sculpture-center:

FEATURED ARTIST: Kiron Robinson
Utilizing a range of material strategies including neon, video, photography and installation, Kiron Robinson (b 1975, lives and works in Melbourne, Australia) investigates the idea of doubt, faith and failure as constructive devices. Robinson’s work continually chases ways of articulating, that which by its own definition is beyond articulation. This leads to points of paradox within the work that results in materials unravelling as they construct. Robinson’s work searches for a state of simultaneity where a material is both what it is and what it is not. Materials are chosen and placed with great care.
Recent and upcoming projects include exhibitions at Museum of Contemporary Art (MoCA), Taipei, POSCO Museum of Art, Seoul, Sth Korea, Monash University Faculty Gallery, Melbourne and Kurumuya  Museum, Japan.

Kiron Robinson, Any Worries/Many Worries, 2010. Neon, 110 x 60cm. Courtesy the artist & Sarah Scout, Melbourne.

sculpture-center:

FEATURED ARTIST: Kiron Robinson

Utilizing a range of material strategies including neon, video, photography and installation, Kiron Robinson (b 1975, lives and works in Melbourne, Australia) investigates the idea of doubt, faith and failure as constructive devices. Robinson’s work continually chases ways of articulating, that which by its own definition is beyond articulation. This leads to points of paradox within the work that results in materials unravelling as they construct. Robinson’s work searches for a state of simultaneity where a material is both what it is and what it is not. Materials are chosen and placed with great care.

Recent and upcoming projects include exhibitions at Museum of Contemporary Art (MoCA), Taipei, POSCO Museum of Art, Seoul, Sth Korea, Monash University Faculty Gallery, Melbourne and Kurumuya  Museum, Japan.

Kiron Robinson, Any Worries/Many Worries, 2010. Neon, 110 x 60cm. Courtesy the artist & Sarah Scout, Melbourne.

hyperallergic:

51-year-old Artist Smashes Ai Weiwei Vase to Protest Museum’s Global FocusView Post

hyperallergic:

51-year-old Artist Smashes Ai Weiwei Vase to Protest Museum’s Global Focus

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sexartandpolitics:

Top left: Guillermo Gómez-Peña and Rachel Rogers, Pocha Nostra Royalty, as part of The Museum of Fetishized Identities, Tate Modern, London, 2003; public performance. Courtesy Live Art Development Agency

Top right: Pocha Nostra Family Reunion, San Francisco, 2003. Photo: Jarda

Bottom: Guillermo Gómez-Peña and Saul Garcia Lopez in the moments before the international premiere of the La Pocha Nostra Live Art Laboratory’s Corpo Insurrecto: The Robo-Proletariat at Steirischer Herbst Festival, Austria, 2012. Photo: Wolfgang Silveri

Guillermo Gómez-Peña: Linguistic Resistance | Art21 Magazine

hyperallergic:

Nick Van Zanten, “OSB 20” (2013) 
Oil, pencil and plastic wood on panel; 58x32”

hyperallergic:

Nick Van Zanten, “OSB 20” (2013) 

Oil, pencil and plastic wood on panel; 58x32”

arquitecturavisual:

Louis Kahn - National assembly building of Bangladesh. Dakha, Bangladesh. 1964-1982

"Even a space intended to be dark should have just enough light from some mysterious opening to tell us how dark it really is" Louis Kahn on light. Louis Kahn looking at His Tetrahedral Ceiling in the Yale University Art Gallery, 1953

(via uekou77)

filedrawings:

Willem de Kooning

filedrawings:

Willem de Kooning

(via jesuisperdu)

infernolemagazine:

ERNESTO NETO : “LE CORPS QUI ME PORTE”, RETROSPECTIVE AU GUGGENHEIM BILBAOErnesto Neto : le corps qui me porte / Guggenheim Bilbao (Spain) / 14 février 2014 – 18 mai 2014
L…View Post

infernolemagazine:

ERNESTO NETO : “LE CORPS QUI ME PORTE”, RETROSPECTIVE AU GUGGENHEIM BILBAO

Ernesto Neto : le corps qui me porte / Guggenheim Bilbao (Spain) / 14 février 2014 – 18 mai 2014

L…

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"L’art naît de contraintes, vit de luttes et meurt de liberté."

André Gide

anassembly:

Terry AdkinsAfter Bonnaterre 5, 2013
Gouache on botanical engraving.

anassembly:

Terry Adkins
After Bonnaterre 5, 2013

Gouache on botanical engraving.

darksilenceinsuburbia:

Nicolas Moulin.

Grussaus, 2013

(via lointaine-3)

accessibleexclusivity:

Liam Gillick

accessibleexclusivity:

Liam Gillick

napolinostalgia:

Thomas Struth, The Restorers of San Lorenzo Maggiore, Naples, 1988

napolinostalgia:

Thomas Struth, The Restorers of San Lorenzo Maggiore, Naples, 1988

(via conceptualfinearts)

ressemblance

a4rizm:

Jusqu’à la fin du XVIe siècle, la ressemblance a joué un rôle bâtisseur dans le savoir de la culture occidentale. C’est elle qui a conduit pour une grande part l’exégèse et l’interprétation des textes : c’est elle qui a organisé le jeu des symboles, permis la connaissance des choses visibles et…

urbain:

Yves Klein & Claude Parent, La Cité climatisée, 1958

"La culture a proprement déconsidéré la création d’art. Le public la regarde comme activité ridicule, passe-temps d’incapables, inutile et oiseux et, par là-dessus, coloré d’imposture. Celui qui s’y adonne est l’objet de mépris. Cela vient justement des formes qu’elle emprunte, conservées du passé et réservées à une seule caste ; elles sont étrangères à la vie courante. La création parle une langue rituelle, une langue d’église. Le regard que l’homme de la rue porte à l’artiste est à peu près le même qu’il porte au curé. L’un comme l’autre lui paraît officiant d’un cérémonial totalement dénué de portée pratique. Il n’y aura d’affection et d’intérêt du public pour les poètes et les artistes que lorsque ceux-ci parleront la langue vulgaire, au lieu de leur langue prétendue sacrée."

Jean Dubuffet, Asphyxiante culture, 1968 (via abridurif)

(via a4rizm)