Installation and sculpture | Part II
We gathered some of the most inspiring videos featuring internationally acclaimed artists, from interviews to exhibition reviews.
“Descension” solo show at Galleria Continua (02/05/2015 – 05/09/2015)
“… all my life I have reflected and worked on the concept that there is more space than can be seen, that there are void spaces, or, as it were, that there is a vaster horizon. The odd thing about removing content, in making space, is that we, as human beings, find it very hard to deal with the absence of content. It’s the horror vacui. This Platonic concept lies at the origin of the myth of the cave, the one from which humans look towards the outside world. But here there is also a kind of Freudian opposite image, that of the back of the cave, which is the dark and empty back of being. Your greatest poet, Dante, also ventured into a place like that. It is the place of the void, which paradoxically is full – of fear, of darkness. Whether you represent it with a mirror or with a dark form, it is always the “back”, the point that attracts my interest and triggers my creativity. (…) In dealing with the issue of the back of the cave, as I call it, one almost inevitably runs up against religion. It is literally a clash with a reality that brings out some fundamental questions about Being. It’s inevitable. The purpose of abstract representation, for me as for many other artists, is to try to get to the bottom of these questions. And at the bottom of these questions there is consciousness, that is a dimension that science is unable to define, to fully grasp. Art is precisely the privileged path to consciousness.”
Anish Kapoor about the significance of the element of scale in sculpture, interview for Kochi-Muziris Biennale 2014.
“Ai Weiwei’s Sunflower Seeds is made up of millions of small works, each apparently identical, but actually unique. However realistic they may seem, these life-sized sunflower seed husks are in fact intricately hand-crafted in porcelain.
Each seed has been individually sculpted and painted by specialists working in small-scale workshops in the Chinese city of Jingdezhen. Far from being industrially produced, they are the effort of hundreds of skilled hands. Poured into the interior of the Turbine Hall’s vast industrial space, the 100 million seeds form a seemingly infinite landscape.
Porcelain is almost synonymous with China and, to make this work, Ai Weiwei has manipulated traditional methods of crafting what has historically been one of China’s most prized exports. Sunflower Seeds invites us to look more closely at the ‘Made in China’ phenomenon and the geo-politics of cultural and economic exchange today.”
Ai Weiwei discusses with The Creators Project how the internet has profoundly impacted his artwork and led to international recognition.
“Art is something about everyday life. Art is about finding creativity in the normal gutter next to you. To see the potential in something where there is no potential in terms of how society sees it is often where art or creativity is a great tool. It’s about making the impossible possible without doing a major detour. Very often art is actually also a frame of reference in which people can identify with things that are otherwise excluded in our society. So this is why, when you ask me, “Is it art?” I say, “Yes, of course it’s art,” because my definition of art is about how to exercise hospitality beyond the narrow definition of normality that our society otherwise exercises.” (Olafur Eliasson – interview for The Talks)
Olafur Eliasson – “Riverbed”, Louisiana Museum of Modern Art, Humlebæk, Denmark, 2014
Olafur Eliasson talking about art and his projects with The Creators Project:
“For me public spaces are very interesting for sculpture and art in general. In public spaces a kind of direct relationship between people, who have not sought it, and the artist comes to life. It is a relevant artistic issue. It represents the artist among other people and thus the piece of art must be very respectful. Public spaces do not belong to artists: they belong to everybody, to people as citizens and as individuals as well.” (Jaume Plensa – interview for Digicult)
Cai Guo-Qiang about his recent project: “Behind Sky Ladder lies a clear childhood dream of mine. Despite all life’s twists and turns, I have always been determined to realize it. My earlier proposals were either more abstract or ceremonial. Sky Ladder today is tender, and touches my heart deeply: it carries affection for my hometown, my relatives and my friends. In contrast to my other attempts, which set the ignition time at dusk, this time the ladder rose toward the morning sun, carrying hope. For me, this not only means a return but also the start of a new journey.”
The artist talking about the exhibition “Falling Back to Earth”:
“In this word crowded with fast-consumed images we are trying to produce images that last more than two seconds… and we always wonder if we’re accomplishing that task. Because no alphabet is involved, images are a territory that everyone has the skills to explore, but at the same time no two people have the same sensations and experiences. It’s the reign of the subjective interpretation: we are trapped in a huge new tower of Babel, built up by the thousand of images we see everyday, and I swear it’s a lovely torture!” (Maurizio Cattelan – interview for The Talks)
Trailer of his upcoming movie:
“The body is more interesting than a stone, because it has got a mind in it. But I would say: that’s only a matter of degree. Maybe more importantly the body is of interest because we live inside it, rather than all the other things that we have to observe from the outside. So in terms of physics, the investigation of what this bit of matter is like is participatory in a way that it can never achieved through an electron microscope. Even though, the results of both might be quite similar.” (Antony Gormley, interviewed by Jan van Boeckel)
More videos here.
View more art installations here.