Posts tagged with "Public Art":

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Behin Ha installs an undulating fabric installation in rural Ohio

Behin Ha Design Studio has created Coshocton Ray Trace, a site-specific installation in downtown Coshocton, Ohio, made of scrap material from a coated mesh fabric manufacturer. The project illustrates how a temporary installation can help a small community move towards the revitalization of its declining downtown. Behin Ha was founded by the New Jersey-based duo of Behrang Behin and Ann Ha. Together, they work on a wide range of design challenges from architecture, interiors, and installation projects to make “meaningful, creative interventions in the built environment.” The Pomerene Center for the Arts commissioned Behin Ha to design the temporary shade structure at the site of a burned-down hotel building near the Coshocton town square, coined artPark. Created and maintained by the Pomerene Center, artPark is a space to engage the community with the arts in areas affected by blight. According to the team’s website, the design aims to “work around and with the various interventions that had been made over the years at the artPark.” The installation was built with the help of community members and is now an unexpected, new point of attraction for the town. The construction jumper-orange fabric was sourced from Snyder Manufacturing, located in a nearby town. The fabric trimmings, which are typically recycled, were turned into the bright, tensioned ribbons contrasting between the existing balcony and the ground. Anchoring the fabric at predetermined points creates a twist in the fabric and the installation becomes more transparent at eye level and more opaque toward the south. The 650-square-foot installation will come down at the end of the summer and the fabric will be returned to Snyder’s and recycled back into their manufacturing process.  
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Proposed Chinatown sculpture stirs controversy in New York

A sculpture proposed for a traffic triangle in New York’s Chinatown neighborhood is being criticized by some members of the community for its "stack of tin can"-like appearance. The art piece is a product of the Gateways to Chinatown project, a collaborative effort by the city’s Department of Transportation (DOT), local development corporation Chinatown Partnership, and the Van Alen Institute to “engender pride of place, foster connectivity, and reinforce cultural and social identity within Manhattan’s Chinatown.” Focusing on the plaza where Canal Street forks and Walker Street begins, organizers oversaw an open competition to select which artist would work with the project’s $1 million budget.

While the primary purpose of the project was, according to director of communications at Van Alen Alisha Levin, to “foster connectivity and better enable way-finding with a new public landmark,” selectors also sought a proposal that “responded to the site’s history and context.” Out of 80 total submissions, an installation by Chinese-Australian artist Lindy Lee was ultimately chosen. Lee partnered with two New York-based companies—architecture firm Levenbetts and public art fabrication studio UAP (Urban Art Projects)—to facilitate the structural design and installation of the project.

As renderings released last month indicate, the piece consists of a series of perforated cylinders stacked irregularly above the sidewalk. Inspired by traditional Chinese drum towers, the form of each component is reflective of both drums and the cylindrical rooftop water towers that have come to represent New York City. Titled The Dragon’s Roar, the proposal maintains a level of flexibility through its minimal impact on the traffic triangle’s ground plane. Even with the sculpture installed, the space would still be able to accommodate a small kiosk or seating for social gatherings.

As with most contemporary art that is proposed for urban public space, The Dragon’s Roar has received plenty of criticism from some members of the community. Certain residents have argued that its overall form, which makes only abstract reference to Chinese culture, has nothing to do with the local neighborhood and its heritage. Others have compared the drum-like cylinders to tin cans, complaining that the installation is unsightly and should not become a neighborhood landmark. While organizers of this year’s competition did engage with local community members at various stages in the process to determine what should be placed on the traffic triangle, many insist that outreach efforts were inadequate. The controversy is reminiscent of a similar incident from one year earlier, when residents of Chinese descent called a "Dog-Man" sculpture proposed for Chatham Square demonic and whitewashed. Protests over that piece eventually forced the city to relocate it to Foley Square.

As for The Dragon’s Roar, Levin told AN that Van Alen will “take all feedback in earnest” and will continue working with DOT, community boards, and neighborhood stakeholders to make certain that the final product reflects its cultural and social context. Before Community Board 3 weighs whether to approve the sculpture in September, detractors have promised to make their voices heard.

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AN rounds up must-see exhibitions to catch this summer

Summer is a great time to explore the world of art and architecture, whether through tours of an exquisitely restored historic house or through online exhibitions that celebrate the cutting-edge work of the Bauhaus. Here are some openings you might have missed:

Just: The Architectural League Prize Exhibit

June 21 - July 31, 2019 66 Fifth Avenue New York, NY 10011

In an exhibit closing today, The Architectural League of New York has put work by the winners of its 2019 Architectural League Prize on display, a coveted award that has been recognizing promising young architects since 1981. Provocative models, drawings, and installations produced by the six winners have been assembled in the Sheila C. Johnson Design Center at the Parsons School of Design.

The work selected for display covers a wide range of scales and media. With honorees hailing from cities across the United States and Central America, the exhibit gives visitors the opportunity to engage with a diverse array of perspectives and thematic focuses that relate to architecture, urbanism, and the design world at large.

Big Ideas Small Lots

August 1 - November 2, 2019 526 LaGuardia Place New York, NY 10012

Starting tomorrow, New York’s Center for Architecture will exhibit winning submissions from Big Ideas for Small Lots NYC, a competition jointly organized by the NYC Department of Housing Preservation and Development (HPD) and the American Institute of Architects’ New York chapter. The competition asked designers to propose ideas for converting small-scale, difficult-to-develop lots across the city into viable affordable housing. Five finalists, including Palette Architecture and Michael Sorkin Studio, emerged from an initial pool of 444 proposals. The exhibition highlighting their work will be on display from August 1 until November 2.

Changing Signs, Changing Times: A History of Wayfinding in Transit

Through November 6 Grand Central Terminal New York, NY

The New York Transit Museum is hosting an exhibit on wayfinding in its satellite gallery at Grand Central Terminal. On view through November 6, the exhibit includes objects, photographs, and other archival materials exploring the evolution of signage in New York’s transit system. The items, which come primarily from the museum’s own collection, shed light on the changing needs of transit users and the ways in which designers have addressed those needs over time.

The gallery is located just off the Main Concourse in the Shuttle Passage, next to the Station Masters’ Office.

Bauhaus: Building the New Artist

Online

Earlier this summer, the Getty launched an online exhibition as a complement to Bauhaus Beginnings, a gallery exhibit on display at the Getty Research Institute in Los Angeles, California. Planned as a centennial celebration of the Bauhaus’ groundbreaking approach to architectural education, the web-based exhibition features historical images from the Getty’s archives and information about the Bauhaus, as well as opportunities for visitors to test exercises crafted by the school’s pioneering luminaries, including Josef Albers and Vassily Kandinsky.

Dilexi: Totems and Phenomenology

June 22 - August 10, 2019 Parrasch Heijnen Gallery 1326 South Boyle Avenue Los Angeles, CA 90023

Parrasch Heijnen Gallery in Los Angeles is displaying counter-cultural works of art from San Francisco’s Dilexi Gallery, including pieces by Arlo Acton, Tony DeLap, Deborah Remington, Charles Ross, and Richard Van Buren. Much of the art featured in the exhibition, which ranges in media from photography to sculpture, uses nontraditional materials and explores the very nature of perception.

Pope.L: Conquest

September 21, 2019

New York's Public Art Fund will present Pope.L’s most ambitious participatory project yet. Pope.L: Conquest will involve over one hundred volunteers, who will relay-crawl 1.5 miles from Manhattan's West Village to Union Square. According to the Public Art Fund, participants will “give up their physical privilege” and “satirize their own social and political advantage, creating a comic scene of struggle and vulnerability to share with the entire community.”

Pope.L has organized more than 30 performance art projects since 1978, but this will be the largest of the bunch. The crawl will take place on September 21, beginning at the Corporal John A Seravalli Playground.

It Might Be a Place (for LLH), as part of Unfoldingobject

June 20 - August 11, 2019 Concord Center for the Visual Arts 37 Lexington Road Concord, Ma 01742

The Concord Center for the Visual Arts in Massachusetts is displaying an installation by James Andrew Scott as part of its ongoing exhibition Unfoldingobject. Curated by Todd Bartel, the exhibit compiles collages by 50 different artists, each of whom has a distinct interpretation of the medium. Scott’s work, which is integrated into a skylight in the gallery building, presents a dramatic series of irregular pyramids that protrude from the ceiling at different angles. The entire exhibition is on view through August 11.

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Anders Ruhwald’s blacked-out Detroit show intertwines past, present, and future

Artist Anders Ruhwald delves into interiority with the permanent installation Unit 1: 3583 Dubois. Located in a desolate area of Detroit inside of a 7,000 square foot brick apartment-building, the complete installation consists of eight full-sized rooms and corridors inside one apartment. Enveloped entirely in black, the installation is otherworldly. The interior appears engulfed by fire though upon closer inspection the space is carefully crafted. The installation embraces the transformative qualities of fire as destructive and constructive in relation to the domestic, arguably the most intimate space. Using charred wood, ash, molten glass, steel, lead, tiles, bricks with sash window weights, bombs, and a photograph among other found things in the building and neighborhood, Ruhwald creates an after-image of what once was and at the same time creates a dream-like thought of what is to come. The work is not about Detroit “ruin,” but offers the possibility to understand the city’s decline as a transformative process. Read the full story on our interiors and design site, aninteriormag.com.
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HUTOPIA showcases the architecture of solitude

Neubauer Collegium for Culture and Society

University of Chicago 5701 S. Woodlawn Avenue Chicago

Through September 6 Physical, social, and spiritual exile is a condition closely linked to the life of the mind. In HUTOPIA, a clever play on words, the University of Chicago’s Neubauer Collegium for Culture and Society has recreated a pair of the most well-known retreats: the cabins of Martin Heidegger and Ludwig Wittgenstein. A scaled-down version of Heidegger’s cabin in Todtnauberg, Germany, forms the centerpiece of the show. A smaller model, rather than a full structure, of Wittgenstein’s hut in the Norwegian town of Skjolden, is also sited on the Collegium’s western terrace. Finally, Adorno’s Hut, a life-size re-creation of a sculpture by poet and artist Hamilton Finlay of an idealized Greek temple, has been built in the Neubauer Collegium gallery. All three huts are sculptures but will occasionally welcome visitors and solace seekers inside and will be used to host classes and lectures. The name of the exhibition comes from a long-form poem by Alec Finlay, son of Hamilton Finlay, printed in the catalog of Machines à Penser, an earlier show at the 2018 Venice Architecture Biennale that led to HUTOPIA.
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The summer shows at the Shed take an eclectic look at the built environment

The Shed at Hudson Yards, the new inflatable arts venue on the western edge of Manhattan, has assembled a varied group of visual art exhibitions that are all on view through August 25. Open Call: Group 2 in the Level 2 Gallery and Collision/Coalition in the Level 4 Gallery all boast new artworks centered on the built world. Julia’s Weist’s Study for Fiction Plane makes its world debut in the Open Call show. Weist has aggregated a collection of eight photographers’ work depicting fabricated, simulated spaces or “sets” by artists ranging from Larry Sultan, Sarah Pickering, Corrine Botz, and the artist herself. Fake hospital rooms where actors affect symptoms for medical students, ersatz domestic spaces set afire for burn pattern analysis, a mock city constructed by the FBI, and a Mars simulator are some of the sites. Weist is now collaborating with Hollywood artists to place these photos in the background of upcoming TV shows to add another layer of artificiality. Another hall of mirrors, this time more literal, is in Hedges, 2019 by Hugh Hayden, where a shingled house with dormers is covered with large sprouting branches like the twigs of a bird’s nest is set inside three mirrored walls to reflect an infinite row. Gabriela Corretjer-Contreras’s Llévatelo To’ No Me Deje Na, 2019 takes us inside her alter-ego Nena’s bedroom from Puerto Rico where we can try on her clothes and examine her personal environment, with mementos of the colonial experience. Modern Management Methods, 2019, tackles the United Nations headquarters renovation in Manhattan. Caitlin Blanchfield and Farzin Lotfi-Jam used UN archives and X-rays to focus on the campus renewal that followed 9/11, and they take on such issues as security, nationalism, environment, accessibility, as well as the bureaucratic framework of this multi-billion-dollar capital project. The duo describes their artwork as a building section cut that simultaneously reveals “global managerialism.” Analisa Teachworth’s The Tribute Pallet, 2019, invites viewers into a shack-like scaffolded structure with a multimedia installation and a table with glass jars holding candy to be eaten by visitors. Similar to Kara Walker’s monumental Domino Sugar installation in 2014, the slave trade is called out in the harvesting and processing of sugar. Similarly, Kiyan Williams’s Meditation on the Making of America, 2019, uses soil as its main material for a “portrait” of America that violently extracted and exploited black bodies and the land. And The Forever Museum Archive: The untitled/A Template for Portable Monuments by Onyedika Chuke, 2019, is a structure adorned with snakeheads and symbols of divinity, protection, and descent. A bonus is New York’s Poetry Slot Machine, 2019 by Saint Abdullah and Daniel Cupic, which is based on a relic from WWI placed on the streets by the Mayor’s Office of Cultural Affairs. They featured the poetry of the Persian poet Hafiz, which was used by Iranians for guidance when facing critical decisions. Surplus slot machines from empty casinos were installed around the city in 1917 and raised $2 million during WWI, $4 million during the depression and $6 million during WWII. At the Shed, you pull the lever and get a poem by the 14th-century poet instead. On another floor is the exhibition Collision/Coalition featuring work by Oscar Murillo. His canvases, dummies, and video depict a walk from Hudson Yards, where the Shed is located, to Rockefeller Center with the dummies pushed in wheelchairs. His central conceit is that the newly opened Hudson Yards is the inheritor to Rockefeller Center, a take very similar to that of The Related Companies chairman Stephen Ross.
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AN tours MoMA PS1's tropical 2019 Young Architects Program installation

The 20th iteration of MoMA PS1’s Young Architects Program (YAP) opens today, and The Architect’s Newspaper took a sneak peek at the towering installation ahead of time. This year’s winners, the Mexico City-based Pedro y Jauna (and engineer Arup), have installed a 40-foot-tall ring of scaffolding in the Long Island City museum’s front plaza, complete with a tropical panorama and towering waterfall. Hórama Rama floats this “jungle” over a forest of scaffolding, with handwoven hammocks from the south of Mexico suspended between the columns. The natural comparisons don’t stop there; while the inner ring of the 90-foot-wide cyclorama features lush jungle imagery, the outer ring presents a wall of technical two-by-six wooden beams, each capped with a splash of blue tape. On the ground, the duo behind Pedro y Jauna, Ana Paula Ruiz Galindo and Mecky Reuss, have scattered square benches made from the same material, and at first glance, they appear to be piles of unfinished lumber but eventually reveal themselves to be even more seating. Hanging work lights have been run through the pavilion to light it up at night, furthering the construction site feel. The entire structure was designed to be light and permeable but still provide shade from the harsh summer sun, in following PS1’s design brief. Hanging hammocks have been suspended in every nook and cranny of the courtyard, providing quieter respites for visitors who choose to explore the space. The most pervasive feature is the “infinity” waterfall at the center of Hórama Rama, which constantly recirculates water. As Reuss explained, the waterfall isn’t for cooling off (though it does splash and mist quite a bit), but to infuse the space with the sound of running water. Hórama Rama will remain installed through September 2 and will play host to PS1’s popular Warm Up concert series—the first in the indie music series will run on July 6. If you’re interested in seeing all five finalist entries for this year’s YAP competition, MoMA has installed models and diagrams of each inside the PS1 building proper. This exhibition usually runs at the MoMA proper, but with the Manhattan branch closed for the summer, the Queens offshoot is hosting it instead.
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Red Regatta brings a sea of color to the Venice lagoon

One of the world’s great liminal conditions is the space between the viewer and the backdrops along the major canals of Venice, Italy. In most spots along the city’s waterfront edge, the view continues across the canals to architectural and historical layers of magnificent facades. It is a contained view of such sublime beauty, that despite the age-old clichés of Venice, it reminds us why we continue to believe in the power of architecture and the city. But, there are wide and expansive vistas out across the open waters of the lagoon that are as equally as captivating. One thinks, for example, of the view from the quarter around the Giardini towards the Lido and San Giorgio Maggiore, or from the Fondamenta Nove towards the Cemetery of San Michele, that opens up to grand vistas that merge the sky and sea; off in the far distance, hints of outer islands add to the beauty of the setting. Now Red Regatta, a series of performances, or “choreographed regattas,” of up to 52 vela al terzo (traditional flat-bottomed sailboats) is being staged in “La Serenissima” by a group of 250 local partners. The event is organized by the Magazzino Italian Art Foundation in New York to highlights the city’s open vistas. Artist Melissa McGill and curator Chiara Spangaro have painted the sails on the boats a bright red color to activate them in the open water of the lagoon. Pageants like Red Regatta are spectacular in the waters of Venice, and this one, its creators believe, staged using only wind-powered sailboats, is intended to “encourage a new appreciation of the interaction of the defining forces of Venice, water, wind art, architecture.” Further, McGill believes that this piece will also “call attention to the forces of climate change, and tourism.” It’s hard to see how this piece will draw prolonged interest in solving these long-suffering issues, but Red Regatta proudly includes Venetians as the performers in the boats, and that’s a great accomplishment for the city in itself. The dates of the special regatta, organized alongside the city’s ongoing art biennale, are as follow: Red Regatta  June 30, 2019, 12:00 p.m. – 2:00 p.m. Route: San Servolo – Poveglia Viewing locations: Riva dei Sette Martiri; Viale Giardini Pubblici; San Servolo Island; Lido’s Lagoon waterfront From McGill: “Navigating the waters between the islands of San Servolo and Poveglia, Red Regatta will weave through the historic landscape and activate the architecture with the choreographed flotilla. Starting between San Servolo and Venice, Red Regatta will move towards Poveglia, in parallel to the Lagoon coast of Lido.” Red Regatta, coinciding with Venice’s Regata Storica September 1, 2019, 12:00 p.m. – 2:00 p.m. Route: Canale della Giudecca – Bacino San Marco – Canal Grande Viewing locations: Fondamenta Zattere; Punta della Dogana; Isola di San Giorgio Maggiore; Piazza San Marco and Riva degli Schiavoni; Fondamenta della Giudecca, side of Canale della Giudecca Canal Grande Red Regatta  September 15, 2019, 2:00 p.m. – 4:00 p.m. Route: Burano – Torcello Viewing locations: Burano waterfront; Torcello waterfront From McGill: “Concurrently with the historic Regata di Burano, which features the centuries-old tradition of the voga alla veneta, Red Regatta will move through the Northern lagoon between Burano and Torcello. Engaging with the landscape of this unique section of Venice with its ancient Roman ruins and distinctive architecture, the vela al terzo fleet will weave through the islands and call attention to the location’s history and traditions.”
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The 2019 Venice Art Biennale asks us to ponder our “interesting times”

Political chaos is spreading, and climate change is upon us. Meanwhile, populist leaders throughout the world are scapegoating immigrants, trashing environmental regulations and spreading blatant lies. But at the 2019 Venice Art Biennale, one of the world’s most important art exhibitions, artists are fighting back in what may be the largest exhibition of politically subversive art ever shown. Ralph Rugoff, curator of this year’s Biennale, titled the show “May You Live in Interesting Times,” after an apocryphal Chinese “curse” pertaining to periods of danger and uncertainty, which has been cited by politicians ranging from British imperialist Joseph Chamberlain to Hilary Rodham Clinton. In his essay for the exhibition, Rugoff writes that “art can give us tools to reimagine the possibilities of these ‘interesting times’ and so transform this phrase from a curse into a challenge that we can enthusiastically embrace.” Rugoff’s revolutionary agenda is conspicuous for an art exhibition, where the official opening in May also featured glittering parties in Venetian palazzos and a legion of plutocrats and oligarchs. The contrast was especially striking at the Biennale’s main exhibition space, a cavernous brick building known as the Arsenale, in which almost every other artwork appears to be about poverty, sexism, environmental degradation, racism, or political violence. Indeed, at this year’s Biennale, the only thing holding an otherwise disparate show together is the focus on the ills of our time. The main exhibition features the work of 79 artists from around the world and includes sculptures of the growing homeless population in Athens, videos showing Palestinian protestors trying to breach the border in the Golan Heights, and paintings of verdant landscapes that include images of political violence in Kenya. One series of photographs shows half-finished housing developments and piles of garbage outside of Rome. Another series is about the fallout from aspirational housing developments gone bust in India, which according to an accompanying text is linked to, “developers hoardings peddling unattainable dreams.” Capitalism’s failures are rife. One of the first exhibits is a salvo of harrowing nocturnal photographs from the series titled Angst by Soham Gupta, showing disheveled street people in Kolkata, India, whom, as an accompanying text informs us, have suffered “abuse and abandonment.” Their faces display expressions of pain, madness or lust. They are posed embracing one another, dancing wildly, lurching towards the camera or simply sitting quietly in abject loneliness. Gupta gets up close with his camera and shows these spectral characters in a soft light against a black backdrop, revealing a humanity within that you might not otherwise notice. It might be overly ambitious to think that art can help make society more just and compassionate. However, Rugoff is expecting between 180,000 to 600,000 visitors to his show, which runs through November 11th, 2019, and is hoping that it will help change the conversation. He maintains that artists have a unique role in combatting the conspiracy theories and narrow nationalistic messages on social media that increasingly are shaping political discourse. He says that art can reveal hidden or unfamiliar truths in profoundly different ways than can journalism or historical reporting. “We [the public] don’t see things in the same ways that artists do,” Rugoff told me. “They are asking us to hold different images in our minds at one time.” Plato warned about art’s ability to present alternative realities to the body politic, and it seems axiomatic that the more repressive a society is, the more threated it is by artists. Edouard Manet’s painting, Execution of Maximillian, was censored by the French government shortly after it was painted in 1867 because it portrayed the French puppet emperor being shot by a firing squad of Mexican revolutionaries. Fascist regimes and dictators are notoriously fearful of abstract art. Considering that China censored images of Winnie the Pooh because bloggers were comparing the cartoon character’s appearance to Chinese President Xi Jinping, it is understandable that much of the artwork currently being produced in that country is not overtly critical of the regime. But in totalitarian societies, art is politicized even it doesn’t convey a literal political message. “If you are an artist in China today, you are dealing with political import,” Rugoff told me, giving as an example an art installation at the Biennale’s Central Pavilion titled Can’t Help Myself by Sun Yuan and Peng Yu, in which an enormous robot with a mop at the end of its arm moves with terrifying jerks as it repeatedly attempts to control a flowing red substance that looks like blood. Currently, in most parts of the world, artists can more directly challenge the system. Several of the most political pieces in the show had their roots in Marcel Duchamp’s ready-mades, found objects that take on new meanings when signed by an artist and displayed in a museum or a gallery. One is Teresa Margolles’ meditation on the violence engulfing parts of Mexico, which consists of a 39-foot-long cinderblock wall, pockmarked with bullet holes and crested with barbed wire that the artist transported to Venice from the city of Juarez. And just when one is hoping for visual relief from this compelling but disturbing show, one’s view of the canal outside the Arsenale is obstructed by the actual boat from the Mediterranean’s deadliest shipwreck, on which between 700 and 1,100 Syrian refugees went missing. The artist Christoph Büechel transported the rusted wreck, which has a large gaping hole in its side, from Sicily to Venice and titled it Barca Nostra. An accompanying wall text refers to the ship as a “monument to contemporary migration” and as “representing the collective policies and politics that create these kinds of disasters.” A series of prints from the Body En Thrall series by transgender Latina artist Martine Gutierrez shows the artist nude in a series of staged erotic encounters with clothed mannequins, such as one where she is draped across the lap of a figure dressed in a tuxedo with a come-hither expression on her face. Calling to mind Edouard Manet’s notorious Le Déjeuner sur l’herbe in which a naked woman picnics with two clothed men, the prints raise questions of power in regard to Eurocentric standards of beauty, gender identity, consumerism, and a host of other issues that are au courant in cultural studies classes at elite universities throughout the West. The coming apocalypse is also a popular topic at this year’s Biennale. One example is the enormous Eskalation by the German artist Alexandra Birc ken, which is ominously suspended overhead. Here, forty figurines fashioned from black calico and latex look as they are out of one of Dante’s circles of hell—they are shown climbing and hanging off of ladders that ascend towards the vertiginous ceiling of the Arsenale. Wherever they are trying to get to, it doesn’t look good. Another work in the "end of civilization vein" is a sculptural series of large menacing mammals on the verge of extinction by the American artist, Jimmie Durham, who connects human waste with environmental degradation. Durham’s animals look angry and tortured. Their jaws are agape, and teeth bared; wires, cables and dark metal define their forms. They are constructed from contemporary civilization’s detritus, used clothes, discarded furniture, and machine parts. May You Live in Interesting Times is intended to be aggressive and disturbing. We already are living in a post-truth age in which leaders such as U.S president Donald Trump and Brazilian president Jair Bolsonaro are denying climate change and sanctioning political violence as a justifiable campaign tactic. Rugoff clearly wants his exhibition to make us think harder about our fast-changing world. “Ultimately, what is most important about an exhibition is not what happens inside a gallery,” he writes in his essay for the exhibition, “but how audiences use their experiences afterward to reimagine everyday realities from expanded perspectives.”
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Carney Logan Burke Architects drops mutable performance pavilion in Jackson Hole

Carney Logan Burke Architects (CLB) has dropped an all-in-one performance venue, sculpture, and gathering space for the public in front of the Center for the Arts in Jackson Hole, Wyoming. The austere Town Enclosure, installed on June 27, 2018, was designed to have a minimalist footprint and will be repurposed for installation elsewhere (to be decided) by the end of October. The airy enclosure was the winning entry in a 2018 competition to design a pavilion for the Jackson Hole Public Art and Center for the Arts’ 2018 Creative in Residence program. CLB was selected from a pool of local artists and architects. Rather than an enclosed space, as one might expect from the name, Town Enclosure was built as a porous circle. Sustainably sourced timber panels were arranged four feet apart from each other and angled towards the center of the circular base to form the “walls” of Town Enclosure, with one side of each panel left raw and the other painted black. The openness of the pavilion is thus dictated by the viewer’s angle. Approaching the structure parallelly, from the Center and the adjacent Snow King Mountain, makes it appear totally porous, but approaching from a perpendicular angle gives the impression of a solid, closed design. Although the pavilion is simple, the movement of the sun across the slabs creates dynamic shadows over the course of the day, and as the seasons change. Even the base was intended to have a minimal impact. Instead of using concrete for the foundation, CLB opted to anchor the pavilion with reusable steel panels covered by gravel. Besides improving the installation’s portability and minimizing the impact to the site’s grounds, the base references local fencing and corrals from the surrounding mountains. Town Enclosure is also first and foremost a performance venue for the Center’s residents, and talks, classes, dance and music performances, and visual art shows from the Center and community groups have all been staged there.
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Artist Josh Kline brings climate change home in a new Manhattan show

In case you’ve missed it, the world is ending. There’s war, displacement, drought, famine, rising seas, sinking cities, faster winds, and a frightening U.N. report suggests irrevocable, possibly humanity-ending results if we can’t reduce greenhouse gas emissions by 100 percent of 2010 levels by 2050. Artist Josh Kline wants to give us a vision of this un-future. In Climate Change: Part One, Kline has transformed Chinatown gallery 47 Canal in Manhattan into a dystopian funhouse, one that reflects and refracts our world—and its possible undoing—back at us for unnerving effect. Through the first door, which features the stars of a mangled American flag peaking through plastered-on sand, you’ll encounter an irregularly shaped green table mounted with a lit vitrine. Against the nearest wall are a series of large, whirring industrial freezers. The tarp floors make a slight, sticky sound underfoot. This table is one of three bearing names that read like euphemisms for the current state of catastrophe capitalism: Transnational Finance, Technological Innovation. In this one, Representative Government, models of various seats of power—the White House, the Reichstag, rendered in Potomac River mud and placed against a satellite photo of Washington, D.C.—slowly drown under the water of melting miniature icebergs. The freezers sustain the chunks of ice just enough that the submergence is painfully slow, taking place over the month-and-a-half of the show's run.  As we know, cooling a small space puts out a great deal of heat elsewhere, rendering the gallery quite warm. Other vitrines hold different building typologies, like skyscrapers rising together from an imaginary Manhattan made from all the world's tallest buildings. The Burj Khalifa and the Chrysler Building aren’t in the same city, and there's no iceberg floating and melting in New York's Upper Bay, but you get the idea. The real-life ice may be far away, but water, and the planet, is a continuity. An ice shelf north of Greenland crashing into the sea has implications that reach far further than the Arctic Circle.  Through the doors there are other, unenclosed tables, with pink soy wax in the shape of insurance buildings and suburban homes melting down tubes that collect and direct the colored sludge into buckets below. Waste is not hidden, as everything is a system. The doors, each named after a degrees Celsius, with a second parenthetical appellation, are themselves artworks, but also serve their usual purpose. Some rooms, arranged together like a cartoon hallway from a Scooby Doo villain's mansion, can only be entered through a singular door, some an array of doors. They present a false sense of choice, and all lead to the same room, each degree of difference still resulting in the same ruins. The checklist is very clear about origins, at least for some of the more “natural” materials: beach sand from New York City, Shenzhen, and California; desert sand from Texas and the Sahara; steel powder from China. The flags, too, have origin stories, however misleading they might be. We might imagine that the nylon flags desecrated and pasted onto the doors with paint and sand and kelp may represent Germany, the U.S., China, and so on, but they are likely to all be from somewhere else, maybe the same factory, possibly located in none of these countries. To the tentacles of global commerce, borders are long gone. For the refugees of climate disaster and resource wars, the same can’t yet be said.  The doors, with their disfigured flags, are meant to represent the dissolution of borders and nations that Kline predicts climate change and its cascading ramifications will bring about. They also represent our willful participation in the house of horrors-style drowning disasters shown in each of the different rooms as we open and close them. Even when faced with three doors, the sense of choice is false: each opens to the same room. Whether our actions raise global average atmospheric temperatures by 2º C (Dutch, Belgian, French, and German flags, all compressed with Sahara Desert sand—a Colonial Chain Reaction) or 3º C (a mashup of the Union Jack and Japanese flags along with kelp and chlorella) or 5º C (American and Russian flags, Potomac River mud), we’ll still find ourselves in too deep, so to speak. Particularly resonant are the banal and domestic scenes. Situated in hermetically sealed versions of the fume hoods from your college chemistry class painted in subdued, aesthetically-pleasing shades of urethane paints with lighting to match, are scenes with dollhouse miniatures, submerged underwater (or really, cyanoacrylate glue and epoxy). They depict sorrily-stocked grocery stores, bland offices, and suburban home interiors, but their titles are not so bland: Erosion, Inundation, and Submersion.  Disintegration isn't loss, it’s transformation. Even as rising water washes away the mud of the miniature buildings, that same dirt just is transported elsewhere, but formless. Matter is conserved, even if our environment is not. What once was just becomes something else, and with us gone, who will be there to name it or know the difference anyway? Things happen on scales too large for us to know, or to know to even ask questions about. Kline shows us this, plainly, perhaps even at first propagandistically. In this show alone, the interlocking problems of political power, globalization, financialization, housing, architecture, technology, and climate change are all put on display. But there’s no real call to arms here, just a documentation of the future present. But it does make one have to ask: If this is Climate Change: Part One, what happens in part two? Climate Change: Part One 47 Canal 291 Grand Street, 2nd Floor, New York Through June 9, 2019
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Miniature undulating cityscape comes to Madison Square Park

Manhattan’s Madison Square Park has opened its 38th outdoor installation to the public today, dropping an evocative, interactive “cityscape” from sculptor Leonardo Drew into the park that will stay up until December 15. The 100-plus-foot-long City in the Grass stands as a solitary statement on its own but also makes ample reference to the city surrounding it, including the Empire State Building, which looms over the park. The piece is a tapestry of colors, textures, and materials that simultaneously evokes growth, comfort, ruins, and intimacy on the park’s Oval Lawn. Three stepped spires, the tallest of which tops out at 16 feet, anchor City in the Grass and are an obvious allusion to the Empire State Building to the north. Each spire is made from a mixture of plaster and latex paint, and Drew says that their eclectic appearance is a reference to Cuba’s dilapidated hotels, where peeling paint reveals the underlying structure. Surrounding each spire is an abstracted landscape of black and white wood offcuts of varying heights, reminiscent of buildings, but without a specific reference. These urban islands “float” in between waves of steel panels adorned in colored sand and patterned after Persian carpet designs, literalizing the “ebb and flow” of urban life through peaks and valleys. The peeling, layered look of the carpet, complete with holes and seams that let the grass below poke through, is meant to evoke the feeling of a familiar, well-worn home item. While the piece may look like it was assembled from found materials, Drew was quick to point out that he doesn’t use found objects; every piece and tear is deliberate. Drew is typically known for his wall pieces and City in the Grass is his first outdoor public installation. Appropriately enough, the piece is meant to encourage public interaction. While City in the Grass might look fragile, visitors are encouraged to sit, stand on, and explore it from every angle (just don’t climb on the spires). City in the Grass was commissioned by the Madison Square Park Conservancy. As the exhibition will remain up throughout the fall and winter, visitors can experience the materials weathering in real time in response to the natural landscape around it.