mirror-miroir-spiegel-tükör

Gerhard Richter

2010-08-04T18:03:00.000+02:00

Gerhard Richter
Self Portrait, Three Times 1990
Courtesy Marian Goodman Gallery, New York © Gerhard Richter
Oil on photographic paper
50.8 x 60 cm

kép innen:

The Multiplication of Being, Or A Reflective Abyss?

Lyle Rexer on Mirrors, in Tate etc magazin issue 19 summer 2010, http://www.tate.org.uk/tateetc/issue19/mirrors.htm

Robert Morris

2010-08-04T18:02:00.000+02:00

Robert Morris
Untitled (Mirrored Cubes) 1965/1971
Courtesy the artist and Spruth Magers Berlin London. Tate © Robert Morris/ ARS, NY and DACS, London 2010
Mirror plate, glass and wood
91.4 x 91.4 x 91.4 cm

kép innen:

The Multiplication of Being, Or A Reflective Abyss?

Lyle Rexer on Mirrors, in Tate etc magazin issue 19 summer 2010, http://www.tate.org.uk/tateetc/issue19/mirrors.htm

Lee Friedlander

2010-08-04T18:01:00.000+02:00

Lee Friedlander
New Orleans, Louisiana 1968
Courtesy Fraenkel Gallery, San Francisco © Lee Friedlander
Gelatin silver print
27.9 x 35.5cm

kép innen:

The Multiplication of Being, Or A Reflective Abyss?

Lyle Rexer on Mirrors, in Tate etc magazin issue 19 summer 2010, http://www.tate.org.uk/tateetc/issue19/mirrors.htm

Jeff Wall

2010-08-04T17:59:00.000+02:00

Jeff Wall
Picture for Women 1979
Courtesy White Cube Gallery, London © Jeff Wall
Transparency in Lightbox
142.5 x 204.5cm

kép innen:

The Multiplication of Being, Or A Reflective Abyss?

Lyle Rexer on Mirrors, in Tate etc magazin issue 19 summer 2010, http://www.tate.org.uk/tateetc/issue19/mirrors.htm

Joan Jonas

2010-06-23T09:37:00.000+02:00

Joan Jonas, Mirror Piece I, 1969

Chromogenic print, 101 x 55.6 cm.

itt: June programs presented in conjunction with

Haunted: Contemporary Photography/Video/Performance

On view through September 6, 2010

Solomon R. Guggenheim Museum

1071 Fifth Avenue (at 89th Street)

New York City

Gardar Eide Einarsson

2010-06-23T09:35:00.000+02:00

Installation view

Gardar Eide Einarsson

'Power Has a Fragrance'

Gardar Eide Einarsson: Power Has a Fragrance

6 May – 15 August 2010 Astrup Fearnley Museum of Modern Art, Oslo

Norway

www.afmuseet.no és http://www.einarsson.afmuseet.no/

Mark Leckey

2010-06-23T09:29:00.000+02:00

Mark Leckey: Made in Heaven, 2004, Video, 2:00 min.

in:

Moving Images

Artists & Video / Film

29 May – 31 October 2010

Museum Ludwig, Cologne, Germany www.museum-ludwig.de

untitled

2010-06-23T09:27:00.000+02:00

kép: Untitled [Man reflected in mirrors]. n.d.

Photograph, gelatin silver print

Collection SFMOMA, Gift of Gordon L. Bennett

Symposium: Is Photography Over? 2010/4/22-23
SFMOMA, San Francisco

Saâdane Afif

2010-06-23T09:25:00.000+02:00

Untitled (This the Way You & I Measure the World, 2004 / Plexiglas, two way mirror film, motor, strap. / Diameter: 175 cm)«, 2008 Saâdane Afif.

http://www.wdw.nl/persfoto/afif/

via vvork

Heimo Zobernig

2010-06-23T09:22:00.000+02:00

Untitled, 2006, Heimo Zobernig, mirror foil, wood, chipboard

http://www.mak.at/mysql/ausstellungen_show_page.php?a_id=826&page=2

via vvork

Lyle Rexer

2010-05-11T22:20:00.000+02:00

Lyle Rexer: The Multiplication of Being, Or A Reflective Abyss?

Tate Etc. magazine, Issue 19 / Summer 2010 http://www.tate.org.uk/tateetc/issue19/mirrors.htm

MARTE EKNÆS

2010-04-26T21:30:00.000+02:00

MARTE EKNÆS, Insert 2010
Clothing rack, two way mirror

PHOTOGRAPHY PAINTING SCULPTURE

Bonner Kunstverein, 2010/4/13 - 2010/6/13

http://www.bonner-kunstverein.de

http://www.bonnerkunstverein.de/ausstellungen/aktuell/photography-painting-sculpture/

Pamela Rosenkranz

2010-04-26T21:27:00.000+02:00

Pamela Rosenkranz: "Bow Human" és "Firm Being (series)", 2009

Pamela Rosenkranz: "No Core"
2010/3/27 - 2010/5/16

Centre d'Art Contemporain Geneve, http://www.centre.ch

via: e-flux http://www.e-flux.com/shows/view/7897

Haegue Yang

2010-03-04T11:06:00.003+01:00

Haegue Yang, “BACK” from the "Mirror Series" 2007. Oval mirror, hung its back to the front/ its front side to the wall. http://www.heikejung.de/mirrorSeries.html

itt: FOXED IN THE FOREST, Dépendance, Bruxelles, Belgium
September 15 – October 19, 2007

via vvork

Hayley A. Silverman

2010-03-04T11:00:00.004+01:00

Hayley A. Silverman, "now vs then vs here vs there vs this vs that vs me vs you vs us vs them"

Single-channel video, mirror, Powerbook G4 (DVD loop, w/sound).

http://www.hayleysilverman.com/index.php?n=Work.USTHEM

és http://www.hayleysilverman.com/

via vvork

Troels Sandegård

2010-03-04T10:58:00.003+01:00

Troels Sandegård, “Extended Mirror”, 2008

http://www.kunstdk.dk/kunstner/troels_sandegaard

via vvork

John M. Armleder

2010-03-04T10:53:00.003+01:00

John M. Armleder, Untitled, 2001

10 glass mirrored fibreglass disco balls, turner motors and 20 spotlight, Untitled (Global V),

via vvork

korábban: 1998, Six Mirrored Disco Balls wth Reversible Motors, Each Ball: 20" Diameter
Ace Gallery, forrás: http://www.acegallery.net/artistmenu.php?Artist=36#

Gintaras Makarevicius

2010-03-04T10:45:00.001+01:00

Gintaras Makarevicius, “To See And To Feel”, 1996. Metal, glass, gas.

http://www.culturebase.net/artist.php?890

via vvork

Haroon Mirza, Laura Buckley, Dave Maclean

2010-03-04T10:41:00.002+01:00

Haroon Mirza, Laura Buckley, Dave Maclean, Stage Fight, 2009

A collaborative project with Laura Buckley and Dave Maclean
ROKEBY, 17th February 2009 - 21st March 2009

http://www.rokebygallery.com/matrix_engine/content.php?page_id=2109

Rafaël Rozendaal

2010-03-04T10:31:00.003+01:00

Rafaël Rozendaal, really really big, 2009

http://www.newrafael.com/really-really-big/

hotdoom, http://www.newrafael.com/hot-doom-mirrors/

és ez : http://www.hotdoom.com/

http://www.newrafael.com/new-photo-from-texture-maps-exhibition/

Noe Sendas

2010-03-04T10:29:00.002+01:00

Noe Sendas, Versus, 2005

Installation: 1 Piano stool, polyester, epoxy resin, clothes, shoes

http://www.noesendas.com/

via vvork

Christian Egger

2010-03-04T10:25:00.002+01:00

Christian Egger, Untitled (A.R.E.U.S.(((O))) dich vs. DU !!!), 2009

Egger

via vvork

Thomas Schütte

2010-03-04T10:17:00.002+01:00

Thomas Schütte, Ikea House, 2003

http://www.thomas-schuette.de/

via vvork

Liu Ding

2010-03-04T10:14:00.001+01:00

Liu Ding, Being Dramatic in a Pure State” 2009

via vvork

Uršula Berlot

2010-03-04T10:09:00.003+01:00

Uršula Berlot, Crystalline diagram, 2006

"A fractal-like crystalline shape made of reflective foil on plexiglass creates a diffraction of light and forms an abstract color picture of light spectrum - a rainbow on the wall perpendicular to it. The composition is a computer-aided picture showing an isolated brain vessel, which as a part of human blood system presents a natural fractal form."

http://www.ljudmila.org/%7Eberlotur/podstrani/en-portfolio.html

via vvork

Maiken Bent

2010-03-04T10:03:00.007+01:00

Bermuda Bouquet, 2008

http://maikenbent.dk/worksnyny.html

Giulio Paolini

2010-01-07T09:04:00.002+01:00

Giulio Paolini: Mimesi, 1975
http://pillanatgepek.c3.hu/kiallitas/muveszek/giulio-paolini/

Michael Snow

2010-01-07T09:03:00.003+01:00

Michael Snow: Autorizáció, 1969
http://www.c3.hu/collection/koncept/images/bekekepek.html

Penone, Pistoletto, Graham

2010-01-07T08:50:00.006+01:00

még egyszer, hogy meglegyen:

-- Giuseppe Penone: To Reverse One’s Eyes, 1970. Black & white photograph, 11.5 x 15.5 inches

-- Michelangelo Pistoletto: http://www.pistoletto.it/ Division and Multiplication of the Mirror -Art Takes On Religion Mirror paintings: http://www.pistoletto.it/eng/crono04.htm#

--Dan Graham: Performer/Audience/Mirror (1975), 22:52 min, b&w, sound Recorded at Video Free America in San Francisco, this work is a phenomenological inquiry into the audience/performer relationship and the notion of subjectivity/objectivity. Graham stands in front of a mirrored wall facing a seated audience; he describes the audience's movements and what they signify. He then turns and describes himself and the audience in the mirror. Graham writes: "Through the use of the mirror the audience is able to instantaneously perceive itself as a public mass (as a unity), offsetting its definition by the performer ('s discourse). The audience sees itself reflected by the mirror instantly while the performer's comments are slightly delayed. First, a person in the audience sees himself 'objectively' ('subjectively') perceived by himself, next he hears himself described 'objectively' ('subjectively') in terms of the performer's perception." http://www.ubu.com/film/graham_performer.html
http://en.wikipedia.org/wiki/Dan_Graham
Kiállítása: http://www.whitney.org/Exhibitions/DanGraham

Pamela Rosenkranz

2010-01-07T08:48:00.002+01:00

»Nothing Unbound«, 2009 and »Expression Self« by Pamela Rosenkranz.
http://www.karmainternational.org/
via vvork

Finnbogi Petursson

2010-01-07T08:45:00.002+01:00

“Moment”, 2008 by Finnbogi Petursson. http://www.finnbogi.com/
via vvork

Carol Bove

2010-01-07T08:41:00.003+01:00

Carol Bove: Mirror Abstraction, 2005. Antique crystal ball, gold chain, bronze screws.
http://en.wikipedia.org/wiki/Carol_Bove
via vvork

Anne Eastman

2010-01-07T08:39:00.004+01:00

“No Private Point of View”, 2009 by Anne Eastman. Glass mirror, wooden frame on wood base.
http://anneeastman.com/
via vvork

Komlovszky-Szvet Tamás

2009-11-16T07:47:00.010+01:00

Komlovszky-Szvet Tamás: Anyagtalan II/Without Material II, 2009

"Anyag nélkül", Óbudai Társaskör Galéria, 2009 november 17-december 13.
http://szvet.mosaicglobe.com/

Alexandra Navratil

2009-10-08T11:21:00.002+02:00

Alexandra Navratil “What Is Seen Is Lost”, 2009 http://www.alexandranavratil.com/

Benoît Maire

2009-10-08T11:20:00.003+02:00

“Prolégomènes à toute image pliée”, 2008 Benoît Maire, http://www.artistpensiontrust.org/news_item_page.asp?ID=1097

Guðrún Benónýsdóttir

2009-10-08T11:18:00.002+02:00

»Atlantic Inclusion«, 2005 installation by Guðrún Benónýsdóttir http://gbenonys.blogspot.com/ via vvork

Erdődy József Attila

2009-10-08T11:06:00.007+02:00

Erdődy József Attila (http://www.c3.hu/~joco)

Regio Minor, 2005

Locus Ludendi, 2004

Positive Charge (PTX), 2007

Paul Lee

2009-10-08T11:04:00.002+02:00

“Untitled (mirrored tambourine painting)”, 2008,
Paul Lee, http://en.wikipedia.org/wiki/Paul_Lee_%28artist%29

via vvork

Gunther Ücker

2009-10-08T11:02:00.002+02:00

Gunther Ücker, 2004
forrás: http://radicalart.info/nothing/mirrors/index.html

Roy Lichtenstein

2009-10-08T10:54:00.003+02:00

Mirror #10, Roy Lichtenstein (1923-1997), 1970. Oil and synthetic polymer paint on canvas, 24" (61 cm) in diameter. (forrás: moma) még: http://radicalart.info/nothing/mirrors/index.html

Michelangelo Pistoletto

2009-10-08T10:52:00.002+02:00

Michelangelo Pistoletto: Broken Mirror, 1978.
még: http://www.pistoletto.it/eng/crono13.htm

Ottmar Hörl

2009-10-08T10:49:00.002+02:00

Ottmar Hörl: ICH-Spiegel- Koffer, 2003-2004, http://www.ottmarhoerl.de/

Thomas Rentmeister

2009-10-08T10:46:00.002+02:00

Thomas Rentmeister: Ohne Titel/Untitled, 2000,
mirror, toothpaste, 22 x 30 cm edition of 10, (edition made for the Kunsthalle Wilhelmshaven) http://www.thomasrentmeister.de/english/ba2_e/i_ba2_e.htm

Christian Megert

2009-10-08T10:43:00.002+02:00

Christian Megert: Spiegelwand, 1961, http://www.megert.de/6063.html plus: http://radicalart.info/nothing/mirrors/index.html

Sinta Werner

2009-09-03T14:02:00.002+02:00

Sinta Werner: 4xDoublefixed / Classic Aluminium, 2009. http://www.sintawerner.net/

Olafur Eliasson

2009-09-03T13:49:00.006+02:00

Olafur Eliasson: Shadow Projection Lamp, 2004 Fény-/árnyékobjekt, üveg-/tükörlap, halogénlámpa, transzformátor, fém, statív, kábel, fényforrás, 219,7 x ø 71,1 cm; a statív lábai közti távolság: 86,4 cm. Ed. 10+2 A.P., 2/2 A.P. A neugerriemschneider (Berlin) & Tanya Bonakdar Gallery (New York) tulajdona
"Shadow Projection Lamp: Egy koncentrikus tükörgyűrűket befoglaló kör alakú üveglap függőlegesen áll egy statívon, és egy kis lámpa világítja meg közvetlenül. A fény a koncentrikus tükörgyűrűket a közeli falfelületre veri vissza, míg egy másik falra ugyanaz a minta árnyékként vetül."

Eye Eye, 2002 Tükörobjekt, fa, konkáv tükör (átmérő: 12 cm), fém, íriszblende (átmérő 10 cm) 22 x 22 x 26 cm. Ed. 70+20 A.P., itt 2/20 A.P. A neugerriemschneider (Berlin) & Tanya Bonakdar Gallery (New York) tulajdona
"Eye eye: Eliasson egy konkáv tükröt szerelt egy íriszblende mögé. Ezt manuálisan úgy lehet beállítani, hogy a néző vagy saját teljes szemét, vagy az íriszt, vagy csak a pupillát láthatja a konkáv tükörben."

Light Removal, 2005 Fényobjekt, tükör, acél, halogénreflektor 80 x 60 x 80 cm. Ed. 12/20. A neugerriemschneider (Berlin) & Tanya Bonakdar Gallery (New York) tulajdona
"Light Removal: Egy falra vetülő kör, amely egyik felében fényből, másikban árnyékból áll. A jelenség létrehozásához egy reflektor világítja meg egy derékszögben a fal előtt álló elliptikus tükör jobb oldalát. A jobb oldali félkör visszavert fényből áll, a bal oldali félkört pedig a jobb oldali félellipszis által vetett árnyék alkotja."

Colour Vision Kaleidoscope: "Különböző színekből álló dikromatikus tükrök találhatók egy fa-statívra szerelt hatszögű kaleidoszkópban."

http://pillanatgepek.c3.hu/kiallitas/muveszek/olafur-eliasson/

Douglas Gordon

2009-09-03T13:47:00.003+02:00

Douglas Gordon: Forty One, 2007 Koponya 41 bekarcolt csillaggal, üveges állóvitrin, tükör, 175×35x35 cm. A művész és a Galerie Yvon Lambert, Párizs tulajdona
"Douglas Gordon műve sötét, morbid, önreferens. A művészi alkotás a saját test romboló metamorfózisainak lejegyzését és közszemlére tételét bontja ki. Gordon néhány éve koponyákat gyűjt, és minden életévéhez a megfelelő számú ötágú csillagot metszeti bele; ezekkel a koponyákkal újabb és újabb összefüggésekben találkozhatunk. A csillagforma használata arra a híres fotóra utal, amelyet Man Ray készített 1919-ben Marcel Duchamp-ról. Felülnézetben ábrázolja, ötágú csillag formájú tonzúrával, egyidejűleg nyilvánvalóan antiklerikális gesztusként. A katolikus egyház a tonzúrát mint a koponyának az égiekkel folytatott kommunikáció irányába történő jelzésszerű megnyitását értelmezi. Gordon Forty One című művében egy koponya fekszik egy magas üvegtárló alján, rajta negyvenegy csillag formájú nyílás, és üres szemgödrökkel mered saját tükörképére. Ebben a képben aktiválódik a tükörben és vízben történő megkettőződés motívum-összefüggése - a narcisztikus vágyak képe a saját énnel történő összeolvadásról, de akár a tükör másik oldalára történő átlépés lehetetlenségéről is. Ha visszaemlékszünk Jean Cocteau Orpheusz című filmjének jelenetére, amelyben Jean Marais teste a tükörképére simul, talán világossá válik, hogy a tükörképpel bensőséges kapcsolatra lépni csak a halott anyag képes." http://pillanatgepek.c3.hu/kiallitas/muveszek/douglas-gordon/

Rodney Graham

2009-09-03T13:44:00.002+02:00

Rodney Graham: Könyvobjekt, nikkelezett réz súber, üveg, tükör, 1990, 38×60x59 cm Lucia Muñoz Iglesias Gyűjtemény, Madrid "Rodney Graham a számára fontos szerzőket gyakran a könyveikhez készített prezentációs szerkezettel tiszteli meg. 1900 körül Franciaországban széles körben elterjedt volt Daniel Bellet Les Dernières Merveilles de la Science című, fiataloknak íródott könyve. Szemléletesen magyarázta a legújabb technikai vívmányokat, a telefont, a röntgensugarat, az elektomos fényt, a kinematográfot, a gramofont és másokat. A fejtegetéseket kromolitográfiák illusztrálták. E könyvhöz Rodney Graham egy üvegből és tükörből készült szemléltető berendezést készített. Magát a könyvet egy üvegsúberbe csúsztatta; csuklópántokat és kihajtható tükröket illesztett hozzá, amelyek nyílnak és csukódnak. A könyv így csodálatos módon úgy jelenik meg a tükörben, mint az elmúlt idő katoptrikus színháza. A tükrözött soknézetűség nem rejti el, hogy a könyv csukva marad. A csodák nem kerülnek napvilágra." http://pillanatgepek.c3.hu/kiallitas/muveszek/rodney-graham/

Mischa Kuball

2009-09-03T13:42:00.002+02:00

Mischa Kuball: Keresztül a Nagy Üvegen, 1999 Tükrös szekrény, 200×100x60 cm, videó, 25 perc, színes, néma, loopolt, monitor.
A művész tulajdona (Installáció a Galerie Konrad Fischerben. Fotó: Daniela Steinfeld)
"A Keresztül a Nagy Üvegen című munka arra csábít, hogy a szekrényajtóba vágott két lyukon keresztül benézzünk a szekrény belsejébe. Belül egy videofilm fut, egy nagyváros hétköznapi képeit látjuk. A film, amely a néző számára, látható apparátus híján puszta vetítésnek tűnik, szokatlan képi szekvenciákat mutat, amelyek egy egyszerű trükk nyomán keletkeztek: Kuball dupla lencsével, a kamera objektívje elé szerelt pohár segítségével filmezte le a házak homlokzatait és a forgalmat a düsseldorfi Corneliusstrassén, nem messze a műtermétől. A pohár alja alkotta a második lencsét, amely eltorzítja a képi motívumokat. A Marcel Duchamp-ra történő utalások szembeötlőek, már a címben is feltűnnek. Ezen felül a formális képalkotás eszközeiben is fellelhetők, amelyek kapcsolatba hozhatók Duchamp idézett főművével, a Nagy Üveggel (1915-1923): az átlátszósággal, a tükröződéssel, a széttöredezettséggel, valamint a hétköznapi eszközök felhasználásával. Tematikusan Kuball ezzel szemben más irányt követ. A Keresztül a Nagy Üvegen az intim tekintet számára készült. A zárt és tükröző szekrény, amely félúton áll a tükör és az Engelbrecht-féle perspektívaszínház dobozainak hagyományát követő kortárs kukucskálódobozok között, kifordítja az érzékelés megszokásait. A voyeurködésre utaló elvárásokkal szemben, amelyek két kukucskálólyukon keresztül egy hálószobabútorba vetett pillantás esetén óhatatlanul felmerülnek, itt nem derül fény semmilyen sötét, rejtegetett titokra, amely, hasonlóan Duchamp másik főművéhez, az Étant donnés-hoz (Adva van, 1946-1968) a nézőt az emberi lélek kevéssé mély tájaira vezeti. Ehelyett a néző csöndes optikai szenzáció részese lesz: a nagyvárosi mozgás és dinamika sosem látott kristályszerű képei villannak ki a sötétből. A városi táj belsőben megjelenő elidegenített képeivel szemben a közeledéskor és eltávolodáskor a néző saját mozgó tükörképe áll. Az installációt 1999-ben a Galerie Konrad Fischerben mutatták be, ahol a művet egy lépcsőfeljárónál helyezték el. A néző a lépcsőn lefelé haladva önmagát figyelhette meg a tükrös szekrény ajtajaiban - további utalásként Duchamp-ra." http://pillanatgepek.c3.hu/kiallitas/muveszek/mischa-kuball/

Markus Raetz

2009-09-03T13:39:00.002+02:00

Markus Raetz: Nyúltükör, 1988 vasdrót, tükör, festett fa, 21,5×60x20 cm. Francesco Conti Gyűjtemény (Chêne Bougeries)
"A néző helyzete döntő jelentőségű a dolgok megjelenésében. A különböző pozíciók differenciált képeket eredményeznek, olyan részletek és dolgok tárulhatnak fel, amelyek más szemszögből rejtve maradnak. Markus Raetz művei a vizuális érzékelést, a látás és a gondolkodás folyamatát a világ individuális, semmiképp sem általános érvényű elsajátításaként reflektálják. Kihívást intéznek a nézőhöz, hogy helyezkedjen bele a kutató szemlélésbe, vegyen fel különböző perspektívákat. A Nyúltükör című műben egy kartonoszlopon álló, szürkére lakkozott falapon egy nyúl drótból megformált körvonala látható, amely a vele szemben álló ovális tükör felé fordul. A tükörkép azonban a várt képpel szemben egy kalapos embert mutat - utalás Joseph Beuysra. A nyúl köztudottan Beuys szimbolikus állata, amely művészi mitológiájában megjelenítheti a szellemet vagy a testet, a kozmoszt vagy a földet. A hold állataként kapcsolatba állítható a termékenységgel, a menstruációval, az újjászületéssel és az intuícióval - ezzel az asszonyival, a nővel. A művész és nyúl, ember és állat tükörkép formájában történő találkozásakor a tükör eloldódik tisztán optikai-tényszerű funkciójától, a dolgok felszínének visszaadásától. Használata szimbolikus, a megismerés eszközévé válik, amely a belső én, ebben az esetben az alter ego arcait leplezi le." http://pillanatgepek.c3.hu/kiallitas/muveszek/markus-raetz/

Timur Siqin

2009-06-22T20:13:00.001+02:00

Timur Siqin: 300, 2009
http://timursiqin.com/300/300.html (video)

http://timursiqin.com/
via vvork

Rafaël Rozendaal

2009-06-22T20:11:00.001+02:00

»really really big«, 2009 by Rafaël Rozendaal
http://www.newrafael.com/,
via vvork

Juan Muñoz

2009-06-22T20:09:00.001+02:00

Juan Muñoz: One Figure (Una figura), 2000 Resina,pigmentos y espejo 110×60 x 50 cm Museo de Grenoble most itt: Juan Muñoz. Retrospective April 21 - August 31, 2009 Museo Nacional Centro de Arte Reina Sofia Madrid. Spain, http://www.museoreinasofia.es

"This exhibition, which the Museo Nacional Centro de Arte Reina Sofía dedicates to Juan Muñoz (Madrid, 1953 – Ibiza, 2001), is the most complete retrospective on the artist to date.
The exhibition has been enriched by works never exhibited until now and extends throughout several rooms in the Museum, as well as the Sabatini Gardens. His drawings, writings, sound works and radio segments are exhibited together with numerous sculptures. Juan Muñoz is an international point of reference in the renovation of contemporary sculpture. The sixteen years spanning from 1984, the date of his first solo exhibition, to 2001, when he created his last work, allowed him to develop an artistic corpus with an exceptional narrative quality.
Exhibition organized by the Tate Modern, London, in association with the Museo Nacional Centro de Arte Reina Sofía. Exhibition co-produced by Tate Modern and the Sociedad Estatal para la Acción Cultural Exterior –SEACEX. Exhibition sponsored by fundación Banco Santander Foundation" via e-flux

Dan Graham

2009-06-22T20:05:00.002+02:00

My Turn: Dan Graham: Beyond
June 24 - October 11, 2009,
Whitney Museum of American Art, New York, http://whitney.org/index.php

Dan Graham photographing Two Adjacent Pavilions, 1978-82 two-way mirror, glass, and steel; two structures: 8 1/4 x 6 1/8 x 6 1/8 feet each collection Kröller-Müller Museum, Otterlo, The Netherlands

installed in Documenta VII next to the Fulda River, Kassel, Germany, 1982

Carsten Nicolai

2009-06-13T15:45:00.001+02:00

Carsten Nicolai . poly stella, 2009, Kasumigaseki Building, Tokyo, Japan
http://www.carstennicolai.de/?c=works&w=poly_stella

Tom Burr

2009-06-13T15:43:00.001+02:00

Tom Burr: Folding Screen, 2007, (Sperrholz, Spiegel aus Plexiglas, Profilholz, eloxiertes Metal Plywood, wood molding, plexi-mirror, black anodized hardware, three hinged Panels 180 x 180 x 6 cm), via http://www.vvork.com/

itt: Städtische Galerie im Lenbachhaus und Kunstbau München, http://www.lenbachhaus.de Monica Bonvicini / Tom Burr May 30 - August 16, 2009

és még itt: http://www.v22collection.com/v22presents/artists/tomburr.html (Tom Burr, Decapitation Sculpture 2009, plywood, glass mirror, steel pin, canvas in 2 parts, 146x152x152cm, 30x30x30cm), és itt: http://www.galerieneu.net/artists/show/id/2

Michel Huelin

2009-04-05T07:39:00.001+02:00

»Exposition Abbatiale de Bellelay«, 2006 by Michel Huelin. (via vvvork)

Simona Denicolai és Ivo Provoost

2009-03-17T10:21:00.001+01:00

“Mirrors with attitude”, 2008 by Simona Denicolai & Ivo Provoost. via vvork

Mark Geffriaud

2009-03-06T08:30:00.001+01:00

“You would have seen it happen if you hadn’t been looking somewhere else”, 2006 by Mark Geffriaud. In collaboration with Cyrille Maillot. (via vvork)

kép forrása: gb agency, Párizs

Julieta Aranda

2009-03-01T15:17:00.003+01:00

Julieta Aranda (1975): "Publick Occurrences, both Forreign and Domestick" (részlet), 2008,

Galerie Michael Janssen, Berlin

róla többet az artreview magazin 2009/03 (március) számában, 70. old

Komlovszky Szvet Tamás

2009-03-01T14:52:00.002+01:00

Komlovszky Szvet Tamás: Fekete Lyuk, 2008, fa, tükör; elektromágnes, 180x40x40 cm, kép innen: műcsarnok, és saját honlapjáról

kiállítva ’pixelek’ c. csoportos kiállításon az ernst múzeumban, 2009. jan 18 - febr 08.

Black Hole from Szvet on Vimeo.

Nobuo Sekine

2009-03-01T14:50:00.001+01:00

Nobuo Sekine (1942): „Phase of Nothingness” 1970

forrás: szvet: levitation/lebegés

Lowas Péter

2009-02-19T11:31:00.003+01:00

Lowas Péter: "Önreflexiós segédeszköz", 2008

Első multiplika show, Liget Galéria, 2008 (http://multiplika2000.wordpress.com/2009/02/)

forrás / source: http://www.photoblog.com/dromidriver/2008/12/20/sat.html

Elmgreen és Dragset

2009-02-16T16:17:00.004+01:00

»When a Country Falls in Love with Itself«, 2008 by Elmgreen & Dragset. via vvork

(elmgreen és dragset még itt: http://www.klosterfelde.de/sites/artists/elm-drag/ar_f.html, http://www.tate.org.uk/modern/exhibitions/untitled/elmgreenanddragset/, h ttp://www.victoria-miro.com/artists/_32/)

Ivan Ladislav Galeta

2009-02-11T10:37:00.001+01:00

„Croatian filmmaker Ivan Ladislav Galeta is a key figure within structural film. Experimental in the truest sense of the word, his works are months, often years in the planning, all possibilities considered as he explores the medium and its capabilities. Such is his precision that the end results often resemble documentary more than they do the avant-garde; titles and intertitles (even these being exact in terms of font and framing) displaying all possible information, from the nature of the film stock used to the methods undertaken and the times of production. Dry and conceptual, then, but Galetas ultra-awareness of cinema and its processes yields continually intriguing results: TV Ping Pong (the earliest work present) manipulates conventional editing syntax; Two Times in One Space investigates screen space via simple superimpositions.(...)
(Anthony Nield in DVD Times , 21.08.2008 )
More info: http://www.index-dvd.at/php/de/review...”

Mark Wallinger

2009-02-02T10:24:00.001+01:00

MARK WALLINGER CURATES: THE RUSSIAN LINESMAN, Frontiers, Borders and Thresholds, 18 February - 4 May 2009, A Hayward Touring Exhibition, Southbank Centre, London, http://www.southbankcentre.co.uk/visual-arts

bővebben róla itt: http://www.e-flux.com/shows/view/6359
Mark Wallinger: Time and Relative Dimensions in Space, 2001
installáció a whitechapel galériában, 2001

erről:

„Time and Relative Dimensions in Space (2001) is a mirrored version of the 'Tardis' which featured in the British TV series Dr Who. A 'police box' on the outside, once typical of London streets, the Tardis not only travelled through time and space but its internal dimension dramatically exceeded its exterior. Wallinger's version in polished stainless steel contains four firmly closed doors and offers only a conceptual excursion. The extra dimension is extended through the mirror's surface and into its artificial space, while the object seeks to shrug off its physicality by replicating its surroundings.” forrás: http://www.whitechapel.org/content.php?page_id=3789

még:

The Word in the Desert II., 2000, framed colour photograph, 190 x 154 cm
Satire Sat Here, 1986, oil on canvas, 213.4 x 305 cm
forrás: Anthony Reynolds Gallery, London, http://www.anthonyreynolds.com/home.htm

Pascual Sisto

2009-01-30T11:06:00.002+01:00

Pascual Sisto:
Push / Pull (my luck is your misfortune), 2006
Two Channel video installation,
http://www.pascualsisto.com/pushpull.mov
leírással: http://www.pascualsisto.com/index.php?/projects/push--pull-my-luck-is-your-misfortune/

Dora Garcia

2009-01-30T11:05:00.001+01:00

Dora Garcia »Fahrenheit 451«, (2004)

http://www.doragarcia.net/

SHOWstudio

2009-01-30T11:02:00.000+01:00

http://www.showstudio.com/ interaktív kaleidoszkópjai itt: http://www.showstudio.com/project/christmastide/

koncept: Nick Knight and Danny Brown

(Peter Jensen, Emilio De La Morena)

Corey McCorkle

2009-01-30T11:00:00.001+01:00

Corey McCorkle: An Arrangement (Phalanx), 2007

COREY McCORKLE kiállítása a Maccarone-ban, (New York, http://www.maccarone.net/)
”When a Dog Barks The Response in the Ear of the Sky is a Star”, April 14th - May 12th, 2007.

„On the periphery of metropolitan Istanbul is a dilapidated zoo located within in otherwise pastoral municipal park. Started in the 1980's this project, similar to many other public commissions on the edge of the city, remains incomplete, abandoned. Much of the architecture in the outlying areas of Istanbul is similar, empty cast-concrete shells thrown up in the anticipation of an urban sprawl yet to come. Driving along the highways, one sees these structures, many of which will never be occupied by their intended tenants. They currently function only as monuments to a sort of tragic optimism, a lost cause of expansion, an emblem of coaxed development into suburbia.

Empty zoo shells sometimes house transients, but the string of pavilions and plains of the park are, for the most part, under the exclusive rule of feral dogs. Designed for the domestication and exhibition of the wild and exotic, a holdover from a romantic 19th century idea of naturalism, if not tourism, these abbreviated showcase environments have been overtaken by animals once domesticated, now wild and subsequently territorial: Corey McCorkle's project at maccarone lies where this former ideal meets our current century's urban entropy, which operates on a course from construction to neglect to metamorphosis. It begins at the point the zoo meets its political end - the decommission.

McCorkle's photographic and sculptural installations document these new ruins of urban planning beside the implosion of both nature and culture's milieu, not swaying far from the artist's past investigations of anomalous forgotten space and the dysfunctions therein. A video work similarly captures how the zoo pavilions, intended for entertainment and consumption, have collapsed from supposed civil program to architectural folly for the wild, liberated, and sometimes hostile.

If the cage is no longer a veil of tactful decorum, McCorkle's use of the kilim shifts the documentary to the decorative. As a great mediator between domestic comfort and civic assembly, the material is an emblem of Istanbul's history, garlanded with emporium and its longstanding reputation as an "East/West" depot. A mirrored hallway echoes the absurdity of attempting to contain an infinite nature, collapsing transitional and terminal space.

McCorkle's recently solo exhibitions include Kunsthalle Bern, Switzerland; MC, Los Angeles; Objectif, Antwerp. The artist's work is concurrently on view The Kitchen, NY and Stella Louhaus, Antwerp. A film commission regarding Le Corbusier's Tower of Shadows will be screened in May at The Office of Contemporary Art, Oslo, Norway and New York.”

Ilia Ovechkin

2009-01-30T10:58:00.001+01:00

Ilia Ovechkin (1986) »displacement«, 2008

http://www.iliaovechkin.com /

Reena Spaulings

2009-01-30T10:54:00.003+01:00

Reena Spaulings
“Untitled (small flag 6)”,
2005

forrás:
http://www.reenaspaulings.com/reenaother.htm

KCUF,
2008.
MD72,
Berlin.

RS fiktív életrajza itt:
http://www.suttonlane.com/artist.php?a=rs&p=bio

David Renggli

2009-01-30T10:51:00.002+01:00

David Renggli (1974): Waldspiegel, 2003, c-print, 65x80 cm, és Brotkreis, 2003, c-print, 65x80 cm

ebben a dokumentumban: http://www.ausstellungsraum25.ch/uploads/media/renggli_photo_screen.pdf

Crystal City Mind

2009-01-30T10:44:00.003+01:00

Flip Sellin, Tilman Thürmer, Marius Bell: Crystal City Mind, 2008

„Crystal City Mind is a multi-faceted design object made from high polished high grade steel and matte black surfaces. During the course of this summer Coordination and diephotodesigner.de toured the Berlin inner city with the sizable object, capturing impressions along the former Berlin wall. The images developed thereby show how rapidly Berlin has evolved in the last 20 years, as living old and new congregate.”

róla itt: http://www.coordination-berlin.de/e/design.html#*

fotók: Ken Schluchtmann, Dirk Dähmlow, (Berlin), www.diephotodesigner.de

Alyson Shotz

2009-01-30T10:38:00.003+01:00

Alyson Shotz: Mirror Fence,
2003,
acrylic, wood, aluminum, hardware,
138' x 36 x 4"
Installation and commission
for Socrates Sculpture Park

Two Viewing Scopes for Rockefeller Center,
2006,
stainless steel tubes, glass and plastic lenses, wood,
66 x 48 x 48 inches (including base)

forrás: Derek Eller Gallery, New York, http://www.derekeller.com/alysonshotz_work.html

Olafur Eliasson

2009-01-30T10:35:00.001+01:00

Olafur Eliasson: Mirror door (visitor), 2008

forrás: http://olafureliasson.net/selected_works/sw_29.html

Mirror door (spectator), 2008; Mirror door (user), 2008; and
Mirror door (visitor), 2008
kiállítva itt: The Museum of Modern Art, New York, NY, 2008

Nam June Paik

2009-01-30T10:33:00.002+01:00

Nam June Paik: TV Buddha, 1974

„Paik's possibly most famous video work was produced as a gap-filler for an empty wall in his fourth show in the Galeria Bonino, New York. Shortly before the opening, he hit upon the idea of making a TV viewer out of an antique Buddha statue once purchased as an investment. The subsequent addition of a video camera meant the Buddha now watched his videotaped image on the screen opposite – past and present gaze upon each other in an encounter between Oriental deity and Western media.
During the 'Projekt '74' exhibition in Cologne, Paik took the Buddha’s place in his recent creation, suggesting the implicit antithesis between transcendentalism and technology was equally present in his own personality.” forrás: http://www.medienkunstnetz.de/works/tv-buddha/images/2/

Körner Union

2009-01-30T10:24:00.003+01:00

---- Körner Union: »souvenir de chine«, 2008 (utube)

---- Autoportrait nu, 2008, 3 photographic prints, brown tinted oak frames, 92x118 cm each.

Körner Uniont 1999-ben alapította Sami Benhadj, Tarik Hayward and Guy Meldem, Lausanne-ban. http://koernerunion.com/

Duncan Speakman

2009-01-30T10:21:00.002+01:00

Duncan Speakman “Dreaming of Spitzbergen” (when i am in spain i dream of spitzbergen), 2006, installáció, Brewhouse Theatre + Arts Centre

http://duncanspeakman.net

”A new installation created in collaboration with Sean Borodale and Volkhart Muller as part of our Hothouse residency at the Brewhouse Theatre and Arts Centre.
Two blocks of ice hung from hooks slowly melt into buckets resting on mirrors, the sound of dropping water amplified in the space through contact mics. This exhibition is open until January, see the Brewhouse site for more info.” forrás: http://duncanspeakman.net/?cat=35, itt róla video.

Erwin Wurm

2009-01-30T10:18:00.001+01:00

Erwin Wurm, Hypnosis, 2008, Edition of 15, Aluminium, 18kg, 78 x 89 x 40 cm, itt: Galerie Thaddaeus Ropac, Salzburg) January 26-March 8, 2008

„Hypnosis was developed exclusively for Galerie Thaddaeus Ropac, and 15 copies of it will appear. The exhibition will take place in the Department of Editions at the Salzburg gallery. Hypnosis is a sculpture cast in aluminium, the body of which resembles a potato. That potato-shaped body is given a high polish, whereas the legs are matte-finished. The artist regards Hypnosis as a type of thought balloon, but also as a result of his rather long preoccupation with archetypes or various mental conditions, especially hypnosis. In addition to the edition, a number of new works will be shown in the main building of the gallery.

For more than 25 years, Wurm has been dealing with the notion of sculpture and the possibilities of expanding it. Especially his One minute sculptures made him known worldwide. Here, the artist tells people what to do-e. g. stick their head into a refrigerator-and takes pictures of them. In doing so, Wurm shows that a sculpture might exist only for a few minutes and that everything can become a one, even the visitors to an exhibition who follow his instructions. Hence, Erwin Wurm's art blurs the borders between sculpture, performance, and action.

Erwin Wurm was born in 1954 in Bruck/Mur and has livied in Vienna for many years. His works are represented in international collections, such asFonds Régional d'Art Contemporain, Galleria d'Arte Moderna Bologna, Walker Art Center, MUMOK (Vienna), and Museum für Moderne Kunst Frankfurt. The first large Wurm retrospective took place at the Museum für Moderne Kunst in Vienna in 2007 and was also shown at other European museums. At the Deichtorhallen Hamburg, the Wurm retrospective contributed to an increase in visitors by twenty-five percent in 2007. Five hundred cultural experts and artists from Germany selected the top cultural highlights of the year 2007. The Erwin Wurm retrospective was rated second-best, even outperforming Documenta 12.” forrás: http://arttattler.com/commentaryerwinwurm.html

somlai-fischer szabolcs

2008-12-05T22:40:00.002+01:00

somlai-fischer szabolcs (adam) sorry for taking your mirrors... 2008

http://www.aether.hu/sorry-for-taking-your-mirrors

aleph 2007 http://www.aether.hu/aleph-reorganizing-vision

John McCracken

2008-12-05T22:37:00.003+01:00

http://www.davidzwirner.com/artists/7/work_1191.htm

---- John McCracken (1934): Sagitarius, 1988 (kép01) Stainless steel
Image Size: 92 x 18 x 17 inches
---Teton (kép02) 1989, Polished stainless steel, Image Size: 92" x 28" x 15"
----Beauty, 2006, stainless steel, 91 x 19 x 12 inches, 231.1 x 48.3 x 30.5 cm
MCCJO0199

Simon Dybbroe Møller

2008-12-05T22:35:00.001+01:00

Simon Dybbroe Møller »Sir Norman Reid«, 2005 Mirror, wood
8 x 50 cm, 50 x 50 cm, itt: Sies + Höke Galerie, Poststrasse 2, D-40213 Düsseldorf

Walead Beshty

2008-12-05T22:33:00.001+01:00

itt: GALERIE RODOLPHE JANSSEN, RUE DE LIVOURNE, 35, 1050 BRUSSELS, BELGIUM

ennek van egy párja, csupa üvegből: Walead BESHTY: Fedex® Kraft Box ©2005 FEDEX 330504 REV 10/05 CC, Fedex International 2-Day, Los Angeles-Brussels (2008), Glass with safety glass laminated, silicon, 51 X 51 X 51 cm

Jeppe Hein

2008-12-05T22:29:00.003+01:00

Jeppe Hein:»Broken Mirror Cubes«, 2005, 4 cubes, wood, mirror glass, 50 x 50 x 50 cm each, Edition of 1/5

http://www.johannkoenig.de/4/jeppe_hein/selected_works.html

plusz:

(tükörgömb) Reflecting Object – 2006, chromed metall ball, motor technique,

Mirror Neon Cube – 2006, mirror, neonsystem, transformer. 100 x 100 x 100 cm

itt: johann koenig, berlin

Erik van Lieshout

2008-12-05T22:27:00.002+01:00

“Mobile Shop-Cuddle” by Bart and Erik van Lieshout, itt részletes leírás

Dieter Detzner

2008-12-05T22:26:00.002+01:00

Dieter Detzner Robert, 2006, Acrylglas, Courtesy of Galerie Tanit, München Foto: Dominikus Müller, az artneten itt

Markus Hansen

2008-12-05T22:24:00.001+01:00

»Volkswagen« (2004) by Markus Hansen

fabrics interseason

2008-12-05T22:22:00.001+01:00

»3D dizzy dancefloor discoball« (2005) by ____fabrics interseason, steve wyckoff

discokugel

Delia Gonzalez és Gavin Russom

2008-12-05T22:20:00.002+01:00

tükörkockák: “Rise (Synthesizer)” - MDF, mirrored formica, aluminium, speakers, electronics

Delia Gonzalez and Gavin Russom

Dean Sameshima

2008-12-05T22:19:00.002+01:00

Dean Sameshima: Figures of Lust Furtively Encountered In The Nights, 2004, Light Jet Print, 30 x 17.5"

Anna Bogon

2008-12-05T22:16:00.001+01:00

Anna Bogon:

Adversus solem ne Loquitor, 2003, 70 books, model figure, marble shelf
window sill, mirror

könyvperiszkóp: "The view inside the periscope, through the cut pages of the books to the miniature figure at the end and ultimately to the Siena sky. (The periscope is placed against a blocked out window and a hole is created at the top
exit point to enable the view of the sky).

This piece is a homage to Galileo a man persecuted by religion because of his
discoveries. Galileo held secret meetings on the roof of the The Palazzo del
Papesse whilst looking to the siena sky through his telescope. It also references
significant others who strived for knowledge and truth against all odds."

Exhibited at: Palazzo Delle Liberta, Palazzo Delle Papesse, Siena, Italy, Jun–Sep 2003, címe: Adversus solem ne Loquitor, 2003

Enclosure, 2002. mirror, 63 x 61 x 42 cm , "Sited in an open farm courtyard, the mirrored homes reflect the surroundings and extend the visual habitat of the birds creating alternative optical perspectives. Shiny and unfamiliar the homes act as a sharp visual contrast to what is around. They also have a significant effect on the behaviour of the birds and as a result, interaction takes place. Unable to enter the new structures the birds see themselves possibly for the first time. The work questions and plays with the notion of enclosure. Seen in isolation, the mirrored house appears to dissolve into the environment"

Exhibited at: Incubator Hackney City Farm, London 2002
Also shown at: Six Thousand Chairs, Crystal Palace, London 2004

http://www.annaboggon.com/

The Icelandic Love Corporation

2008-12-05T22:14:00.001+01:00

The Icelandic Love Corporation

http://www.ilc.is/

„without you” a "places of worship" c kiállításon, Leisure Club Mogadishni, Koppenhága, 2002

Három izlandi művész csoportja 1996-tól: Sigrún Hrólfsdóttir, Jóni Jónsdóttir és Eirun Sigurdardóttir. Negyedik tag 1996 és 2001 között Dora Isleifsdóttir volt. Reykjavík-ban élnek és dolgoznak.

Hrafnkell Sigurdsson

2008-12-05T22:12:00.003+01:00

The Boy Is Found, Fitness and Hariri Hrafnkell Sigurdsson.

Paris Photo, 06, 110 x 165CM

http://www.hrafnkellsigurdsson.com/works/

Susan Robb

2008-12-05T22:11:00.002+01:00

Susan Robb: »We’re Coming, We’re Coming, Wait Up, Stones«, 2008, 3 Epson archival prints on embossed paper, powder-coated steel shelf, 84 x 31 x 6 inches

Catherine Bolduc

2008-12-05T22:09:00.001+01:00

Catherine Bolduc »Rocking Reflexion«, 1999, Polystyrène, plâtre, émail, miroir, souliers. 30 x 90 x 30 cm

kép innen: Paul Litherland fotója, Centre for Contemporary Canadian Art

Simone Decker

2008-12-05T22:05:00.003+01:00

Simone Decker (1968) Petite galerie des glaces
2002, Montreuil, MDF, mirror mosaic, metal structure, images: exhibition CQFD, Petite galerie des glaces

Philippe Zumstein

2008-11-01T11:05:00.003+01:00

PHILIPPE ZUMSTEIN Crash 8O8, October 23 - November 22, 2008
itt: LALEH JUNE GALERIE, Basel

Philippe Zumstein (b. 1973) Genfben él és dolgozik.
Damage, 2008, Polyurethane paint on thermoforming, 150 x 190 cm

„The use of saturated and violent colors, overflowing paint and the deformation of matter are some of the elegant possibilities offered by the work of Philippe Zumstein as a means for breaking away from the canvas as an object. His first paintings, the Fat paintings, contained so much liquid paint beneath their surface that they seemed ready to explode at any moment. His more recent works, the Crash paintings, bear the stigmata of an accident. These works share a formal efficiency and a plastic refinement.
The artist questions the age we live in through our intimidating fascination for the design object which we sometimes hesitate to handle. He does so by adding a fault to his objects that reveal their fragility. The destiny of the object, condemned to beauty, is here united with the individual's destiny. Below the object's smooth and perfect appearance a chaotic truth lies buried; we cannot disregard it for long. Indeed, everything is destined to vanish but, prior to the final crash, we must create the illusion that this is not so. Customizing our cell phones and cars is not unlike exercising with the goal of maintaining our bodies in shape.
The accident exposes real identity. Before crashing into a wall, the racing car of Ayrton Senna, was pure speed: it revealed itself as matter. This materiality in the works of Zumstein, is held at a distance through the use of reflecting surfaces and sophisticated and changing colors obtained by polyurethane paint. The deformation that the artist inflicts onto the matter used in his works, whether it is the paint of his Fat paintings or the reflective surfaces of his later works, faintly resonates with a certain concept of beauty. At the same time, it is the accident that deforms the reflecting surfaces and provides them with relief, thus capturing the space between their folds, determining and directing their shape. The surface is also the point of contact between the artist and the technique, since the artist creates or prints the accident directly onto the matter. The Fat paintings presaged an accident. In the Crash paintings, it is both the artist tha t deforms and gives relief to the matter while he increases the power of an element that is external to the work, namely light. The latter captures the space within the folds and gives personality to the shapes created. It erotizes the surface and playfully creates a dialogue with the spectator who perceives his own reflection.

The formal independence gained by modernist painting, since the Black paintings of Frank Stella up to the wrinkled canvases of Steven Parrino, via the monochrome palette and the Neo-Geo movement, has not served to make its presence on a wall less uncertain since it provides more questions than answers. Indeed, since modernist painting no longer evokes an elsewhere (representation of the world, natural forces, etc.), everything about it points to the here and now. To this material presence, Philippe Zumstein adds to his works a visual seductiveness, an unresolved formality and, sometimes, a seductive sense of vertigo. His works both reflect their environment and protect themselves from it, all the while bearing silent and questioning witness.”

Liam Gillick

2008-11-01T10:47:00.002+01:00

theanyspacewhatever

Oct 24, 2008 - Jan 7, 2009

Solomon R. Guggenheim Museum
1071 5th Ave (at 89th St)
New York, NY

”Originating with a desire to present a contemporary group exhibition that would capture the spirit of the art that emerged during the early 1990s, this presentation has evolved into a collaborative venture among ten artists who share certain strategies and sensibilities: Angela Bulloch, Maurizio Cattelan, Liam Gillick, Dominique Gonzalez-Foerster, Douglas Gordon, Carsten Höller, Pierre Huyghe, Jorge Pardo, Philippe Parreno, and Rirkrit Tiravanija.
Though each artist is recognized for his or her own practice, they are linked by a mutual rethinking of the early modernist impulse to conflate art and life. Rather than deploying representational strategies, they privilege experiential, situation-based work over discrete aesthetic objects. The exhibition model—in essence, a spatial and durational event—has become, for these artists, a creative medium in and of itself.”

Liam Gillick
theanyspacewhatever signage system (prototype)
Aluminum, 2008
Installation view, Solomon R. Guggenheim Museum, 2008
Courtesy Casey Kaplan, New York, and José Noé Suro, Guadalajara
© Liam Gillick, Photo: David Heald