Posts Tagged ‘visible invisible

11
Dec
10

roni horn :: visions captured in text sculptures

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)

19
Nov
10

daniel palacios :: waves

WAVES utilizes a basic construction of a long piece of elastic string and two motors to visualize the presence of people close to the installation. The string between the two motorized chambers reacts to the people presence and movements, it twirls to produce a sine-wave simulation that eloquently resembles both the digitization of real-time sound waves and patterns of flow and connectivity found in natural systems.

The simple act of making the ‘invisible’ visible can produce profound effects in both our understanding of the world around us and the close relationship we have to the natural and built environment that we occupy daily. Although the project may seem like a simple visualization of intangible forms, it nevertheless connects to our visceral side by creating unique sound output and striking visual stimuli that engage with persistence of vision and our connection to the spaces we occupy and their sonic and electromagnetic inhabitants.

More info: danielpalacios: relationships between art, science and technology applied to space and perception

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It is advisable to listen to this in the headphones.




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