Clear Mag Magazine

Studio DRIFT: FLYLIGHT Moscow

Netherlands based design team, studio DRIFT unveils FLYLIGHT, its latest installation by Lonneke Gordijn and Ralph Nauta.

FLYLIGHT is an interactive light installation composed of a minimum of 180 glass tubes. The glass tubes that light up and respond to the viewer are inspired by the behavior of a flock of birds and Continue Reading

        

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Richard Hambleton: A Retrospective-Installation Process

        

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Wunderboxes by PostlerFerguson for V&A

Wunderboxes is a temporary installation designed for the V&A Friday late programme “Archive Live” in the grand entrance hall of the V&A museum in London.

Postlerferguson was commissioned to visualize parts of their research and the design team responded with

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NADA at Art Basel

The New Art Dealers Alliance presented the NADA Party at Canyon Ranch Miami Beach, celebrating the NADA Sculpture Garden and the 7 For All Mankind Best Booth Prize Winners Kate Werble Gallery & Francois Ghebaly Gallery. NADA topped off their successful opening in style, drawing over 650 of the art world’s top artists, collectors and gallerists. The VIP fete featured Continue Reading

        

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Clemens Weisshaar and Reed Kram to design this year’s Trafalgar Square Installation

The London Design Festival has invited Clemens Weisshaar and Reed Kram to design this year’s Trafalgar Square Installation. Their project entitled OUTRACE empowers the general public to take control of eight large-scale industrial robots on loan from Audi’s manufacturing line that will descend onto Continue Reading

        

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Marco Brambilla

Kanye West has commissioned a video work by critically acclaimed artist, Marco Brambilla, to accompany the release of his new single “Power” from his upcoming album.

Power is a neo-classical video tableau, a single continuous camera move from an extreme close up of Mr. West gradually revealing an epic composition showing characters and creatures surrounding him in an abstract environment – all moving in extreme slow motion. Inspired by Continue Reading

        

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Project Beehive

Movement Electronic Music Festival Powered by Ford Fiesta will feature the work of several Detroit-based artists who were invited to create provocative, site-specific installations for this year’s festival.  Artists were encouraged to incorporate “found” and recycled materials into the sculptures and created “figurative” beehive installations.

The total number of artists leading the projects was 7 and their disciplines range from painters and sculptors, to builders and potters.  In some of the projects festival-goers will see intricate hand-made weavings out of mesh and fabric, while others have been technically composed with wood and Paper Mache.

Notably, among the core group, Vanessa Miller and Kate Daughdrilll led the teams of artists and other interdisciplinary thinkers.  Together, the group created one large-scale beehive sculpture to serve as gathering space for conversation during the festival.  Their beehive sculptures are 12-feet in diameter and filled with comfortable seating structures, a conference table, and a small library of books about Detroit.

The collaborative team hopes that the intimate yet thought-provoking qualities of the sculptural environment create a space for reflection and informal conversation about the history, present experience, and trajectory of Detroit. They are interested in facilitating and engaging in conversations about the cultural, social, and economic conditions of the city that embody the present vitality and urgency of living in this city as this particular time.

The concept, proposed by artist Kate Daughdrill, references the collaborative, community-based production that occurs within a hive. Historically, beehives have been associated with industry, diverse cooperation, and fierce resourcefulness. Honey, a swarm’s primary creative product, has historically referenced the restoration of health and a yearning for sweetness. Each artist led a team in creating an installation that references the beehive in its physical composition, material usage, symbolic references, and/or creative, production process.

The installations at this year’s festival are united by the conceptual exploration of the beehive as well as by a strong materiality, laborious yet energetic working processes, and innovative approaches to the use of everyday, found materials. These common characteristics highlight the visionary resourcefulness, strong work ethic, and collaborative, community-based nature of many of the visual artists working in Detroit.

        

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Method Man

DENNIS HOPPER TAKES US INTO ANOTHER SIDE OF HIMSELF. THE ART, CREATIVITY AND FUNCTION ALL COME OUT. Continue Reading

        

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Swarovski Crystal Palace + Design Miami/

As main sponsor of Design Miami/ 2009, Swarovski Crystal Palace unveiled a show-stopping hi-tech installation by Greg Lynn at Design Miami, which opened on December 1st.  Located at the entrance to the Designers’ Lounge, the structure extends over 80 square meters and reaches over seven meters in height, where the ‘walls’ and ‘ceiling’ are made of Swarovski crystal-encrusted suspended panels or “sails” where molded, curved and billowing shapes overlap and intersect.

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Clemens Behr for Seize

German artist, Clemens Behr designs installation for the Galerie Seize … we love it!

“Garbage bags and cardboard boxes are cheap, beautiful, offer a lot of space, are always available, quickly to process, work  without electricity and are actually meant for other purposes.  Maybe that’s why they trigger me and develop a special charm and aesthetic meaning to me… The building process of my installations is like a journey to old childhood LEGO building times. I have a selected number of bricks and colors, a brief outline in my mind and a place to play with it.  The causality of the construction, having a thousand options of putting together the different parts for me, is as blessing as the event of  finding the paper boxes and materials in the streets itself. The cheap stuff from the trash is not meant to be an expensive sculpture material,  so it gets treated exactly like that. I try to fit the installation into the space I build it. If it works out it seems like a transformation of the space and a naive removal of perspective.” – Clemens Behr

        

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