Weather Balloon Like architecture, the history of sculpture is heavily weighted by permanence, monumentality, and memorial. In the early ’90s, I was reading [Mikhail] Bakhtin and thinking about the grotesque and the carnivalesque— intrigued with the humor and chaos of these spaces and the place of the viewer. I wanted to work larger and manage the weight of sculpture myself. In a eureka moment I sent for a weather balloon. The moment I blew it up, I immediately knew it was the perfect material: ephemeral, erotic, funny, absurd, and huge. A body with flesh and very importantly a body of parts... bulbous parts that all bodies have. The bulging “flesh” subverts common stereotypes: “Big is beautiful” riffs on minimalism’s “less is more.” The inflation nozzles are ambiguous, phallic yet receptive in function. My roots of influence begin with the art of the ’60s’ attitude toward new materials, and the exhilaration of something-out-of-nothing propels me forward. My work reaches for the regenerative pleasure of touch, the fragility of creation, and the spectacle of the body as form. Inflatables evoke both human anatomy and the human condition: the struggle with gravity, the flimsy materials, the delicate stasis between inflation and contraction. Object Lessons is a new collaboration between AN and Façadomy that asks a diverse range of designers and artists to reflect on an object (material or otherwise) that has made a significant impact on their practice. Through personal anecdotes from notable practitioners, the series highlights the myriad ways in which the built environment informs our identities. Curated by Riley Hooker/Façadomy
Posts tagged with "Inflatables":
There was a moment in the late 1960s when architects (almost always working in groups) wanted to literally lift their projects off the ground and allow them to float over the everyday landscape. Groups like Haus-Rucker-Co, the French Utopie group, and Ant Farm were all inspired by earlier experiments of Archigram, Cedric Price, Buckminster Fuller, and engineers like Frei Otto. Though these experiments were almost always created for gallery exhibitions or one-off installations (Ant Farm placed a large inflatable bubble at UC Berkeley to warn students about the dangers of pollution in 1970) these works continue to inspire architects and every decade they seem to get rediscovered by a new generation. A current exhibition The New Inflatable Moment at the Boston Society of Architects (BSA) is bringing the work back yet again and even cites a previous show, the 1998 exhibition and book The Inflatable Moment: Pneumatics and Protest in '68 by Marc Dessauce and The Architectural League of New York, for inspiration and precedent. The French historian of modernism Caroline Maniaque also wrote about inflatables in 2004 for a different generation. The BSA exhibition also highlights recent projects by Diller Scofidio + Renfro, Grimshaw, Anish Kapoor/Arata Isozaki, the late Otto Piene, and Norman Foster. But the exhibit also includes even newer projects by Graham Stevens, Chico MacMurtrie, and Berlin’s raumlabor. The idea of these projects also includes an element of idealistic utopianism and there is nothing wrong, at the moment, with idealism in architecture. The show still has a few weeks to run (through September 30th) so if you're in Boston visit the BSA Space (290 Congress Street, Boston, MA, 02210). Admission is free. Opening hours: 10:00 am to 6:00 pm on weekdays, and 10:00 am to 5:00 pm on weekends and holidays.
Boston's BSA Space is exploring the evolution of inflatables at its newest exhibit, The New Inflatable Moment, on display through September. The exhibition was inspired by The Inflatable Moment: Pneumatics and Protest in ’68, a 1998 book and exhibition by Marc Dessauce and The Architectural League of New York, which explored the relationship between inflatable technology and utopia. “With this exhibition, we revisit the moment of the 1960s explored by Dessauce to suggest that utopian thought is re-emerging today in architecture and art as evidenced by projects involving inflatables,” said curators Mary Hale and Katazyrna Balug in the exhibit description. From the advent of the hot air balloon to the studies of inflatable houses on Mars, the evolution of inflatable structures will be displayed in an interactive timeline created by Boston-based design agency Certain Measures. The timeline provides context for the different projects on display, showing them adjacent to corresponding sociopolitical moments in history. A series of installations, photos, videos, and models will also populate the exhibit, depicting the ways inflatables have embodied the radical and experimental thinking of architects and artists throughout history. Work by the likes of Buckminster Fuller, Ant Farm, Diller Scofidio + Renfro, and many others, will explore the experimental designs of this bubble-like architecture as well as the advancements in technology that are pushing inflatables into the future, and into space. “The exhibition reveals some of the most visionary architectural minds working with new methods of display and communication,” said Laura Wernick, chair of the BSA Foundation, on the exhibit’s web page. “Its premiere at BSA space will empower designers to similarly think and work in new ways to create a better future and motivate the general public to believe in it.” An opening reception for the exhibit will be held on Wednesday, May 17 at 6 p.m. The exhibition is currently open and runs through September 3, 2017. For more information about the exhibit please visit the BSA Space website here.
Inflatable medallion by landscape architect Ken Smith deters evil spirits from the Isabella Stewart Gardner Museum
An unmissable flower-power medallion on a gold chain now fronts the otherwise plain-though-historic facade of the Isabella Stewart Gardner Museum facing the Boston Fens. Featuring a whorl of psychedelic colors spiraling dizzyingly, the pop art–style inflatable installation riffs on the museum’s large wheel window, which forms a transect line between the museum and the installation. The work of internationally acclaimed landscape architect and designer Ken Smith, the piece is allegedly rife with symbolic meaning of deities as protectors of the physical and spiritual realm, inspired by the intermingling of East and West. The artist’s Asian forays and visits to Buddhist temples formed the artwork’s muse. Its symbolic/iconographic gestalt purportedly protects the museum from evil spirits and promotes environmental renewal, health and happiness. “What I really like about the Gardner collection is the eclectic mix of East and West in the selection of art. It’s that mixing of East and West that is at the heart of what the deity is about,” Smith said in a statement. “The deity is an Eastern idea that we are using in a Western way.” Smith’s installation is part of a larger landscaping scheme on the museum’s part to rejuvenate underutilized or overlooked venues within its grounds. “Ken Smith’s Fenway Deity promises to reanimate discussion of museum’s relationship to the public realm of the Back Bay Fens by installing a work of conceptual public art from the Gardner Museum’s historic facade,” said Charles Wadheim, the Garder Museum’s Ruettger Curator of Landscape.