Posts tagged with "installation"

California Artwork Up For International Design CODAawards

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2021 People’s Choice CODAawards Vote On Favorite Community Artwork, A Global Competition

The general public has the opportunity to vote, June 18-30, on 100 large-scale community artworks from around the world, nominated for a People’s Choice CODAaward. Hundreds of commissioned art projects were submitted for the CODAawards, which are given annually to the remarkable works that successfully integrate art into interior, architectural, and public spaces. The two projects that collect the most online votes will receive a coveted People’s Choice CODAaward and be announced, alongside all of this year’s CODAaward winners (one in each of ten categories), in the August issue of Interior Design magazine.

Voters are encouraged to rally behind the work they like in the CODAawards categories of Landscape, Residential, Healthcare, Commercial, Institutional, Liturgical, Public Spaces, Transportation, Hospitality, and Education.

This year the 374 CODAawards entries represent $477 million in commission fees, and projects from 30 countries. The diversity of artwork includes “Please Be Seated,” a public art installation touring across Chinese Mainland; “Sea Change,” an interactive light-based artwork that activates the pedestrian experience within a bus exchange transit tunnel in North Vancouver, Canada; and “Eon,” a 30 x 9-foot digital installation commissioned for Welch Hall, the largest academic facility at The University of Texas.

Cindy Allen (EIC, Interior Design), Malene Barnett (Founder, Black Artists + Designers Guild), and Frances Bronet (President, Pratt Institute in New York City), are among the eighteen jurors, all leaders in the design and art worlds, who have spent weeks reviewing and scoring all entries. These jurors will agree on one winner in each category to create the 2021 CODAawards winners circle (plus the two People’s Choice CODAawardees that the general public will select).

“When artists, designers, industry resources, and clients work together, places are transformed into spectacular spaces. CODAworx is the hub of the commissioned art economy. Our CODAawards is a way to celebrate these works. The 12-day People’s Choice voting sprint (June 18 – 30) becomes quite heated and the heavy traffic occasionally brings the website down! It is an exciting race to the finish line – the art world’s equivalent of the Tour de France!” states avid biker and CODAworx CEO Toni Sikes.

About CODAworx

CODAworx, the hub of the commissioned art economy, is the place where architects, real estate developers, and public art agencies creative go to discover and hire talent for large-scale commission projects. They accomplish this by searching the vast treasure trove of over 8,000 projects that CODAworx members have published on the website. It is here that one can find and connect with artists who create amazing sculptures and wall work, as well as atrium and kinetic artwork, light and digital media, and structural designs such as bridges and buildings. The CODAawards are the industry’s prestigious awards program that celebrates the projects that most successfully integrate commissioned art into interior, architectural, or public spaces. CODAworx produces this nine-year-old recognition program, along with their National Media Partner Interior Design magazine, to honor the designers, architects and artists whose collective imaginations create the public and private spaces that inspire us every day.

California Nominees:

The Lader (San Francisco)

The Chronicles of San Francisco (San Francisco)

The Avery Dining Room (San Francisco)

Chase Center Seeing Spheres (San Francisco)
Chase Center Chandelier (San Francisco)

Retu(r)ned Oak (Oakland)

The Spring (Hollywood)

Reflecting Within Us (Los Angeles)

Material Girl (Los Angeles)

Launch Intention (Los Angeles)

Getting There (Los Angeles)

Flower Trail (Union City)

Cosmos (Sunnyvale)

Connecting Flights (Pasadena)

Better Place Forest (Point Arena)

Approach (Palo Alto)

Vote for your favorite starting June 18 here.

Miami Design District’s Current Art Programming

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The Miami Design District announces the debut of several new installations and initiatives for their current season of art programming.

SPECIAL SUNSET PUBLIC ART TOURS

Immerse yourself in the Miami Design District’s rich art and architecture. Experience the neighborhood like never before alongside resident expert Thom Wheeler Castillo. Visit Emmett Moore’s The Grotto, Apollo Projects ‘Landed’, April Bey’s Fringe Project installation, and more.

LOCATION: Palm Court Plaza 140 NE 39th St, Miami, FL 33137

DATES: Takes place the first and last Sunday of every month at 6 PM

ARTLIFE GALLERY

ArtLife is an innovative contemporary art gallery and lifestyle brand with a focus on contemporary, pop and street art. The gallery was founded by veteran Art Advisor and Manager, Avery Andon in 2015, as one of the first online-only international Blue-Chip art galleries. Given the high momentum Miami is currently experiencing, the team felt it was the right time to debut this temporary pop-up in the Miami Design District. ArtLife has created a space where visitors can be immersed in works by some of the world’s most celebrated artists including Andy Warhol, Keith Hering, and Banksy. Additionally, ArtLife also provides the opportunity for visitors to experience works by a range of up-and-coming artists such as Cory Van Lew and Jannie Holmes. ArtLife Gallery will be on view through the end of June.

LOCATION: 180 NE 40th St, Miami, FL 33137
DATES: Month of June 2021 (Sunday – Thursday 11am-6pm/ Friday & Saturday 11am-8pm)

QUINAZ STUDIO’S BAY STORE

Using only materials sourced from Biscayne Bay and the Miami River, artist/designer James Quinaz transforms trash into treasure for BAY STORE. Part exhibition, part performance, BAY STORE invites you to watch the design process as Quinaz navigates the detritus in our waterways to produce thoughtful, functional furniture before your eyes. BAY STORE asks the viewer to consider the cost of excess and reckon with a society that litters its priceless natural landscapes with cheap plastics, foams, and other harmful waste. Visitors will have the opportunity to watch the artist work, learn about the issues facing South Florida’s precious aquatic resources, and purchase one-of-a-kind pieces from the gallery. 10% of the proceeds will be donated to nonprofits working to keep our bay and ocean clean.

LOCATION: Sweetbird South, 92 NE 40th St, Miami, FL 33137

DATES: June 24th – July 25th

NEW WORLD SCHOOL OF ARTS PRESENTS UNSPECIFIC VOID: 2021 BFA EXHIBITION

NWSA presents the 2021 Bachelor of Fine Arts Exhibition. Despite the challenges the pandemic has brought, the students persevered and continued to work in makeshift studios at home and produced an incredible body of work. The work included in the exhibition ranges from documentation of the pandemic to heartbreak to futuristic imagination, among other themes. The exhibition culminates these young artists’ academic training at the school and will present a wide range of media and themes. Twenty-eight recent graduates will participate in the exhibition.

LOCATION: Moore Building, 191 NE 40th St, Miami, FL 33137

DATES: June 21st – July 11th

“THE GROTTO” BY EMMETT MOORE

Part fiction, part reality, The Grotto is an immersive installation comprised of faux coral boulders sculpted into a secluded lounge, inspired by coral rock quarries and the mythology surrounding the fictional identities that form around these places, where the young and the marginalized gather to sequester themselves and share pleasures. The Grotto also takes cues from local sites such as the Coral Castle and the Venetian Pool where the quarrying of coral rock acquiesced to a mystical landscape, and a fantasy Venetian enclave. Each a tropical fantasy created by man in an effort to transport visitors to an otherworldly place. The Grotto is part pavilion, part folly, where one can escape from everyday life. Emmett Moore’s Grotto Lounge is on permanent display.

LOCATION: 3920 NE 2nd Ave., Miami, Florida, 33137

DATES: Permanent display

APOLLO PROJECTS ‘LANDED’

Apollo ‘Landed’ is the initial iteration of the first plant exhibition to take place in Miami Design District. All artists involved were invited to create, with nature as collaborator and muse, bringing attention to a living, shifting climate and all her inhabitants. From May to July, this pop-up will be hosting activations and installations, focused on reconnecting with the environments around us, where locals are invited to create art, with nature as their muse.

LOCATION: 151 Northeast 41st Street, Suite 12, Miami, Florida 33137

DATES: May 2021 – July 2021

JADE ALLEY FILMS 2021

A collaborative year-long art video feature, Jade Alley Films: 2021 features four artist video selections by the District’s key institutions, including Locust Projects, de la Cruz Collection, and ICA Miami. From April 1 to June 30, the Miami Design District will feature ‘Outage’ by Philadelphia-based artists: Jennifer Levonian and Eva Wylie. Originally commissioned and premiered by Locust Projects in 2019, Outage is a video that utilizes Levonian’s signature cut-paper animation technique, which incorporates deftly rendered watercolors into short films that wryly depict prescient social narratives and Eva Wylie’s unique printmaking techniques. The single-channel animation was made from over 3,000 frames and more than 275 screens were used to create pieces for the animation.

BREAKWATER BENCH BY AMLGMTD

Ideated by design duo AMLgMTD, the Breakwater Bench is a system of individual benches inspired by the lapping ebb and flow pattern of waves. The slight shift in the repetition of a single element creates movement between the open and closed sections within the design. This simple use of geometry causes playful shadows to appear where the light filters through the open structure.

LOCATION: Palm Court, 140 NE 39th Street, 2nd Floor

DATES: November 25, 2020 – ongoing

Tribeca Immersive unveils experience to save orca whales

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The Tribeca Immersive event during the 20th Annual Tribeca Festival will see the launch of Critical Distance, a social augmented reality (AR) experience built to engage audiences toward long-term protection of marine wildlife. Harnessing the power of Microsoft HoloLens 2, Critical Distance blends projection and holograms to bring audiences into the world of the Salish Sea, home of the endangered Southern Resident orcas and their struggle for a sustainable future.

Within a custom-built projection environment, audiences of four each wear the latest Microsoft Hololens 2 wearable technology to interact with the Critical Distance characters and narrative. Immersed in the underwater world of Salish Sea audiences connect with J pod, a close-knit family of 24 Southern Resident orcas with a spotlight on Kiki — a six-year-old female who carries the fate of the pod on her shoulders. The groundbreaking storytelling harnesses technology to help us see below the surface in an entirely new way, empowering audiences to “see sound” as they experience Kiki’s world of echolocation and her struggle to compete with human activity. This educational exploration narrated by youth climate justice activist and Co-Executive Director of Zero Hour Jamie Margolin, highlighting scientific efforts focused on Orca preservation, aims to entertain, inform, connect and motivate audiences to take action to support this critical species

Following the launch at the 20th Annual Tribeca Festival, Critical Distance will continue on to the Smithsonian Museum of Natural History for a nine-month installation. Audiences are invited to experience Critical Distance between June 9-20, with tickets and advanced booking available at Tribeca.

Michael Krebber – Studiofloor and Diamond Paintings

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From 29th May 2021 to 8th January 2022, the Antonio Dalle Nogare Foundation presents Michael Krebber’s first solo exhibition in Italy, entitled Studiofloor and Diamond Paintings. Find more information here.

Michael Krebber (b. Cologne, 1954) is an internationally acclaimed artist and a figure central to the German art scene between the 1980s and ‘90s. Over the years he has become a reference point for a generation of younger artists, thanks to his constant and attentive focus on questioning the conventions and limits of the medium of painting, which he sees as a space for dialogue and a cross-genre hotbed, rather than something focused on the production of an object.

For decades, Krebber’s art has been distinguished by a conceptual approach to painting, based on the conviction that it is impossible to invent anything new in art, as everything has already been invented. Rather than inventing something new, Krebber’s minimal and apparently unresolved interventions present the viewer with canvases that are open and full of possibilities. Like an unfinished sentence, his works leave the viewer free to imagine what might happen.

The painting is viewed by the artist almost as a performance. It has been defined as a system of hesitations in which opposing forces simultaneously motivate and block one another, an approach that expands painting beyond the conventional notion of the artwork as an object.

Krebber’s incomplete aesthetic, however, is not the result of an attempt to sabotage the medium, but stems rather from an explicit desire to extend dialogue beyond the canvas and space traditionally attributed to painting. This intention emerges clearly in the two series displayed in the exhibition.

The series entitled studiofloor MK/P MK19/087/1-8 (2000), was presented with an enigmatic image on the cover of Artforum in 2005. In an exhibition staged several years ago, Krebber asked collectors to loan a series of his own paintings that he laid out on large tables in the centre of the room. Turning the common notion of display on its head, the walls – on which the paintings would normally have hung – were left empty and covered with large masonite panels from the artist’s floor, cut and positioned on the wall like paintings.

The second series displayed in the exhibition also replaces traditional painting techniques with a readymade approach.

In the fourteen Diamond Painting (2003) canvases, Krebber systematically demystifies, as the title of the series suggests, the centrality of subject and technique in painting by proposing a space that is open to suspension and incompleteness. So, store- purchased fabrics, decorated with pre-printed patterns, replace the traditional canvas, and become the surface on which Krebber paints simple geometrical white diamond shapes. As often happens in his work, the reference to influential German artists, in this case that have used fabric, like Rosemarie Trockel and Sigmar Polke, reveals his profound knowledge of art history and contemporary painting. La

The exhibition is staged in collaboration with Greene Naftali, New York.

Find more about the Antonio Dalle Nogare Foundation by visiting their website.

Immersive Van Gogh’s New Creative Director

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IMMERSIVE VAN GOGH AND DESIGNER DAVID KORINS (HAMILTON) JOIN FORCES TO CREATE THE LARGEST AND MOST ELABORATE ITERATION OF THE EXHIBIT

Slated to be Seen in 19 Cities Across North America in 2021, Immersive Van Gogh Brings the Artist’s Masterpieces to Life Via 500,000 Cubic Feet of Projections Indoors in New York

Hailed as “Mind-Blowing” (Toronto Star) and “Undeniably Impressive” (–Time Out Chicago)

Immersive Van Gogh, the highly-anticipated immersive art installation coming to New York this summer, announced today that Emmy Award-winning and Tony Award-nominated designer David Korins, known for his set designs featured in numerous Broadway hits including Hamilton and Dear Evan Hansen, will serve as Creative Director New York for the installation. Scheduled to open on June 10, a new block of tickets will go on sale to the public Saturday, April 24 at 10 a.m. ET. The New York location and further details, including a preview of David Korins’ designs, will be revealed at a virtual press event on Friday, April 23 at 10 am ET.

As the Official Card Sponsor of Immersive Van Gogh in New York, American Express® Card Members have exclusive pre-sale access to the new block of tickets before the general public beginning Monday, April 19 at 10 a.m. ET through Wednesday, April 21 at 9:59 a.m. ET here.

Korins will join creative team for Immersive Van Gogh, the original North American immersive celebration of Van Gogh’s art. The team includes Creator Massimiliano Siccardi; Composer Luca Longobardi and Art Director Vittorio Guidotti. This winning team will make Immersive Van Gogh the most impressive staging to date and the most expansive in the world, having already opened to tremendous acclaim in Toronto, Chicago and San Francisco, with additional openings scheduled for 16 cities across North America, including Los Angeles, Dallas, Denver, Las Vegas and more. Since its North American premiere in July 2020, more than 1 million tickets have been sold to Immersive Van Gogh, making it the most popular attraction currently in North America.

Immersive Van Gogh invites audiences to “step inside” the iconic works of post-Impressionist artist Vincent van Gogh, evoking his highly emotional and chaotic inner consciousness through art, light, music, movement and imagination. The gallery space offers patrons more than 500,000 cubic feet of animated projections. Renowned Creative Director Korins will create a custom design to fit the architecture of the exhibition’s New York home, adding elements to the gallery space as well as adjacent auxiliary elements. Korins will create numerous New York-specific installations, viewing platforms and high-tech, experiential and interactive elements previously unseen in any other venue.

“Immersive Van Gogh has been hailed as an entirely new way of encountering art and has been enthusiastically embraced by press and patrons in every city in which it currently is being presented,” said Producer Corey Ross. “Our New York exhibition will be by far our most ambitious. Not only do we have the talents of our ingenious Italian creative team, we also have David Korins bringing his distinct creative vision to the project to provide an unsurpassed guest experience.”

“This will be an event that New Yorkers and visitors can enjoy safely, quite literally surrounding themselves with the work of Vincent van Gogh, one of the greatest artists who ever lived,” added Producer Svetlana Dvoretsky.

“I am thrilled to be collaborating with the creative minds behind the Immersive Van Gogh exhibit to create a truly unique experience for the city of New York to enjoy and be inspired by,” said David Korins, Creative Director New York. “I have always been deeply moved when looking at Van Gogh’s paintings, which are universally beloved for their color and unique use of texture, or his transcendent ink drawings, and I’m humbled by the opportunity to develop an experience that will enhance the viewers’ time spent with his powerful art.”

It is expected that Immersive Van Gogh will be the first event of its magnitude since the start of the COVID-19 pandemic. “We have a track record of producing this event safely in numerous cities throughout North America,” said Co-Producer Irina Shabshis. “We hope that this will lift the spirits of so many New Yorkers, who have not had the opportunity to experience cultural attractions for the past year, with first-rate production values that will make this one of the top events in the city this summer,” added Co-Producer Maria Shclover.

“David Korins is a very experienced and creative; he is giving his professional and artistic contributions to the implementation of the New York venue that will host my creation Immersive Van Gogh“, said Creator Massimiliano Siccardi, “I have enormous respect for his creativity, and I feel that his vision will be able to excellently enhance the audience experience, priming their minds as they enter and exit our exhibit, and also creating architectural enhancements that will provide unique vantage points from which they can observe my work. Most of all, I know that David shares a deep appreciation of and respect for the work of Vincent van Gogh, and that he, like me, wants to pay homage to the brilliance of his body of work, a legacy that influenced us all in our individual development as artists.”

Immersive Van Gogh has received rave reviews from critics and patrons. The Chicago Tribune exclaimed “entire rooms pulse with imagery and emotional resonance.” The Toronto Sun declared, “the mind-blowing imagery, brings Van Gogh’s best work to life — including Sunflower, Irises, and The Starry Night — for a cathartic and liberating experience.” “Immersive Van Gogh ups the emotional ante,” Toronto Star stated, “I wondered: could projections of paintings on walls and floors be thrilling? The answer is ‘yes.’” Called a “completely new way of encountering art” by CTV and a “blockbuster digital experience that has taken the art world by storm” by Artnet News, the exhibit “cleverly embraces creativity,” according to Washington Post. The San Francisco Chronicle summed it up saying “It’s one hell of a way to wake up from our long pandemic art nap.”

The hour-long walk-through installation has been designed with health and safety as a priority. Admissions will be limited according to New York City’s capacity guidelines with touchless ticket-taking; temperature checks upon arrival; hand sanitizer stations and social distancing markers prominent throughout the venue; and digitally projected social distancing circles on the gallery floors to ensure appropriate spacing. All guests must wear a face covering at all times during their visit to Immersive Van Gogh.

Immersive Van Gogh was designed by Creator and Italian film producer Massimiliano Siccardi, with original, mood-setting music, both original and curated, by Italian multimedia Composer Luca Longobardi, who provided a score that combines experimental electronic music with pure, ethereal and simple-seeming piano. Vittorio Guidotti is the Art Director. Siccardi and Longobardi are both pioneers of immersive digital art installations in Europe, where they created the world-renowned Van Gogh, Starry Night exhibition, among others. With approximately 100 state-of-the-art projectors illuminating over the exhibit space, visitors to Immersive Van Gogh will be encircled from head-to-toe in Van Gogh’s brushstrokes and colors, including animated details from works such as Self Portrait with Felt Hat (1888), The Bed-room in Arles (1889), Irises (1889) and The Starry Night (1889).

Tickets for the exhibition are on-sale now online and by phone. Tickets range in price from $29.99 for kids to $99.99 for VIP Flex tickets, which comes with priority access, flexible admission, a limited-edition poster, a souvenir laminate and a van Gogh cushion. Basic timed tickets are $49.99. The New York location will be revealed at a virtual press event on Friday, April 23 at 10 am ET. To RSVP and receive a link to the press event, click here.

The new block of tickets will go on sale to the public Saturday, April 24 at 10 a.m. ET.

For more information about Immersive Van Gogh, visit this website or call. Follow the exhibition on social media at @goghnyc on Facebook, Instagram or Twitter.

About Vincent van Gogh

Legendary Dutch painter Vincent van Gogh (1853 – 1890) is recognized as one of the world’s greatest and best loved artists. He was born in the Netherlands to his father, Theodorus van Gogh, and his mother, Anna Cornelia Carbentus, a moody artist whose love of nature, drawing and watercolors was passed on to her son. He worked at his uncle Cornelis’ art dealership when he had already been fluent in French, German and English, as well as his native Dutch. He fell in love with English culture when he was transferred to the Groupil Gallery in London in 1873.

During his short life he painted more than 2,000 artworks ranging from ordinary household items and self-portraits to surreal landscapes that inspire awe. Van Gogh was a post-Impressionist painter whose work — notable for its beauty, emotion and color — highly influenced expressionism in 20th-century art. He struggled with mental illness and remained poor and virtually unknown throughout his life.

He was tragically admitted to a psychiatric hospital after offering his severed ear to a woman at a local brothel. For hope, he turned to painting and nature, until one day when he went out to paint in the morning with a loaded pistol in his hand and reportedly shot himself in the chest. In his 37 years alive, Van Gogh only sold one painting, The Red Vineyards, to his brother Theo.

About the Creative Team

DAVID KORINS, Creative Director New York

David Korins is the award-winning Creative Director, Designer and Founder of his eponymous New York City based creative studio. In his two decades of creating omnidirectional experiences, he has, along with his expert team, reached hundreds of millions of people all over the world while helping the most influential brands, companies and individuals bring their stories to life. From stage to screen, museums to hospitality, experiential design to singular live events, Korins has traversed the landscape of world building and storytelling through almost every medium available. Korins created the worlds for the Tony Award-winning musicals Hamilton, Dear Evan Hansen and Beetlejuice: The Musical. He has also designed the set for the musical Mrs. Doubtfire as well as over 20 additional Broadway shows. Among numerous TV credits, Korins is the Production Designer for the 91st Annual Academy Awards and Grease: Live!, for which he received an Emmy Award.

Collaborators include Bruno Mars, Elton John, Lady Gaga, Kanye West, Mariah Carey, Andrea Bocelli, Sia, and Takashi Murakami, and presented at venues such as Madison Square Garden, Coachella, Gagosian, Lollapalooza, SXSW, and Sotheby’s. Brand partnerships include the NFL, Twitter, Google, Spotify, YouTube, and Microsoft. As the Creative Director for the USC Shoah Foundation, he has led the organization’s rebranding efforts, the creation of several new experiences, and state of the art testimonials. In 2019, through an ongoing collaboration with Sotheby’s, Korins unveiled a unique exhibit at their New York City headquarters in celebration of the company’s 275th Anniversary. In addition, he designed the Time Square restaurant Bond 45. His work has earned him an Emmy Award, three Tony nominations, Drama Desk, Lortel Awards, three Henry Hewes Design Awards, and an Obie Award for Sustained Excellence in Design.

MASSIMILIANO SICCARDI, Creator

Massimiliano Siccardi studied at the London School of Contemporary Dance of London. But in 1990, he left the world of dance to begin a new journey in the world of video art. Siccardi quickly became the artistic force behind several visual mise-en-scène for choreographers around the world. He also created video scenographies for numerous prestigious festivals and galas around the world. He also re-constructed the video mapping of the Basilica di Giotto and for the Teatro Petruzzelli of Bari, where one of his permanent installation’s virtually reconstruct the frescoes of the Cupola. Siccardi is also a celebrated photographer and has had photo ex-hibitions in Spoleto and Rome, to name a few. He is professor of digital image elaboration at the Accademia di Comunicazione e Immagine of Rome. In 2012, Siccardi received the prestigious International Award “Romaindanza” for his talent in the visual work of dance theatre. Since 2012, he has been artist in residence at the Carrières de Lumières – Atelier des Lumières where he authored the mise-en-scène of numerous immersive shows. He is currently creating projects within Italy as well as New York, Berlin, Leipzig and Rome.

LUCA LONGOBARDI, Composer

Italian composer and pianist Luca Longobardi is a classically trained musician who incorporates the contemporary electronic music into his pieces. Born in 1976, Longobardi studied classical music in Italy and New York and went on to earn his doctorate in digital audio resto-ration in Rome in 2011. His works reveal a strong interaction between classical and contemporary music. The experience he has gained as a theatre musician has increased his interest in the relationship between sounds and spectacle; he has composed music for ballets and films and accompanied installations and experimental art productions (Atelier de Lumières – Paris, Carrière does Lumières – Baux-de-Provence, Kunstkraftwerk – Leipzig). At his multimedia performances and in his recordings, strong experimental electronic music meets pure, ethereal and simple-seeming piano playing that nevertheless relays deep emotions.

About the Producing Team
The producers of Immersive Van Gogh New York are Corey Ross and Svetlana Dvoretsky, working with Co-Producers Maria Shclover and Irina Shabshis. Together they founded Immersive ArtSpace NY, LP to bring Immersive Van Gogh to New York.

Corey Ross is the founder of Starvox Entertainment which has ranked in Profit Magazine’s Fastest growing Canadian companies for 5 years in a row. The company produces and man-ages cross-over performing arts shows and exhibition including the Art of Banksy in London, Canada, the USA, Taiwan, and Japan. He is also a co-founder at Lighthouse Immersive – a company producing the Immersive Van Gogh in 19 North American cities and Illusionarium in Toronto.

Svetlana Dvoretsky is the founder of Toronto’s Show One Productions and a proud recipient of the Order of York by the Government of Canada for her “significant role in arts and culture.” Show One Productions is leading presenter of high-profile international artists in classical music, theater and dance. She is a co-founder of Lighthouse Immersive and co-producer of Immersive Van Gogh.

Maria Shclover and Irina Shabshis are the co-founders of Maestro Immersive Art. Shclover founded Maestro Artist Management in 2004, Shabshis in 2005 and together they have presented more than 1,000 theatrical and classical music performances across the United States, including projects with Michel Legrand, Mikhail Baryshnikov, John Malkovich and more. In 2012, Shclover and Shabshis formed a non-profit organization, Cherry Orchard Festival Foundation, presenting an annual international theatrical festival to audiences in New York City and beyond.

Adrian Stein – Quantum Mirror

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World’s First Physical NFT Installation, “Quantum Mirror” by Adrian Stein, Debuts in Chicago.

The Immersive Work Contextualizes the Nature of NFT Art in the Real World.

As NFTs Have the Capability to be Infinitely Reproduced, “Quantum Mirror” Explores the Concept of Infinite Consciousness in the Digital Era.

In recent months, Non-fungible tokens (NFTs) have rushed the cryptocurrency scene and taken the art world by storm. This new way of buying and selling digital art using blockchain technology has disrupted the art market and created overnight sensations out of formerly obscure artists such as Mike Winkelmann, also known as Beeple, who recently sold a collage of his digital works for the staggering sum of $69.3 million. Another rising artist in the new media art world, Adrian Stein, is unveiling what he describes as the world’s first immersive NFT installation in Chicago’s contemporary art gallery ARTSPACE 8.

“Quantum Mirror,” a 300-square-foot immersive installation, is an environment where the digital and physical worlds of art merge and multiply in a kaleidoscopic array created by over 150 mirrored surfaces. In-person visitors can see their own reflection infinitely juxtaposed alongside Stein’s digital works of human figures, which will be screened within the mirrored installation and accompanied by resonate soundtracks.

Stein’s digital art, available as NFTs that can be acquired via online marketplace Mintable, are displayed on screens in the center of the installation, representing the original copy of each NFT. These images are then reproduced within the geometrically mirrored walls, representing how NFTs exist online: they commonly have a single “original” with the ability to be infinitely duplicated. The installation acts as a physical representation of our virtual environment, using light and reflections to visualize how human consciousness and the economy have become entangled in a network of blockchains and social media.

Speaking to humanity’s deep dependence on technology, the installation lays inactive without its virtual core, in the same way as modern consciousness would be paralyzed without virtual connection – representing how everyday human life has crossed over to become a spectrum between raw humanity and cyborg consciousness.

“This work is meant to continue the conversation that Yayoi Kuzama began with her infinity rooms, by recontextualizing it into the digital world of artists like Beeple” said artist Adrian Stein. “As Kuzama’s work encourages the viewer to contemplate their place in the never-ending cosmos, “Quantum Mirror” encourages the viewer to contemplate their digital existence within the never-ending world online.”

The installation is viewable at ARTSPACE 8 on the third floor of 900 N. Michigan, starting March 20 through late April and viewable Monday through Saturday from 12:30 – 5:30pm at no charge. Online registration is required through this website, allowing ten people in the gallery at a time while following COVID-19 safety guidelines. More of Stein’s artwork can be viewed on Instagram.

ABOUT ADRIAN STEIN

Guatemalan-born, Chicago-based new media artist Adrian Stein seeks to understand how humans view themselves through the many mirrors viewed in everyday life which reveal the borders, glass walls, and masks built between one another in the process.

By representing the human form as a prismatic lens in constant shift, dynamically morphed and affected by the medium it is inhabiting, Stein’s work engages the concept that different states of consciousness give rise to different views of the self, elaborating on how perceived identities can create a hybrid existence that merges both virtual and physical personas.

Through the use of colloquial digital languages and visual commonalities, he seeks to create an aesthetic medium to reveal how his own duality as a Guatemalan-born American has given rise to a hybrid identity, forcing him to exist in both places at the same time.

ABOUT ARTSPACE 8

The 14,000 square foot gallery is located in Chicago’s Gold Coast neighborhood, specializing in contemporary fine art showing a number of paintings, prints, sculpture, and works on paper from emerging and established artists, based both locally and abroad. ARTSPACE 8 prides itself on taking a democratic approach to its affluent surroundings, engaging experienced collectors and the masses alike in the viewing and collecting of intriguing artworks through highly-curated exhibitions and events.

Cut A Rug A Round Square

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Curated by: Jessica Stockholder

The American artist curates an exhibition of works from the collection of “la Caixa” Foundation and CRT Foundation for Modern and Contemporary Art and turns them into a large environmental installation.

Many times has the “end” of painting been declared and just as many times its “rebirth” has been attested: with the desire to investigate the limits and contemporary potentialities of painting, from February 11 OGR–Officine Grandi Riparazioni–presents Cut a rug a round square, a new site-specific commission developed for the former industrial spaces of OGR Turin by the American artist Jessica Stockholder.

Chosen for her peculiar perspective, Jessica Stockholder has played over the last twenty years a crucial role in the ongoing debate on painting and its limits, expanding the concept in a relentless dialogue amid various media, between form and space, by forcing the limits of painting towards the sculptural and installation dimension.

In her work, the artist combines apparently disparate and ordinary objects to create complex installations that hoard and stratify materials and colors: plastic bags and containers, extension cords, lumber, carpets, and furniture: in her hands, these often-neglected objects recover aesthetic and formal qualities in a practice reminiscent of abstract expressionism, color field painting, and minimalism.

For the project set up inside Binario 1 of OGR Cult, the area of OGR dedicated to art and culture, the artist Jessica Stockholder converted into an exceptional curator and created a unique installation with works from two important collections: the Collection of Contemporary Art “la Caixa” of Barcelona, and that of the CRT Foundation for Modern and Contemporary Art, whose works are on permanent loan to the Turin museums Gam – Gallery of Modern Art and Castello di Rivoli, Museum of Contemporary Art.

To plan her route across the rich heritage at her disposal, the artist developed a concept that is both rigorous and poetic: “I am exploring how the generally rectilinear geometry inherent in the contour, or edge, of paintings, generates meaning both inside and outside the paintings. – states Jessica Stockholder – In relation to both their exposure and internal mechanisms, paintings make use of geometry and its resonance with the scale and form of the human body. (…) Casting a glance through the collections, I was struck by the many works in which the circle and square intersect. Often these works literally feature circles and squares themselves. I began to think of the representation of the human body as a kind of circle within the square, as in Leonardo da Vinci’s Vitruvian Man. The paintings are themselves usually characterized by rectilinear geometries. What happens inside pushes against the edges. The edges are both literal and abstract and are defined by the end of the material support, but the rectangle, identified as a mapping, is understood by virtue of abstraction.”

Combining works of disparate production and origin, the artist investigates the ways of painting and its categorical definitions across genre boundaries, studying its literal and metaphorical edges.

Works range from Directions by Vito Acconci, a photograph documenting the exhausting performance of a man with his arms and legs spread to evoke the Vitruvian Man, to Combustion by Aurelio Amendola, whose shots portray Alberto Burri in the act of melting plastic with a flashlight to create a circle in a square. From Bonded Eternmale, Monica Bonvicini‘s installation of two chairs covered in studded black leather exhibited on a circular red carpet, to A REMOVAL OF THE CORNER OF A RUG IN USE by Lawrence Weiner where written words protrude from the surface of the wall like paint does on his canvas. From 9 to 5 by Edward Ruscha, who painted the time cycle of a working day trapped inside a claustrophobic rectangle to Undercurrent (Red) by Mona Hatoum where the floor surface acts as a pictorial plane for a large carpet of electric cables. And again, among others, the works of Marlene Dumas, Richard Tuttle, Tracey Emin, Diego Perrone, and Jessica Stockholder herself, are exhibited in a display specially designed by the artist who succeeded in transforming the entire exhibition into a work of art in itself, a large environmental installation that evokes, in an experiential form, the clash between the circle and the square as an image of the productive clash between rationality and imagination, order and superabundance, body and idea.

Cut a rug a round square is an opportunity for the public to admire, in complete safety and free of charge, in the spaces of OGR, a treasure preserved by the city’s museums and enriched over the years by the CRT Foundation, with a newfangled interpretation from the point of view of an artist across the works of yet another international collection. The exhibition focuses on the theme of painting, dear to both collections, which have a rich heritage of pictorial works, by taking the cue from one of the most discussed and loved media – even by the more general audience. Cut a rug a round square reshapes the boundaries of this discipline and weaves a discourse that takes from the forms and phantasmagorias of painting, keys to reading the contemporary world, and invites visitors to lose themselves in a world of shapes and colors.

Jessica Stockholder (1959, Seattle, WA. Lives and works in Chicago, Illinois) has exhibited widely in museums and galleries internationally. Her work is in the permanent collections of numerous museums including the Whitney Museum of Art, New York; The Art Institute of Chicago; MoCA Los Angeles; MoMA San Francisco; the Museum of Fine Arts, Boston; The British Museum, London; and the Stedelijk Museum, Amsterdam. Recent solo exhibitions include Stuff Matters at the Central Museum, Utrecht and Relational Aesthetics at The Contemporary Austin, Austin in 2019.

From February 11
Free admission
Thursday and Friday, 3PM – 8PM, last admission 7.30PM
OGR Cult, OGR – Officine Grandi Riparazioni

2021 U.S. Premiere of Glasstress

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Some of the world’s leading contemporary artists are invited to breathe new life into centuries-old glassmaking in Venice ― maestros of glassblowing from the legendary Berengo Studio residency help artists manifest their visions.

Among the 34 artists: Ai Weiwei, Fred Wilson, Joyce J. Scott, Jimmie Durham, Ugo Rondinone, Fiona Banner, Vik Muniz, Monica Bonvicini, Jake & Dinos Chapman, Laure Prouvost, Renate Bertlmann, Thomas Schütte, Loris Gréaud, and Erwin Wurm.

“There is every reason this year to have a world view,” says Irvin Lippman, the Boca Raton Museum of Art’s Executive Director, as South Florida boldly ushers in the new year with the national premiere of Glasstress 2021 Boca Raton.
“Three years in the making, with 2020 being such a challenging year to coordinate an international exhibition of this size and scope, the effort serves as an important reassurance that art is an essential and enduring part of humanity.”
“This is also a tribute to the resilience of Venice’s surviving the floods and continuing to make art through the pandemic,” adds Irvin Lippman.

The new exhibition runs January 27 through September 5, 2021 and the Museum will feature online initiatives for virtual viewing. Watch the video here featuring interviews with some of the artists in the new exhibition. The 34 artists in this new, never before seen edition of Glasstress were all invited by Adriano Berengo to work alongside his master glass artisans at the Berengo Studio on the island of Murano in the Venetian lagoon. Most of these works in glass have never been seen elsewhere, and were handpicked by Kathleen Goncharov, the Museum’s Senior Curator who traveled to Italy in 2019.

With incredible energy, the Studio has brought a new vision on how to stimulate today’s leading artists into thinking how the medium of glass can be made into dramatic and provocative works of contemporary art. Most of these artists have, during their careers, been invited to participate in the Venice Biennale. Some of the works were created during the pandemic lockdowns, with artists collaborating remotely via Zoom with their glass artisan partners after initial on-site work at the studio in Venice.

“Unlike the past and the present, what comes next for our world presents itself as constant possibility, always transforming as we move forward in time,” says Adriano Berengo. “This concept of transformation has always held an affinity with glass, a medium which – as the name Glasstress suggests – exists in a state of constant tension. Life needs tension, it needs energy, and a vibrant exchange of ideas.”

The exhibition presents 34 new works that explore some of today’s pressing subjects, including human rights, climate change, racial justice, gender issues and politics. The Boca Raton Museum of Art has dedicated more than 6,500 square feet of exhibition space to this collection. A fully illustrated catalogue is also available.

The mission of Glasstress is to restore the visibility and reputation of Murano glass, after decades of closures of ancient, centuries-old glass furnaces. Instead of creating decorative objects with glass, these artists are invited to create original works, often on a massive scale. They collaborate with glass masters whose expertise has been developed over generations in Venice. Most of these artists have never worked with glass, so they unite their artistic ideas with the technical expertise of their skilled collaborators.

The results are breathtaking. The first installation visitors to the Museum will encounter is Sala Longhi by Fred Wilson. He created this series at Berengo Studio after the Biennale exhibited his work about Black residents of Venice from the Renaissance to the present. This installation features an ornate white chandelier with 29 glass panels that mirror 18th-century Venetian artist Pietro Longhi’s paintings. Instead of canvases, Wilson shows the viewer only the whites of the eyes of his Black subjects through cutouts in black reflective glass.

“We have brought Glasstress to countries around the world for ten years, seeking to expand and enliven international awareness of the variety and richness of contemporary artists using glass in their creative practices,” adds Adriano Berengo. “In the past, its place in the art world might have seemed uncertain. But now in this latest edition of Glasstress, the first after a global pandemic, one thing we know for certain: glass endures. Life is fragile, just as glass is fragile, yet in this fragility there is also strength.”

“It is in this spirit of experimentation that Glasstress Boca Raton 2021 explores the limitless potential of glassblowing. “We realize how far we have come as we approach the 60th anniversary of the American studio glass movement that launched in 1962 through the efforts of Harvey Littleton and Dominick Labino,” adds Irvin Lippman. “This presentation of Glasstress is also a tribute to them.”

This show also unveils the Museum’s new acquisition for its collection, created in the Berengo Studio – Glass Big Brother, a sculpture by Song Dong, one of contemporary Chinese art’s leading figures. The large-scale ceiling installation is 11 feet long and reaches all the way to the floor. Thirty surveillance cameras are ensconced from top to bottom, looking out at all directions around the chandelier.

The installation Rosemarie’s Divorce, by Renate Bertlmann, unites aspects from Rosemarie’s Baby (1983), her multi-part installation about the ambivalent relationship between mother and child, and Discordo Ergo Sum, a field of knife-roses she exhibited at the Venice Biennale in 2019. The monstrously enlarged glass pacifier is an image she has used since the mid-1970s referencing sexuality and motherhood. It is flanked by two knife-roses made of deep black glass.

The Italian artist Monica Bonvicini’s deeply psychological work addresses themes of sexuality, power, and relationships in male-oriented domains. Her visits to sadomasochist nightclubs with Gay male friends are the inspiration for Bonded. She won the prestigious Golden Lion award at the 1999 Venice Biennale. DNA HAS NO COLOR is a new statement from Nancy Burson that is a powerful work about the illegitimacy of racism. This is a continuation of the project that Zaha Hadid commissioned Burson to develop for the London Millennium Dome. Burson is known for biology-related work, including her use of cutting edge facial morphing technology for art that shows what individuals would look like as a different race.

The Pandemic Oculus, (2020), by Tim Tate, whose work explores the worlds of loss, memory, recovery, and hope. As an HIV-positive man, he lived through the worst of the AIDS epidemic during the 1980s and 1990s, and now through the current pandemic. In the Museum’s exhibition catalogue, the artist states that Pandemic Oculus also honors the many unsung heroes around the world: nurses, teachers, essential employees, grandparents caring for children so that parents can work, and so many more. Tate is the co-founder of the Washington Glass Studio in Washington, DC. He is also the co-moderator, along with William Warmus, of the 21st Century Glass group on Facebook, which has shared and discussed over 10,000 images of sculptural glass from around the world.

Erwin Wurm’s wry sense of humor permeates his most famous works and has served him well in creating a poignant cultural commentary throughout his career. Wurm produced this triad in cold hard glass at the Berengo Studio. They are smaller versions of the massive bronze sculpture of a hot water bottle with legs, Big Mutter, that he created for the Venice Biennale in 2020. In the exhibition catalogue, the show’s curator Kathleen Goncharov describes these “mothers” as neither warm nor comforting . . . their stubby little legs imply flight when called upon to be caregivers.

At the Berengo Studio, Jimmie Durham created a series of eight giant cougar heads suspended on metal armatures. Caught in suspension as they gaze at one another, their collective roar remains frozen between them. The cougar is one of the most sacred animals in Cherokee mythology, and the influence of Native-American culture vs. Western rationalism is evident in his work. The artist’s long trajectory includes his work during the civil rights movement and as a political organizer for the American Indian Movement. In 2019, Durham was the recipient of the Golden Lion for Lifetime Achievement award at the 58th Venice Biennale.

In the Museum’s exhibition catalogue, curator Kathleen Goncharov describes Prune Nourry as no stranger to illness . . . her work always dealing with science and bioethics from a feminist perspective, a focus that has intensified since her breast cancer diagnosis in 2018. At the Berengo Studio, she created River Woman, a transparent skeletal sculpture based on an anatomical drawing of the human vascular system. While its form may be human, the arteries resemble rivers, streams and trees that suffer in their own way too, from human abuse rather than disease.

Ugo Rondinone represented his home country in the Swiss Pavilion at the 52nd Venice Biennale (2007). In this work, the twelve glass horses cast in beautiful shades of blue all face different directions, creating delicate light games with their reflections and shadows in continuous motion. In the context of this installation, the reappearing motif of a horse (which has a long tradition in the history of art), evokes alienation and a subversive twist emblematic of Rondinone’s works.

Purchase our Glasstress issue HERE.

Car Questions: How Are Remote Starters Installed?

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Remote starters are super convenient, so there is no wonder why you would want one in your automobile. No more sitting in a freezing car while you wait for your vehicle to warm up. You can do it from the inside of your home. How cool is that?

But if you don’t currently have a remote starter, you may be wondering, “How are remote starters installed”? Well, luckily for you we have the answers. In this guide, we’ll explain the steps to installing a remote starter.

Continuing reading below.

How Are Remote Car Starters Installed?

Remote starters must have a properly installed control module, wiring, and a bypass module to function correctly. The control module does all of the remote start operations by communicating with the car’s internal systems. The bypass module makes the remote starter work on up-to-date vehicles without needing to disable its factory security system.

Wiring connects the starter to the automobile so that everything functions properly. Lastly, the remote transmitter is what you would use to control all of the operations of the remote start system.

Each component of the remote start system connects and communicates with the control module to provide all of the remote start operations. The process works similar to a computer’s motherboard.

How Are Remore Starters Installed? The Basic Steps

You’ll have to determine where you place the primary module. It should be in a secured, yet hidden location. The most popular place that people put it is in the panel below the steering wheel. Putting it in this area allows it to connect directly to the ignition.

Next, remove the panel underneath the steering wheel to gain access to the wires that connect to the starter. Once you get to the wires, it’s imperative that you connect the wires securely. Any loose wiring could lead to damage to your vehicle or an injury. So make sure the connection is strong.

It helps to use heat shrink tubing and electrical tape. Attach the 12v constant wire to the power wire of your system. The 12v constant wire is the wire that’s connected to your battery and it’s usually located within a group of wires that are attached to the ignition switch.

If you read your car manual, it should tell you where this specific wire is. Next, attached the accessory wire. The accessory wire provides power for the heater and air conditioning control, and it provides energy to the 12v wire. Connect the accessory wire on the starter to the accessory wire on the car. To install this specific wire, attach it to the multimeter while the key is turned to the off position and the voltage is zero.

Find the Ignition Wire

The ignition wire provides power to the ignition system and the fuel pump, and it should connect to the ignition switch that’s located underneath the steering wheel. Again, check your car manual to get the information on where to locate this wire and find out its color. After you find the ignition wire, connect it to the multimeter while it still shows no voltage,and it’s connected to a ground wire.

The next step is to connect the parking light with the brake wires. The brake wire is typically located in the switch harness over the brake pedal. It may also be near the parking lights. Once you locate it, go ahead and connect it.

This is an essential step because connecting a brake wire is what prevents a thief from driving away in your vehicle while it’s running with the remote start function.

Connect the Tachometer Wire

Locate and connect the tachometer output that’s located on the remote sensor. Doing this step is mandatory because it helps to disengages the starter once the vehicle has started. The tachometer wire can be found by following the spark plug wires to where they gather at the distributor.

From there, you should see a tiny wire harness that should be labeled to show where the tachometer wire is. Again, you can look at your owner’s manual to get the exact location.

Once you’ve followed all of the steps listed in the remote starter instruction manual, be sure to secure the wires with wraps to keep them neat and organized. Doing so helps to protect the wires.

How Are Remote Starters Installed? Hire a Professional

Remote starters can be done by reading an instruction manual, but it’s best to get them installed by a professional. As you can see, there are a lot of intricate steps to remote start installation.

However, you can save yourself a lot of time and energy by relying on a professional to put the system together for you. For additional information, check out the highlighted link to learn more about expert remote start installation and all of its perks.

Also, it’s a good idea to use the same remote start system from the auto shop that you use. A lot of times, buying a remote start system and getting it installed elsewhere sometimes causes complications.

How Are Remote Starters Installed: No-Hassle Installation

Now that you’ve read the information above, you no longer have to ask the question of “How are remote starters installed”? The process of installation is a bit tricky, especially if you’re not good with mechanics.

But with that said, your best bet is to get your remote starter installed by a professional. That way, you can ensure that the job is done right and you don’t have to go through the headache and hassle of doing it yourself.

If this information was helpful, feel free to read more of our website. We provide tons of informative articles related to automotive information, beauty and fashion, sports, and more.

Rhys Kelly’s New Installation

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Rhys Kelly Bio

Born and raised in South Florida – Rhys gravitated toward finding beauty in the unexpected — often creating jewelry and art from things she found in nature.

While attending a small art school in Monessen, Pennsylvania, Rhys Kelly took a course on painting eyes and teeth for creatures that the students sculpted. From that class, Rhys noticed how much detail went into painting one eye – and how no two eyes are the same. This was a perfect representation for what Rhys always knew to be true: The eye represents perspective, uniqueness and individualism.

After school, Rhys started gifting the eye jewelry to friends and family, it gained attention from people beyond her inner circle and she started selling pieces in 2017, thus bringing the Rhys Kelly brand to life. Rhys’s collection of handcrafted pendants, rings and bracelets are timeless one of a kind pieces — each designed around the human eye. The eye has, for all of human existence (and probably beyond) been a symbol of power, protection, knowledge, good, evil and much more. What’s remained consistent is the fact that no two eyes are the exact same.

Rhys’s “What’s Your Perspective,” is a body of work comprising pieces of art and jewelry centered around the human eye. The collection is meant to inspire, fascinate and celebrate the unique perspective of every person. For Kelly’s art installation she casts eye forms using acrylic and acrylic paint, first pouring the acrylic into a mold and then painting. Her jewelry is handmade of precious metals including silver, gold and both semi-precious and precious gemstones. She most recently released her “Drippy Eye” installation – which is a large standing installation. Prices for Kelly’s work start at $195 for jewelry and range from $500 to $5,000 for art.

Rhys is now 24 years old and currently resides in Los Angeles where she continues to expand her following and create her artwork.