Category: art and sculpture.

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For the context of the class, Helen Mirra invited the sculptor Peter Welz. He also reviewed my work on inside/outside and shared with me his approach from studying the figure to lastly using the figure as a tool. I am fascinated by his process. During his trajectory, he sculpted and casted the figure to later get rid of its cast to only project the figures onto structural spaces.

Today, Peter Welz gave a talk at the Harvard Film Archive, Carpenter Center. He presented a selection of work expressing the relationship between the space and being.

In the following work, a line is projected on a concrete wall. By blowing onto the camera, the line vanishes and disappear to present a plain concrete wall; as the artist stops blowing, the line reappears.

line | vanishing | disappearing | breath | aspirate |

onto fake concrete wall | concave, Berlin 2004

video projection onto a fake concrete wall, 550 x 280 cm, 30 min Loop on DVD

In this work, Peter Weltz translates a unfinished portrait from Francis Bacon into figure movements.



retranslation | final unfinished portrait (francis bacon) | figure inscribing figure | [take 02] Installation view Musée du Louvre

Photo: © Musée du Louvre / Angèle Dequier © Peter Welz / DACS & the Estate of Francis Bacon

study | w.forsythe re-translating the unfinished portrait by francis bacon

colour print on acitate/paper, permanent marker, gaffa tape 61cm x 86 cm, 2005 (© Estate of Francis Bacon | Dublin City Gallery The Hugh Lane)

If you’re new here, you may want to subscribe to my RSS feed to receive the latest Architectradure’s articles in your reader or via email. Thanks for visiting!

For the context of the class, Helen Mirra invited the sculptor Peter Welz. He also reviewed my work on inside/outside and shared with me his approach from studying the figure to lastly using the figure as a tool. I am fascinated by his process. During his trajectory, he sculpted and casted the figure to later get rid of its cast to only project the figures onto structural spaces.

Today, Peter Welz gave a talk at the Harvard Film Archive, Carpenter Center. He presented a selection of work expressing the relationship between the space and being.

In the following work, a line is projected on a concrete wall. By blowing onto the camera, the line vanishes and disappear to present a plain concrete wall; as the artist stops blowing, the line reappears.

line | vanishing | disappearing | breath | aspirate |

onto fake concrete wall | concave, Berlin 2004

video projection onto a fake concrete wall, 550 x 280 cm, 30 min Loop on DVD

In this work, Peter Weltz translates a unfinished portrait from Francis Bacon into figure movements.



retranslation | final unfinished portrait (francis bacon) | figure inscribing figure | [take 02] Installation view Musée du Louvre

Photo: © Musée du Louvre / Angèle Dequier © Peter Welz / DACS & the Estate of Francis Bacon

study | w.forsythe re-translating the unfinished portrait by francis bacon

colour print on acitate/paper, permanent marker, gaffa tape 61cm x 86 cm, 2005 (© Estate of Francis Bacon | Dublin City Gallery The Hugh Lane)

If you’re new here, you may want to subscribe to my RSS feed to receive the latest Architectradure’s articles in your reader or via email. Thanks for visiting!

Sculptor Charles Goldman says : TIME + DISTANCE = EXPERIENCE.

So I look at his on work on his web site work and find …

Spruce / Spree (2005) A grass-dressed shopping cart that was apparently chained up at various locations throughout a developing neighborhood in Brooklyn, NY …

Finally, the chain was clipped and the shopping cart was confiscated

Elsewhere (2000) and in particular Infinity Walk, wood, 32′ x 16′ x 8′. It is an iconic infinity sign.

“In elevation, the walkway rises, falls and turns underneath itself, providing a never-ending pathway that the visitor may follow.”

The work dealt with the repetative nature of time and experience.

Scrapwood (1998) made of 6,144 cubic feet of scrapwood and cardboard.

“About two years worth — 18 boxes — of wood scraps are assembled site-specifically, according to whim and using only gravity. ”

Chicago

Charles Goldman’s web site

If you’re new here, you may want to subscribe to my RSS feed to receive the latest Architectradure’s articles in your reader or via email. Thanks for visiting!

Sculptor Charles Goldman says : TIME + DISTANCE = EXPERIENCE.

So I look at his on work on his web site work and find …

Spruce / Spree (2005) A grass-dressed shopping cart that was apparently chained up at various locations throughout a developing neighborhood in Brooklyn, NY …

Finally, the chain was clipped and the shopping cart was confiscated

Elsewhere (2000) and in particular Infinity Walk, wood, 32′ x 16′ x 8′. It is an iconic infinity sign.

“In elevation, the walkway rises, falls and turns underneath itself, providing a never-ending pathway that the visitor may follow.”

The work dealt with the repetative nature of time and experience.

Scrapwood (1998) made of 6,144 cubic feet of scrapwood and cardboard.

“About two years worth — 18 boxes — of wood scraps are assembled site-specifically, according to whim and using only gravity. ”

Chicago

Charles Goldman’s web site

If you’re new here, you may want to subscribe to my RSS feed to receive the latest Architectradure’s articles in your reader or via email. Thanks for visiting!

Partitions 2000, Harpsichords in oak, ebony, bone realized with the organ-maker Pascal Gourrat, 109,5 x 150 x 18,2 cm 9 photographs 13×18 cm each

When Marcel Proust writes about having tea and cookies, he is inspired by having the experience himself, which brings back memories to his mind. With my past work Textable Movie, I wanted to recreate this same phenomenon, by presenting instantly to the users, videos from their own footage. By immersion into their own memories, they could become engaged into telling rich, and passionate stories, based on past experience.

Russian poet Joseph Brodsky – “any new aesthetic reality helps man to specify his own ethical reality …/… an aesthetic choice is invariably individual, aesthetic suffering is invariably personal suffering. Any new aesthetic reality turns the person it has affected into an even more private person, and this private character, which at times takes on the form of literary or other taste, may per se, be, if not a guarantee, then at least a form of protection against enslavement”

I recently discovered partitions by Jérome Basserode. This object is very disconcerting by being a piano with only 5 white and 4 black keys, piano that is not large but thin and long. Made structurally out of oak, ebony for the keys and bone for the white keys, built based on the harpsichord technique, it creates very unusual sounds. The partition is a picture of a forest that the player can choose to play. The spectator becomes musician by following memories driven by the image.

The installation Partitions, shown in the 6th chapter of the exhibition comprises two objects that formally resemble a fragment of a grand piano but use the musical technique of a harpsichord. Each harpsichord has a keyboard that counts 9 keys ( 5 white, 4 black, in alternation). The unusual sound of these keys determines the initial playing situation. Two series of 9 photographs act as partitions, representing various motifs from the natural and urban environment. The spectator can use the motif of his choice from the photographs as a partition, sit it on the intended stand and begin playing. The visually activated memory can thus express itself musically through the spectator’s playing the harpsichord. Basserode chose to use the sculptural and architectural elements at his disposal to present the photographs. He installed them so that their placement in relation to the harpsichords would produce a certain tension. The dynamism conferred upon the exhibition space by the position of the objects presented and the harpsichords finds an extension and resonance in Kretzschmar’s music and Basserode’s nomadism. Juliane Wellerdiek

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Stéphane Vigny, Mécanique Populaire. For this installation, an electric drill becomes a skipping rope.

I discovered the work of Stéphane Vigny at the Palais de Tokyo in Paris. Mixing minimalism to mainstream objects, he produces subversive pieces. I love his work that I find humorous as much as alarming.