lap Chi Kwong and Alison Von Glinow’s plywood model titled Table Top Apartments. It runs the length of the storefront and consists of circular, square, and rectangular geometries stacked on top of one another via thin columns. The Chicago-based architecture practice was founded one year ago and is already reaching great heights; they recently won first prize in the New York Housing Challenge 2017 and the Hong Kong Pixel Home Challenge. Their installation is a study model of their New York housing proposal, which makes use of modules “based on the form of stacking table tops to generate towers with setbacks and cascading balconies.” Visitors to the exhibition are immediately drawn to the graphic vinyl pattern that runs down the west wall of the gallery onto the floor. Geometric cutouts of marble and stone textures are collaged together by Bryony Roberts. Her exploration with patterns is said to be inspired by her experience as a Rome Prize Fellow, her previous works at The American Academy in Rome, and an exhibition at the Storefront for Art and Architecture in collaboration with Mabel O. Wilson. Roberts toggles between practice and teaching as a professor at Columbia University’s Graduate School of Architecture, Planning and Preservation and an architect who combines architecture and performance. Anya Sirota's installation cuts an eye-catching figure in the middle of the show. The unconventional models are composed of silhouettes of architectural objects overlaid on wilderness backdrops. Sirota, founded by Akoaki with Jean Louis Farges, frequently designs temporary art installations that respond to public programs, including a geometric artwork in Detroit that sets the stage for an open-air opera. Next, to the models, a rack of colorful postcards exhibits the work of Julia Jamrozik and Coryn Kempster. Their work uses color in imaginative ways, with a neon-pink swing set named Full Circle originally installed in Buffalo, and the Sky House in Ontario, which features interiors painted in different shades of blue, complementing the green tones of the idyllic Stoney Lake scenery. Visitors are free to take postcards from the exhibition. Nine models of the same dimensions by Dan Spiegel are mounted on the wall. With inset lighting effects, the relief models lead the audience through tiny spaces. Spiegel’s firm, SAW // Spiegel Aihara Workshop, with Megumi Aihara have recently completed Try-On Truck, a mobile store that opens up with transformable wood and glass panels. Gabriel Cuéllar and Athar Mufreh’s four research studios titled the architecture of territories are “parcels, rights-of-way, watersheds, and urban ecologies.” Their firm Cadaster is concerned with the environment and landscape, with projects on the New York Canal System, Quebec urban planning, and the American Black Churches in the South. Their works are nuanced reflections on cities and territories.
Los Angeles- and New York City-based FreelandBuck has come together with MINI LIVING to create a visually complex temporary installation for the Los Angeles Design Festival. The eye-catching pavilion was on display over the weekend at the showcase’s headquarters at The Row arts complex in Downtown Los Angeles. For the installation, FreelandBuck hijacked a pair of compact living modules previously designed by the MINI LIVING team in order to create an inhabitable public space for use during the festivities. The new “experience” space is sandwiched between the spare “urban cabin” accommodations and was designed by FreelandBuck in order to “extend the perceptual boundaries and the contemplative life of a living space through spatial effects and experimental material assemblies,” according to a press release for the project. In plan, FreelandBuck’s designs are contained within a pair of redundant aluminum stud-framed spaces where one of the two boxes has been rotated in space in order to project beyond the extents of the otherwise rectangular cabin. The second cube is rotated in the opposite direction and created an angled exit within the main volume. The doubled walls mark the entries to the cabin on the outside and frame a doorway within, leaving odd, oblique wedges of space at the meeting points of the two rotated volumes. The two nested boxes are skinned in translucent polycarbonate panels that have been printed with images depicting a third framed volume that is drawn to appear as if it has been projected through the structure. The graphic produces a disorienting, layered effect through the spaces, with different views of the red and blue cube projected across the interlocking areas. The space is flanked on either side by the MINI LIVING-designed components, which include a living space framed by pivoting pegboard-and mesh-wrapped wall panels and a bedroom area that features a skylight above the sleeping area. The installation represents the eighth iteration of the pavilion by MINI LIVING and the first scheme that is designed to hold overnight guests. For more information, see the MINI LIVING website.
The Coachella Arts and Music Festival kicks off this weekend outside Los Angeles, bringing with it a wide-ranging program of colorful, sculptural artworks by a handful of local and international artists. Years past have brought dynamic artworks by designers like Bureau Spectacular, among others. This year's presenters include R&R Studios, a Miami-based duo made up of Roberto Behar and Rosario Marquart. The visual art-, architecture-, and design-focused creatives have brought their star-shaped sculpture, Supernova. This is the duo’s second year exhibiting at Coachella, following the 2016 show. Entertainment design studio NEWSUBSTANCE is making their Coachella debut with Spectra, a seven-story-tall sloped ramp structure clad in transparent orange and yellow panels. Artist Randy Polumbo will bring Lodestar, 35-foot triangular"saucer" made from a repurposed Lockheed Martin Lodestar jet that sits on a trio of 10,000-pound legs. Italian artist Edoardo Tresoldi will grace the High Desert with his Etherea sculpture, a massive mesh-based work that evokes Baroque architecture. El Salvadorian artist Simón Vega is presenting his Palm-3 World Station at the festival, a spherical sculptural work made up of repurposed components. American artist Katie Stout will debut Display This Oasis, an augmented reality-based sculpture "that's grounded in reality" and focuses on processing everyday objects through a special web-based app. Los Angeles-based artist Adam Ferriss brings his Meta & Ditto augmented reality installation to the music festival, another app-based installation that utilizes "manipulated source images, computer code, and algorithms to psychedelic effect." Photographs are not yet available for the two augmented reality-based installations. We will be updating this post throughput the weekend with more images.
In many ways, architecture and ballet are natural accomplices. Both disciplines are irrevocably entwined with the body–as much as contemporary architectural practice tries to shirk this fact–and both are dedicated to the illusion of impossible ease, obscuring endless hours of grueling work and practice. But an exhibition opening this week in Chicago at the Graham Foundation strips away that mask. Instead, Brendan Fernandes: The Master and Form demonstrates the often perverse labor that goes into the pursuit of perfection. The Master and Form exhibition consists of a series of installations placed throughout the Madlener House, the Graham Foundation’s Prairie-style home, designed in collaboration with Chicago and New York-based practice Norman Kelley. These installations double as hyper-specific training devices on which dancers from the Joffrey Academy of Dance train their bodies into classic ballet poses, in performances of site-specific endurance art. “The exhibition is a means of exploring the relationship between mastery and masochism–what we do to our bodies, the pleasure and the pain–in service of aesthetic perfection,” said Fernandes, a former dancer and the 2017 Graham Foundation performance artist-in-residence. The Master and Form is also a kind of sculptural love affair between architecture and ballet. On the first floor of the Madlener House, three geometric wooden devices that look like creative coat stands occupy the foyer and two galleries. With Fernandes acting as ballet master, the dancers move repeatedly in and out of iconic poses, using the sculptures as guides to attain a more perfect form. On the second floor, three large-scale installations made of black metal piping occupy the east and west galleries. They resemble a cross between scaffolding and a pilates reformer. On these structures, dancers will bend their bodies into extreme postures and forms, stretching the limits of their strength and flexibility. The west gallery is also hung with pieces of thick rope, which serve as BDSM-style endurance devices for the dancers to hold onto with their arms overextended while moving between ballet positions on pointe, to the point of fatigue These performances are meant to elicit an intense intimacy between the dancers and the objects, as well as between the dancers and the audience, who will be standing close enough to hear them breathe and see them sweat. When the dancers are not present, three-way audio recordings of their movements will play in each room. Ellen Alderman, Managing Director of Public Programs at the Graham Foundation, said, “Sounds of pointe shoes moving across the old oak floor, creaks, the dancers breathing heavily, will elicit an experience of the physicality of the sculptures and the choreography that will draw the audience to their own bodies and experience of the space.” In addition to the sculptural instruments, Fernandes and Norman Kelley also designed a series of gestural arches and frames that echo existing and historical thresholds and windows in the Madlener House. These moments call attention to architecture’s most intimate moments in relation to the human body, and serve as another layer of sculptural circulation influencing the movement of bodies through the house. Performances are scheduled for four dates throughout the duration of the exhibition, including the opening reception. The exhibition closes on March 10. The Master and Form performance schedule (at the Graham Foundation, 4 W Burton Pl, Chicago, IL 60610): Thursday, January 25, 2018, 6–8:00 p.m. Opening Reception and Performance Thursday, February 1, 2018, 6–8:00 p.m. Talk by Jaffer Kolb Saturday, February 10, 1–3:00 p.m. Performance followed by Brendan Fernandes in conversation with Zachary Whittenburg Thursday, February 15, 6:00 p.m. Talk by Hendrik Folkerts followed by Q&A with Brendan Fernandes Saturday, February 17, 1–3:00 p.m. Performance Saturday, March 10, 1–3:00 p.m. Performance
Times Square can leave your head spinning at the best of times, but come the final minutes of each day this month, visitors can witness a psychedelic show on the square's famous advertising boards. Known as Convolution Weave~Lattice Domain and created by MSHR—a collaborative composed of Portland, Oregon–based artists Birch Cooper and Brenna Murphy—the work is a highly colorful virtual landscape of spinning objects. The complex sculptures represent objects that would be impossible to create in reality, as well as more conventional forms, that creating dazzling patterns. "We construct hypershapes that reflect consciousness, just as the content in Times Square reflects the psychic structure of our culture. There are many possible shapes of reality," MSHR said in a press release. "We aim to warp the frayed edges of this media node, minding the intentions behind mental influence through imagery. Our intention is to inject the light stream with objects sculpted for presence of mind." The installation is part of the Midnight Moment, a monthly showing provided by The Times Square Advertising Coalition and presented in partnership with Upfor Gallery and Times Square Arts. Convolution Weave~Lattice Domain can be viewed from 11:57 p.m.-midnight every night this August. Despite hailing from the West Coast, more of MSHR's work can be found in New York—in particular, Queens, where Cooper and Murphy's art is featured in the Past Skin exhibition at MoMA PS1 where it is on view through September 10, 2017.
An abandoned building in Allston, Boston has been transformed into an engaging art installation by two Baltimore-based artists, revealing the power of art in urban intervention.
The duo Jessie + Katey, formed by Jessie Unterhalter and Katey Truhn, created the mural as a part of a Harvard-based initiative called Zone 3. The initiative aims to further activate and energize the buildings along Western Avenue, which include a former dry cleaning facility and auto body garage, by implementing creative programs, events, and retail.
Jessie + Katey are known for creating large-scale public murals that look to engage the public with their socially active art. The entire building’s facade is painted with bold colors and sweeping patterns that curve around the edges, along with recycled materials like beer cans and bottle caps attached to the walls. The pair also held community events where the public was invited to create their own screen prints, which were eventually inscribed onto the walls. It took them nearly one month to complete the mural, which explores themes of movement and symmetry. The two artists have been creating colorful murals since 2011 and have been making an impression on the East Coast. Two years ago they were selected for the New York Department of Transportation’s 191st Tunnel Beautification Project and that same year they worked with Philadelphia’s Murals Arts Program when creating the 400-foot-long mural pop-up park: "Summer Kaleidoscope." In addition to this, Unterhalter and Truhn have residencies with The Albright Knox Museum in Buffalo, New York, The Farnsworth Museum in Rockland, Maine and the John Micheal Kohler Art Center in Sheboygan, Wisconsin.
Hive, an exhibition by Studio Gang, will be this year's Summer Block Party installation at the National Building Museum. While it opens July 4, you can watch its progress from the comfort of home, courtesy a work zone cam on the Museum's website. Built entirely of more than 2,700 wound paper tubes, the installation features three interconnected, domed chambers that reach 60 feet in height and mimic insect hives. Its tallest dome features an oculus over ten feet in diameter; it will filter in light to create light and shadow patterns. The tubes, which are made out of sustainable material, have a reflective silver exterior and a magenta interior that contrasts sharply with the Museum’s historic 19th-century architecture and Corinthian columns. Hive's form is inspired by other iconic built structures, including Eero Saarinen’s Gateway Arch and Brunelleschi’s Dome at the Florence Cathedral in Italy, as well as natural forms like a spider web. The smaller chambers also feature tubular instruments ranging from simple drum-like tubes to chimes. The installation creates pockets of spaces within the vast Great Hall, allowing different programs to occur within each area. Its modification of sound, light, and scale aims to challenge the way humans interact with spaces and installation sculptures. Hive will go on display from July 4, 2017, to September 4, 2017. Visit nmb.org to find the web cam and for further information on special exhibitions and programs.