Phillip K. Smith III
Monir Shahroudy Farmanfarmaian
Urs Fischerr Various works (2013)
Jeppe Hein Mirror Wall (2009)
A huge mirror is mounted onto a wall. When visitors enter the space the mirror starts moving subtly and wavelike. Visitors facing the mirror will be irritated by the vibrating reflection of themselves and their surrounding. This sensation causes not only a vague feeling of dizziness but also a latent distrust of one’s own eyes and spatial perception. As the mirror displays a different picture of the location, viewers question their position in the room.
Tatiana Trouvé From here I disappear (2009)
From here I disappear is a tantalising series of plexiglass doors and mirrors that form a threshold we can only cross mentally, yet that opens a vista of multiple possibilities.
Arran Gregory Wolf (2012)
John Miller Lost (2016)
The labyrinthine installation, aptly titled Lost, has been constructed in the Atrium Gallery at ICA Miami as part of a solo exhibition of Miller’s work. Covering approximately 74 square metres, the site-specific maze is built from acrylic mirrors mounted on wood frames. “With the mirrored labyrinth, Miller creates an environment that disorients by creating reflections of the self,” said Alex Gartenfeld, the museum’s deputy director and chief curator. Both the external walls and internal partitions are covered in mirrors, arranged to encompass the room’s structural columns and create a winding route.
Phillip K. Smith III Lucid Stead (2013)
At first glance, the Lucid Stead installation looks like an ordinary wooden cabin, but as you come closer it starts to transform into a unique viewing device that reveals and augments the changing colors and subtle movements of the California desert. Artist Phillip K. Smith, III took a 70-year-old homesteader shack, equipped it with LED lights, mirrors and Arduino programming and created an interactive structure that reflects sunlight during the day and turns into floating rectangular fields of color at night.
Jonas Lund Mirror Mirror (2016)
Mirror Mirror is a ‘smart’ mirror showing an ever changing collection of adjectives inspired by different attributes within the technological scene combined with traditional superlatives within contemporary art. As the viewer approaches the piece, the changing adjectives confronts the onlooker to take a position if the currently active description is in relation to their perceived self-image. Once an appropriate adjective has been found, it’s simple to snap a selfie to further strengthen that position.
Devorah Sperber Transporter: Kirk and Spock Beaming-In (2008)
2 beaded figures hanging in front of mirror panels installed in a corner to create the illusion of 6 figures beaming in, 100,000+ loose beads on mixed medium platform.
Simon Starling Venus Mirrors (2012)
Venus mirrors (05/06/2012, Hawaii & Tahiti inverted), 2012, invoke the perceptual, distorting and inverting effects of cameras obscura, speculum mirrors found in telescopes, magnifying glasses and photographic lenses. The mirrors present the 2012 transit as it was observed in June 2012 from Tahiti and Hawaii – sites visited by the artist and significant in eighteenth- and nineteenth-century observations.
Daniel Buren Prisms, Colors and Mirrors: High-Relief (2017)
Buren created the notion of in situ work in the field of fine arts, to characterize a practice intrinsically tied to the topological and cultural specificity of the places where the work is presented. His more recent offerings are ever-increasingly complex architectural instruments that constantly dialogue with the existing architecture and involve an alteration of space, a playful multiplication of materials (wood, vinyl, mirrors, plastic materials, grids), and an explosion of color.
Carsten Höller Sliding Doors (2003)
Sliding Doors consists of five electronic sliding doors with mirrored surfaces on both sides, through which a viewer can walk in an apparently endless passage. The doors are installed at evenly-spaced intervals in a corridor-like space and are connected to motion sensors that cause them to slide open when someone approaches and close shut when the person moves away. As a result, the movements of viewers alternately break and bind the visual limits of the space, which can be entered from either end of the corridor, increasing the likelihood of unexpected encounters as the doors open and close.
Felix Gonzalez-Torres Untitled (Orpheus, Twice) (1991)
Alfredo Pirri Contemporary Steps (2011)
An official runs along a broken mirror art installation by Italian artist Alfredo Pirri as visitors tour contemporary art displayed at the war bunker, near the town of Konjic, just south of Sarajevo, Bosnia. The once secret bunker, built to shelter Yugoslavia’s Marshal Josip Broz Tito and the communist leadership from a nuclear war, is some 280 metres underground.
Michelangelo Pistoletto Mirror Paintings (1962 – 1982)
Jim Hodges Folding (into a Greater World) (1998)
Folding (into a greater world) is a 6-by-8 foot surface covered in small, square chips of mirror that cast mottled light onto the gallery walls. Imperfectly aligned rows and columns keep these works in motion; a rigorous grid would make them too stiff and static. Such unpredictability stifles the handy shortcuts we normally use to make quick cognitive decisions—judgements made to register stimuli without getting bogged down in the process of really looking. In Hodges’ work, small tiles, chips and light bulbs fail to coalesce into holistic images so we are forced to study each individual component.
Sylvie Fleury Razor Blades (2000)
Mike Kelley Silver Ball (1994)
Aluminum foil, polyurethane foam, wood, chicken wire, speakers, four boom boxes, space blanket, three baskets, artificial fruit, and audio
Monir Shahroudy Farmanfarmaian Mirror Balls (2003 – 2016)
A master metalworker once told Monir Shahroudy Farmanfarmaian that “everything is in geometry.” The Iranian artist, now 90 years old, took those words to heart, using geometric forms to connect the mathematical patterns of Iranian tradition with the minimalist shapes of Western abstraction. “My work is largely based on geometry,” Monir explained to ArtForum, “which, as you know, always begins with a single point and can move from there into a circle. Or a point can become three leading to a triangle, or four to a square, five to a pentagon, hexagon, octagon, and so on — it’s endless.”
Daniel Rozin Penguins Mirror (2015)
450 stuffed animals, motors, control electronics, xbox kinect motion sensor, mac-mini computer, custom software, tin bases, mirror
Oscar Muñoz Aliento (Breath) (1996–2002)
The work is made up of highly polished metal disks, the surface of which has been printed using a grease photosilkscreen process. Viewers have to breathe on the surface of the disks to reveal pictures of victims of political violence. Using photographs taken out of their original context, the work acts as a visual and political metaphor exploring the theme of disappearance.
Sam Durant Partially Buried 1960s/70s Dystopia Revealed (Mick Jagger at Altamont) & Utopia Reflected (Wavy Gravy at Woodstock) (1998)
Two rectangular mirrors lie on the floor with mounds of dirt, large enough to conceal a body but in actuality covering speakers playing two different soundtracks simultaneously. Both are edited to stop and start in a stuttering manner: one of Wavy Gravy welcoming the audience to Woodstock, the other of Mick Jagger pleading with the Altamont crowd with phrases like, “Why are we fighting?” Recalling Smithson’s “non-sites” comprised of piles of earth taken from an exterior site and placed within geometric containers or right-angled mirror constructions in the gallery space along with other documentation of the site, Durant alters perceptions of these minimalist constructions. Through the use of scale and sound he transforms the raw materials into a statement about the disillusionment felt at the end of the 1960s.”
Jakob Simonson Cameras (2012 – 2013)
Dibond mirror, wood, 45x95x63 cm
p.s. Hey. ‘Permanent Green Light’ now has an official Facebook page if you want to keep up with what’s going on re: the film. The link is in the blog’s righthand column. ** David Ehrenstein, Hi. Yeah, she’s pretty little like Genet as a writer/stylist. Wonderful thoughts, thank you so much. ** Dóra Grőber, Hi! Yeah, what with the blog and everything, the thought of shitty, unreliable internet makes me shudder. There must be better service available than what you have, no? The good thing is that I have this brain that, I don’t know, compartmentalises things, I guess, so it is possible to do a bunch of things at the same time, although in terms of the actual writing, it’s hard for me to switch around because I need to immerse myself in something to write it. But I can write the mystery project, think/plan about the film, and make blog posts all at once, although the post-making is suffering a bit at this crazy busy time. I agree that going for the translating job is a good idea. I don’t know that you need to have a deep grasp of the esoteric yourself to translate the text of someone who does, but you might have to google things occasionally? That sounds like a cool and exciting thing to do. My day was lots of work. I snuck out to see a little art with Zac, nothing so great, but fun to do. We finally got the green light to send out the invitations to the cast and crew screening pf ‘PGL’ on February 3rd, so we did that happily. We’re so excited for the cast to finally get to see themselves in the film after having been forced to make them wait so ridiculously long. But, yeah, otherwise it was me at the computer typing and staring meaningfully into space when I wasn’t. How was your Friday? ** Steve Erickson, Hi, Steve. So have you pretty much lost all interest in that particular script? As you probably know, ‘Candy Apple Gray’ happened in the waning days of the time when some major labels used to think it was worth putting out records by quality aka critically revered bands, and that the big bands’ sales would make up for breaking even or taking a loss re: records that mostly gathered acclaim only. The grunge era when Sonic Youth and Melvins and Jawbreaker and others had mostly very brief stints at major labels seems to have been that period’s death knell. Sounds good about your gig days-like posts. I’ll be an attendee. Ha ha, no, I think our rosters will separate nicely, albeit with the occasional crossover perhaps. Wouldn’t shock me. ** Armando, Hi. Cool, awesome, thank you. I’m super busy working on a new film script with Zac, and another script, and doing the stuff needed now that ‘PGL’ is being born. I will of course announce the future ‘PGL’ showings. I think it’ll be festival only showings for a while. Novels are hard and time-consuming for sure, even for me and I write constantly. I’m glad to hear you’re still working on yours. ‘Three Billboards’ is playing here, and I kind of want to see it, but not passionately. Have a fine day. ** Jamie, Ay-up, Jamie! (I’m not sure I used that correctly) I hear you about books. I have a leaning book tower of Pisa just to my left. Yeah, really sad about Mark E Smith. So singular. The Fall are one of those bands, — and, actually, I can’t think of very many if any others — who, when I hear one of their tracks, I end up spending a week listening to almost nothing but them because, once you’re in their space, nothing else satisfies. God, that’s intense about that late gig. I hadn’t seen The Fall live in years. I saw them extremely early, in ’78, then in the mid-80s during the Brix period, and then one last time in the 90s. Jesus, me too about the contracts. The bullshit around something that should have been as simple as pie is driving me a bit mad. Plus, there’s actually decent money payment involved, and, you know, I really need some. No, no title for the new film yet. A total blank thus far on that front. I’ve only seen those two excerpts in the post from the ‘T&A’ film. It looks interesting, although not as interesting, based on those clues, as the novel by any means. May your today be like a party where Steven Spielberg shows up, walks straight over to you and says, ‘I will pay you 1,000,000 pounds not to star in my new movie.’ Pizzacato Five love, Dennis. ** _Black_Acrylic, Hi. Not that simple, man. One of life’s more luxurious bonus rounds. Enjoy the shit out of it, and it sounds like you’re maxing it out wonderfully. Yeah, based on a glance, totally, about getting Creative Dundee involved in the YnY reboot. And your ribs are gentle-izing! That’s not a real word?! ** Bernard, Hi. Oh, fantastic, great that you responded to Tom’s idea with thumbs up. Tomk, just in case you missed it, see Bernard’s comment from yesterday. Thank you, B! ** Misanthrope, There’s something strangely very pleasurable about imagining one’s tooth being gradually and carefully but violently twisted and yanked out of one’s thoroughly anesthetized mouth. How that would feel yet not feel, I guess I mean. Strange. And congrats! ** Right. Today I made one of those posts that I seem to be interested in making once in a while, this time about mirrors. Hope it provides enjoyment, etc. See you tomorrow.