Olafur Eliasson, The Collectivity Project, The High Line

The collectivity project, 2005, National Museum of Art, Architecture and Design, Oslo, 2006, Photo: Andreas Eggersten, Courtesy the artist; neugerriemschneider, Berlin; and Tanya Bonakdar Gallery, New York
 

The collectivity project, 2005, 3rd Tirana Biennale 2005, Tirana Albania., Courtesy the artist; neugerriemschneider, Berlin; and Tanya Bonakdar Gallery, New York
The collectivity project, 2005, 3rd Tirana Biennale 2005, Tirana Albania., Courtesy the artist; neugerriemschneider, Berlin; and Tanya Bonakdar Gallery, New York

The collectivity project, 2005, 3rd Tirana Biennale 2005, Tirana Albania., Courtesy the artist; neugerriemschneider, Berlin; and Tanya Bonakdar Gallery, New York



From May 29th until September 30th 2015, Olafur Eliassons`s installation "The Collectivity Project" will be presented on the High Line at West 30th Street, NY as part of the "Panorama" series.
The Collectivity Project is an installation of white LEGO bricks that features an imaginary cityscape conceived and designed by the public. All visitors to the High Line are welcomed to play with the installation, building and rebuilding the structures over time.  While it is usually the general public who forms the presentation of the model, High Line Art has invited high-profile architects to contribute one "visionary" LEGO design for the opening of the installation. Architects such as BIG, David M. Schwarz Architects, Diller Scofidio + Renfro, James Corner Field Operations, OMA New York, Renzo Piano Building Workshop, Robert A.M. Stern Architects, Selldorf Architects, SHoP and Steven Holl Architects are all contributing one building which the public may then take over - adapt, extend or work around it, reflecting the cooperative spirit of the project. 
Installed in the growing shadow of the real estate development of Hudson Yards, the mutable, human-scale artwork provides a compelling counterpoint to the concrete-and-steel towers that form the project’s backdrop. The collectivity project has previously been installed in public squares in Tirana, Albania (2005), Oslo, Norway (2006), and Copenhagen, Denmark (2008).
“The Collectivity Project” will be on display May 29th – September 30th from 10.00 am to 7.00 pm daily, on the High Line at West 30th Street in New York. For more information, please click here.

About The High Line:

The High Line is an elevated freight rail line transformed into a public park on Manhattan’s West Side. It is owned by the City of New York, and maintained and operated by Friends of the High Line. Founded in 1999 by community residents, Friends of the High Line fought for the High Line’s preservation and transformation at a time when the historic structure was under the threat of demolition. It is now the non-profit conservancy working, presenting a wide array of artwork including site-specific commissions, exhibitions, performances, video programs, and a series of billboard interventions. Curated by Cecilia Alemani, the Donald R. Mullen, Jr. Director & Chief Curator of High Line Art, and produced by Friends of the High Line, High Line Art invites artists to think of creative ways to engage with the uniqueness of the architecture, history, and design of the High Line and to foster a productive dialogue with the surrounding neighborhood and urban landscape.




FOTO FRIDAY - A collaboration between Indechs and Independent Collectors

Indechs is very happy to announce the latetst collabortion with Independent Collectors: 
// FOTO FRIDAY // 

Every Friday Indechs will give you a sneak peak of  what becomes a journey about different segments of the art world: We will take you on a tour from studio visits, to museum shows, gallery exhibitions, corporate collections or public sculpture parks around Germany and the World. The full article will be available on independentcollectors.com.https://independent-collectors.com/on-site

Click here to see what you have missed so far.

East-West/West-East - Richard Serra installation at the Qatari Desert



"East-West/West-East" is a new permanent art installation created for Qatar by Richard Serra. The work, consisting out of four steel plates that are about 15 m tall is located about 60km outside of Doha in the Qatari Desert at the Brouq Nature Reserve near Zekreet. The massive plates span 1km of the area, and “is set in a natural corridor formed by gypsum plateaus,” the Qatar Museums Authority said in a statement. Chairperson Sheikha Al Mayassa unveiled the artwork during a press event on Tuesday afternoon. Serra was quoted as saying the area “has sea in the East and sea in the West. The pieces connect the two seas and the two parts of this ancient landscape.” He added: “The placement (of the pieces) is not geometrical, it’s topological; they can only be placed where they are to achieve the curvature of the land. If one walks through the pieces; he will understand not only the rhythm of himself in relationship to the landscape but also the rhythm of himself in relationship to the height and the length of the pieces.” The new installation follows in the footsteps of Serra’s other works, which tend to revolve around the concepts of space, weight, mass and gravity, and are comprised of steel, his material of choice. The artist is known for constructing enormous site-specific installations, including 7, a 24m (80-foot) high sculpture composed of seven steel sheets, which was erected at the MIA Park in 2011.
“East-West/West-East” is a departure from some of the other pieces that the QMA has recently commissioned, including a series of giant babies (Damien Hirst‘s “Miraculous journey” outside of the Sidra Medical and Research Center) and a statue of head-butting athletes (Adel Abdessemed’s “Coup de Tête”).
info: Dohanews.co

2015 Triennial: Surround Audience, New Museum New York.

Juliana Huxtable, Untitled in the Rage (Nibiru Cataclysm) from the“UNIVERSAL CROP TOPS FOR ALL THE SELF CANONIZED SAINTS OF BECOMING” series, 2015. Inkjet print. Courtesy the artist
Casey Jane Ellison, IT’S SO IMPORTANT TO SEEM WONDERFUL, 2015 (still). Video, sound, color. Courtesy the artist 
Avery Singer, Untitled, 2015. Courtesy the artist.

DIS, Studies for The Island (KEN), 2015. Codesigned by Mike Meiré. Courtesy the artists and Dornbracht 
The exhibition everyone is talking about - be it good or bad - it seems quite an easy one to have an opinion about. Unfortunately, we can´t make it to New York currently, so this is just an information. If you are around, go, have a look and decide for yourself:

"The Triennial’s predictive, rather than retrospective, model embodies the institution’s thirty-seven-year commitment to exploring the future of culture through the art of today. This third iteration of the Triennial is titled “Surround Audience” and is co-curated by New Museum Curator Lauren Cornell and artist Ryan Trecartin.
“Surround Audience” explores the effects of an increasingly connected world both on our sense of self and identity as well as on art’s form and larger social role. The exhibition looks at our immediate present, a time when culture has become more porous and encompassing and new considerations about art’s role and potential are surfacing. Artists are responding to these evolving conditions in a number of ways, from calculated appropriations to critical interrogations to surreal or poetic statements.
Featuring fifty-one artists [http://www.newmuseum.org/exhibitions/view/the-generational-triennial] from over twenty-five countries, “Surround Audience” pursues numerous lines of inquiry, including: What are the new visual metaphors for the self and subjecthood when our ability to see and be seen is expanding, as is our desire to manage our self-image and privacy? Is it possible to opt out of, bypass, or retool commercial interests that potentially collude with national and international policy? How are artists striving to embed their works in the world around them through incursions into media and activism? A number of artists in the exhibition are poets, and many more use words in ways that connect the current mobility in language with a mutability in form. The exhibition also gives weight to artists whose practices operate outside of the gallery—such as performance and dance—and to those who test the forums of marketing, comedy, and social media as platforms for art. The building-wide exhibition encompasses a variety of artistic practices, including sound, dance, comedy, poetry, installation, sculpture, painting, video, one online talk show, and an ad campaign.

Many of the works in the Triennial have been commissioned specifically for the show. In the two years leading up to the exhibition, the New Museum has hosted research and production residences for both international and local artists: niv Acosta, Aslı Çavuşoğlu, Juliana Huxtable, Geumhyung Jeong, Eduardo Navarro, Daniel Steegmann Mangrané, and Luke Willis Thompson. Additional new works by Nadim Abbas, Sophia Al-Maria, Ketuta Alexi-Meskhishvili, Olga Balema, Frank Benson, Sascha Braunig, José León Cerrillo, Onejoon CHE, Tania Pérez Córdova,DIS, Aleksandra Domanović, Casey Jane Ellison, Exterritory, Shadi Habib Allah, Lena Henke, Josh Kline, Eva Koťátková, Oliver Laric, Rachel Lord, Ashland Mines, Avery K. Singer, Martine Syms, and Lisa Tan have also been commissioned or produced for the exhibition.
In addition to works featured in the galleries, the curators selected artists to mobilize sites outside of the Museum, including the means of dispersing information about the exhibition itself. Such projects include the Triennial ad campaignExtended Release (2015), which was conceived and designed by New York artist collective K-HOLE and serves as the group’s contribution to the exhibition. Filmed at the Museum, episodes of Ovation’s “Touching the Art” (2014–15)—a web series by Casey Jane Ellison—focus on themes broached by “Surround Audience” and will temporarily become an artwork in the exhibition."
Click here for the list of all participating artists.

The New Museum Triennial was initiated in 2009. The first edition, “Younger Than Jesus,” was organized by Massimiliano Gioni, Laura Hoptman, and Lauren Cornell. The second Triennial, “The Ungovernables,” was organized by Eungie Joo in 2012. The 2015 Triennial is organized by Lauren Cornell, Curator, 2015 Triennial, Museum as Hub, and Digital Projects, and artist Ryan Trecartin, with Sara O’Keeffe and Helga Christoffersen, Assistant Curators. The catalogue was overseen by Helga Christoffersen.


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