Mariko Mori’s Rebirth includes some of her most acclaimed works from the last 11 years, alongside new works created especially for this exhibition. Starting and ending with the death and birth of a star, the cycle of life and rebirth is an important theme of the show, which includes photography, works on paper, sound works, as well as sculpture and large scale immersive installations and environments that invite contemplation.
Christopher Grimes Gallery is pleased to present an exhibition by Chicago-based artist Iñigo Manglano-Ovalle. Formally seductive, technologically sophisticated and conceptually rigorous, Manglano-Ovalle’s works make the intangible tangible and challenge our notions of the political and the cultural…
Since the beginning of the 1970s, Rebecca Horn has been creating an oeuvre which constitutes an ever-growing flow of performances, films, sculptures, spatial installations, drawings and photographs
Jessica Stockholder’s latest work, “Color Jam,” begins a summer-long occupation of an intersection in the Loop in downtown Chicago. By wrapping the four corners of State and Adams Streets (and parts of buildings there) in swaths of burnt orange, lime green and turquoise
Leandro Erlich is known for installations that seem to defy the basic laws of physics and befuddle the viewer, who is introduced into jarring environments that momentarily threaten a sense of balance or space. For this exhibition, Erlich presents one of his most well-known and critically acclaimed pieces, Swimming Pool.
‘No Lone Zone’ is a military term designating an area where, for reasons of safety and security, the presence of just one person is not allowed. The phrase can also be used metaphorically to describe a highly sensitive or unstable place, such as the vulnerable environments that proliferate in the context of postcolonial globalisation.
October 26, 2011–January 15, 2012
Carsten Höller was born in 1961 in Brussels, Belgium, to German parents. He studied agricultural entomology at the University of Kiel where he received his doctorate in 1988. By the 1990s, he began to make artworks and eventually abandoned science as profession to pursue a career as an artist.
Höller is frequently inspired by research and experiments from scientific history and deploys these studies in works that alter the audience’s physical and psychological sensations, inspiring doubt and uncertainty about the world around them. His work often draws on social spaces outside of the museum such as the amusement park, zoo, or playground, but the experiences they provide are always far from our usual expectations of these activities.
Giant Triple Mushrooms, 2010
Höller’s art takes the form of proposals for radical, new ways of living by creating sculptures and diagrams for visionary architecture as well as transportation alternatives, such as his renowned slide installations. These concepts may seem impossible in the present day, but suggest new models for the future.
Each floor of the exhibition explores a different general theme within Höller’s work to provide a carefully choreographed journey through the building and the artist’s oeuvre.
Mirror Carousel (2005)
The fourth floor focuses on the theme of movement—featuring the artist’s spectacular Mirror Carousel (2005), which provides riders with a notably different physical experience than the traditional fairground merry-go-round, while at the same time reflecting and illuminating the space surrounding it.
The third floor gathers together works that seek to provide an altered or utopian experience of architectural space. For example, his Giant Psycho Tank (2000) invites viewers to float weightlessly in the water of a sensory deprivation pool, providing a tenebrous, out-of-body experience.
Giant Psycho Tank, 1999
Over the years, the artist has employed psychotropic drugs, flashing lights, and other stimuli to potentially alter the viewer’s mental state. His new site-specific installation on the second floor, Double Light Corner, flickers back and forth on a central axis, creating an immersive, hallucinatory experience.
Light Room, 2008
The work is paired with a recreation of Höller’s Experience Corridor in which the viewer is given the choice to undertake a number of self-experiments.
Functioning as an alternative transportation system within the Museum, one of Holler’s signature slide installations will run from the fourth floor to the second, perforating ceilings and floors, to shuttle viewers through the exhibition as a giant 102-foot-long pneumatic mailing system.
Untitled (Slide), 2011
The sculptures, Giant Triple Mushrooms (2010), icons of the kind of personal exploratory journey that his work has always centered on, will also be on view.
Giant Triple Mushrooms, 2010
Taken as a whole, Höller’s work is an invitation to re-imagine the way in which we move through the world and the relationships we build as he asks us to reconsider what we think we know about ourselves.
May 11- June 23
Each year MONUMENTA invites an internationally renowned contemporary artist to appropriate the 13,500 m² of the Grand Palais Nave with an artwork specially created for the event. This year the Indian-born British artist Anish Kapoor was invited to create “Leviathan”, an aesthetic and physical shock, an experience of colour that is simultaneously poetic, thoughtful and formidable, one on a scale with the verticality and light of the Nave.
Like the Biblical sea-monster of the same name, Anish Kapoor’s Leviathan embodies a sense of extraordinary, dark power. Leviathan is emblematic of death by drowning in the depths of the ocean, and a force capable of summoning giant waves and tempests. The great beast became synonymous with political metaphor following the publication of Thomas Hobbes’s classic text Leviathan in 1651, presenting the ‘war of every man against every man’ that inevitably prevails in humankind’s primordial ‘state of nature’.
Like his contemporaries, Christo rebelled against abstraction, seeing it as too theoretical and proposing in its place a manifestly physical art composed of real things. Christo began by wrapping everyday objects, including tin cans and bottles, stacks of magazines & furniture.
In 1961 he started collaborated with his wife, Jeanne-Claude, using industrial materials like polypropylene sheeting, canvas & ropes to wrap objects. The use of fabric sometimes involved wrapping an object, sometimes a bundle; these coverings partly obscured the object’s contours and hampered its function, thus transforming it into an aesthetic presence.
In 1964, just after moving to New York, this repertory of forms was augmented by a series of life-sized store fronts, for example Store Front (1964) the view through their plate-glass windows blocked by hanging fabrics or by sheets of paper stretched across their fronts, again rendering their function uncertain.