Wednesday, 23 February 2011
Mary Miss has reshaped the boundaries between sculpture, architecture, landscape design, and installation art by articulating a vision of the public sphere where it is possible for an artist to address the issues of our time. She has developed the “City as Living Lab”, a framework for making issues of sustainability tangible through collaboration and the arts.
City as Living Laboratory: Sustainability Made Tangible Through the Arts is a new initiative developed by artist Mary Miss and Marda Kirn of Eco Arts Connections for making issues of sustainability compelling to the public. In thinking of the city as a laboratory, a collaborative process is envisioned amongst planners, scientists, artists and designers where a city's sustainability plans become tangible to its citizens.
Broadway: 1000 Steps is an implementation of the City as Living Laboratory framework. This project imagines establishing Broadway as the new “green” face of New York City, announcing in an immediate way to citizens and visitors alike that the city is in the process of re-envisioning itself through PlaNYC as a sustainable place for living, working, and entertainment.
The first phase of this effort is the selection of hubs of infrastructure, institutions, and subject matter along Broadway.Seeding these hubs with installations, projects and events will set an example that can extend to other streets and spaces throughout the city over time. The work will occur in multiple layers and will be undertaken in collaboration with scientists and city agencies.
http://artspire.org/DirectoryDetail/tabid/95/id/642/Default.aspx
A walkway overhanging the edge of the pond makes it possible to move out over the water. Proceeding around the water’s edge a ramp disappears into the water after getting the visitor down to the level of the pond.
A large leaf shaped space is outlined by these structures affirming and making palpable the connection between the land and water.
www.marymiss.com
Storm King Director and Curator David Collens notes, “Maya Lin has created a magnificent addition to the Art Center’s collection of post-war sculpture, one that establishes an engaging dialogue with other works. In addition, she produced the wavefield in the most environmentally sensitive manner, beginning with materials that were already on site and adding only topsoil and low-impact grasses.”
Kevin O’Dwyer
While walking in Boora on a winter’s afternoon, I was fascinated by the strong directional light and the shadows it cast on this unencumbered landscape. I decided to use a series of equilateral triangles of decreasing size that would cast shadows on the landscape and interact with each other as the sun moved during the morning and evening hours.
The sculpture was fabricated from materials long associated with the industrial heritage of the cutaway bog- railway track, railway sleepers and steel plate. Two of the triangular forms were made from oak sleepers bolted to a steel armature; the sleepers were recently removed from a disused bog train railway line laid in the 1950’s. The wood triangles symbolised the old use of the bog. The centre triangle was made from stainless steel and symbolises the new use of the Parklands. The triangular icons are held in place using railway track, which once facilitated the movement of peat to the Ferbane power station by the bog train.
Julian Wild to make "System No.30" for Sculpture in the Parklands
Over the last 2 years Julian has gleaned pieces of metal scrap from the Bord na Mona workshops in Lough Boora. He sees the process as a kind of archaeology in which each old cog and piece of metal tells part of the story of the industrial heritage of the site.Welding these scraps of peat wagons and cutting machinery together, the artist will construct an 18 metre long sculpture in a canal at the site. The concept is to create a disk that appears to bounce over the surface of the canal, like a skimming stone.
http://www.sculptureintheparklands.com/
Tuesday, 22 February 2011
De Groene Kathedraal is transformed to its original source of inspiration. This cathedral symbolises the desire to ascend towards divinity, leaving earthly matters behind like a modern day Icarus. In the same way that the artist longs to remove himself from tradition.
Antony Gormley
it is for the first time in Flevoland's Land Art tradition that a figurative scupture comments on the polder landscape without making use of elements from nature. Also, this work is uniquely located sitting on the interface between land and water in an urban setting.
One of the greatest Spanish mystics and poets, Juan de la Cruz (1542 - 1591) inspired Libeskind for his work in Almere with his poem The living flame of love. In Polderland Garden of Love and Fire the lines interconnect people in different places and times. The three canals symbolize the imaginary connection between three cities: Salamanca, the city where Juan de la Cruz studied, Berlin, where Libeskind lived and worked at the time, and Almere, the place where the artwork is located.
This beautiful 'monster' is made by the couple Niki de Saint Phalle and Jean Tinguely, together with invited friends. It acts as a sculpture, theater requisite and performance at the same time.It's body is organized around a single 'Promenade Architectural', which is guiding people up and down through the installation, giving away views to the surrounding and into it's art collection.A ball track is running through the entire piece. It seems to visualize the promenade and to stimulate people entering.
The landscape around Kielder Water & Forest Park (KW&FP) has become home to a unique collection of visual art and architecture, inspiring the creation of work in response to the scale and complexity of its unique environment and the area's varied and fascinating history.
The abundance of contemporary art and architecture in this striking rural setting makes public art accessible to all visitors and is located at sites around the lake and within the forest.
http://www.visitkielder.com/site/things-to-do/art-and-architecture
LIGHT&ART
In Japanese, the word 'chichu' means 'underground' and one would, therefore, tend to imagine a dark, dim space where natural light is cut off. Although part of the access way and the front lobby are extremely dark, the main exhibition space brings in natural light creatively through the two main, geometrically shaped, sunken courts. This is, rather, an 'enclosed above-ground museum'.
The south side of the island where the museum is located is part of the Seto Inland Sea national Park. The museum is in the cliff the overlook the straits of the Seto Inland Sea.
Saturday, 19 February 2011
Sometimes, as you move through a city of 17 million people, all you want is a wide open green space, where you can go and not hear cars/musicians/people and not see concrete block buildings. This can be hard to find in a city so large, but luckily Istanbul still has an entire forest within its borders, somewhat easily accessible: Belgrade Forest.
When in your caïque upon the Bosphorus you have passed the Tower of Leander, you see opposite Scutari an immense, unfinished palace that bathes its white feet in the blue and rapid waters. There is a superstition in the East, supported by the architects, that no one dies while the house he is having built is uncompleted; therefore the Sultans always take care to have some palace on hand.
http://www.elfinspell.com/RomanticCastles/Bosphorus.html
List of Istanbul Festivals
In Festivals, Info, Lists on Haziran 12, 2010 at 7:15 pmIstanbul, the cultural center between the east and west, hosts many local and international festivals every year. Some of the most well-known festivals are International Istanbul Film Festival, Theatre Festival, Music Festival, Jazz Festival, Efes Pilsen Blues Festival, Istanbul Poetry Festival…
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