Design Source Mart » Architecture

Lukas Richarz

admin — Tue, 12 Oct 2010 17:16:00 +0000

Nuage – Béton armé – 2009 – 136 x 78 x 90 cm

Gordon Matta Clark

admin — Tue, 12 Oct 2010 16:51:00 +0000

The artist Gordon Matta-Clark (1943-1978) used neglected structures slated for demolition as his raw material. He carved out sections of buildings with a power saw in order to reveal their hidden construction, to provide new ways of perceiving space, and to create metaphors for the human condition. He spoke of his work as an activity that attempted “to transform place into a state of mind by opening walls.”

Gregor Schneider

admin — Fri, 17 Sep 2010 11:09:00 +0000

Marienstraße, 2010.

Best known for his architectural manipulations, Gregor Schneider subverts reality to expose an unease with the ordinary. Transforming houses into doppelganger replicas of themselves and transporting entire rooms and buildings from site to site, Schneider revamps domestic interiors, creating a creepy sense of the uncanny in their mundane detail, turning everyday experience into horror.

süβer Duft

21 Beach Cells, installation at Bondi Beach, 2007.

Fallen-Hochsprunganlage – Bergsportgeräte, 1988.

More:
Saatchi Gallery
White Hot Magazine
MMK

Photos by Pedro Meyer

admin — Fri, 02 Jul 2010 11:39:59 +0000

Photography by Pedro Meyer.

Christoph Morlinghaus Photography

admin — Fri, 11 Jun 2010 12:58:15 +0000

Photography by Christoph Morlinghaus.

Kevin Hunt

admin — Thu, 20 May 2010 21:43:00 +0000

Garden Furniture by Kevin Hunt.
The Garden Furniture project came about through an interest in making sculpture that uses both permanent and ephemeral materials, altering a static piece of furniture by covering it in living, growing grass, the work therefore changed over time, altering itself.

Kevin Hunt makes sculpture using found, redundant objects, particularly furniture which is reconfigured into something new. The objects used are often rendered functionless by the act of beautification or their function is shifted in some way, eradicating any original purpose whilst exposing an inherent aesthetic that has always lay within. By irreversibly altering these things and simultaneously raising their status, the work attempts to question what it is to be an object in the world and how these objects come to exist as sculpture.

The act of making, although premeditated, regularly turns out to be more casual, allowing for serendipitous and chance happenings. The resultant sculpture hovers in abeyance, ready to break, morph or somehow change further, often having no definite end point by existing as brittle, precarious, visually unstable or inherently flawed structures that in some way have the ability to continue to evolve after they have been realised, something which is an enduring concern within his practice.

‘Dumb Objects’ installation view at Wolstenholme Projects, June 2009

Kevin is an artist, curator and director of The Royal Standard, an artist led gallery, project space and social workspace in Liverpool.

Hope and Glory

admin — Wed, 19 May 2010 11:54:00 +0000

Hope & Glory – a Conceptual Circus by Simon Birch.

Hong Kong artist Simon Birch has created Hope and Glory, perhaps the most ambitious multi-media art project ever undertaken in Hong Kong.

The show is non-profit, open to the general public and consists of film, sculpture, installation and sound and is somewhat like a film set, or a theater set. The works are all physically large and the viewers wander through the environment at their own pace.

Until May 30

The unprecedented scale of the show, which will fill the 20,000sq ft ArtisTree exhibition space in Taikoo Shing, will challenge established paradigms in art presentation and construction to bring its audience on a fascinating and immersive adventure through a metaphorical world – a conceptual circus – created by the artist.

A series of interlinked multi-media installations will transform the vast space into a mythological labyrinth, where cultural and personal histories merge, provoking the audience to consider their own relationship with the past, the present and the future.

Just as the archetypal circus brought together spectacular “sideshows” from all over the world to create an multi-sensory allegory of foreign adventure, in Hope and Glory Birch has brought together artists, designers, musicians, filmmakers, photographers, actors, gaming wizards, and architects from Hong Kong and abroad in an unprecedented collaboration – each contributing their own particular vision to Hope and Glory’s conceptual world of spectacle and wonder.

Birch’s monumental show explores a number of major themes that recur in the artist’s work: the idea of art as a spectacle; the fascination with circuses and fairgrounds, science fiction and mythologies; as well as a preoccupation with traditions of craftsmanship and labour in art production.

Hope and Glory is deeply informed by the structure of the ‘hero myth’ that appears in different guises throughout history and across cultures, from the Odyssey of Ancient Greece to modern science fiction films such as Star Wars and Blade Runner. The narrative that unfolds in Hope and Glory is a retelling – through film, sculpture, music, video, painting, gaming and live performance – of archetypal themes, such as the duality of human existence, the relationship between suffering and redemption, the journey from darkness into light, and the leap from adversity into transcendence. By entering into its all-immersive environment the audience becomes part of this unfolding experience.

The title of the project, ‘Hope and Glory’, is an appropriation of the title of a British patriotic song from the close of the Victorian era, ‘Land of Hope and Glory’, an anthem that hopes for a mightier and more powerful empire. The use of the title here is both ironic and meaningful, referring to the hope and glory that are relative to individual human experience, as well as to the negatives which burden imperial dreams.

One of Birch’s intentions in conceiving this monumental installation is the creation of an all-enveloping artistic space that echoes the function of the circus in traditional culture: offering within the frenetic urban environment a temporary place of other-worldly respite and the experience of a communal sense of wonder.

A series of four innovative Forums exploring topics and questions generated by the Hope and Glory project will be held during the exhibition period.

Simon Birch and collaborators:
Valerie Doran, Daniel Wu, Paul Kember, Stanley Wong, Kacey Wong, James Lavelle and UNKLE, Gary Gunn, Lucy Mcrae, Florian Ma, Alvina Lee, Prodip, Robert Peckham, Prodip, Lisa S, Terence Yin, Tony Magnetic, CB Fresh, Laura Thomas, Clive Kirsten, Douglas Young , Cang Xin, Wing Shya.

All info, pictures and credits are avaiable in the official diary of the event:
monkeymodified.blogspot.com

Simon Birch is a Hong Kong artist who’s made a huge impact with his energy and vision in the last few years. Apart from his critically acclaimed, dramatic paintings, he’s managed to produce overwhelming installations, curated wonderful exhibitions, collaborated with leading artists, produced high profile commissioned works….the list goes on, needless to say Birch is one passionate, motivated man.

Of Armenian descent, born in Brighton in 1969, Birch began painting at a very early age, he is self taught. He has pursued a versatile career, which has included design, music and sport, but he has continued to paint throughout his life. He has been a resident in Hong Kong since 1997. Birch is also well know as a DJ and graffiti artist, his ‘Naughty Monkey’ work receiving much acclaim in the Hong Kong media. He also part owns Yumla, the most happening bar in Hong Kong.

Emily Speed

admin — Fri, 14 May 2010 09:31:00 +0000

”A sculpture made and worn around Linz, Austria, Inhabitant is about trying to find your own place or identity in a city and the representation of psychological space. The final form was influenced by the time spent in Linz and took on some characteristics of the architecture there. The materials in the work – cardboard, wood and plastics – were all previously discarded and these made fragile, temporary building blocks. Worn, or inhabited, this work sits somewhere between a garment and a sculpture. It is like a shell or façade, in which I, although concealed safely inside, remain vulnerable, without the ability to see and encumbered by my own creation.”

Documentation of the project is by Jens Sundheim and Mehmet Dere.

More at Saatchi Gallery

Sam Durant

admin — Thu, 29 Apr 2010 16:37:00 +0000

Porcelain Chairs, 2006.

Sam Durant is a multimedia artist whose works engage a variety of social, political, and cultural issues. Often referencing American history, his work explores the varying relationships between culture and politics, engaging subjects as diverse as the civil rights movement, southern rock music, and modernism.

Death Penality, 2008.

LA CULTURE EST L’INVERSION DE LA VIE (2008) :

1968 Mirrors.

ABANDONED HOUSES, 1994.

PARTIALLY BURIED / ALTAMONT : Sculptures, 1998.

ELECTRIC SIGNS, 2002.

EARLY WORKS : Scrap Recycling, 1995.

Sam Durant
Born in Seattle, Washington in 1961.

All details about the projects on www.samdurant.com

Michael Elmgreen & Ingar Dragset

admin — Thu, 15 Apr 2010 11:04:00 +0000

Social Mobility (Staircase) (2005)

Michael Elmgreen (Denmark) & Ingar Dragset (Norway).
Live and work in Berlin, Germany.

It’s the Small Things in Life That Really Matter, Blah, Blah, Blah (2006)

Uncollected (Baggage reclaim) (2005)

Go Go Go (Pole) (2005)

Powerless Structures, Fig. 122 (Two doors) (2000)

Powerless Structures, Fig. 123 (Two door handles) (2000)

Powerless Structures, Fig. 129 (Corner door) (2000)

Powerless Structures, Fig. 133 (Tripledoor) (2002)

Boy Scout (2008)

More at Nicolai Wallner Gallery and White Hot Magazine
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