#sitespecific

[impoliticwestie]

Detail from an Installation by the Artist Mohammad Alfaraj, Karava Estate, Kampos, Chios, Greece, 2025. @mohammadalfaraj

[jasminebertusi]

Specific Site Flag at Torre di Talamonaccio

Black Ink on flag numbered and signed

Tuscany 23/07/2022

[seasicily]

Tre Piscine Cala del Cuore, Cove of the Hearth, Beach in Bagheria, Palermo

In Sicily you may come across landart, like this heart at the Tre Piscine (the three pools) of Bagheria, which now goes by the second name Cala del Cuore ( Cove of the Heart ). It's one of my favourite places in the world.

It's a beautiful place to swim, where I love to watch the sunset and dive into the turquoise water (for advanced swimmers only). The heart placed in the stone is a clue for those of us who know that love overcomes even rough places.

https://goo.gl/maps/Bk2EtAxNXnYx77pK9

[landart]

Love Grave, 2003

[galeriavyklad]

MELANCHÓLIA Andrea Ondis

Trnavská výtvarníčka Andrea Ondis vyštudovala propagačnú grafiku na bratislavskej ŠÚV. Neskôr vyštudovala Katedru grafiky a iných médií na bratislavskej VŠVU. Vo svojej tvorbe sa drží vizuálnych foriem grafického média. Kedysi vystavovala pod odlišným menom. Pod tým súčasným sa predstavila prvý raz výstavou Space, Kids & Micro v r. 2020 v bratislavskej galérii Čin Čin a v r. 2021 v bratislavskej Galérii Artotéka, taktiež autorskou výstavou pod názvom Historiae.

Podnetom pre diela nebola ani tak snaha o skúmanie duševného stavu, melanchólie, ako osobný príbeh. Jeho zdrojom bola pohľadnica, ktorú dostala od priateľky. Išlo o reprodukciu fotografie francúzskej fotografky Valerie Belin. Tá zobrazovala ženskú figurínu navrhnutú dizajnérom Adelom Rootsteinom. Práve tvár manekýnky ju zaujala svojim zvláštnym pohľadom, akoby vyjadrujúcim melancholické pohnutie. Zamerala sa na tento element, aby si ním pracovala tým, že ho odstráni. Tvár sa tak stala anonymnou a bez nejakej konkrétnejšej emócie. Pocit odťažitosti ešte umocnila technickým prevedením. To spočíva v reprodukovaní prostredníctvom serigrafickej techniky. V nej môžeme vidieť priamy odkaz na warholovské diela s ikonami populárnej kultúry, ktoré akoby sa stávali všeobecnými statkami. Tu je ale celkové vyznenie omnoho znepokojivejšie. Anonymné tváre pripomínajú piktogramy avatarov užívateľov sociálnych sietí, za ktorými sa môže ukrývať ktokoľvek. Identita sa vo virtuálnom priestore stráca rovnako ako jedinečnosť pri prechádzke hypermarketom plnom nekončiaceho množstva identických tovarov masovej výroby. Zároveň redukcia tváre na obrysové línie odkazuje na ďalší aspekt vizuálnej kultúry spojenej s marketingom, a to značku alebo logo. Zároveň môžeme vidieť v dielach odkaz na feministické umenie a vnímanie ženy ako objektu, zbavenej vlastnej osobnosti. Z hľadiska kontextu tu môžeme odčítať odkazy na filozofov druhej polovice 20. storočia, ako bol Jean Baudrillard, ktorý analyzoval spoločnosť neskorého kapitalizmu založenú na tvorbe simulácií a zmnožovaní rovnakého. Akoby citovala vetu z Kunderovho románu Nesmrtelnost – „všade samé tváre“. Autorka sa tak snaží o symbolické vypovedanie vlastného príbehu a hľadania zmyslu ľudskej existencie vo svete plnom odcudzenia.

Text: Peter Molari / kurátor výstavy Foto: Peter Lančarič

Chod Galérie Výklad na rok 2022 z verejných zdrojov podporil Fond na podporu umenia.

[daviddelamano]

This is the second site-specific mural work in the Batignolles area in the 17 Distric of Paris. Project curated by @Olivierlandes as an alternative to increasing large-scale muralism, the objective of this project is to bring specific pieces of urban art to the place, based on the fusion with architecture and urban micro-landscapes. Photos: Olivier Landes and David de la Mano ---- Il s'agit de la deuxième œuvre murale in situ dans le quartier des Batignolles dans le Distrit 17 de Paris. Projet organisé par @olivierlandes comme alternative à l'augmentation du muralisme à grande échelle, l'objectif de ce projet est d'apporter des pièces spécifiques d'art urbain au lieu, basées sur la fusion avec l'architecture et les micro-paysages urbains. . . . . . #batignollesart #streetart #sitespecific #urbanart #streetartParis #Daviddelamano_ https://www.instagram.com/p/CRVF3UplGcP/?utm_medium=tumblr

[k00263287]

18.03.21

Sculptural Experiments

“Create order from chaos”

Myself and my Da were walking on a patch of beach which is particularly fruitful with driftwood. We decided we’d do a little sculpture challenge and make something with the wood in under 10 minutes.

I took inspiration from the fence that used to run along the dunes.  I wanted to work like other  site-specific land artists I’ve studied - Long and Goldsworthy - and how they create aesthetic patterns with materials at hand - creating order from disorder. 

I wanted to create a gradient of colour, from light to dark. It was a lot of fun to just spend a couple minutes creating, with limited resources and time. 

[thelast-draw]

Art History - Installation

‘How does this artwork convince you that this practice is the most effective means of communicating the artists message?’

Sunflower Seeds - Ai Weiwei (2010)

‘Sunflower Seeds’ is an art installation created by artist and activist Ai Weiwei, the installation consists of thousands of porcelain sunflower seeds, all handmade each by more than 1600 workers. The mass of sunflower seeds were initially scattered and exhibited in a vast space within the Tate Modern Art Gallery, intended to be walked upon and interacted with by the public. However, the seeds were soon moved into a pile and displayed in a more secluded area due to the amount of hazardous dust kicked up from the seeds by movement. Porcelain is a well known traditional ceramic material in China, and working with it is a meticulous form of practice that dates back many years; Weiwei turns traditional Chinese art into something more contemporary; something that reflects change within the current modern world.

The process of the art installation took many days, with workers labouring away within their own designated positions; these positions included:

-Collecting the material for the seeds within mines.

-Shaping the material in specialised moulds.

-Painting the seeds with a specialised dye.

-Firing the seeds with high temperatures.

-Washing and cleaning the seeds.

-Finely picking through any damaged seeds.

-Boxing the seeds in batches for transport to the Tate Gallery.

This meticulous process Weiwei put the specialist workers through could possibly highlight the dying art of unique, traditional crafts which have been dominated by mass-production within China. Mass-production can be seen as favouring quantity over quality, using little skill and cheap labour, whilst unique, hand-made items favours the latter, with consideration and care taken into the making of such products. Weiwei might highlight this mass-producing domination within the contemporary world by intending people to step upon the seeds, destroying hours of work, suggesting the deterioration of tradition and the uprise of a power-hungry, careless economy.

Sunflowers are relevant in politics also, with leaders of such political events being symbolised as the ‘sun’ and everyday people portraying the ‘sunflowers’. It highlights the idea that although one person may seem insignificant, thousands can unite and create a bigger force of power, especially within revolutions. Weiwei could also possibly play on this political interpretation, creating the idea that individual identities are just as important within a population of many; that each person is unique and different despite being of the same kind.

Weiwei also strips the purpose of the sunflower seeds as they are physically unable to take root and grow, and are instead destroyed, this could suggest the mistreatment of people within China and how their chance to follow their ‘sun’ (destiny) is destroyed similarly to the seeds, with workers left redundant and bankrupt within the damaging economy.

In conclusion, this artwork convinces me that this practice is the most effective means of communicating the artists’ message greatly. Many interpretations can be applied from this form of installation; this contrast of many hours of labour and the intention for the act of destruction and carelessness leaves much to be reflected upon, especially from activism standpoint.

Images:

1: https://www.tate.org.uk/whats-on/tate-modern/exhibition/unilever-series/unilever-series-ai-weiwei-sunflower-seeds Ai Weiwei, 2010, [accessed November 2020]

2: https://www.tate.org.uk/art/artworks/ai-sunflower-seeds-t13408 Ai Weiwei, 2010, [accessed November 2020]