Through her elegant sculptural compositions, Eva Rothschild explores the apprehensive relationship between objective form and new-age spiritualism. Rothschild approaches art as tantamount to a numinous belief system, where functionless objects become receptacles for immaterial sentiment, both inciting and emitting their own metaphysical auras. Inspired by 60s and 70s minimalism, Rothschild’s sleek designs evoke sustained contemplation and emotive tension. (edit from High Times, Saatchi gallery)
A selection of photos from the set Roads white in the red matrix showing the light sculpture project Deconstruction time, Again by Olivier Ratsi. Production by Julien Guinard, programming by Anthony Gouvrillon (Digitalslaves Corp) with Arcadi’s support coproduction in Théâtre de l’Agora.
I’m a VJ and photographer. I explore the relation between fixed and animated images through a form of expression turned towards decomposing/recombining time and space. The aim is to generate a break with the meaning of the original items, to propose a new angle of observation and to explore the figure of the affects in motion.
Urban fox is a giant sculpture created out of straw bales by Pirate Technics (Mike de Butts & Alex Geldenhuys) as part of the Southbank Centre’s 60th anniversary celebration of the Festival of Britain. It is situated on the Queen Elizabeth Hall’s Waterloo Bridge Terrace and it will stay there until 4 September 2011.
Click on image to watch the video
The Singing Ringing Tree is a wind powered sound sculpture resembling a tree set in the landscape of the Pennine mountain range overlooking Burnley, in Lancashire. Completed in 2006, it is part of the series of four sculptures within the Panopticons arts and regeneration project created by the East Lancashire Environmental Arts Network (ELEAN). The project was set up to erect a series of 21st-century landmarks, or Panopticons (structures providing a comprehensive view), across East Lancashire as symbols of the renaissance of the area.
Designed by architects Mike Tonkin and Anna Liu of Tonkin Liu, the Singing Ringing Tree is a 3 metre tall construction comprising pipes of galvanised steel which harness the energy of the wind to produce a slightly discordant and penetrating choral sound covering a range of several octaves. Some of the pipes are primarily structural and aesthetic elements, while others have been cut across their width enabling the sound. The harmonic and singing qualities of the tree were produced by tuning the pipes according to their length by adding holes to the underside of each.
In 2007, the sculpture won (along with 13 other candidates) the National Award of the Royal Institute of British Architects (RIBA) for architectural excellence. (edit from Wikipedia)
Key and cue No. 895: A CLOUD WITHDREW FROM THE SKY (1994)
Key and cue, No. 1484: WE SHALL FIND THE CUBE OF THE RAINBOW (1994)
White Dickinson: TO COWER BEFORE A FLOWER IS PERHAPS UNWISE (2006)
Key and cue No. 1270: IS HEAVEN A PHYSICIAN? (2005)
Thicket No.1: TO SEE A LANDSCAPE AS IT IS WHEN I’M NOT THERE (1989-90)
Roni Horn’s embedded-text sculptures are made with the words cast in plastic in rectangular aluminum bars, the square cross-sections of which would measure two inches per side. Despite their tidy and direct presentation and the simplicity of their conceit, these are enigmatic works that speak to the difficulty of marrying sculptural and literary experience. Physical orientation becomes a key factor. Horn leans the works against the wall, positioning them not as lines of text but as pure objects, like planks that have no proper top or bottom, front or back. To make out the texts, viewers must navigate around the works; the act of reading, then, becomes physical, as the three-dimensional phrases, depending on which of their sides the viewer faces, appear variously right-side up or upside down, backward or forward, or reduced to stripes. Were they on pages, one would just read them, but here the rules of art viewing intervene, she melds language into physical form that may be both seen and read, from one angle as abstract pattern and from another as a provocative phrase. Yet what seems distancing or obfuscatory also results in aggressive engagement with the words. Minimalism’s reductive geometry, historically employed to isolate the specificity of the object, here yields the specificity of the text.” (edit from Christopher Miles’ article “Roni Horn in Gagosian gallery”, ArtForum)
RONI HORN: biography and exhibitions info (edit from Xavier Hufkens gallery, Brussels)
Japanese artist Kumi Yamashita creates installation pieces/wall sculptures with a shadow play. She uses specially designed pieces of aluminum or wood and attaches them to a wall, when light hits the object it forms an intriguing shadow. Art works presented bellow are Profile (1994), a fragment of Origami (2005) and Exclamation mark (1995). For more info: kumiyamashita.com
Four a short digitally animated film created by Peter Eszenyi of 720 Creative, a tribute to Yamashita’s wall sculpture City View (2003).
Marian Bijlenga is a Dutch artists, who creates delicate wall sculptures by arranging spacial forms with natural materials like fibers, horse hair and fish scales. These works are made of painted fish scales.
“I am fascinated by dots, lines and contours, by their rythmical movements but also by the empty space they confine. Instead of drawing on paper, I draw in space by using textile as a material. I work with thread, fabric and horsehair, materials which are soft, light, flexible and open to endless development. The suppleness of textiles gives me the greatest possible freedom to achieve my goal: the discovery of new forms.
For me transparency is a prerequisite. By leaving some space between the structure and the wall the object is freed from its background and interacts with the white wall. It becomes what I call a “Spatial Drawing”. Marian Bijlenga
Websites : Marian Bijlenga and browngrottaarts.com/bijlenga.
Thea Djordjadze creates sculptures, installations, paintings and drawings. She puts together a world of light shapes: her sculptures look as if a few items of furniture and architecture models dating from the 1960s had taken on an independent existence and mugged a Calder mobile. Lumps of clay on the border between being something in the process of being shaped and something that is still shapeless are stuck, in delicately balanced rhythms, between the foam objects that teeter on the most filigree of modernist legs. This art, which always looks cobbled together, provisional and like a model for something is part of a new type of aesthetics, it is an aesthetic rendition of the hope that art remains living and does not deteriorate into the type of decorative geegaw to be found at our markets. (Niklas Maak, Frankfurter Allgemeine Zeitung)
Website: goslab.de
it is what it is 
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