Phillip K. Smith III
Ann Veronica Janssens
Cao Yuxi (James)
Pierre Huyghe L’Expédition Scintillante, Act 2 (2002)
In the installation L’expedition scintillante, Act 2 (2003), Pierre Huyghe creates a model of a concert stage where beams of light dance. A mist marks their passage and creates a sense of expectation in the viewer, evoked by an empty stage oriented toward a musical “elsewhere.”
Barbara Kasten Shadow = Light (2010)
In her latest exhibition, Kasten traces back to a familiar theme that has informed her practice since the 1970s: the interplay between light and form.
Tatsuo Miyajima Time Waterfall (2016)
The work was shown across the entire façade of Hong Kong’s iconic 490-meter-highInternational Commerce Centre on the Kowloon harbour-front.The numbers of different sizes all flow down over the surface of the building at the different speed, representing individuality of people and multi-temporality of time.
Monica Bonvicini Blind Protection (2009)
Blind Protection is a bundle of white neon tubes hung, turned on and blaring, from the ceiling. The light hurt my eyes.
Carlos Cruz-Diez Chromosaturation (1965)
The Chromosaturation is an artificial environment composed of three color chambers, one red, one green and one blue that immerse the visitor in a completely monochrome situation. This experience creates disturbances in the retina, accustomed to receive wide range of colors simultaneously. The Chromosaturation can act as a trigger, activating in the viewer the notion of color as a material or physical situation, going into space without the aid of any form or even without any support, regardless of cultural beliefs.
Leo Villareal Particle Field (2017)
Similar to the Cloud Drawings, the Particle Fields are two-dimensional and produced by software that creates moving abstract geometric shapes that never repeat. Villareal’s use of this new media allows him to work in a higher resolution, giving the works a sense of depth, detail and motion. While the monitors act as a window, using projectors allows the artist to create a fully immersive experience. The site-specific installation projects dynamic patterns of light in a space that viewers can physically enter and explore.
Su-Mei Tse Swing (2007)
If you’re like me you can’t wait to jump on for a ride, however it would all be over before it started as the entire piece is essentially a rigid light made of white neon tubes and controlled by a motor embedded in the ceiling.
Phillip K. Smith III Torus 7 (2014)
Acrylic, LED Lighting, Programmed Arduino, Electrical Components
36″ x 36″ x 7″
Bruce Nauman Green Light Corridor (1970)
Nauman enforces the contrast between the perceptual and physical experience of space in his sculptures and installations. Looking at the brilliant color emanating from Green Light Corridor (1970) prompts quite a different phenomenological experience than does maneuvering through its narrow confines.
Anthony McCall Various works (1973, 1974)
Anthony McCall is known for his ‘solid-light’ installations, a series that he began in 1973 with his seminal Line Describing a Cone, in which a volumetric form composed of projected light slowly evolves in three-dimensional space. Occupying a space between sculpture, cinema and drawing, his work’s historical importance has been internationally recognized.
Conical Solid (1974)
Line Describing a Cone (1973)
Conrad Shawcross Slow Arc Inside A Cube IV (2009)
Slow arc inside a cube is inspired by a description by the scientist Dorothy Hodgkin, responsible for working out the structure of pig insulin, a complex protein chain. Hodgkin did this by pioneering a technique called crystal Radiography, and compared the longwinded process of extrapolating the dense protein cloud from reams of chromatographic grids to trying to work out the structure of a tree from purely looking at its shadow. It is similar, of course, to Plato’s cave. The piece is the first in a series of works where a small but brilliant halogen light, on the end of an articulated arm, travels diagonally from one corner of a cube of mesh to its opposite side, the path it draws being not quite straight but slightly bowed. The piece is about the relationship between the moving point source of light, the cage, which is the only constant, and the changing shadow of this constant projected on to the walls of the space. It is the shadow of a cube, but it is not a silhouette but a shadow from within itself, maybe an inverse shadow is an effective way to describe it.
Paul Chan 1st ^Light^ (2005)
1st Light is the first of a seven-part cycle of animations in which Chan addresses the themes of religion, politics, and art. A shape-shifting parable of politics and religion in a post-9/11 world, Chan’s animation is both morally and aesthetically resonant. Drawn on a computer and projected on the gallery floor, the simple but dramatic silhouettes in the work describe an apocalyptic vision of the world. Shadowy bodies fall, earthly objects rise to the heavens.
Jennifer Steinkamp Madame Curie (2011)
The work was inspired by Steinkamp’s research into atomic energy, atomic explosions, and the effects of these forces on nature. Marie Curie was the recipient of two Nobel Prizes for creating the theory of radioactivity, and discovering radium and polonium. She was also an avid gardener and lover of flowers. An enveloping, panoramic work, this piece activates a field of realistically rendered moving flowers and flowering trees, drawn from a list of over 40 plants mentioned in Marie Curie’s biography, written by her daughter, Eve Curie.
Ivan Navarro Heaven or Las Vegas (2011)
In “Heaven or Las Vegas,” Navarro has created a series of neon light wall sculptures based on the floor plans of 12 of the world’s best known skyscrapers, including the Jumeirah Emirates Towers in Dubai, Lotte World Tower in Busan, and the Twin Towers in New York. These buildings were chosen not only for their ambitious innovations in design and engineering but also for the historical paradigm of the global spread of Western architecture. Through a positioned play of mirrors and light, viewers have the experience of looking up into the interior elevation of each building. Many of the actual buildings are more than 1,000 feet high.
Louisa Fairclough Absolute Pitch (2014)
On each filmstrip is a single sustained note sung by a chorister who was given the instructions: “Close your eyes and sustain this (given note) for as long as you can. As you sing, picture a colour. Remember that colour”. Printed onto each filmstrip in parallel with the voice is a single block of colour. The five film loops cast the lines of the monoprint into physical space, the lengths of film slicing through the semi-dark. With the lenses pulled out of focus, the projectors throw large diffuse spots of colour and filmstrip shadow onto the walls and ceiling, the voices coinciding as the pentatonic harmony shifts through differing degrees of consonance.
Jim Campbell Exploded View (Commuters) (2016)
Jim Campbell realizes video imagery of walking commuters in an “exploded” grid of LEDs, where hanging, separated points of light offer a very low resolution 3-dimensional “screen”. As the viewer moves away from facing the grid head on, the imagery is lost in digital information.
Jenny Holzer Various works (2006 – 2010)
Ann Veronica Janssens Rose (2007)
Seven beams of light and artificial haze (360 x 250 cm)
James Nizam Visible Light (2013)
James Nizam, a Canadian artist, is creating geometric shapes using light and mirrors. Manipulating his surroundings, he takes advantage of the contrast between light and dark in order to create his sculptures. The installations utilize several lighting elements and mirrors in order to create a physical presence to the immateriality of light.
Philippe Parreno Marquees (2006 – 2015)
Parreno’s iconic Marquees were made between 2006 and 2015. The Marquees and pianos are sequenced to musical compositions by Agoria, Thomas Bartlett, Nicolas Becker, Ranjana Leyendecker, Robert AA Lowe and Mirways.
Shun Ito Orbit 2 (2015)
Après de longues années au sein de la compagnie de danse contemporaine Karas dirigée par Saburo Teshigawara, Shun Ito décide en 2001 de se consacrer à la sculpture cinétique. Les effets de la gravité, auxquels il a été particulièrement sensibilisé durant sa carrière de danseur, sont le thème principal de ses créations. La lumière est également un élément essentiel de son travail. La combinaison de lumières et de mouvements crée des rythmes complexes et une grande variété de formes et de couleurs, donnant à ses œuvres un effet cinématographique.
Joana Vasconcelos Giardino dell’Eden (2015)
Plastic flowers, synchronous micromotors, LED light bulbs, transparent polychrome acrylic discs, electric system, spandex, PVC, MDF
Mona Hatoum Current Disturbance (2010)
Current Disturbance is a room-filling environment made from stacked wire cages, light bulbs and the amplified sound of electric currents. As the bulbs light up and fade out at irregular intervals, they sporadically illuminate the surrounding room and the unruly mass of wiring covering the floor.
Diana Thater Chernobyl (2010)
Six video projectors and six players
Angela Bulloch Various works (2001, 2312)
For years Bulloch, with the help of Holger Friese and others, has been developing a series of works known as the ‘Pixel Cubes’. Each of the small, glass fronted plastic or wood boxes contains three fluorescent tubes. Using custom-made software, the fluorescents inside the cubes can be modulated to an almost infinite variety: 16 million colours, the same number as a standard computer screen. The individual cubes form the elements of a modular system which the artist then stacks up in different combinations, in cubes, towers, columns, or even as a cinema screen. Z-Point consists of 48 stacked light cubes that create a looped abstraction of the famous scene from Antonioni’s Zabriskie Point (1970) in which the heroine watches (or possibly imagines watching) the explosion of a Modernist house in the desert.
Angela Bullock Z Point (2001)
Angela Bulloch Disco 9 (2012)
RaumZeitPiraten CinemaBackyard (2015)
An audiovisual, urban intervention with the CycloCopters of the artists collective RaumZeitPiraten. The CycloCopters are custom-built, light and sound emitting vehicles for urban interventions. Different models of old freight bicycles were modified and customized towards mobile, opto-acoustic systems that can be used to board and transform public spaces. With this rideable instrumentarium we try to open the cities for audiovisual live-experiments and performances in search of widened associative spheres, expanding our and the participants understanding of the public space and its potential.
James Clar Dynomite (2006)
Dynomite is a series of audio interactive, tri-colour bars that pulse and change colour in rhythm with the music. Each bar has its own set of controls allowing the users to individually tune the colour, animation, and sensitivity, creating a multitude of combinations and effects.
Cao Yuxi (James) ORIENS (2017)
ORIENS is an Audiovisual installation finished in 2017 by Cao Yuxi(James) within a 30M*14M*14M space at Today Art Musum in Beijing. This installation utilize the three dimensions of this immersive mapping projection space, sinks the audience into external dimensional atom blackhole that beyond the human’s perception.
p.s. Hey. ** JM, Hi. My pleasure. She’s definitely best known for the two Paul Morrissey films, yeah. Of course, yeah, that makes total sense about the varying difficulty (or not) of getting rights. I’ve never worked on any project that was an adaptation, and it’s no doubt very different, but getting rights to pre-existing songs and music for films is tricky, or can be, at least when your film has very limited coffers. For ‘PGL’ two of the artists donated their tracks for free because they luckily knew and liked my work. In Zac’s and my next film, we want to use an early and fairly obscure track by Fleetwood Mac from their pre-mega fame psychedelic blues days. In theory, it seems like we could get it affordably but given FM’s subsequent massiveness, it could be that it wouldn’t be just licensing a barely known track but rather a piece of the inherently expensive Fleetwood Mac juggernaut. Thank you about my poems. A lot of them seem really young to me. I think if my memory is working that ‘Yuck’ is in my post-Selected Poems book of a few years ago, ‘The Weaklings (XL)’. ‘Paddington 2’, wow, okay. I never would have thought to try that. Interesting. Other than those two projects you mentioned, the main thing I’m working on and excited about is the script for Zac’s and my next film. There’s an opera project too, and I’ve done a bunch of work on it, but it’s on hold, work-wise, at the moment because it’s not happening until 2020 and there’s too much else to do. Thanks a lot, man. Have an excellent weekend. ** Thomas Moronic, Hi, H! Lovely to see you! One day belated very happy new book birth day! I haven’t finagled a copy out of Michael yet. Yes, of course, I would love to do a launch post for the book. Send me some post stuff, and I’ll get it up on the blog asap. Great idea, and thank you for offering. I’m good, busy working, and all seems well. And with you? ** David Ehrenstein, Hi. Yes, the pronouns in the writing about Holly are all over the place. I don’t know Joe, but he sure does seem like the greatest guy. ** Steve Erickson, Hi. P. Morrissey is one complicated fella, that is for damn sure. I don’t know Tengger Cavalry, no. They sound quite oddly intriguing. I’ll look for the Joe’s Pub snips. Congratulations on the dawn of your Mehrdad Oskouei series. Obviously I wish I could be there to partake. Let me alert the lucky ones. Everyone, If you’re in the realm of NYC, Steve Erickson has curated a film series at Anthology Film Archives around the great and under-known and very difficult to see work of Iranian filmmaker Mehrdad Oskouei. It has just begun and runs for the next while. I very, very strongly encourage to get yourself to AFA if at all possible. Here is the information you might need to do that. And before we leave the topic of Mr. Erickson, here’s, in his words, ‘my interview with EL MAR LA MAR directors Joshua Bonnetta and J. P. Sniadecki: Their film begins a week-long run at MOMA today.’ I know Ark, but I haven’t heard the whole new album. I will. Sorry to hear about the film series snags. Hope they get sorted. It sounds like you had a nice start, though, and great that people are being so interested and letting you know. ** Dóra Grőber, Hi! I know, I know, Steven Stayner’s story is a terrible and awfully tragic one. I feel like there was a film made about it, maybe for TV, maybe a really shitty one, I cannot remember? IKEA is so exhausting. When I have to go there I just try to think about what a cool, giant haunted house attraction you could build in it. What was the theater thing? I hope it was good or better than. My day was pretty much totally uneventful. I worked with fair success. I’m close to finishing the gif book. I suddenly had this strange whim to go see the new ‘Maze Runner’ film, but I didn’t actually go through with the plan. Really not much of anything noteworthy at all. I’m going to look for stuff to do this weekend by hook or crook. How was your weekend from A to Z? ** Ferdinand, Hi, man. Cool, I’m going to head over to your booktube momentarily. I want to see all of the episodes. Call me a completist. Great, back to your real work then. Did the booktube project refresh you? Everyone, Ferdinand’s booktube’s concentration on Downtown Writing concludes with one final themed volley. You can go straight to it here, and then backtrack through the episodes you missed if you want. ** KEatOn, Thanks, bud. Warhol’s books are underrated. I love his novel ‘A’. I need Mexican so bad. Some new Mexican place just opened here. Gonna hit it. Gonna hit it with hope in my heart. There are werewolves in Zac’s and my new movie. Not real ones. Guys dressed up unconvincingly as ones. Two teens and a guy in his 20s. So far. ** _Black_Acrylic, Hi. Yeah, the repost will happen. I just have see if it’s in the archive I’ve already uploaded to this space or in the portion that’s still on a hard drive, in which case it’ll take a little longer. Oh, good, about the Vision building still functioning as before. Oh, man, as some who’s tried to distribute things myself with Little Caesar and other things, I don’t think you want to tax your time taking care of that stuff. ** Misanthrope, Hi. Your youthful badness seems to have aged like a fine wine into devilishness. I have a theory that every truly inspired idea is, as you said, either the worst or best idea ever. So chase it, I say. ** Jeff J, Hi, Jeff. That Dalkey Spackman book is o.o.p.? That’s ridiculous. Wtf?! Did JD say why they dislike his work? How weird. That sucks. Glad your insides are back to being groovy at least. The rest will follow but what a marathon. Paris is having a cold spell, a real wintery time. Double scarf weather. It’s nice when you’re prepared. It’s supposed to be inordinately cold here until the end of next week. Yes, the new Superchunk, I agree. I love it, and, yeah, I think it is their best since ‘Foolish’. I love them, and what I love about them is actually there pretty fully for the first time in ages. Albums-wise … I’m mostly listening to scattered new tracks. Oh, I fell back in love with Destroyer’s ‘ken’ and have been listening to that incessantly. And the first two Pinback albums are in one of their occasional dominating phases for me. I don’t think there’s a whole brand new album other than the Superchunk that I’m spinning in full right now. ** Bernard, B. Sweet: you dancing with Holly. I met her once in LA some years ago when a friend of mine was working as her right hand assistant. It was at some post movie premiere party, I cannot remember the movie. Keanu Reeves was there, and she was out of her mind with lust and motormouthing non-stop about that lust. She was spectacular. How are you writing about John Cage? I’m intrigued. ** Right. I made one of my thematic post things revolving, this time, around lights. I hope it, uh, illuminates your weekends. See you on Monday.