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Robin Perdriolle

@robin.perdriolle

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Mike Nelson
Triple Bluff Canyon
Installation view: Modern Art, Oxford
May 8 - July 4, 2004 ‘Nelson's sources and the story he told himself in the making of this work matter less to me than the situation he has set up, the physical loop, that has its dramatic conclusion in a quagmire of sand that cannot be crossed. Triple Bluff Canyon is an image of catastrophe, and of a barrenness as much psychological as physical. It is possible for artists to go beyond themselves, and beyond their intentions, beyond their reference material and resources. But it is much less common than one might suppose, or hope for.’ The Guardian Image courtesy the artist and 303 Gallery, New York; Galleria Franco Noero, Turin; Matt’s Gallery, London; and neugerriemschneider, Berlin. #MikeNelson #ArtInstallation by @robin.perdriolle
7
4 years ago
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Mike Nelson
Triple Bluff Canyon
Installation view: Modern Art, Oxford
May 8 - July 4, 2004 ‘It is hard not to think of our adventures in the deserts, looking across this upstairs indoor wadi, a sense of a vast emptiness bounded by the walls of the gallery, and of the heaviness of the sand that swallows everything. The entire experience of Triple Bluff Canyon has the manner of a quest, with pitfalls (the wrong door), disillusionments (the breakdown and loss of illusion, when we see that the corridor and foyer are but a stage set), traps and beguilements (the lecturer, making us believe in the untrue, as though to frighten and mislead us), and a long dark corridor into the unknown, where we end up at a miserable dead end, with only a very limited view of what might lie beyond. And then, having begun again, the revelation of the desert, a vision as agoraphobic and empty as the earlier spaces were claustrophobic. The allusions multiply.’ The Guardian Image courtesy the artist and 303 Gallery, New York; Galleria Franco Noero, Turin; Matt’s Gallery, London; and neugerriemschneider, Berlin. #MikeNelson #ArtInstallation by @robin.perdriolle
3
4 years ago
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Mike Nelson
Triple Bluff Canyon
Installation view: Modern Art, Oxford
May 8 - July 4, 2004 ‘Mike Nelson is known for his large-scale installations made up of sequences of meticulously constructed, interconnecting rooms that suggest real or imagined spaces. To encounter Nelson’s work is to take an active part in a telescoping narrative that merges real and fictional experience. It is a narrative of jump cuts and double takes in which truth and reality are fractured into a multiplicity of perspectives. References to the literary constructions of William Burroughs, Jorg Luis Borges, the Strugatsky Brothers and Stanislav Lem abound in Nelson’s structures, set among more generic tales of piracy, survival, desertion and the covert groupings of the stateless and the subversive.’ Google Arts and Culture. Image courtesy the artist and 303 Gallery, New York; Galleria Franco Noero, Turin; Matt’s Gallery, London; and neugerriemschneider, Berlin. #MikeNelson #ArtInstallation by @robin.perdriolle
15
4 years ago
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TOMÁS SARACENO: PARTICULAR MATTER(S) THE SHED, NEW YORK, 2022 “Saraceno’s work is playful, even childlike, yet mind-bogglingly sophisticated and political.” —The New York Times Through floating sculptures, interactive installations, and an artistic process that centers collaboration, often with spiders and their webs, Tomás Saraceno proposes a conversation between human and nonhuman lifeforms. These beings have been disregarded by humans in the Capitalocene, a name for the era of Earth’s existence that we’re living in, characterized by the destructive effects of capitalism on the environment. In a call for environmental justice, Saraceno also collaborates with human communities that have been impacted by these negative effects to renew relationships with Earth, the air, and the cosmos, particularly as part of his community projects, Aerocene and Arachnophilia. Particular Matter(s), the artist’s largest exhibition in the US to date, brings this layered approach together, celebrating the complexity of our collective existence while looking for ways to live together differently. The exhibition features new and existing works in The Shed’s galleries and a newly commissioned sensory experience, Free the Air: How to hear the universe in a spider/web, a 95-foot-diameter installation in the soaring McCourt space. The exhibition will be accompanied by a fully illustrated catalogue and a robust public program in partnership with the Columbia University’s Climate School. Photo: Free the Air: How to hear the universe in a spider/web, 2022, installed at The Shed (© Studio Tomás Saraceno/Commissioned by The Shed/Photo by Nicholas Knight) by @robin.perdriolle
22
4 years ago
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TOMÁS SARACENO: PARTICULAR MATTER(S) THE SHED, NEW YORK, 2022 “Saraceno’s work is playful, even childlike, yet mind-bogglingly sophisticated and political.” —The New York Times Through floating sculptures, interactive installations, and an artistic process that centers collaboration, often with spiders and their webs, Tomás Saraceno proposes a conversation between human and nonhuman lifeforms. These beings have been disregarded by humans in the Capitalocene, a name for the era of Earth’s existence that we’re living in, characterized by the destructive effects of capitalism on the environment. In a call for environmental justice, Saraceno also collaborates with human communities that have been impacted by these negative effects to renew relationships with Earth, the air, and the cosmos, particularly as part of his community projects, Aerocene and Arachnophilia. Particular Matter(s), the artist’s largest exhibition in the US to date, brings this layered approach together, celebrating the complexity of our collective existence while looking for ways to live together differently. The exhibition features new and existing works in The Shed’s galleries and a newly commissioned sensory experience, Free the Air: How to hear the universe in a spider/web, a 95-foot-diameter installation in the soaring McCourt space. The exhibition will be accompanied by a fully illustrated catalogue and a robust public program in partnership with the Columbia University’s Climate School. Photo: Free the Air: How to hear the universe in a spider/web, 2022, installed at The Shed (© Studio Tomás Saraceno/Commissioned by The Shed/Photo by Nicholas Knight) taken in New York by @robin.perdriolle
0
4 years ago
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TOMÁS SARACENO: PARTICULAR MATTER(S) THE SHED, NEW YORK, 2022 “Saraceno’s work is playful, even childlike, yet mind-bogglingly sophisticated and political.” —The New York Times Through floating sculptures, interactive installations, and an artistic process that centers collaboration, often with spiders and their webs, Tomás Saraceno proposes a conversation between human and nonhuman lifeforms. These beings have been disregarded by humans in the Capitalocene, a name for the era of Earth’s existence that we’re living in, characterized by the destructive effects of capitalism on the environment. In a call for environmental justice, Saraceno also collaborates with human communities that have been impacted by these negative effects to renew relationships with Earth, the air, and the cosmos, particularly as part of his community projects, Aerocene and Arachnophilia. Particular Matter(s), the artist’s largest exhibition in the US to date, brings this layered approach together, celebrating the complexity of our collective existence while looking for ways to live together differently. The exhibition features new and existing works in The Shed’s galleries and a newly commissioned sensory experience, Free the Air: How to hear the universe in a spider/web, a 95-foot-diameter installation in the soaring McCourt space. The exhibition will be accompanied by a fully illustrated catalogue and a robust public program in partnership with the Columbia University’s Climate School. Photo: Free the Air: How to hear the universe in a spider/web, 2022, installed at The Shed (© Studio Tomás Saraceno/Commissioned by The Shed/Photo by Nicholas Knight) taken in The Shed by @robin.perdriolle
2
4 years ago
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Desert X AlUla 2022 last week! Land artist Jim Denevan creates ephemeral drawings whose interlocking patterns speak to the shifts in magnitude and scale that so often shape our experience of the desert and our attempts to position ourselves within the vastness of unbounded space. Photos by @lance.gerber #desertx #desertxalula #desertxalula2022 taken in AlUla, Saudi Arabia by @robin.perdriolle
66
5 years ago
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Desert X AlUla 2022 last week! Khalil Rabah creates a mirage of an orchard of olive trees, which stand here in the desert as living things displaced from their indigenous land and longing to be repatriated, as an exploration of territory, survival and citizenship. Photos by @lance.gerber #desertx #desertxalula #desertxalula2022 taken in AlUla, Saudi Arabia by @robin.perdriolle
72
5 years ago
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Desert X AlUla 2022 last week! Abdullah AlOthman’s piece references theories of light refraction rooting back to the early days of desert civilization and culture, with stainless steel plinths that interact with the light and create a radiant space that seeks to manifest the experience of capturing the mirage for the first time. Photos by @lance.gerber #desertx #desertxalula #desertxalula2022 taken in AlUla, Saudi Arabia by @robin.perdriolle
0
5 years ago
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One of Kapoor’s key themes is the void, the moment in his sculpture when the opening isn’t just a hole but a space full of what isn’t there. He began exploring the theme of the void in large-scale stone works, at times defining the insides and outsides, at other times clearly delineating empty spaces. He describes the void as being a state within, a potential space, not a non-space. With his exploration of the void, Kapoor approaches psychology, fear, death, and love in as direct a way as possible, yet avoiding direct storytelling or meaning. Significantly, Kapoor asserts that he has nothing to say as an artist, no message for the world. As such, he explains, meaning arises because it must, not because he puts it there.  Anish Kapoor, Oracle, 1990-2002, Sandstone and pigment © Kukje Gallery #AnishKapoor by @robin.perdriolle
3
5 years ago
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One of Kapoor’s key themes is the void, the moment in his sculpture when the opening isn’t just a hole but a space full of what isn’t there. He began exploring the theme of the void in large-scale stone works, at times defining the insides and outsides, at other times clearly delineating empty spaces. He describes the void as being a state within, a potential space, not a non-space. With his exploration of the void, Kapoor approaches psychology, fear, death, and love in as direct a way as possible, yet avoiding direct storytelling or meaning. Significantly, Kapoor asserts that he has nothing to say as an artist, no message for the world. As such, he explains, meaning arises because it must, not because he puts it there.  Anish Kapoor, Descent into Limbo, Havana (2016). Photo by Paola Martinez Fiterre, courtesy of Galeria Continua #AnishKapoor by @robin.perdriolle
5
5 years ago
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One of Kapoor’s key themes is the void, the moment in his sculpture when the opening isn’t just a hole but a space full of what isn’t there. He began exploring the theme of the void in large-scale stone works, at times defining the insides and outsides, at other times clearly delineating empty spaces. He describes the void as being a state within, a potential space, not a non-space. With his exploration of the void, Kapoor approaches psychology, fear, death, and love in as direct a way as possible, yet avoiding direct storytelling or meaning. Significantly, Kapoor asserts that he has nothing to say as an artist, no message for the world. As such, he explains, meaning arises because it must, not because he puts it there.  Anish Kapoor, Void 1989, Fibreglass and pigment © Anish Kapoor #AnishKapoor by @robin.perdriolle
6
5 years ago
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