Now through August 25, take an immersive, tongue-in-cheeky video tour through Los Angeles at WUHO Gallery, with David Hartwell and Bill Ferehawk's "MEDIAN".Enter the narrow, deep gallery space and be at the center of MEDIAN–an "experimental moving image installation" projected onto the length...
What makes a museum building successful? Until the arrival of Frank Gehry’s Guggenheim in Bilbao in 1997, this question might have been almost exclusively focused on the best environments in which to view art. But the Guggenheim’s phenomenal success, which allowed the Basque government to recoup the construction costs within three years, moved the debate on to issues of branding and statement architecture.
Now the discussion has moved on again. — theartnewspaper.com
Related stories in the Archinect news:Archinect's critical round-up of Snøhetta's SFMOMA additionOMA's Pierre Lassonde Pavilion in Quebec will finally open tomorrowFirst look inside Tate Modern's new Extension
Hyper-Reality is a concept film by Keiichi Matsuda. It presents a provocative and kaleidoscopic new vision of the future, where physical and virtual realities have merged, and the city is saturated in media. — hyper-reality.co
"Our physical and virtual realities are becoming increasingly intertwined. Technologies such as VR, augmented reality, wearables, and the internet of things are pointing to a world where technology will envelop every aspect of our lives. It will be the glue between every interaction and...
the artist says we should not “sentimentalise or romanticise” the crisis, which has seen more than 2,000 children die on their way to Europe. [...]
Ai first visited Lesbos on Christmas Day last year, and has since dedicated most of his life to helping refugees there, even moving his studio to the island. [...]
“The goal is to make everyone conscious of the struggle of refugees. We need to protect humanity. The fight is endless. If we don’t fight, our children have to fight,” he says. — theartnewspaper.com
Related on Archinect:Ai Weiwei documents life in Greek refugee camp on social mediaUN Refugee Agency Commissions 10k Ikea-designed Better SheltersCurator of MoMA's “Insecurities: Tracing Displacement and Shelter" on palliative refugee architectureWhat Does the Syrian Refugee Crisis Mean to...
Set to open on 17 June, the Tate Modern Switch House – named after the part of the power station that the new galleries occupy – expands the museum by 60% to accommodate the surging numbers of visitors, which reached 5.7 million last year, well over double the number the building was designed to cope with when it opened in 2000. But the arresting brick ziggurat is also a physical symbol of the effect the Tate has had on its surroundings. — theguardian.com
Read more relating article here:Future sustainable skyscrapers will be made of...wood?Fabricated robot installation at the V&A unveiled as part of their first Engineering SeasonHerzog and de Meuron in conversation with Rowan Moore
Inside 516 Sampsonia Way, a 19th-century row house in the Mexican War Streets neighborhood, there no longer appear to be any 90-degree angles. Any corners have become cavernous and rounded from the innumerable lines of yarn of Chiharu Shiota’s Trace of Memory, creating acute and obtuse angles.
And while some people try to cleanse spaces or their superstitious gateways by sageing doorways, this installation does the opposite, appealing to some kind of liminal god to crack open time — hyperallergic.com
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“2 wires + weights + tape + thin foam rubber” - one of Eva Hesse's shopping lists — the art newspaper
"LeWitt’s admiration of Hesse is well documented, and the two are the subject of a powerful travelling exhibition exploring their mutual influence, now at the Cleveland Museum of Art (Converging Lines, until 31 July). But one of the most memorable accounts of their relationship comes from an...
The greatest work of art at New Haven’s Yale Center for British Art is arguably the landmark building itself—and Louis Kahn’s last structure is due to reopen this month after a 16-month renovation of its public galleries and lecture hall, and an upgrade of its accessibility, security, mechanical and electrical systems. This is the third phase of a $33m conservation project that began in 2008. — theartnewspaper.com
"George Knight of Knight Architecture, who led the conservation work, says: “The thing that kept me up at night was [thinking] how can we preserve the building, which is so architecturally rich, and do all this surgery so as not to disfigure the patient in any way?""All images courtesy of the...
Bardell and Howe have been working together for the past decade and have started executing guerrilla-style living sculptures in the river, a project they call the River Liver Series. [...]
“One of the things that keeps us here is how exciting we think the next 10 years is going to be,” Howe says of L.A. “When they actually do this river revitalization, it’s going to be L.A.’s Central Park. Culturally, I think it’s the spot to be on the West Coast.” — laweekly.com
Related on Archinect:Los Angeles River revitalization: prosperity for all or just a chosen few?Mayor Eric Garcetti on Frank Gehry's plans for the LA River: "a cooperative, collaborative, regional approach"Take a look at "6," an experimental documentary that memorializes the recently-demolished...
It once seemed like a herculean, if not insurmountable, challenge – raising $600 million or more for an ambitious modernist building to serve as the new home for the Los Angeles County Museum of Art.
Skeptics abounded when plans were first announced three years ago. But momentum now seems to be shifting in LACMA's favor with the announcement this week of two major donations that will push the fundraising campaign near the halfway point. — Los Angeles Times
The donations together amount to the largest the museum has ever received. Elaine Wynn, a major collector and co-chair of the museum, pledged $50 million. Former Univision chairman A. Jerrold Perenchio has promised to give $25 million for the project.Both donations hinge on the successful launch...
Höller wanted to show that you don’t necessarily get to know a sculpture better by literally travelling through it; that once inside it begins to look like something else entirely... The Slide, a permanent fixture at London’s Olympic Park, will give people a full 40 seconds to experience this and decide for themselves as they make their way down the 178m chute at an estimated 15mph. — wallpaper.com
... instead of its standard Kohler toilet, it will have a solid 18-karat-gold working replica of one, a preposterously scatological apotheosis of wealth whose form is completed in its function: You could go into the restroom just to bask in its glow, Mr. Cattelan said, but it becomes an artwork only with someone sitting on it or standing over it, answering nature’s call. — nytimes.com
Maurizio Cattelan, an Italian artist who famously retired five years ago, has returned with a solid gold (and fully functioning) toilet for the Guggenheim Museum. Perfectly paired with the late Tobias Wong's Gold Pills.
The way a building is envisioned to interact with people versus the way it actually does can be dramatically different, which is why the 16 films of Ila Bêka and Louise Lemoine are both aesthetically stunning and humanistically delightful. MoMA has acquired the pair's entire collection of work...
Borderlife is a street art intervention by Biancoshock in which three abandoned manholes in Milan’s Lodi district have been transformed into miniature dwellings. [...]
With Borderlife the street artist wants to make us aware about the distressing living conditions of many fellow humans who are forced to live in confined spaces, especially manholes. He got his inspiration from the reportedly hundreds of people that are occupying manholes and sewer systems in the Romanian capital Bucharest. — popupcity.net
Images of the BORDERLIFE street art intervention via Biancoshock's website.Related stories in the Archinect news:Giant "calligraffiti" mural unites community in Cairo slumSubterranean theme park: photographer Richard John Seymour captures the new life inside an ancient Transylvanian salt mineWith...
He seems hungry for a serious discussion on everything from the refugee crisis – “a really bad combination of European arrogance and North African ignorance” – to the state of contemporary architecture – “the vast majority of architects are just filling up our society with trash” – and has a habit of speaking about his art in overwhelmingly conceptual terms. “Are we consumers of space?” he asks himself at one point. “Or are we in fact producers of space?” — telegraph.co.uk
Related stories in the Archinect news:Olafur Eliasson to storm VersaillesOlafur Eliasson wins a Crystal Award for "improving the state of the world"Olafur Eliasson opens ship-themed pedestrian bridge in Copenhagenand in a way: Frank Gehry gives the crowd a piece of his mind (and his middle finger)
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