Archivio | giugno, 2013

Lichtraum: il sogno luminoso di Otto Piene

27 Giu

Otto Piene, fondatore della ZERO Foundation e specializzato in cinetica e performance art, sviluppò 3 forme di “Light Ballet”: Archaic Ballet (1959), composto da torcie e cartone perforato; Mechanical Light Ballet (1960), che richiede allo spettatore di girare delle manovelle per muovere lentamente le proiezioni luminose; Automatic Light Ballet con dinamo elettriche. E’ possibile oggi vedere l’installazione Lichtraum alla Neue Nationalgalerie di Berlino. Questi “sogni luminosi” sono delle vere e proprie narrazioni fatte di forme, movimenti, ombre.


Nathan Sawaya: come usare i LEGO nella scultura

25 Giu

nathan lego

A noi ha colpito la sua rappresentazione con le lego delle rotture dell’essere umano.

Nathan Sawaya (born July 10 1973), is a New York-based artist who builds custom three-dimensional sculptures and large-scale mosaics from popular everyday items and is best known for his work with standard LEGO toy bricks. His unique art creations are commissioned by companies, charities, individuals, museums and galleries all over the world.



17 Giu


Anish Kapoor: scultura e meccanica unite dalla cera

11 Giu


My Red Homeland, 2003
Anish Kapoor

Memory’s isolation from the rest of the exhibition is its strength. This is also true for My Red Homeland (2003), 25 tons of wax and oil-based paint, which is continuously being shaped by a mechanical revolving blade. Located in the new MCA Mordant wing, it is best viewed from a Juliet balcony on the upper level of the building. The success of these two works highlights the problem with all of Kapoor’s gallery exhibitions, where less is most definitely more. The more works we encounter, the less individually compelling they become.

The most appropriate setting for his work becomes immediately obvious when one leaves the MCA. Outside, in front of the old gallery façade, angled toward the sky, is the monumental Sky Mirror (2006). Reflections of clouds scudding across its brilliantly polished surface give the viewer the sensation of at once gazing into infinity while being anchored to the temporal. The enigmatic Kapoor might be mad, as he claims, but if such madness can deliver such moments of sublime joy, then really, who cares what he says.

(fonte: )