installation

Intimate Vestiges

Fiona Roberts

Intimate Vestiges, details of the rug (Vestiges Intimes, détail du tapis).

Installation.

See the full Installation here. Voir l’installation dans son ensemble ici.

There are not much informations about the biography of the artist online, or about her origins and aspirations. But there is a very interesting article from design boom explaining a part of her work, linked with her may – june 2015 exhibition at the Kickarts Contemporary Arts.

Il n’y a pas beaucoup d’informations à propos de la biographie de l’artiste en ligne, ou à propos de ses origines et aspirations. En revanche, on peut relever un article très intéressant, provenant du site internet Design Boom, expliquant une partie de son travail, en lien avec son exposition réalisée en mai juin 2015 à la Kickarts Contemporary Arts en Australie.

« For the exhibition ‘intimate vestiges’ at kickarts contemporary arts, australia, artist fiona roberts explores the personal and individual nature of the home through a variety of body textures incorporated into traditional household furnishings. abstracted through repetition, pattern and traditional ornamentation, these pieces installed throughout the bedroom installation blur the boundaries between the home and the body, making it difficult to determine where the house ends and where the person begins. »

Pour l’exposition « intimate vestiges à la Kickarts Contemporary Arts, en Australie, l’artiste Fiona Roberts explore la nature personnelle et individuelle de la maison à travers une variété de textures liées au corps, qu’elle incorpore dans l’ameublement de la maison traditionnelle. Rendues abstraites par la répétition, les motifs et l’ornementation traditionnelle, ces pièces installées partout dans l’Installation de la chambre, brouillent les frontières entre la maison et le corps, rendant difficile à appréhender la limite entre ce qui est la maison et ce qui est déjà la personne dans l’environnement de la pièce.

Link to the entire article here – Lien vers l’article complet ici.

Traductions par Because Art Is. Translations by Because Art Is.

“The house and the body are palimpsests of life events with their history inscribed into every surface. They are repositories of treasured moments, of everyday routines and memories, of growing up or growing old, of accidents, of habits, and of fear and trauma.

The subjective nature of the home is explored through a variety of body textures that are obscured by pattern, repetition, and traditional ornamentation in household furnishings. This blurs the boundaries between the home and body, making it difficult to determine where the house ends and where the person begins.

The conventional items of the home that generally go unnoticed become the focus of our attention and quietly reveal their personal history”.

Quote from Fiona Roberts about Intimate Vestiges – Citation de Fiona Roberts à propos de Intimate Vestiges.

Above all, Fiona Roberts seems to be one of the rare very strong young artists that might surprise us in the next years and become somehow a reference in Art.

Au delà de tout, Fiona Roberts semble faire partie des rares jeunes artistes dont le travail, très solide, promet de nous surprendre dans les années à venir, jusque devenir une référence en Art.

Because Art Is.

Kristian Nygaard, Installation at NoPlace Oslo. 2014.

Site internet de l’artiste

Artist Website

Noplace in Oslo, discover the institution website

« The One Thing After Another
Per Kristian Nygaard at KHM Gallery
by Wojciech Olejnik

Per Kristian Nygaard’s exhibition The One Thing After Another explores the influence of social and political ideologies on public and private space, on its material composition, on its architecture. Consider House (2010), a model of a high-rise building constructed out of unfinished plywood. It towers over the viewer like a modernist sculpture, simple and elegant in its design and use of material. Such simplicity marks much modernist city planning and architecture, which seem to embody a bare rationality developed out of a rigorous consideration of the placement and arrangement of objects. This approach involves the implementation of an overarching order, where even ornamentation stems from its very structure, according to an inner logic. House (2010) presents the deduced, bare essentials of such a logic: form and material. Presented as a model it acts as a demonstration of the original design, of the formal concerns that precede the eventual completion of the structure, and in its unpainted state it brings attention to the raw material used in its construction.

It is no secret that in modernist architecture the materials used were often left exposed, that they themselves symbolized new engineering feats, but also represented a new modern age. Nygaard’s work such as Unapologetic Architect II (2010), brings attention to certain forms and shapes that have also been crucial in establishing the modernist aesthetic. This piece is a drawing of an imagined building, which compresses rectangular shapes to form a complex architectural structure, reminiscent of a mall or some other social space. A uniform grid of windows covers the walls and the roof, with steel frames and glass convening in an angular geometric reality of cubes and squares. Unlike a circle or a triangle, the cube is infinitely divisible into the same shape, into equal portions, and thus it may represent equality itself. Here, the clean lines and Lego-like units that define this public place suggest a uniformity of the social body, of its infinite mass, and how its wealth and property can be portioned into discrete, equal yet separate units. »

Entire Article / Suite de l’article

Text: The One Thing After Another. by Wojciech Olejnik – Interview in Måg magazine 2011. Were do artists come from, by Per Kristian Nygård 2011

De Zeen Article and pictures here

Untitled (Plastic Cups)

Untitled (Plastic Cups), 2006. plastic cups, dimensions variable.

By the artist Tara Donovan.

« Tara Donovan (née en 1969 à New York) est une artiste américaine vivant et travaillant à Brooklyn (New York). Elle est connue pour son installation d’art in situ qui utilise des matériaux de tous les jours et dont la forme s’inscrit dans l’art génératif. »

« Tara Donovan (b. 1969, New York) creates large-scale installations and sculptures made from everyday objects. Known for her commitment to process, she has earned acclaim for her ability to discover the inherent physical characteristics of an object and transform it into art. «

Full article on the Pace Gallery website here.

Bio and pictures on Ace Gallery website here.

Sans Titre, Myeongbeom Kim

Myeongbeom Kim

Site internet de l’artiste Myeongbeom Kim

« A Conversation with the world:

Introspections in Raptures through a Dialogue
Jang, Minhan ( Seoul Museum of Art, Senior Curator)

At the moment we feel beauty, we are happy. Happiness makes us think over moments and eternity, and simultaneously reflects the world that gives us beauty. Kim, Myeongbeom’s work, composed of objects easily found in our surroundings, is delicately arranged and so captures our attention. A tree floating in the air held by countless red balloons; a stuffed deer with wide spreading antlers; the huge bough of a tree, with acupuncture needles; a crutch linked to a deer leg – all these make us feel a sense of life. Each is within the combination of many objects from our everyday surroundings, conveying metaphorical assertions. The combination of two objects brings about a poetic structure, allowing viewers to discover new meaning. Kim forms an abstruse relation with the world, approaching it in his own way. We can understand his aesthetic and ways of reading the world by noting this relation. » (Read the entire article on Paris Beijing Gallery’s website)

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