somlai-fischer szabolcs (adam) sorry for taking your mirrors... 2008http://www.aether.hu/sorry-for-taking-your-mirrors
2008. december 5., péntek
somlai-fischer szabolcs
somlai-fischer szabolcs (adam) sorry for taking your mirrors... 2008
John McCracken
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
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
Walead Beshty: »Fedex® Kraft Box ©2005 FEDEX 330504 REV 10/05 CC, Fedex International 2-Day, Los Angeles-Brussels«, 2008 (two-way mirror glass with safety glass laminated, silicon) 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
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
Dieter Detzner
Dieter Detzner Robert, 2006, Acrylglas, Courtesy of Galerie Tanit, München Foto: Dominikus Müller, az artneten itt
Delia Gonzalez és Gavin Russom
tükörkockák: “Rise (Synthesizer)” - MDF, mirrored formica, aluminium, speakers, electronics
Delia Gonzalez and Gavin Russom
Dean Sameshima
Dean Sameshima: Figures of Lust Furtively Encountered In The Nights, 2004, Light Jet Print, 30 x 17.5"
Anna Bogon
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
The Icelandic Love Corporation
The Icelandic Love Corporation
„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
Susan Robb
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
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
Simone Decker (1968) Petite galerie des glaces
2002, Montreuil, MDF, mirror mosaic, metal structure, images: exhibition CQFD, Petite galerie des glaces
2008. november 1., szombat
Philippe Zumstein
PHILIPPE ZUMSTEIN Crash 8O8, October 23 - November 22, 2008
itt: LALEH JUNE GALERIE, Basel
„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.”
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
theanyspacewhateverOct 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
Christoph Steinmeyer
Christoph Steinmeyer: Disco Inferno www.discoinfernoedition.com2008
silver mirrored plexiglass on rigid PVC,18 x 20 x 15 cm, 7 x 8 x 6 inches
bemutatva itt: october 31, 2008, Galerie Michael Janssen, Berlin
Hanging from its chain, Christoph Steinmeyer's Disco Inferno slowly turns, glittering darkly. Casting a thousand points of light around a dimmed room, it appears at first glance a mirror ball, but, spinning, it reveals itself to be a grinning death's head, a replica of a human skull, meticulously tiled with countless squares of mirror. Bedazzled and bedazzling, it exerts a sinister fascination.
The skull has served as a memento mori from time immemorial. A reminder of the fleeting glories of the world and one's inevitable demise, it represents the ultimate symbol of vanitas, urging the pursuit of salvation amidst tabletops of drooping lowers and overripe fruit. The skull has adorned tombstones and ossuaries; it marks the province of wizards and hermit monks, and, more recently, of Goth kids and metal bands. Of late, its mortuary and foreboding perfume having evaporated entirely, it entered the innocuous, leveling realm of popular culture, appearing everywhere, from patterns on baby togs to Damien Hirst's diamond encrusted objet d'art (whisked away to a vault after its presentation, presumably, like the titular treasure at the end of Raiders of the Lost Ark, never to be seen again). Yet Disco Inferno sparkles balefully overhead, its conflation of the funereal to the hedonistic, death to disco, implying the inextricable association of the two, as if they were the opposing sides of a coin. Et in Arcadia ego.
Steinmeyer first created Disco Inferno in 2001 and over the last seven years, he developed differnt variations in sizeshas and color schemes. His latest version, editioned in a tongue-in-cheek number of 666, is once again human-sized and silver, paved this time in mirror squares with beveled edges that multiply the glints and gleams sloughing off the surface. The sculptures' proliferation suggests that their patently simple yet inexplicably effective fusion of mindless pleasure and implacable death continues to resonate. Steinmeyer's is an idea whose time has come and not yet gone, despite the ubiquity of the skull in art and fashion, despite the cliché of the disco ball, despite everything. And still the mirrored skull, slowly turning on its chain, glimmers in the dark.” Joseph R. Wolin October 2008
2008. október 22., szerda
Jeff Koons
Inflatable Flower and Bunny (Tall White, Pink Bunny) vinyl, mirrors, 81.3 x 63.5 x 45.7 cm, 1979
Balloon Flower, 2006, High chromium stainless steel with transparent color coating, 114 x 132 x 108 inches (289.6 x 335.3 x 274.3 cm), Version 4/4
Rabbit,1986,Stainless Steel,41 x 19 x 12 inches2008. október 21., kedd
Damien Hirst
Damien Hirst: Standing alone on the precipice overlooking the arctic wastelands of pure terror / ‘Egyedül állva a szakadékon, átnézve a tiszta terror északi-sarki pusztaságán’ , 1999–2002, installáció, 18000 kézzel készített tabletta, róla balkon 2003/08(Fotó: Erdõsi Anikó) kiállítva az 50. velencei képzőművészeti biennálén 20030516-1102
(másrészt: Pharmaceuticals, 2005, ink-jet print)Baglyas Erika
Puriter, installáció, (asztal, tükörlap, szappan) 2005róla: Iványi Bianca: A nő metamorfózisa(i) – Két kiállítás a kelet-európai női identitásról
Necc – A világ tyúkszemmel, KogArt Ház, Budapest, 20050701-0821.
Anyák napja, Platán Galéria, Budapest, 20050708-0902. in: balkon 2005/7
és longman blogjában (itt olvasható a szappanokon szereplő szöveg)
2008. október 17., péntek
Liliana Porter
itt: MODERN AND CONTEMPORARY LATIN AMERICAN ART IN THE SPOTLIGHT AT PINTA, http://www.pintaart.com
November 13 - 16, 2008 Metropolitan Pavilion, New York
The Enemy (detail), 2007. Mixed media on canvas with assemblage. 39.5 x 34 x 5 inches, Courtesy of Hosfelt Gallery
és más:
Fur Coat, 2003-2006, Framed archival digital print, Image: 12 3/4 x 17 3/4 inches Framed: 16 1/8 x x 20 5/8 inches, Edition of 5, Signed, titled, and numbered on back
2008. október 15., szerda
Vojin Bakić, Hugo Rodolfo Demarco, Hubert Duprat
Vojin Bakić (1915, Bjelovar-1992, Zagreb) kiállítása 20080604-0824 Grazer Kunstverein-ben látható. 2001-ben az újvidéki galerija rigo-ban több szobrát kiállították. 1964-ben a velencei biennálén szerepelt
Vojin Bakić, Sjetlonosni oblici / Lightbearing Forms, 1970, stainless steel, 860 x 700 x 520 mm
könyv róla: Darko Bekić: Vojin Bakić - Ili kratka povijest kiposlavije, Profil International, Zagreb, 2006
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Hugo Rodolfo Demarco, argentín művész, Buenos Aires 1932 - Paris 1995.
Reflexione perpetuelle, 1990.
drvo, čelik, motor 
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Hubert Duprat, massive centrale, July 6th - October 25th 2008
Centre international d’art et du paysage, Ile de Vassivière (F) http://www.ciapiledevassiviere.com
Cristaux de pyrite, stick, 45 x 45 cm, 2007-2008 / Picture Frédéric Delpech
kristály-henger, tükrök,
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