A 20-foot-tall, narrow, tapering object with a pyramidal top, Damián Ortega’s Obelisco Transportable stands on a grassy platform on wheels, as though it has been uprooted from a previous location and made portable. Since ancient times, when the form first emerged in Egypt, obelisks have served as visible centerpieces of cities. Ortega characterizes Obelisco Transportable as “a mobile landmark” that one could potentially move anywhere to commemorate anything. It offers a pragmatic yet wryly playful approach to a global society in which the balance of power is constantly in flux, and in which populations shift and drift from one place to another.
Wheel the sculpture….
Public space in Brazil
The German artist Erik Göngrich says about his new piece praca nueva brasilia (picture) which he just finished some days ago in Brazil:
Probably the biggest advantage of this whole intervention is that everybody is now accepting this area as a “praca”, a public place, in an informal area where every minute somebody could decide to occupy this land and build a house on it.
So a little bit it is fighting against this description I got told from Nivaldo, a Salvadorian architect:
“Public space in Brazil is the place for none or it is my space!”
Copyright Images and Quotation: Erik Göngrich
Dara Friedman’s ‘Musical’ on Manhattan streets
For three weeks, beginning today, midtown Manhattan will be the stage for Musical, a series of spontaneous actions orchestrated by artist and filmmaker Dara Friedman. From dawn to dusk, and occasionally even in the middle of the night, office workers, mothers, schoolchildren, taxi drivers, doormen, tourists, divas, and grandparents will break into song, creating unexpected musical events and serendipitous urban moments for all who encounter them. Throughout the course of the project, nearly one hundred individual actions will take place throughout the day and night, weekdays only, in the blocks between Grand Central Station and Central Park South, and between Broadway and Park Avenue.
Dara Friedman, who lives and works in Miami, is best known for her film and video installations, in which she uses the techniques of structuralist filmmaking to depict the lushness, ecstasy, and energy of everyday life. She often distills, syncopates, reverses, loops, or otherwise alters familiar sounds and sights, drawing attention to the distinct sensory acts of hearing and seeing. Whether her work portrays a series of narrative fragments or a single evocative scene repeated over and over, Friedman heightens the emotional impact by cutting directly to the film’s climax in order to, as she puts it, “get to the part you really care about.”
For further information please check http://www.publicartfund.org
Rosinante, Camilla, Blitz und Beauty
Wir beobachten momentan eine anonyme Aktion in Berlin: “Wiehernde Stuten erobern den Stadtraum und hinterlassen ihre Spuren. No Hoof – No Groove!” so die Erklärung…… Urban Interface meint dazu: Sehr gut, weiter so, Ihr Stuten!
Turning the place over
Turning the Place Over is artist Richard Wilson’s most radical intervention into architecture to date, turning a building in Liverpool’s city centre literally inside out. One of Wilson’s very rare temporary works, Turning the Place Over colonises Cross Keys House, Moorfields, and will be launched in June 2007 and will run through until end of 2008.
Co-commissioned by the Liverpool Culture Company and Liverpool Biennial, co-funded by the Northwest Regional Development Agency and The Northern Way, and facilitated by Liverpool Vision, the project is a stunning trailblazer for Liverpool’s Year as European Capital of Culture 2008, and the jewel in the crown of the Culture Company’s public art programme.
Richard Wilson is one of Britain’s most renowned sculptors. He is internationally celebrated for his interventions in architectural space that draw heavily for their inspiration from the worlds of engineering and construction.
Turning the Place Over consists of an 8 metres diameter ovoid cut from the façade of a building in Liverpool city centre and made to oscillate in three dimensions. The revolving façade rests on a specially designed giant rotator, usually used in the shipping and nuclear industries, and acts as a huge opening and closing ‘window’, offering recurrent glimpses of the interior during its constant cycle during daylight hours.
The construction programme started in February 2007 and involves the careful deconstruction of the façade across three floors of the building, which is then reconstructed and fixed to the enormous pivot installed at the heart of the building. This astonishing feat of engineering will stun audiences on many levels. Disturbing and disorientating from a distance, from close-up passers-by have a thrilling experience as the building rotates above them.
See it rotating
Artikel von Paz Aburto Guevara über Lotty Rosenfelds Kreuze im öffentlichen Raum
Im April dieses Jahres war die chilenische Künstlerin Lotty Rosenfeld (geb. 1943 in Santiago) in Kassel, um ihre Intervention Una Milla de Cruces sobre el Pavimento (Eine Meile aus Kreuzen auf dem Asphalt) von 1979 für die Präsentation auf der documenta 12 vorzubereiten. Mit dieser damals illegal durchgeführten und inzwischen mythischen Aktion des Widerstands gegen die Pinochet-Diktatur betrat sie als Erste in Chile das Feld der Kunst im öffentlichen Raum. Seit 1979 arbeitet die Künstlerin im und mit dem öffentlichen Raum, um Formen der Kontrolle und Konditionen unseres Verhaltens zu untersuchen und aufzudecken. Die Anbringung der Kreuze verändert geltende Codierungen von Mobilität im öffentlichen Raum und ihre Funktionen der Ein- und Begrenzung: Sie benutzt ein Zeichen der Straßenmarkierung, die unterbrochene weiße Linie, welche die Straßenspuren voneinander trennt, als Zeichnung und verändert deren Form. Durch das Hinzufügen einer weiteren Linie auf der Straße entsteht eine neue Zeichnung – ein Kreuz.
IF YOU SEE SOMETHING, SAY SOMETHING
The title of Julita Wójcik’s action for the camera is a slogan taken from the Safety and Security Ad Campaign that the Metropolitan Transportation Authority in New York has been running for several years. Announcements, printed on posters and broadcast via loudspeakers, recommend vigilance and suspicion.
BE SUSPICIOUS OF ANYTHING UNATTENDED?BE SUSPICIOUS OF ANYTHING UNATTENDED. Tell a cop, an MTA employee, or call 1-888-NYC-SAFE.? Every object, every incident of different behavior, constitutes a potential threat. If you see a suspicious package or activity on the platform or train, don?t keep it to yourself. Even the most common thing in the world, a lost black briefcase, that, like a black Volga (a Soviet car used to scare children in Poland) may be a source of fear and devastation.
DID ANYONE FIND A BLACK BRIEFCASE (Please don’t forget to take your stuff with you.) Tell a cop, an MTA employee, or call 1-888-NYC-SAFE. No matter where you are in the region. The call is free. Everything around us seems to be whispering that the only thing that can save us is our own strenuous vigilance. And in the fight against danger, every sense is of service.
USE YOUR EYES. HE?LL USE HIS NOSE. We’re counting on everyone. Tell a cop, an MTA employee, or call 1-888-NYC-SAFE.
Julita Wójcik doesn’t restrict herself to following orders passively; accepting the role assigned by the announcement, she attempts to take responsibility into her own hands. She actively strives to pass it on. Alone, with a megaphone over her head, she tramps the nearer and farther environs. She calls for attention to the instructions: Listen for announcements. On hearing the orders, she endeavors as best she can to repeat them: PLEASE TAKE YOUR THINGS. OR WE WILL.
BE SUSPICIOUS OF ANYTHING UNATTENDED. But what’s to be done when a person suddenly ends up in Norway, at the very center of virgin nature, amongst jagged fjords, turquoise waters, snowcapped crags, and roaring waterfalls, where of one’s own free will, one would like to surrender to the beauty of nature? ?If you see suspicious things or activities on a fjord or in the mountains, don?t keep it to yourself.? Against whom can one be vigilant, when all around there?s not a living soul? To what does one pay heed? What does one do at the peak of a mountain attended by no one? What is odd at the very center of this unreal, fairytale, one might even say suspiciously unusual landscape?
IF YOU SEE SOMETHING, SAY SOMETHING.