For many years, Australian-based artist Ken Unsworth has made viewers hold their breath with his timeless work entitledSuspended Stone Circle II. The installation was first completed in 1974 and produced again in 1988, and is awe-inspiring in both its fragility and volume. Unsworth used 103 river stones each weighing about 33 pounds and bound them together by three sets of wires that were tied to rings and secured to the ceiling. They form a suspended disc, with each element resting perfectly in its place. The sculptor hung the stones so that their center of gravity falls on the central axis of the disc, and each stone is equal distance from one another. As they remain in midair, their cone-shaped stabilizing wires mimic a force field, and it’s almost as if they are held up by this energy. Unsworth’s installation is peaceful, balanced, and even a little nerve wracking – at any moment, the work could theoretically come tumbling down. Unsworth first gained popularity as a sculptor in the 1970’s when he combined performance art with minimalist forms. In addition to stones, the artist has created other monumental works, including a piece titled Rapture, where a grand piano is formed into a large set of stairs. text and photos via : my modern met
the 6.3 magnitude earthquake that hit christchurch, new zealand in 2011 left more than 16,000 homes in the area uninhabitable and slated for demolition. australian artist ian strange has documented the dramatic loss in his latest artistic intervention and film ‘final act’, staging an architectural installation which saw him deconstruct, dissect and carve holes from four of the now-vacant suburban structures. you can see more pictures and read more of the article at designboom
Celebrating the 400th anniversary of Japan-Spain Interexchange, Junya Watanabe designed a special collection in collaboration with Loewe. We designed the exhibition space for the show at Spanish Embassy in Japan. Temporary walls are inserted, forming various angles in the gallery space of the Embassy. And photographic images of the Royal Palace of Spain are collaged onto them. We attempt to distort conventional perception of space by intentionally disaligning internal and external corners of the interior spaces in the photographs and the actual walls, and also by using wrong scales deliberately.
i recently added one of these photos by mistake into an article i wrote about gordon matta-clark, how could i have been so stupid. so quickly i removed the photos and i’m here to pay my dues. i have seen past work by richard wilson, like the oil filled room at the national gallery (london) which blew me away. yet this one, in liverpool 2007, sets to impress me even more, not only for its beauty but for the immense technical difficulties he must have had to go through to produce it.
Two years ago, the small Hungarian town of Ajka was pummeled with 35 million cubic meters of toxic sludge when a nearby alumina plant reservoir burst. The red-orange mud flowed through the town streets, with waves reaching over six feet high. It took nearly a week to contain the spill that eventually killed 10 people and destroyed countless houses, schools, businesses, and farms. Spanish Artist Palindromo Meszaros recently travelled to the ravaged town and captured some unbelievable images in his latest photo collection titled “The Line.“
“The Line” exposes the irreparable damage the toxic sludge left on the small town. A thick line of red swallows up trees, dyes the town’s dirt and grass, and brands the bottom half of homes and buildings for as far as the eye can see. Mesarzaro creates these images by only lining up the tip of the red stains with the horizon line in each photograph making the result is so precise and vibrant, it looks as if someone had purposely painted the town red. Though the images are striking, they are a constant reminder of the mark toxic waste has left on the town of Ajka and the continued need and effort to rebuild from the red rubble.Known for his documentary style of photography, Meszaros has created carefully orchestrated images of other Eastern European ecosystems and atmospheres, focusing on social and anthropological issues. His background in architecture is also key to his unique style, building mesmerizing images that tell a captivating, oftentimes overlooked story. He was so moved by the town of Ajka, he produced a second series of photographs, “The Line II,” exploring the lifestyle and landscape of the remaining industrial community.