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Yan Pei-Ming Landscape of Childhood (2009)
One huge landscape directly painted on the wall of UCCA’s Big Hall frames a series of painted flags representing portraits of 34 Chinese new born children. Imagined as an abounding walk trough faces and urban views, the exhibition powerfully conveys Yan Pei-Ming’s intentions and gives the audience an opportunity to discover a vision of our world in a landscape of crisis and beyond.
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Spencer Finch 2 hours, 2 minutes, 2 seconds (Wind at Walden Pond) (2007)
I recorded the wind at Walden Pond using an anemometer and here re-created that wind, both its speed and direction, using a programmable dimmer. The maximum wind speed was 8 mph and the prevailing wind was from the south and southwest.
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Céline Condorelli Structure for Communicating with Wind (2012)
A space blanket curtain provides presence to what passes unseen and unheard: the abstracted form carrying Wind’s news to Tiger, silently. The golden curtain’s ultra-light material produces an amplified shape and noise from the slightest sigh, and separates inside from out, near from far, dark from light and hot from cold.
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Daniel Buren Le vent souffle où il veut (2009)
Daniel Buren wanted to make a work that would create the illusion of a forest. Instead of putting up trees, Buren created with Le vent souffle où il veut (The wind blows wherever it pleases) a design of a hundred flagpoles, with weathercocks in different colours. Each weathercock begins and ends in a bright colour and the coloured bands are, as always in the works of art by Buren, alternated with white.
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Joan Jonas Wind (1968)
‘Wind is a Super 8 document which shows a group of people dressed against the cold individually or col-lectively performing different movements on a snow-covered and wind-battered beach. The static shots appear as a series of mini-performances: crossing the field of vision sideways with mirrors attached to one’s clothes; walking with one’s back pressed against one’s partner’s; forming and undoing human clusters, etc. These ges-tures, between ceremony and choreography, are made uncomfortable by the struggle against the natural ele-ments and jerky by the jolts of the camera. The protagonists appear in a mechanical relation to one another, like puppets in the open air, or perhaps like penguins on ice. The surreal, burlesque impression is reinforced by the use of masks which reify faceless bodies in synch with the weather. Experimental slapstick. The more or less or-dered movements seem at times to obey an organic model: connection and dispersion of units, assembly and disassembly of elements, or individuals subject to inner and outer forces and necessities within a living system.’ — navigart
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Tao G. Vrhovec Sambolec Body Speeds (2012)
In its first version, the project involves measuring velocities of several trams in Amsterdam, streaming the data to the exhibition space in real time. There the velocities of trams are transformed into airflows recreated by several powerful fans, each blowing the air at the speed of a moving tram. The situation created is an impossible intersection of different speeds flowing through the centre of the exhibition space.
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Céleste Boursier-Mougenot harmonichaos (2000)
Installation, 13 vacuum cleaners, each outfitted with one tuner, one harmonica and one lightbulb.
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Tori Wrånes Spin Echo (2019)
‘Wrånes’s large-scale piece about sound on wheels, Spin Echo, was a concert in Disney Concert Hall parking structure in Los Angeles. A choir on bikes and bodybuilders pulled and spun around musicians on carts, creating spiral sound-drones.’ — ISCP
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Stephen Vitiello Gain and Lift (2014)
Vitiello’s suspended speaker works process low frequencies of sound to create three-dimensional scores. The freed speakers are suspended by wires, which hold them gently in the air allowing them to move. The installation utilizes four channels, sixteen 6.25″ speakers and the flutter of hummingbirds recorded at Mountain Lake Biological Station, Pembroke in the Appalachian mountains. The playback features only the lowest frequencies, causing movement to the surfaces of the speakers while remaining below the threshold of human hearing.
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Yan Bing Wind – Aridity (2010)
Electric Fan, Mud, 52 4/5 × 16 1/2 in
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Carsten Nicolai Pionier I (2011)
Pionier I consists of a large white silk parachute, a wind machine, sound proof panels, and a timer. In regular intervals, the wind machine inflates the parachute.
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Isa Genzken Wind II (Michael Jackson) (2009)
I was already attracted to the title Wind, and then, when I saw how you implemented this idea of putting wind into a sculpture—or this is at least how I read it—the combination of objects and their implications made sense to me. And then of course in relation to this, the suggestion of how to read the Michael Jackson figure. That all seemed quite clear. It’s always difficult to link a series of positions without being too forceful, and this balance is one I appreciate.
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Zilvinas Kempinas Double O (2008)
Somehow, the air currents created by two industrial-strength fans turn the two loops of videotape in Double O into a living, dancing sculpture, performing tirelessly for hours.
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Ross Manning Domestic Ascension (2011)
Ross Manning presses the humble electric fan into service of psychedelic kinetic sculpture. In this work the upper halves of two pedestal fans are trussed together on an axis suspended from the ceiling. To one blade of each fan is attached a long strand of rope, which, when activated by the fans’ spinning, creates a pair of parallel spirals.
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Hans Haacke Wide White Flow (1967-2017)
Wide White Flow consists of a large piece of white fabric, secured at the corners and blown from underneath by fans at one end. It occupied pretty much the whole of the space it was shown in. The fabric moves beautifully and I was held there for quite a while watching it billow and flow, almost like water.
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Alice Aycock Sand/Fans (1971)
I wanted a lot of people to see it, but the piece is really best when there are just one or two people watching it happen. Everybody was standing around it, waiting for some huge dust storm. But it’s far more Zen, it happens over time: Little piles of sand make ripples and waves and little dunes. It takes hours. It’s not a crowd-pleaser, not like a football game.
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William Pope.L Trinket (2016)
“Trinket” by artist William Pope.L is a custom-made 16-by-54-foot American flag blown continuously during museum hours by four industrial-grade fans typically used on film sets to simulate rainstorms. Over time, the forced air will cause the flag to tear and fray. “The American flag is not a toy. It’s not tame. It’s bright, loud, bristling and alive.” — William Pope.L
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Wes Heiss Dustbowl (2011)
33RPM record, acrylic, glass, electronics, sugar. Recordings of the wind in Roswell opposite a silent dust storm trapped within a glass dome.
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Alistair McClymont The Limitations of Logic and the Absence of Absolute Certainty (2009)
The work is comprised of a mister, two fans, and lights and creates an ever-changing, realistic inside tornado.
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Geoff Mullen Wind Chimes (2013)
I recorded myself taking a walk with some bamboo wind chimes, early in the morning–in the summer–during the 17-year “magic” cicada brood. Then I played this recording, along with simple tape manipulations, back into a new space– using portable amplifiers, transducers, objects, MP3 players, cassette players, a phone, etc. I let myself get distracted, following the sounds of nearby streams or giant HVAC generators. I took these recordings and repeated the process again and again. The audio can be streamed or purchased here. You can play the mp3 from your phone — or wherever you have handy — and walk around while the record is playing. Or you can set up impromptu audio stations, costuming a spatialized version of this piece for your listening pleasure.
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Tokujin Yoshioka Snow (2010)
The Snow is a 15-meter-wide dynamic installation. Seeing the hundreds kilograms of light feather blown all over and falling down slowly, the memory of the snowscape would lie within people’s heart would be bubbled up.
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Patrick Gallagher and Chris Klapper Symphony in D Minor (2012)
Symphony in D Minor is a set of interactive hanging sculptures by Patrick Gallagher and Chris Klapper. Using video and sound, the hanging cylinders respond to air pressure caused by movement, intensifying effects of heavy rain, lightning, and thunder as the audience leaps and flails beneath.
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Wia Stegeman Handkerchiefs drying in the Wind (2012)
The installation has the size of one of the caissons that closed the last hole in the dykes after the Netherlands flood disaster in 1953. The 1200 handkerchiefs are the size of a farmer handkerchief and are all sewn by women from Zeeland who survived the flood. The handkerchiefs refer to the immense grief that the flood has caused. The tears in the handkerchiefs dry here in the wind.
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Claudio Capelli Cherub (2006)
Designed by Claudio Capelli. Claudio’s attention to detail results in a fascinating and precise design. The kite flys at a high angle without a Pilot. It has many interesting ‘details’ including an internal air chamber where building pressure sometimes causes the cherub to burp and fart realistically and at such volume that they can be heard far below on the ground.
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Heinz Mack Telemack (1969)
In 1959 Mack drafted the so called “Sahara-Project”, which he started realizing in the African desert from 1962/63 on. Several times, he installed an “artificial garden” in the desert, consisting of sand- and wing-reliefs, cubes, mirrors, sails, banners and monumental light-stelae. This experimental practice with the force of light is shown in the highly respected and awarded film “Tele-Mack”, which was made in 1969.
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Kris Martin KM_TYFFSH (2009)
Belgian artist Kris Martin has installed a hot air balloon in the gallery, entirely dissolving the architecture. As if ready for launching, the balloon and basket are lying on the floor. In the main space ventilators blow up the balloon until the subtly flittering fabric touches the walls. A surreal effect takes place as the visitors walk into the room through the balloon’s opening, as if entering a whale’s stomach.
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Roman Signer Zwei Ventilatoren (1998)
In this piece Signer shows, at first, a single metal fan which is unplugged but still running. Then another fan appears next to it facing the first, both running. We see rhythm in the movement of the fan blades beneath the metal cages in addition to the repetition of the fans. The piece is also balanced by the two fans being equally spaced within the small room with white walls. You could also argue that the piece shows economy by the minimalist set.
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James Lomax Untitled [Me and My Friend] (2011)
Latex and computer- controlled pumps. Two latex casts of the artist’s body. The perpetually distorted figures inflate and deflate at random intervals, giving them an unpredictable life and death cycle. Created as a tribute to a friend who passed away in tragic circumstances.
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Arcangelo Sassolino Piccolo animiamo (2011)
Piccolo animiamo is presented as a large rectangular box composed of stainless steel plates welded together, a monolith that is only apparently static. The initial state of quietness of the forms is called into question by a cyclic movement of blowing intake and sucking subtraction of pressurized air, which creates an evident alteration of the volume of the metal structure, until reaching the maximum tension, which manifests itself with a strong sound impact, a sort of artificially induced thunder.
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Fabian Bürgy Smoke (2013)
Funnels of black smoke coming out of a hole.
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Dorette Sturm Breathing Cloud (2012)
“The Breathing Cloud” is a monumental floating organism. The work transforms a space by its motion, light, and rhythmic breathing. The technology is designed so that the strong LED modules and the mechanism support the pervasive breathing. It gets physically bigger and smaller and embraces with its bright light space.
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Claire Ashley peepdyedcrevicehotpinkridge (2013)
Ashley spray-paints the sewn plastic material both when deflated and inflated. By spraying across the forms and folds, she creates synthetic folds and wrinkles, as well as spray-painted zigzags, color gradations, and geometric shapes that create visual complexity and allow painted compositions to exist. When one focuses on the paint, the form flattens into an odd-shaped painted surface or silhouette, which then transforms with each step around the object. When one focuses on the forms, the paint becomes part of their skin, which includes patches, sewn seams, and attached electric fans that keep these things alive.
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Michael Snow Solar Breath (2002)
Solar Breath consists of a sixty-two minute shot of the window of Snow’s cabin in Northern Canada. As the curtain gently flaps with the breeze and we periodically glimpse the view outside, nature and chance choose the precise nature of the composition at any given moment.
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Maskull Lasserre Long Range Clarinet (2019)
Clarinet, scope, bipod, laser sight, sling, case, potential sound/action
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John Gerrard Surrender (Flag) (2023)
a continuous simulation made using real-time computer graphics software
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p.s. Hey. ** Dominik, Hi!!! LA actually can get kind of ghosty in places because almost everyone drives cars everywhere so if you pretend the cars aren’t there, the sidewalks can be strangely empty. Paris during Covid was so extremely eerie and beautiful. It got so empty that you could hear the footsteps of a person walking a block away from you. Right. Uday, If you see this, Dominick recommends two hustler novels: “Rent Boy” by Gary Indiana and “Shuck” by Daniel Allen Cox. Thanks for that! Love as Shakespeare is oddly easy to picture. Huh. And us being his dumb little queers isn’t much of a stretch either, haha. Love making everyone in Vienna cosplay as wind chimes, G. ** adrian, Bonjour, adrian! I’m relatively alright. Welcome back from the school/hard work jaunt. Enjoy. January did finally shuffle off this mortal coil, yes. And now what? Thanks for choosing here over the lecture. That’s much appreciated. Yes, see you soon, I hope. ** _Black_Acrylic, Me neither, although, I think I did reach states of delusional all-knowingness here and there. ** Misanthrope, Sun is a hot commodity these days. Thumb drives, ah. I could sort of vaguely see the TC thing in that slave’s face too. ** Steve Erickson, Yes, I think that would do MethSlut a world of good. Friday … tomorrow! The name Astrit Ismaili doesn’t ring a bell, but, naturally, I will go see who this figure is, thank you. And will await your assessment as well. ** Bill, Hi, Bill. You’d think so, but since I’m guessing slaveNo.8 is totally fiction, that might explain it. Although I guess there could still be a biopic. I remember Radian, yes. I liked them. I had no idea they were still extant. I’ll hit that link, many thanks. Enjoy the Terayama imbibing. I should do the same really. I’ve been dipping into the wacked oeuvre of Jose Mojica Marins aka ‘Coffin Joe’, if you know his stuff, because I’m doing a Day on him. He’s no Terayama, but his stuff is amusing. ** Guy, Hi, Guy. Yes, I was pleased when I trawled through the post looking for a pull quote title and noticed that post saver. According to that commenter though, when the mask came off, the TC-likeness did too. But that’s just one master’s opinion. Cool about the slaves, and, yes, the best ones so often live in another country. There’s always relocation? Him to you, I mean. ** Frank Jaffe, HI, Frank! How cool to see you, maestro! Our film is getting finished at last. We plan to bring it to LA to show cast and crew and friends. I’ll let you know if you want to come see it. We’re really happy with it. Enjoy NYC and the screening and meeting Mandico. I’m surprised he hasn’t been over here before. Cool. Envy on you seeing the zine show. Uh, hm, I think I’m behind on NYC possibilities. I haven’t been there in so, so long, it’s scary. Have a great trip, pal! ** Justin, Hi. Yes, the punch line (advertent or in-) is the keeper there. Some of these slave guys are quite good writers. Or at least my editing help they are. The ventriloquist thing could be cool, yeah, I think so. Any highlights pop up in your field of vision or hearing or sense of touch today? ** Darby 🦕, I think Chalamet fetishists are so hungry they’ll take any resemblance they can get. My memory is that Maus was quite reserved and pleasant, and I can’t remember much else about our short convo. Well, I don’t think a novel needs to stick one thing. At all. But, you know, they call me an experimentalist, so I’m not the normal judge of such things. I personally wouldn’t worry about that stupid supposed rule. Everything you’re describing sounds exciting. I’m all about editing. I let my novels be as shitty or out of control as they want to be until I start editing them. Anyway, you say you may have gotten your answer just by addressing the question, and that’s the best. Usually the writer has the answer, and the only problem is when they won’t blab about it ‘cos that’s when clarity comes magically often. Enjoying setting up and meeting your goals. I’m here if you need me. ** Okay. Let the wind take you away or blow you away or whatever the wind decides to do to you today. See you tomorrow.
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