Nicole Gugliotti, Artist, United States

awe/agency

Porcelain, Stoneware, wood, paint, video projection, audio, monofilament. 

10 ft. x 25 ft. x 14 ft. area installed

Images of the gallery exhibition can be seen here.  You can also see and hear the video and audio that was included in the installation.

Despite being legal in the united states, portrayals of abortion in pop culture and politics would have us believe that the choice is only acceptable when the alternative is self-destruction or worse. Rarely is abortion portrayed as a smart, brave decision. People who have had abortions are cast as villains or, more benevolently, victims and rarely as heroes of their own story. AWE/AGENCY seeks to combine formal beauty and wonder with pointed, direct content with the intent of offering an alternative model to the dominant narrative surrounding abortion in the U.S. 

Nicole Gugliotti is an artist and abortion services worker.  

Organic shapes  made of clay serve as speakers that cradle the head when participants lean in to hear recorded personal stories. 

nicolegugliotti.com

Diana Bourgoyne and Robin Ripley, Kinetic and Sound Installation

In INTERFACE/INTERFACING, a suspended needle moves slowly along a thread stretched across the gallery wall. The needle strikes the thimbles creating subtle percussive sound and also triggering the pre-recorded sounds embedded in the electronics. Visitors are invited to intimately experience line and space not only visually but also through movement and sound. Life and art intersect through this drawing together of various art practices and sensory experiences. 

Accompanying the installation is NOTIONS, a series of mixed media works by Robin Ripley, that takes us further into this extra-ordinary experiencing of everyday objects. 

DIANA BURGOYNE’s work addresses the relationships between society, technology, and the human environment. Burgoyne assembles electronic components to create works that appear “hand-made” to humanize what is often perceived as a sterile material. The material, content, and aesthetic of her art practice are developed from the idea of constructing “Electronic Folk Art”. 

ROBIN RIPLEY works with the language of objects, highlighting the composite nature of perception. Her work re-examines familiar objects as well as explores their function as signifiers and repository for sensory information, knowledge and memory. Ripley creates objects that do not exist in the natural world and yet reflect or transmit information about our world and our place in it. 

Numen Gallery

Link here to see more photos and video. 

Matt Roberts, Artist, United States

mattroberts.info

12 Sound Artists Changing Your Perception of Art

Link here. 

Craig Colorusso, Artist

Sun Boxes are installations by Craig Colorusso powered by the sun via solar panels. There is a different loop set to play a guitar note in each box continuously. These guitar notes collectively make a Bb chord. Because the loops are different in length, once the piece begins they continually overlap and the piece slowly evolves over time.

The sounds of Sun Boxes have been described as both soothing and energizing. A unique combination of adjectives often used to describe yoga, or meditation. When experiencing the piece, Sun Boxes allows the participant to slow down, and notice the subtleties of the composition unfold. With the abundance of technology and hustle of this culture it is a much needed concept to not only be allowed, but also encouraged to slow down.

Image and text source Design Squish. Link here to see video. 

Zimoun, Artist

36 ventilators, 4.7m³ packing chips

Zimoun 2014

Motors, metal, styrofoam, nylon, wood, controlling system. Dimensions: variable.
Installation view: Art Museum Lugano, Switzerland.

Curated by Guido Comis and Cristina Sonderegger. Studio and/or on-site production assisted by Matteo Taramelli, Ulf Kallscheidt, Janis Weidner, Elisa Tangheroni, Benoît Villemont, Riccardo Stephani, Alessandro Lucchini, Nicola Del Signore and Valentina Brkovic. Controlling system developed in collaboration with Jason Cook, Alexandre Saunier and Grégoire Lauvin, at the Digitalarti Laboratory in Paris. Photographies and video by Zimoun.  

Video: https://vimeo.com/92326468

236 prepared dc-motors, wire isolated, cardboard boxes 41x41x41cm

Zimoun 2011

DC-motors, wire isolated, cardboard boxes, power supply. Dimensions: height 3.5m, Ø 4.8m / height 11.5 ft, Ø 15,7 ft. Installation view: Ringling Museum of Art, Sarasota, Florida, USA. Curated by Matthew McLendon. Exhibition design by Matthew Harmon. Project coordination and assisted by Stephanie Sherriff. Assisted by Vanessa Gageos, Florian Bürki, Matthew Harmon, Kyle Petreycik, Alvy Vereecke, Emily Martin, Morgan Janssen, Chris Schumaker, Gabbi Ricci, Tracy Keenan, Diana Lueken, Lester Gessley, Alicia Stein, Emily Meyer, Chris Degrer, Alex Wyllie, Katelyn Bobek and Anna Paul. Exhibition coordination by Donn Roll. Conservation by David Piurek. Volunteer coordination and academic affairs by David Berry. Photographies and videos by Zimoun. Kindly supported by Pro Helvetia - Swiss Arts Council.

Video: https://vimeo.com/32012831

Watch on website. Link here. 

43 prepared dc-motors, 31.5kg packing paper

Zimoun 2013

DC-motors, paper, nylon, wood, power supply. Dimensions: Size variable.
Installation view: Orbital Garden Bern, Switzerland.

Curated by Don Li and Jahn Antener. Studio production assisted by Elisa Tangheroni, Valentina Brkovic, Matteo Taramelli, Janis Weidner, Ulf Kallscheidt and Till Hillbrecht. On-site production assisted by Elisa Tangheroni, Valentina Brkovic, Matteo Taramelli, Paul Hügli, Don Li, Jahn Antener, Li Rotzler, Marc Beekhuis, Hannes Zweifel, Micha Bürgi, Simon Petermann, Jelena Savic, Monika Grossen, Jahn Mazel and Nina Wagner. Video by Studio Zimoun. Supported by KulturStadtBern, Swisslos / Amt für Kultur Kanton Bern, Migros Aare and Burgergemeinde Bern.

Video: https://vimeo.com/85034898

More to see on artist's website. Link here. 

Rebecca Horn, b. 1944, Germany

Bee's Planetary Map, 1998
Installation: 15 straw baskets, wire, motors, broken mirror disk, shattered mirror glass, metal rods, wooden stick, rock, sound, lights. 
h: 168 x w: 384 x d: 228 in / h: 426.7 x w: 975.4 x d: 579.1 cm Courtesy: Marian Goodman Gallery

Sixteen inverted straw baskets, looking for all the world like beehives, were suspended from the ceiling at various heights. Inside each basket was a lightbulb, casting pools of light on the floor. On the floor beneath each basket was a circular glass mirror which now and then swiveled, catching the light and reflecting it in constantly moving circles and oblongs on the walls and ceiling. Throughout the room you could hear a recording of the insistent buzzing of a swarm of bees.

Topping it all off, every few minutes a small rock attached to a cable fell from the ceiling to hit a cracked mirror on the floor, around which were strewn pieces of broken glass. This repetitive, destructive act was disturbing but also raw and cathartic. 

On one wall could be found a poem by Horn, providing an excellent textual counterpoint: "The bees have lost their equilibrium / They swarm in dense clouds high above / Their luminous basket hives are deserted / One of their centres is being destroyed forever anew...."

At their best (and this installation was a good example), Horn's works are dramatic and theatrical but also poetically engaging, in a way that gets to you on numerous levels simultaneously. 

Here, the notion of bees loosed from their hives to permanently wander unseen evoked ideas of dislocation, rootlessness and nomadism--perhaps a subtle reference to current crises in places like Kosovo. At the same time the installation had a dreamlike, mythic quality suggestive of primal fears and longings: the desire for safety and order, or the desire for unencumbered release.
source: findarticles.com

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Sebastian Errazuriz, Artist

chilean-born, new york-based designer sebastian errazuriz has created a sculptural door for the chilean art gallery 'departamento 21'
(apartment 21), located in a residential apartment building in santiago. until now, the gallery has always stood behind an unmarked door
with no indicators to announce the presence of the art space. departamento 21's director commissioned errazuriz to re-design the entry door
of the gallery as its own unique art form.

sebastian errazuriz tells designboom:
'while attempting to come up with a concept I tried to resist 'designing a door.' I didn’t want to create a door that was sculptural or pictorial;
I wanted the door to hopefully continue to blend with the rest of the building and maintain its apparent anonymity as just another a normal apartment.
nevertheless I also wished to leave a small clue that would invite the passerby to stop, look twice, and maybe suspect that things where different.

it occurred to me that we have used door viewers for a couple hundred years… we have been stupidly squinting and closing our eyes for all this time;
why not have two viewers instead? we have had binoculars for even longer. the two viewers are placed inverted inside the door, thus allowing people
outside to approach the door and look inside the apartment and see the current exhibition, which remains illuminated even when the gallery is closed'.

it is through the piece that the artist presents a digestible paradigm turned upside down. he invites the viewer to reexamine a consistent facet of reality
that had previously been 'hidden in plain sight'. -source is design boom.  link here. 

Marcel Duchamp, Artist

"Étant donnés (in English: Given) is Duchamp's last major work. It was produced in secrecy over a number of years after the Second World War, from 1946 to 1966, and, after Duchamp's death in 1968, was permanently installed at the Philadelphia Museum of Art. Étant donnés may therefore be considered to be Duchamp's artistic testament, his conclusion to art. The old wooden door of the work, the immediate 'facade' of Étant donnés, meets the onlooker in a small room behind the large, well light exhibition room, where the rest of the Duchamp works are found. The small room is a kind of 'appendix' to the large room. It does not lead anywhere and, at first glance, only contains the door, behind which the rest of the work is installed. When you enter the small room and look to the left, there is a stucco wall that stretches from floor to ceiling and from wall to wall. In the center of this stucco wall there is a large, arched brick doorway that forms a frame around the old wooden door. It is obvious that the door cannot be opened, but in the middle of the door, at eye-level, there are two small peepholes." -source is Marcel Duchamp - Étant donnés: The Deconstructed Painting by Pia Høy, translated by John Irons.  Link here. 


"“Marcel, Marcel, I love you like Hell, Marcel.” So ran a mash note written to Marcel Duchamp in 1923 by the Baroness Elsa von Freytag-Loringhoven, one of the scores of women, and many men, for whom Duchamp was a personal fixation, erotic, aesthetic or otherwise." - source is NY Times, Holland Cotter, 2009.  Link here to read more. 

"Untitled (Erotic Object)," circa 1950s

Almost every surviving scrap of physical material related to "Étant Donnés" has been gathered, all evidence of Duchamp's fascination with craft and the naturalistic effects it could achieve: flesh that was smooth but not slick; skin that looked warm but not too flushed. - NY Times, link here

Photo: Artists Rights Society (ARS), New York/ADAGP, Paris/Estate of Marcel Duchamp

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"Untitled (Left Arm)," 1959

The nude in "Étant Donnés" is largely pieced together from casts of the voluptuous figure of the sculptor Maria Martins, with whom Duchamp had an intense affair from 1946 to 1951. -NY Times, link here

Photo: Artists Rights Society (ARS), New York/ADAGP, Paris/Estate of Marcel Duchamp

Will Corwin, Artist

"You’re strolling along 37th St by 8th Avenue–maybe you just got out of work, maybe you’re paying a visit to the Empire State Building–when you happen upon a tiny, whited-out storefront under the name Chashama. You don’t think much of it, a new store is probably opening, or maybe a new cafe. But something is amiss. You notice that the glass is not entirely concealed, that there are minuscule holes in the paint that allow you, upon pressing your eye to the glass, to peek into the store. Intrigued, you look into the peepholes one by one. The peepholes reveal fractions of a model city, though whether it’s brand new or already destroyed, you cannot tell." -source is Abes Penny. Link here.

Bora Kim, Artist

Link here to read artist statement.

Mark Shetabi, Artist

"Mark Shetabi’s work at Jeff Bailey Gallery was Mark Shetabi’s work, mostly paintings of grisaille empty, oppressive spaces filled with longing–longing for contact, for understanding, for a place on this planet to call one’s own (Roberta’s post here). I especially enjoyed Sculpture, a painting of a gas station, one of Shetabi’s repeating subjects–the other gas station in this exhibit is the actual sculpture itself–The Rapture.

Of course a gas station is a fine symbol of our relationship with Iran and the entire Middle East. It’s not a place for comfort, but it’s an icon for materialism and power. That such a homely place, a sort of hell on earth, can be the sought-after Holy Grail is astonishing.

In the Rapture, Shetabi also adds bunker-like toilets and office behind the fueling area, and beneath, another bunker behind a peephole. This bunker has bottles of water as well as a bed. There’s liquid gold and liquid gold. There’s real survival and economic survival." source link is here.