Punkt-D

Architecture | Art | Design | Fashion

[aarchval]

Hélio Oiticica, Grande Núcleo (Grand Nucleus), 1960–63.

[maurosouza2024]

Os Núcleos são compostos de placas de madeira geométricas, em diversos tamanhos, que são suspensas e expostas juntas, em três partes. A proposta desta obra é uma volta ao núcleo da cor; para que se possa absorver o desdobramento da cor no Núcleo é preciso que o participador adentre a estrutura de placas coloridas, cercando-se delas e vendo-as por todos os ângulos.

[millionsecretsofjazz]

[garethschweitzer]

Francis Bacon

[maurosouza2024]

Francis Bacon (1909–92) was a maverick who rejected the preferred artistic style of abstraction of the era, in favour of a distinctive and disturbing realism. Growing up, Bacon had a difficult and ambivalent relationship with his parents – especially his father, who struggled with his son’s emerging homosexuality.

This contributed to a troubled childhood; he ran away from school, and subsequently drifted through the late 1920s and early 30s in London, Berlin and Paris, living off his allowance and occasional jobs, and dodging the rent. When in London, he lived in the epicentre of the bohemian scene; a regular in Soho, he led a hedonistic life.

From the mid-1940s his work met with critical success, establishing his reputation. Today, he is recognised as one of the most important painters of the twentieth century. https://www.tate.org.uk/art/artists/francis-bacon-682/who-is-francis-bacon

[zegalba]

Andy Goldsworthy: Balance (1977)

[a-state-of-bliss]

Franck Sorbier Haute Couture Spr/Sum 2012

[ruiard]

Nasan Tur - Crisis Neon, transformers, steel, electric cables, 66⅞ x 236¼ in. / 170 x 600 cm, 2014

[maurosouza2024]

In a diverse practice that ranges from sculpture, drawing, video, and photography to performance and installation, Nasan Tur examines social conditions, probing the relationship between production and value and modes of communication. In his sculptures Demo Kits Deluxe (2009), Tur references an earlier project, Demo Kits, where viewers were invited to dispense the works—consisting of objects such as spray paint and protest banners—from vending machines placed in public spaces. The deluxe version is constructed using precious metals, rare hardwoods and luxurious satins, suggesting the capitalist tendency to commodify countercultural actions. In Variationen von Kapital (2013), Tur presents a site-specific installation comprising approximately 800 seemingly identical drawings spelling out the word “Kapital,” but each spelling is slightly different. To produce the drawings Tur relies on a process that constructs a relationship between mass production and handcraft; a computer selects a spelling from one of 40,000 possible options; the artist then meticulously paints each onto hand-torn Tibetan paper using Indian ink.

[ab-eb-shruti]

[expectoro]

ALFREDO JAAR, REIJIRO WADA, 2026.

[maurosouza2024]

Two artists, working at the fragile limits of a world on the brink, converge in a configuration that is at once lucid and precariously unstable. Alfredo Jaar, artist and photographer, distills political catastrophe into a minimalist language that exposes unseen architectures of power. Reijiro Wada incorporates processes of decay, collision, and material transformation into his work, presenting sculpture as a site that quietly unsettles its surrounding environment. Between Jaar’s political minimalism and Wada’s metaphysical materiality, the exhibition asks viewers to trace the fault lines between global crisis and intimate perception, and to consider how those fractures shape the way they think. https://www.scaithebathhouse.com/en/exhibitions/2026/01/alfredo_jaar_reijiro_wada/

[gouged-doll]

robert morris, untitled (passageway), installation, 1961

[thisgameisaplateaux]

cual escena borrada de backrooms

[maurosouza2024]

Robert Morris was a crucial figure in the establishment of Minimalism, Process Art, and Land Art. His earliest explorations of Minimalism were the props he made for performances at the Judson Dance Theater where his wife, Simone Forti, was a choreographer and dancer. Later, Morris would explore the use of industrial materials such as aluminum and steel, accompanied by influential essays that helped establish the theories around Minimalism and other movements. Moving toward Process art, in 1963 he created Metered Bulb, a lightbulb displayed alongside an electric meter that monotonously recorded its energy expenditure. He would experiment widely with heavy felt, mirrors, textiles, waste products, steam, and dirt, creating ephemeral works that deconstructed the very notion of the art object. Morris was also involved in Performance art, collaborating with Walter De Maria and La Monte Young, among others.

[heathwest]

Dan Flavin Untitled (to Jean-Christophe), 1970 Pink, green, blue and red fluorescent light 121.9 x 22.2 x 10.2 cm

[millionsecretsofjazz]

[badarchitecturesucks]

Alfredo Jaar The End of the World, 2023 cube composed of 10 layers (in order from top): Cobalt, Rare Earths (Neodymium), Copper, Tin, Nickel, Lithium, Manganese, Coltan (Niobium), Germanium (Argentium) and Platinum 4 x 4 x 4 cm

[blue-voids]

Robert Irwin - Untitled, 1971

[maurosouza2024]

In 1971, the Walker invited Robert Irwin to conceive a piece that would challenge the Walker’s new Barnes building. The result is unforgettable.

Irwin’s untitled work, referred to in his preparatory drawings as “Slant/Light/Volume,” was presented five times by the Walker between 1971 and 2010 and represents the artist’s effort to foster an absolutely pure and direct experience in front of a work of art.

We are saddened to hear of Irwin’s passing, but celebrate his impactful and enduring legacy as a monumental figure in the West Coast Light and Space movement.

[eucanthos]

fuck!

Richard Serra, Hand Catching Lead, 1968 [4 frames]

John Baldessari, Of What Use, 1997 (Goya series)

[aarchval]

Anne Imhof, Faust (German pavilion at the 57th Venice Biennale), 2017.

[maurosouza2024]

Anne Imhof’s Faust features a troupe of androgynous, athleisure-clad performers filling the German Pavilion with black metal dance, melancholic singing and chanting, erotic scuffles, and screams over the course of a five-hour performance. The dark, aggressive nature of this seven-month-long project reflects its namesake (Goethe’s tragic magnum opus, which literally translates into “fist” in German) as well the history of the pavilion, which was remodeled by the Nazis in 1938 into the stark Neoclassical building that stands today.

Imhof installed glass walls and a raised glass platform throughout the space, creating a precarious atmosphere and voyeuristic experience for visitors, who catch glimpses from below of performers drifting under their feet, as well as their own reflections. Outside, barking Doberman Pinschers guard the pavilion entrance, while a few performers can be seen menacingly perched atop the roof and exterior glass walls.

Working across performance, painting, drawing, and installation, the Frankfurt-based artist has climbed the art world ranks in recent years with her powerful explorations of contemporary culture and power dynamics, namely the influence of brands, media, and technology on society and human interaction. At the German Pavilion, Imhof and her cast—donning black sportswear, the uniform of many young urbanites today—can be seen texting on their iPhones throughout the performance, further emphasizing the sense of alienation between them despite their close physical proximity. The buzz of the Biennale this year, Faust received the Golden Lion for best national pavilion.

https://www.artsy.net/article/artsy-editorial-inside-biennale-ep-4-faust

[jimlovesart-deactivated20190109]

Bruce Nauman - Hanging Heads #2 (Blue Andrew with Plug/White Julie, Mouth Closed), 1989. 

[maurosouza2024]

Wax and wireDimensionsTwo heads 10 3/4 x 9 1/2 x 7 3/4" (27.3 x 24.2 x 19.7 cm) and 10 1/2 x 8 3/4 x 7 1/4" (26.7 x 22.2 x 18.4 cm), suspended approximately 72 3/4" (185 cm) above the floor.

Shaven heads detached from their bodies, wedged together or bending over one another: one licking the other, sticking its tongue into another’s eyes, mouth, and nose. Hanged heads, chopped-off hands, a trail of blood running from body parts: these are the subjects of the large-format color drawings that make up the environment of a new group of works by Bruce Nauman. Entitled Heads and Bodies, 1989, the installation consists of 12 sculptural pieces along with the drawings.

Nauman has always been interested in the human body. During the past few years, his early formal analyses and investigations of the body have shifted to the context of the living world, which is depicted in terms of the physical excess and violence done to and by bodies. Nauman’s new pieces open an existential scenario that embraces both man and beast, a scenario about damaged life and violent death. Pairs of wax casts of human heads dangle upside down from thin wires. One mouth gapes as if suffocating in mid sentence; one tongue lolls out; another tongue has been sliced off and stuck back in the wrong way. In another room, we find skinned animal bodies, casts made of foam and aluminum. Dismembered and randomly reassembled as monsters, they hang from the ceiling in twos, threes, or fours, like an exhibit of abstruse airplane parts. At the center of its body, one animal’s forelegs and hind legs have been “composed” into rotors. A dog and a sheep, connected at their anuses, seem to be dancing a macabre ballet; a dog’s head with a mutated body bites its own ass.

[kate-jam-and-diamonds]

by Rankin for Dazed & Confused, 1998