Tomás Saraceno at Kunstsammlung Nordrhein-Westfalen

Tomás Saraceno - in orbit - at K21 from June 21st 2013

Suspended more than 25 meters above the piazza of the K21 is Tomás Saraceno‘s gigantic installation in orbit. This steel wire construction spans the museum‘s vast glass cupola on three different levels. Positioned within this net structure, which encompasses altogether 2500 m², are half a dozen „spheres“ – inflated PVC spheres having diameters up to 8.5 meters. Visitors have access to this transparent installation, and can move freely between the spheres on all three levels.

in orbit resembles a surreal landscape, is reminiscent of a sea of clouds. Those bold enough to clamber high into the work set beneath the glass cupola perceive the museum visitors far below them from the lofty heights as tiny figures in a model world. Viewed from below or from intermediate levels of the Ständehaus, conversely, the people enmeshed in this net seem to be swimming in the sky.

This floating spatial configuration becomes an oscillating network of relationships, resonances, and synchronous communication. When several people enter the audacious construction simultaneously, their presence sets it into motion, altering the tension of the steel wires and the intervals between the three meshwork levels. Visitors can coordinate their activities within the space, and are able – not unlike spiders in a web – to perceive space through the medium of vibration. Saraceno himself speaks of a new hybrid form of communication.

By virtue of its magnitude and radicality, in orbit has no precedent in Saraceno‘s oeuvre to date. Even visitors who do not wish to climb the net or hang suspended above the abyss, but who choose instead to explore the installation in exclusively visual terms are confronted with themes of flight, falling, and floating, are inevitably gripped by the archetypal emotions associated with these states. „To describe the work means to describe the people who use it – and their emotions,“ explains Saraceno. Rarely his any work of art zeroed in so directly on the emotional lives – the fears and desires – of beholders or intervened with such immediacy into the experiences of those who expose themselves to adventure.

in orbit was planned by Saraceno over a period of three years in collaboration with engineers, architects, and biologists, and is his most elaborate installation to date. And although the mesh construction alone weighs 3 tons, and the largest of the „spheres“ 300 kilos, this work – which was adapted with precision to the unique setting of the Ständehaus – seems decidedly lightweight, its fineness and stability calling to mind the structure of a spider‘s web. For many years, the artist has studied the methods by which various species of spider construct their webs, and he incorporates insights into their functionality, beauty, and strength into his own artistic praxis.

While the precise observation of nature and the conceptual development of its phenomena form the bases of Saraceno‘s work, art-historical references ranging from Jules Verne to the American architecture and visionary Richard Buckminster Fuller are noticeable as well. The worldwide realization of utopian architecture has been Saraceno‘s guiding theme in recent years. Each of his projects – including „in orbit“ – is an element of the utopian large-scale project Air-Port-City, a floating city of the future. Saraceno regards the cloud city as a socialist and utopian dream, and as a response to the growing uninhabitability of the earth, to worldwide population growth, and to dramatic ecological crises.






Andersens Little Sun Kiosk

Andersens åbner Little Sun Kiosk den 10 maj - Gl. Mønt 2
Kl. 15.00 - 18.00

Et samarbejde mellem Andersen's Contemporary og Little Sun - en lampe designet af Olafur Eliasson og Frederik Ottesen. Målet er at bringe lys til de, som ikke har adgang til elektricitet: http://littlesun.com/


"Lys er for alle – det fastlægger, hvad vi gør og hvordan vi gør det. Det er grunden til, at Frederik Ottesen og jeg har udviklet solcellelampen Little Sun. En del af kunstværket er lyset og de aktiviteter, det muliggør. En anden er vellykket distribution af Little Sun til dem, der har mest brug for det; dem, som lever i områder uden adgang til elektricitet. Jeg ser Little Sun som et redskab til at bidrage til denne vigtige diskussion ud fra et kunstnerisk perspektiv; et redskab til at skabe opmærksomhed om den ulige fordeling af energi i dag.”
- Olafur Eliasson


10 maj åbner Andersen's Contemporary i samarbejde med Little Sun en midlertidig "udstillings-kiosk" i indre by. Kiosken vil forhandle Olafur Eliasson og Frederik Ottesens Little Sun – en solcellelampe, der er udviklet til at få lys ud til de 1.6 milliarder mennesker i verden, som endnu ikke har adgang til elektricitet. Little Sun er et globalt projekt som med udgangspunkt i en social forretningsmodel arbejder på at sprede lys til så mange som muligt. Under konceptet ’trade not aid’, sælges Little Sun i den vestlige verden til en pris, der gør det muligt at distribuere lampen i områder uden elektricitet til en lokal og betalbar pris, således at lokale forhandlere har mulighed for at profitere på det. På denne måde støtter Little Sun opbygningen af små forretninger i disse lande.

Andersen’s Little Sun Kiosk åbner samtidig med Little Sun’s første salgssted i Senegal, og ved køb af en lampe i kiosken støtter man den lokale distribution af Little Sun der. Foruden salg af lamperne, vil der frem til 22 juni foregå forskellige arrangementer i kiosken med forskelig musik mm.. Under hele udstillingsperioden vil man også kunne se 16 Little Sun film, som tidligere er blevet vist på blandt andet Tate Modern i London. Instuktørerne Alejo Moguillansky (Argentina), PERU ANA ANA PERU (USA), Anocha Suwichakornpong (Thailand), Dominga Sotomayor (Chile), Khavn (Filippinerne), Julio Hernández-Cordón (Guatemala), Mauro Andrizzi (Argentina), Edwin (Indonesien), Hawa Essuman (Kenya), Kivu Ruhorahoza (Rwanda), Man Kit Lam (Holland), Natasha Mendonca (Indien), Omelga Mthiyane (Sydafrika), Oscar Ruiz Navia (Colombia), Peter Tukei Muhumuza (Uganda), Sherman Ong (Malaysia) og Susan Youssef (USA) blev alle inviteret af Olafur Eliasson til at lave kortfilm med Little Sun som omdrejningspunkt. Alle filmene er produceret af Tine Fischer fra Fischer Film.






Ny Bog om Albert Mertz

Mertz om Mertz - Noteværk og skrifter

af Jørgen Michaelsen, Cecilie Høgsbro Østergaard (red.), Peter Brix Søndergaard

Den danske kunstner Albert Mertz (1920-90) efterlod sig en omfattende samling af arbejds- og collagebøger – Noteværket også kaldet. Størstedelen blev til i Paris i de kunsthistorisk og politisk afgørende år mellem 1968 og 1974. Materialet udgjorde, som Mertz senere udtrykte det, hans “kunstneriske testamente”. Det var blandt andet i disse hæfter, at han under tidens påvirkninger udviklede sit bud på en ny malerisk konceptualisme i form af Rød+Blå-propositionen.

Med Mertz om Mertz er det første gang, Noteværket bliver fremlagt for et publikum. Materialet, som bringes i et fyldigt udvalg, er ikke alene afgørende for forståelsen af Mertz’ samlede værk, men også for dets væsentlige indflydelse på dansk kunst.

“Alle mine handlinger præges af den opfattelse, at de, på et eller andet fjernt tidspunkt skal stå for en dommer. Det er dog slet ikke det endelige regnskab for mit liv overfor en gud, jeg forestiller mig, nej, det er egentlig noget langt mere ordinært. Jeg forestiller mig f.eks at jeg skal stå overfor at blive bedømt af et fænomen som kunsthistorien, jeg forestiller mig hvad den vil mene om mig efter min død, ja, jeg går så vidt, selvom jeg nødigt indrømmer det, at jeg forestiller mig en eftertid læse disse noter, mine breve, studere mine scrapbøger o.s.v. At alt sandsynligvis ender i skraldebøtten tænker jeg selvfølgelig på, men der er stadig i baghovedet på mig dette – men hvis – det kunne være – man ved aldrig.” Albert Mertz, 20-10-74

http://www.kunstkritikk.dk/artikler/den-mertzske-fordring/?d=dk






Interview with Goodiepal

http://seismograf.org/nyhed/goodiepal-efter-den-radikale-computermusik







Saraceno at Hangar Bicocca

Tomás Saraceno at Hangar Bicocca

ON SPACE TIME FOAM until February 3.02.2013

Tomás Saraceno (b. San Miguel de Tucumán, Argentina, 1973) is an artist and architect internationally known for his visionary and surprising installations accessible to the public and able to modify the perception of architectural spaces. His oeuvre, inspired by the tradition of 20th-century utopian architecture, stems from the desire to create aerial structures that can be inhabited by people, are self-sufficient and have a low environmental impact.

Saraceno, who refers to himself as “living and working between and beyond planet Earth”, bases his work on themes such as the elimination of geographical, physical, behavioural and social barriers; the research into sustainable ways of life for humanity and the planet; the encounter and exchange among different disciplines and bodies of knowledge; the model of networking and sharing applied to all phases of the invention and execution of works and projects.

At HangarBicocca Saraceno creates On Space Time Foam, a floating structure composed of three levels of clear film that can be accessed by the public, inspired by the cubical configuration of the exhibition space. The work, whose development took months of planning and experimentation with a multidisciplinary team of architects and engineers, will then continue as an important project during a residency of the artist at the Massachusetts Institute of Technology - MIT in Cambridge (MA).

On Space Time Foam is a very particular, unusual and suggestive work of art. It can be considered as an experiment that nevertheless requires the willingness to interact, individual and collective sense of responsibility and special behavioral conditions. For this reason we are providing rules and suggestions to guarantee to the public the best experience possible for the whole duration of the exhibition.






Jay Chung & Q Takeki Maeda

Solo Show
REDCAT, Los Angeles
8 July - 2 September

For their first major solo exhibition in the United States, Berlin-based artists Jay Chung & Q Takeki Maeda further an ongoing inquiry into the systems that underlie processes and contexts of social exchange. Since studying together at the Städelschule in Frankfurt, Chung and Maeda have worked collaboratively for nearly a decade. While recent exhibitions have often tended toward more invisible and oblique forms of critical inquiry, many of their sculptural, photographic, and video-based works emerge from a direct engagement with the artists’ immediate context. In the case of Untitled (2011), Chung and Maeda bring together a collection of found photographs that depict the candidates that have run against the current mayor of Berlin, Klaus Wowereit, over the course of his thirty-year political career. Through a working method that is largely determined by research into specific physical, cultural, and conceptual conditions, the artists’ residency in Los Angeles culminates in a new project at REDCAT that characteristically exposes and derails the conventions of exhibition-making.

www.redcat.org/exhibition/jay-chung-q-takeki-maeda






Tomás Saraceno On the Roof: Cloud City

The Metropolitan Museum of Art
New York
15 May - 4 November 2012 (weather permitting)

Artist Tomás Saraceno (born in Tucumán, Argentina, in 1973) will create a constellation of large, interconnected modules constructed with transparent and reflective materials for the Museum's Iris and B. Gerald Cantor Roof Garden. Visitors may enter and walk through these habitat-like, modular structures grouped in a nonlinear configuration. Over the past decade, Saraceno has established a practice of constructing habitable networks based upon complex geometries and interconnectivity that merge art, architecture, and science. The interdisciplinary project "Cloud Cities/Air Port City" is rooted in the artist's investigation of expanding the ways in which we inhabit and experience our environment.

www.metmuseum.org/saraceno






Anselm Reyle awarded the ARKEN ART PRIZE 2012

DONATED BY ANNIE & OTTO JOHS. DETLEFS' PHILANTROPIC FOUNDATION

Anselm Reyle has been awarded the ARKEN Art Prize 2012 of 100.000 DKR for elegantly and uncompromisingly creating works that both seduce and challenge our ideas of good art and good taste. He renews both figurative and abstract expression. He elevates otherwise elitist art out of its niche and makes it popular. Anselm Reyle’s works are among the most innovative and sophisticated on the international art scene today. ARKEN has just been enriched with nine works created by Reyle in a unique, generous donation from Annie & Otto Johs. Detlefs’ Foundations OJD. The works will remain on permanent display and offer an important perspective on the Danish and international art in ARKEN’s collection.

www.arken.dk/content/us/art/arken_prize









Please join us at ART Cologne
9 -13 April
Hall 11.3 Booth A-041