Sancho Silva

Sancho Silva (1973), Mus-papilionoidea, Quinta de S. Miguel, Almada, 1996
Serralves Park, Porto, 2001Földbe ásott ember magasságú cső, rajta apró lyuk. Azon bekukucskálva , a cső másik végén, a föld alatt erős fényben egy repülő lény látszik, átmenet egér és lepke között. A szerkezet a periszkóp elven működik. A hibrid-lény neve: mus-papilionoidea.

Overviewer, Serralves Museum, Porto, 2001
Periszkóp, amivel a kiállítótér falán átláthatunk. Ez azért is jelentős, mert a múzeumot fal veszi körül, az ablakból csak a fal látszik. A periszkóp ezt az akadályt küszöböli ki: segítségével messzebre és magasabbra látunk.

Sub-urb, Serralves Foundation Park, Porto, 2003 A periszkóp egyik vége négy méter mélyre helyezve, az üregbe lépcsőn kell leereszkedni. Tőle nem messze egy oszlop, ez a periszkóp másik vége. A periszkóp alsó végébe tekintve a városképet lehet szemlélni, a tükrök elhelyezkedése miatt fejjel lefelé, fordított állásban.

(Silva a Manifesta 4-en)

Li Wei

ART HK 08 – Hong Kong’s first international art fair in a decade 14 to 18 May 2008

Li Wei (1970) a fotók készítésekor tükröket, fémsodronyokat, állványzatokat használ.

046-01 "Freedegree over 25th story"
040-02."25 levels of freedom" June 19,2004 Beijing big: 150x150cm
065-01"Mirror.HongKong" 2006.03.14. HongKong 176x176cm, 100x100cm
079-01"Mirror.Louisiana", 2007.5.26.Louisiana Museum,Danmark. 176x184cm
010-01. "Mirror" 2000-01, 120x120 cm

Denis Kraskovic

Denis Kraskovic: Viva Frida tranzitblog
Viva Frida! című művének Frida Kahlo Amit a víztől kaptam című festmény az alapja. A kádban levő víz felszínén megjelenő víziók az eredetihez képest tükörszimmetrikusak. A tükrözöttség szerepeltetése nemi, kulturális, földrajzi különbözőségekre mutat.
dk blogja

Carlos Aires

Carlos Aires kiállításán a brüsszeli Aeroplastics-ban, 2007 május 23-július 14, címe: „A Day Without Sunshine is Like Night”, mű címe: Love is in the Air (inox knife edition), 2007, variable dimensions, laser engraved kitchen knives, magnets, framed photographs + one framed photograph for each knife

A kiállításon tíz sajtófotó (háborús kép, balesetről, akasztásról), mindegyikről hiányzik egy vagy több figura. A fotók egyenként keretezve, mellettük egy-egy húsvágó bárd, azokon lézernyomat. A bárdokon a fotók hiányzó részletei.

Dave Muller

Dave Muller: self-portrait (In the Studio), 2006, Acrylic on paper (244 x 140 cm + 262 x 94 cm). David Tieger Collection, Image by Joshua White

(Courtesy of ht artist and Blum & Poe, Los Angeles)

Dave Muller (1964) kiállítása a musac-ban (’I Like Your Music I Love Your Music’) a kiállítótér teljes belakását mutatja, a két különálló keretbe helyezett tükörgömböt másutt a falra rajzolta.

Cerith Wyn Evans, Dave Muller, Blanca Li, HBOX, Benicàssim. The Festival and The Published Image January 26th - May 4th, 2008

Jeppe Hein

Jeppe Hein, SculptureCenter kiállítás, „Illusion”, 2007 szep2 nov25

„360º Illusion”, 2007 (két 16.5 inches fémpanel, melyek egymással 90º-os szöget zárnak be, alumínium szerkezet és tükör-fólia, motor) 360° Illusion: térbe belógatott és folyamatosan középpontja körül forgó, tükröződő nagyméretű tárgy (elkészüléséről yt video) interjú,

Neon Mirror Cube. Mirror, stainless steel, neon tubes, transformers, 100 x 100 x 100 cm. Gallery X, Berlin, 2007 Jeppe Hein’s Neon Mirror Cube is a simple but effective exercise in satisfying optical illusions, as are Bill Culbert’s plastic bottles pierced through by a lit neon tube. Finally, Tim Noble and Sue Webster’s assemblage of metal junk has no moving parts at all. It also has a title too indecorous to mention.

Spiral Labyrinth c installáció (2006), polírozott fémlapok, fémkeret, mérete 200x512x428 cm, „The World as a Stage”, Tate Modern, 2007 október 24- 2008 január 1. A labirintusba lépve nem szűnik meg a kinn, és lesz a látogató benn, mert a tükrök nem folytatólagosan helyezkednek el. Egyszerre láthatók a kívül levők és a bent, a nézőből alkotóvá lehetek, a passzív kiállításlátogatóból aktív képkészítővé.

Spinning Ball (2008) c. munkája felpolírozott fémgömb, akkumulátorok, mágnes, műanyag gömb, saját középpontja körül nagy sebességgel forog.
(méretadatok: ball: 19 inches diameter, plate: 39.4 x 39.4 inches, edition of 3) kiállítva: 303 Gallery, New York, 2008 márc 1-ápr 12.

Adrian Piper

Adrian Piper (1948) Everything #10,(2007; durational performance for an unspecified number of participants)

Piper újsághirdetésben keresett résztvevőket a performanszhoz. A résztvevők homlokára hennával és tükörírással írta fel az „everything will be taken away” mondatot. „The participants will be asked keep journals of their experiences and audience reactions during the project, then re-read the journals a year after the performance. Written directly on the forehead the text suggests the layered, shifting organization and loss of memory. It is both a promise and a threat. What will be taken away and what do we consider to be ‘our’ everything? Everything will be taken away is labeled #10 as it is the tenth rendition of the ongoing series the artist began in 2003. The simple prose has been displayed in a variety of media including sandwich boards and on personal photographs that have been photocopied, printed and erased. Contingent upon the context and relationship to the audience, the sentence reveals new aspects of its potential meanings with each adaptation. The endurance and repetition of the phrase is crucial to the series and the relationship to Piper’s writings and philosophical work. A student and teacher of philosophy and meta-ethics, Piper often employs Hindu philosophical imagery and concepts, such as the henna used in this project.”

Brandon Lattu

BRANDON LATTU: Banqueting House, 2007, Foam, polyester resin, Inkjet printed vinyl (Courtesy Leo Koenig Inc., New York, and the artist)

Sehol sincs itt tükör, csak furcsa optikai meglepetés. Szemből torzító tükörnek látszik, mintha abban tükröződne a kiállítótér képen nem látható része. bielefelder kunstverein-ben kiállítva, 26. OKT. – 23. DEZ. 2007„Jenseits des Physisch Möglichen” című kiállításon

Olafur Eliasson

Olafur Eliasson

Blue double kaleidoscope, 2005 (detail)
Stainless steel, color effect filter glass, mirror, (2.25 x 1.70 x 3.10 m)
Courtesy of the artist and Tanya Bonakdar Gallery, New York
FORTUNATE OBJECTS, AN EXPLORATION OF THE EVERDAY IN ART December 5, 2007 - February 24, 2008 cifo

Hreinn Fridfinnsson

Hreinn Fridfinnsson (1943): “Attending”, 1973. Díptico. Cortesia do artista e i8 gallery, Reykjavik. A két kép külön keretezve, egymás mellé kiállítva szerepel.
Reykjavik Art Museum, 02 November 2007 -27 January 2008




”Hreinn Fridfinnsson is a great Icelandic hero. He gives the subtleties of life a language.”
Serpentine Gallery-ben 17 July - 2 September, 2007.







Pair. 2004, Mirror with silver wooden frame, shoe, 48 x 57cm (mirror) svédországi Malmö Konsthall-ban 2008 febr 16-2008 ápr 27-ig

Dan Graham

Dan Graham (1942): "Half Square/Half Crazy" (2004, Associazione Culturale, Via Borgo Vico 33 - Como) forrás

plus: artkrush interjú D G-mal

tükörírás

PERFORMA07 SECOND BIENNIAL OF NEW VISUAL ART PERFORMANCE IN NEW YORK CITY OCTOBER 27 THROUGH NOVEMBER 20, 2007

Atul Bhalla, Navjot Altaf

"I Was Not Waving But Drowning I-II" by Atul Bhalla is part of the display at the exhibit "INDIA: Public Places, Private Spaces" at the Newark Museum.

Két fotósorozat (2005) egyik 14, másik 16 darabból (8x14”) áll, alig mozduló vízben úszó férfi lassan alámerül, egyik sorozatban oldalról, másik alkalommal szemből látszik, majd merül a fej.

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Navjot Altaf(1949), Lacuna in Testimony, 2003, Video, triple projection, sound, 72 mirrors on floor, Talwar Gallery

Concept
This installation is an attempt to listen to testimonies and to question whether one can enumerate and describe events as they remain opaque when one truly seeks to understand them. Since testimonies contain a lacuna, the threshold of the in distinction between the inside and outside is seen as a connection - a dialogue. The video incorporates footage , stills and recorded interviews with individuals in Ahmedabad shot by the artist in 2002. It also contains Indian and International archival material.

Rebecca Horn

Rebecca Horn Moon Mirror c. kiállítás a londoni Szt Pál Katedrálisban, 2007. június 27- július 5-ig.

Heartshadows for Pessoa, Cinema Verité, Private collection, © Rebecca Horn / DACS 2006, Installation photographs: Marcus Leith. "In conjunction with Rebecca Horn Bodylandscapes and forming part of a series of art installations developed for the City of London Festival, St Paul's Cathedral shoed show Rebecca Horn's spectacular installation, Moon Mirror. Light, mirrors, poetry and music combine in this floor-to-celing installation that invites viewers to gaze into a seemingly infinite well."

Rebecca Horn. Jupiter im Oktogon Installations, Sculptures, Drawings 1982 – 2006, Films 1970 – 1995 Exhibition at the Museum Wiesbaden on occasion of the Alexej von Jawlensky-Prize 2007

Berlini kiállítás poszterén jól látszanak a tükrök: 5 October 2006 – 15 January 2007, Martin Gropius Bau, Berlin

THE UNIVERSE IN A PEARL cd, Hayden Chisholm Rebecca Horn
Limited Edition 2006 for the opening in Gropius Bau Berlin. Live recording of the opening night was used for the installation and mixed especially for the museum by Robert Nacken. this CD has a stereo version as well as 3 Jazz tracks and one bonus track. excerpt 2.(5′21)

Bundesministerium für Verkehr, Bau und Stadtentwicklung

„Foyer Altbau realisiert Werk von Rebecca Horn 21 motorisierte Spiegelskulpturen sind auf Ellipsenbahnen in der Halle des Altbaus angebracht. Durch einfallendes Licht, Bewegungen und deren Verspiegelung, entsteht eine Kommunikation, die den ganzen Raum einbezieht und durchdringt. Das verspiegelte Planetensystem bewegt sich und wandert in konzentrischen Kreisen, oft bis ins Unendliche reflektierend.” (more)

John Miller

John Miller (1954), Imaginary Friend, 1999, Artificial flowers, Styrofoam sphere, monofilament, sand, mirror, 36” x 36“, Courtesy of the artist and Metro Pictures

újak: The Bog of Eternal Stench, Kitakyushu Biennial, 2008, Moji, rengeteg gyümölccsel telerakott gömb egy tükrökkel borított oszopokkal zsúfolt térben, (tükör-labirintusban)

Zics - Mirror Space

Zics Brigitta: Mirror Space (Space Art, Millenáris, Bp, 2005. 03.16.-03.30.)

"Mirror Space" - egy interaktív installáció, ahol a nézők virtuális tükörképe jelenik meg, meghatározott paraméterek szerint. róla

Vincent Lévy, Jacine Sebti

Jacine Sebti

jacine sebti

beyond narcissus 02

BEYOND NARCISSUS kiállítás 02 - Mirrors and displacements

Andrea Blum Body Image, 1994, Mixed media, 107 x 107 x 61 cm, Courtesy of the artist
„The use of mirrors in public places tends to upset the symbolic network of the signs and images that define a city. Andrea Blum utilizes the potential disturbances of the mirror in her architecture and furniture pieces, redefining the private sphere in a public place. In this spirit, her work, Body Image (1994) consists of an oversized armchair with a reflective back that captures the landscape, as well as those seated there. The infinite duplication of the reflections helps to create spaces of pure ambivalence and ambiguity. In one of her projects, she proposes creating a public fountain five meters in diameter which at its center has a concave mirror: people can share the water while also contemplating the spectacle of the firmament. As Andrea Blum puts it, “The project is a structural representation of the Narcissus myth, manipulated to function in a social space.”

"A Ferran Martín video shows him carrying a closed mirror-cube as he wanders around the construction of the Cathedral Church of Saint John the Divine or waits in the elevator of the Queens Museum of Art. The images reflected take on expressive and at times, absurd dimensions. For Martín, a Spanish artist, “mirror displacements” are metaphors of shifts of identity in an unknown space, or a space revisited in a new light. The artist himself seems to roam in a search for identity. El Modulor (2001- 2004) (whose title is inspired by a work by le Corbusier) is a work that is essentially turned towards the other, forever wavering between memory and reality, absence and presence."

Patrick Killoran (1972) Glass Outhouse, 2002, Mixed media, 231 x 110 x 199 cm, Courtesy of the artist
"Patrick Killoran creates a functional portable toilet (Glass Outhouse, 2002) made of a two-way mirror, from the inside of which the user can see the passers-by through its transparent walls. The utilitarian nature of the object and the force of the questioning it incites in viewers make them stop to observe their reflections. The artist takes pleasure in detracting—with humor and irony—the apparent neutrality of urban space in order to send unexpected messages."

Olafur Eliasson

Olafur Eliasson Quasi brick wall címmel (2003) az ötvenedik Velencei Biennálén, a Dán Pavilont építette

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„Captain Spectacular” című cikk a Tate Magazine 7. számában

berlini operában Phaedra előadás díszlete, 2007 szept. 17-én

plus: Olafur Eliasson and Douglas Gordon at The SFMOMA 2008: yt

Yayoi Kusama

Narcissus garden, 1966/2002
Site-specific work, Watermall: 1200 x 2400 x 30cm, Mirror balls: approx. 2000, 18cm diameter each

"narcissus garden Yayoi Kusama has been working as a painter, sculptor and environmental artist for the last fifty years. Born in Matsumoto, Kusama moved from Japan to the USA in 1957, where for fifteen years she participated in the politically charged artistic environment of New York. She returned to Tokyo in the early 1970s where she continues to live and work. Kusama has been extrememly influential, and she is undoubtedly one of the most significant post war artists to emerge from Asia."

beyond narcissus 01

BEYOND NARCISSUS #1 new york, November 20, 2005 – January 30, 2006 katalógus
Mirrors and Contemporary Vanities

The mirror has always been credited with almost mystical qualities: myth and history have often referred to its power to reflect the truth or its ability to deceive. This fascination is rooted in its quality of intermediary: the mirror represents the threshold between the tangible world and the immaterial one. It has infatuated many, especially artists who, since Antiquity, have quintessentially represented it in the hands of a woman. An allegory for coquetry, it is also a symbol of beauty and vanity (3) : In front of Sandra D. Lecoq 's mirrors, Acid Kiss (1997-2002) the spectator will be seduced by his illusory double. Her small mirrors are imprinted with the artist's lips, revealed by a jet of acid. These corrosive kisses break the narcissistic charm. Sandra D. Lecoq (1972) Acid Kiss, 1997-2002, Series of nine “breaths” on mirror, 15 x 15 cm for each mirror

In Dennis Adams 's piece, an intimate exchange occurs between the viewer and the fake mirror made of grey paint, illuminated by four bulbs on each side. The work's title: Vanity for Patricia Hearst (1997) evokes the mirror in tribute to an absent woman who was once in the public eye. How does one distinguish between the self and the other? There is a similarity between the observer and the viewed, no longer present. The artist puts the viewer face-to-face with his conscience and history that has been repressed and denied: “My work is about the fragility of history and memory in a fast-paced consumer society. I want to make visible the instant of loss, savor it if you will, as a kind of poetics of desperation.” The attraction of this way of seeing may unconsciously lead one to look for truths and buried memories. Dennis Adams (1948) Vanity for Patricia Hearst, 1997, Mixed media, 85.5 x 92 x 41 cm

The mirror of Alfredo Jaar ( Untilted , 2004) seems ordinary, even banal, and yet, when one approaches it, we do not see our reflection, but the face of a worker in the mines who intrudes upon our pleasant contemplation. It is more about reflecting others than ourselves. The formal simplicity is only equaled by the complexity of the apparatus and its esthetic range: how can we escape the amnesia that haunts us? In his exploration of the complex relations between art, politics and memory, Alfredo Jaar uses mirrors to reveal the narcissism of the western world, while at the same time confronting it with photographs of those forgotten in our world."
Alfredo Jaar Mirror, 2004, Mixed media, 69 x 69 x 11 cm

beyond narcissus 03

BEYOND NARCISSUS kiállítás 03 – Empty Mirrors

„The empty mirror is a recurrent motif in 20th-century painting, a symptom of the limitations of painting's reflective nature (4). Its most notable representation is the theme of the woman in a mirror, taken up by artists from Picasso to Lichtenstein. The empty mirror appears more in an abstract space, as in John L. Moore 's work, where perspective and the play of light and shadow no longer dominate. The mirror as a simple oval of color can then create a bi-dimensionality and render it as a mode of representation. In his paintings produced in the 1990s, oval forms replace the human figure and turn into an empty mirror. Like Black and Blue (2001), mirrors reveal a certain irreality, an all-encompassing void. The artist deals with feelings of absence and loss, as well as a refusal of truth and a quest for meaning.

Valérie Belin explores the void, in all its phenomenological dimensions, with its multiple presences, appearances and meanings. The multiplication and endless repetition of reflections lend autonomy to the mirrors. They free themselves from our presence. Her black and white photographs (the Venice series) testify to this; the subtle play of the framing creates mirrors and objects in glass that are incapable of reflecting the spectators or even the artist. The objects are summoned up in their ordinariness and frozen in the preciosity of sparkle and transparency. These mirrors refer solely to themselves, reflecting void and absence ad infinitum, like a cemetery of contemporary vanities. The mirror remains a void that we never cease trying and fill in, calling for human presence. The “voids” in this case are paradoxically full of a presence of their own, veering between disparition and apparition.

Valérie Belin (1964) Untitled, 1997. Venice Series (Mirrors). Black and White Photograph, 100 x 80 cm (image size). Courtesy of Renos Xippas Gallery, Paris