Patty Chang

Patty Chang (1972) c-printek, 2005

Yayoi Kusama

Yayoi Kusama: Mirrored Years 23 August - 19 October 2008
Museum Boijmans Van Beuningen, Rotterdam,

The Mirrored Years exhibition of work by the celebrated Japanese artist Yayoi Kusama confronts early installations, films and sculptures from the 1960s with recent works. The exhibition reveals the coherence of Kusama's oeuvre over the years while at the same time highlighting the freshness and innovative nature of certain themes explored in her work. Working in a highly idiosyncratic formal idiom and exploiting many different techniques, Kusama's work is the product of a lifelong interest in visual perception and sensory experiences.

Mirrored Years demonstrates the abiding force of Yayoi Kusama. The juxtaposition of renowned installations such as the 'Infinity Mirror Room – Phalli's Field' (1965) or 'Narcissus Garden' (1966) with recent mirror installations such as 'Fireflies on the Water' and 'Invisible Life' (2000) as well as new sculptures such as 'Soaring Spirits' (2008-2009) provides insight into a career spanning more than 40 years. Besides the abovementioned works, Museum Boijmans Van Beuningen is presenting various other sculptures, films and happenings created by Kusama in the 1960s in conjunction with comparable works from recent years. The museum is also showing Kusama's most recent work: an installation of 50 new paintings that she has been producing assiduously over the last three years.

kép: Narcissus Garden, 1966, Mixedmedia, Installation view: The 33rd Venice Biennale, Copyright: Yayoi Kusama

Ján Mančuška

Ján Mančuška: Southwest pillar and its shadow at the beginning of the novel, 24.6.-14.9.2008
tranzitdisplay, Resource centre for contemporrary art, Prága
„Descend the long staircase; the first piece, a long aluminium pole inscribed with a text, is found on the landing approximately halfway down the staircase as it makes a ninety-degree turn to the left. The pole leans against a wall that you see as you walk onto the staircase.
As you walk down the stairs and stand on the landing dominated by an Art Deco lamp, two views of the space open up to you. A fast, electronic, inhumanly rapid film montage of a naked woman descending a staircase. A young lady with short, probably bleached, blonde hair, holds her back as stiff as a board and she walks down the stairs. We see this film image from the base of the stairs to the right of the central column. If we look to the left, we see ourselves in a long and tall mirror reaching from the floor nearly to the ceiling. The dimensions of the mirror are approximately 5.5 m x 3 m. Approach the mirror; to your right, crossways to the corner of the room, is a black curtain in the shape of the letter U hanging from the ceiling. A film is playing on the space inside the letter U: a view of a landscape, a shot of a meadow, perhaps in a park. All at once the view begins to recede, disappearing inside, and we realize that we saw the view of the meadow in the mirror.
We move on along the mirror: to the left are four small projections – extremely long shots that are static in the short-term, but upon longer viewing shadows move on the ceiling, clouds pass across the sky. These are views of a civil still life – the ceiling of a room, walls, street walls, the fronts of houses.”

Markus Wilfling

Markus Wilfling “Phantoms”, installáció, 2000

“Shadow Objects” and “Mirror Objects”, 2003, ajtó tükröződik tükörben, máskor

kalapács.

Knut Åsdam

Knut Åsdam: »Recombinant Place, 2001-02: Cloaked Mirror Body« is a bench derivative of a u-shaped amphi theatre made of glass fiber sandwich with vinylester over a divinycell core.

Permanent public work at the School of Architecture (AHO) in Oslo, and the river park of Akerselva (the Aker's river)

Haroon Mirza

Haroon Mirza: Acoustic Space mirror, 2006

Derek Ogbourne

Derek Ogbourne (1964)»Installation Shot« consists of two almost pitch black rooms, side by side. Two ‘participants’ are invited to wear a helmet each geared up with infrared ccd camera, transmitter and small monitor. Vision is switched between the two viewers in a minimal space only containing black board and mirror arranged in identical mirrored states. The initial effect is that of dissorientation followed by a convergence with the others perceptual space.

Christopher Musgrave

Christopher Musgrave: “Heliography” 2004, (study), RGB Mirrors. Video.

"In 2003 I began experimenting with mirrors to reflect, “channel,” or re-route sunbeams around my studio. The result of these playful experiments was to use Red, Green and Blue color gels over mirrors in order to create a color picker using additive color mixing techniques. Heliography is a way of observing natural, ephemeral light and a wry deconstruction of the component RGB color imaging systems that are used, pixel by pixel to create images on televisions, computer monitors and video projection systems. As such, it is an abstract way to view the natural phenomena of sunlight and atmospheric animism. Moving clouds modulate the sunlight reflected by the mirrors and create moments where one can see the after image of the previous light and the motion as eyes and brian try to reconcile the ambiguous liminosity. As with a camera obscura, the mirrors enable one to make out the shapes and motion of the clouds as they blow by. The generative automatism of leaves blowing in trees and the wind interacting with the color gels ads an additional element of temporal motion."

Christoph Keller

Christoph Keller: »expedition-bus and shaman-travel« (Double Video-Projection on the Windscreen of a mirrored Campervan), 2002 is a project researching the parallels between ethnography and shamanism using scientific film-footage from the 50s and 60s. ( Sprengel Museum, Hannover, 2002)

helioflex :sun-mirrors following the sun automatically. long term project to bypass the social gradiant of access to sunlight in urban habitations. A shadowy space dramatically changes its atmosphere when it is suddenly illuminated by natural sunlight. Anyone who has experienced this effect will never forget the impression. In the past few years, architects have applied complex daylight systems to counteract the lack of light in the lower floors of large buildings. Yet a cheap and efficient device that would bring sunlight to individual living and working areas still does not exist.
"The presented prototype is provided by a light-sensitive sensor to trace the position of the sun. A simple mechanism transmits the movement of the sensor and simultaneously adjusts the mirror-position to just the right angle in order to keep the reflecting sunlight on the selected spot. The construction and the set-up of the device’s support is equal to that of individual satellite dishes used around the world. There is undoubtedly a need for this device. In the city of Berlin alone, at least 150,000 potential customers are waiting for the sun to rise in their dark homes.
The principal idea of the helioflex concept was to create an automatic device that could be inserted into the existing architecture and that would permanently reflect direct sunlight to a chosen point. The device must be inexpensive enough for those in dark homes to afford it.
The density of building generates a social gradient of sunlight in urban areas: The top floors bathe in the light that is missing in the bottom floors. The device bypasses this gradient and creates a connection to the outside world by reflecting natural light to spaces that have never seen the sun before. "

James Hopkins

James Hopkins: »Forwards and Reverse« (2005) is a backwards running clock which is displayed beside a mirror. When viewed in the mirror, the numerals and clock motion run forwards in a coherent manner.





Double Check
2006
23.62 x 100.39 x 23.62 inches
Pièce unique
In 'Double Check', the letters "CHECK" are reflected in a mirror . Since all the letters are symmetrical, the word is repeated in its reflection - both justifying the title's word play and inviting the viewer to look twice.



Paradox Passage
2002
77.95 x 31.5 x 14.96 inches
Pièce unique
The door 'Paradox Passage' has an opening made of two vertical sections standing at right angles to the wall; these sections are attached on either side of two perpendicular mirrors. The door appears to be open or closed depending on one's viewpoint, introducing an alternative dimension to the space.







Acid Rain
2006
inches
Pièce unique
'Acid Rain' is a standard garden greenhouse whose mirrored walls turn it into a kaleidoscopic room. The viewer's visual path is reflected into an enigmatic effect of infinity and repetition. The work is a humorous fusion of the familiar image of a green house and the disturbing experience of side-show theatrics, between climate control concerns and visual cloning.

Teresita Fernandez

Teresita Fernandez,»Ink Mirror (Landscape)«, 2007, 180,3x442x147,3 cm, polírozott üvegszál, márványpor (Lehmann Maupin, NY)

Gerold Tagwerker

Gerold Tagwerker

“Fade” (light element with four neon tubes and electronic controller, spy mirror, aluminium)

multiple.spy – 2007 (convex surveillance mirrors, aluminum, screws, concrete, 290 x ca.100 x ca.100 cm) Bemutatva: Galerie Grita Insam, VIENNAFAIR, Wien 2007

mirrored structure, shiny/soft#5 – 2001, (aluminium laminate, wood, screws, 250x125x10cm)

mirror.grid – 2003, (aluminium laminate on chipboard, 198x198x38cm;
installationview "abstraction now" - Künstlerhaus Wien, 2003

Camille Norment

Camille Norment. Driftglass, 2001 (interactive series of optically deceptive mirrors with sonic feedback, mirror, optic film, proximity sensors, audio components). Seeing clear reflections of others, viewers find their own image diffused.

Olivier Sidet

“Ghost” by Olivier Sidet. In this mirror the observer can see the reflection of his surroundings and yet he is never able to see himself. még, más

Helmut Smits

Helmut Smits

Title: Quarter Pipe
Year: 2005
Materials: wood, mirror, vinyl
Dimensions:
L 250 cm B 190 cm H 160 cm

Title: Mickey
Year: 2005
Materials: observation mirrors, metal
Dimensions:
L 90 cm W 50 cm H 70 cm

Gabriel Lester

Gabriel Lester(1972) SEVEN YEARS OF GOOD LUCK, Museum van Loon, Amsterdam, Symmetry mirrored. (glass, wood)

HIGHLIGHT (plan B) Bozar, Brussels, Belgium, Periscope-sculpture in collaboration with Onco Tattje. Vertical architecture lined with mirrors. (mirror 1cm wide, wood, paint, mdf, transparent light bulbs)

Julianne Swartz

Julianne Swartz: hibrid periszkóp: 2004, PVC pipe, Plexiglas, mirror, hardware,

33" x 7" x 32"

TRANSFER, Palm Beach ICA, Site-specific installation with halogen lights, lens, plexiglass screen, fiber-optic cable, tinsel, pinwheels, fans, mirrored ball, mylar, mirror, tape, objects found on site, existing architecture, 2001

Daniel Rozin

Daniel Rozin, Software Mirrors: „This group of pieces is comprised rear projected screens or kiosks connected to video cameras and computers. When a viewer stands in front of one of these pieces, their image is reflected on the screen after it has been interpreted by the computer. The displays change rapidly yielding a smooth transition tightly linked to the movements of the viewer.”

Shaking Time Mirror- 2005
Projected screen, computer, video camera, custom software. Size - variable.
Shaking Time Mirror is the forth of the "Time Series" Software Mirrors. This series of software mirrors examines notions of time, scanning, motion and stagnation. In Shaking Time Mirror only areas of movement on the screen are refreshed with current video, the rest of the screen ages and turns into a gray stagnant crust. When a viewer moves in front of the piece the crust flakes of and revels the full colored image of the viewer, which gradually grays back.

Self Centered Mirror 2003
34 panes of mirror, Wood. Size - 120 Inches W 30 inches H 25 inches D.
Self Centered Mirror is an arrangement of 34 vertical panes of mirror. It has a retro-reflective behavior, this means that anyone standing in front of this mirror will see themselves reflected on all 34 panes, The mirror will also remove anyone else in the space from being reflected. This piece lifts the last obstacle from in the quest to total narcisism.
“Shiny Balls Mirror” (921 hexagonal black-anodized aluminum tube extrusion,921 chrome-plated plastic balls,819 motors,control electronics,video camera,computer). Video. “Hourglass Mirror” 2005. The image of the viewer is created by the movement of the grains of sand in the upper part of the hourglass, in the lower part of the hourglass a representative color of the viewer is settled to create a sediment that keeps building up creating a history of a few minutes worth of viewers. róla Video.

Yasser Ballemans

Yasser Ballemans »Beautiful Times«, 2006. Olyan órák, amelyek csak kellemes időt mutatnak. Digitális kijelzőn a számok tükrözöttek: (22:55) (15:21), ismétlődőek (7:07), csökkenő, vagy növekvő rendben vannak a számjegyek (12:34 or 5:43) vagy megfordulnak (6:09). Ld többet még itt