Installation and sculpture | Part III

We continue the Installation and Sculpture series with a selection of powerful works and inspiring interviews showing multiple ways on how art intersects with or reflects reality, asking some of the most difficult questions or playfully intruding in our everyday life to startle, awake or amaze.

 

“I like dealing with points of encounter between spirit and flesh, between purity and impurity, between beauty and horror, between attraction and repulsion. I frequently use these swinging movements to offer onlookers different degrees of appreciation of my works. My works seek to reconcile all these aspects. I am interested in revealing how ambiguous these concepts are, and how reversible they can be. The idea is to confront humanity with its own condition, and for everything that humanity find frightening to take an irresistible charm. The idea is for humanity to be attracted by its own viscera.” —  Javier Pérez

 

Artificial Killing Machine is an autonomous interactive mechanical installation. This time based work accesses a public database on U.S. military drone strikes. When a drone strike occurs, the machine activates, and fires a children’s toy cap gun for every death that results. The raw information used by the installation is then printed. The materialized data is allowed to accumulate in perpetuity or until the life cycle of either the database or machine ends. A single chair is placed beneath the installation inviting the viewers to sit in the chair and experience the imagined existential risk.”

Installation team:
Jonathan Fletcher Moore (theory, design, electronics, mechanics, assemblage)
Fabio Piparo (programming, data logistics)

 

“In equal measure poetic and political, the work of Colombian artist Doris Salcedo explores the paradox of simultaneously forgetting and remembering the social scars of violent conflicts. In sculptures, installations, and public projects, Salcedo reflects on how once unimaginable suffering becomes abruptly real”. (Julie Rodrigues Widholm, Curator, Museum of Contemporary Art Chicago) — Read more

“I have focused all my work on political violence, on forceful displacement, on war, on all these events but not on the large event. I focus on the small, individual, particular experience of a human being. I’m trying to extract that and put it in the work. The memories of anonymous victims are always being obliterated. I’m trying to rescue that memory, if it could be possible. But of course I don’t succeed.

My work lives at the point where the political aspect of these experiences is appearing and disappearing. We are forgetting these memories continuously. That’s why my work does not represent something; it’s simply a hint of something. It is trying to bring into our presence something that is no longer here, so it is subtle.” — Doris Salcedo / Interviewer: Susan Sollins. Content Editor: Nicole J. Caruth. Published on Art21.org: April 2013.

 

“Of course, we do use humor as a tool for communication. People are more willing to accept a work when they can laugh about themselves at the same time as they are confronting something more serious—otherwise, the subject matter can be quite heavy.”  — Ingar Dragset, interview with Michael Elmgreen and Ingar Dragset, randian.

 

“I made a sculpture covered in trash – you can hardly recognize there is a man underneath; there is only one sock sticking out. Nobody noticed it! But one guy passed by who was walking his dog – a big German Shepherd – and the dog recognized that there was something wrong. It lunged and dragged the leash. I don’t know what senses were intrigued as the figures don’t have any smell, but this is something I find interesting: the dog somehow picked up that there was something incorrect.” — Mark Jenkins, interviewed by Wertical, via DRAW A LINE.

 

“I’m interested in sound as an architectonical element. In sound to create space, but also in sound which somehow is inhabiting a room and interacting with it. In three-dimensional sound structures as well as in a spatial experience and exploration of sound. Sound to create somehow static sound architectures that can be entered and explored acoustically. Similar like walking around in a building.” — Zimoun, interviewed by Apostolos Mitsios for Yatzer.

 

“The three different viewpoints show three distinct geometrical shapes — a square, a hexagon, and a circle — which, however, are really only instances of one long continuous line of many different forms that one would see when moving around the sculpture. Also, the sculpture is not simply the result of this system of space and object. It is a reflection on letting antithetical view points coexist in one object, however impossible this might seem, looking for a possible existence of unity beyond the paradox, and what truth might mean beyond its apparent multiplicity.” — Troika, interview by Lisa Contag for BLOUIN ARTINFO

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Featured image for this post © Zimoun.

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