Tag Archives: public art


Vaast Colson

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Vaast Colson, ‘Break Down the Wall’ (2006)

Colson opened up a hole in the wall between Maes & Matthijs Gallery and Stella Lohaus Gallery.


The Hut Project

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The Hut Project, ‘Un-fair’ (2009)

Bronze cast of a stone from outside the artists’ studio, worn in the Assistant Director’s shoe during installation of ‘The Fair Show’.


Jean-Baptiste Ganne

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Jean-Baptiste Ganne, Untitled (All that Glitters is Gold) (2007)

Installation in the water tank of the roman Villa Medici, 2007.
TAILS (Effet placebo). Between radical criticism of government organisations and simple prostitution the gap can appear extremely small. Pouring the budget that is supposedly attributed to the production of an artwork out onto the ground, would be a way of lowering the legal tender (the sign of value), of spreading it about, immobilising it. Then making it both the subject and the object of the piece(s).

HEADS (Et fait place au beau). Everything will be read as a “fountain-making”. And the multiplication of figures. Of those born from the waters and money of antiquity. Make a hundred thousand Boticellian Venuses glitter under the flow of raindrops from the natural fountain that the water tank at the Villa Medici is, like a hundred thousand wishes impossible to formulate.


Bethan Huws

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Bethan Huws, ‘At the Base of the Brain There Is a Fountain’ (2009)


Chelsea Arts Club

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From the Chelsea Art Club’s 1919 Dazzle Ball. Yvonne Gregory by Bertram Park

On March 12, 1919, the Chelsea Arts Club held a costume party, called a Dazzle Ball, at Royal Albert Hall in London. It was inspired by the abstract geometric shapes on camouflaged ships in World War I , a method that was first employed by the British, who called it “dazzle painting” or dazzle camouflage. When the Americans adopted a comparable method, they referred to it by other names, among them “baffle painting,” “jazz painting,” and (rarely) “razzle dazzle.”

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David Lamelas

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David Lamelas, ‘Senalamiento de tres objetos (Signaling of three objects)’ (1968)


Gregory Green

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Gregory Green, ‘Be Selective as to What You Accept as Truth’ (1987)

Poster edition.


William Pope.L

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William Pope.L, ‘The Great White Way, 22 miles, 9 years, 1 street’ (2001-ongoing). From the larger series ‘eRacism’.

People who are forced to give up their verticality are prey to all kinds of dangers. But, let us imagine a person who has a job, possesses the means to remain vertical, but chooses momentarily to give up that verticality? To undergo that threat to his/her bodily/spiritual categories—that person would learn something. I did… Now I crawl to remember. – William Pope.L


Le Corbusier

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‘Villa Savoye’ (1929) by Le Corbusier.

Considered by many to be the seminal work of the Swiss architect Le Corbusier, this house is seen as one of the ultimate ‘machines for living’.

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Le Corbusier with a model of Villa Savoye.

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The construction of the house.

 


Chris Evans

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Chris Evans, at Rabo Bank Rotterdam for Sculpure International Rotterdam 2014

Chris Evans, at Rabo Bank Rotterdam for Sculpure International Rotterdam 2014

‘Portrait of a Recipient as a Door Handle’ (2014) by Chris Evans.

Permanent work on the entrance of the Rabobank office in Rotterdam.