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sculpture
March 2012
Vol. 31 No. 2
A publication of the
International Sculpture Center
www.sculpture.org
Andrew Mowbray
South American
Sculpture
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THE WORLDS NEWSSTAND
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Last fall, I attended a special event in Berlin, where my wife, Kathy,
and I also had the pleasure of hosting a gathering for business executives
and their guests to learn more about this fascinating city, specifically
the contribution of contemporary art in making this one of the worlds
great metropolitan centers. Berlin is home to many of todays most
exciting contemporary artists. The city has embraced an estimated
7,000 artists and a growing number of collectors. The best works are
showcased in more than 3,000 exhibitions held throughout the year.
Our trip gave us access to the studios, galleries, and private collec-
tions that have made Berlin the home of European contemporary art.
We met many exciting artists and had the opportunity to visit many
private collections and numerous museums. Berlin is home to 175
museums. Knowing the role that Berlin has played in history, it was
incredible to experience what the city now means to the international
sculpture community. I encourage each of you to visit Berlin and
experience it for yourself. Youll be glad you did.
Speaking of Berlin, let me take this opportunity to welcome a
recent new member to our Board of Trustees, Phillip von Matt. I met
Phillip on our visit to Berlin, and I believe he will prove to be a valu-
able addition to our Board. He brings years of experience in the fields
of architecture, art, and education to his new role at the ISC. Born
in Switzerland, he is currently working on several projects in Berlin,
where he is active as an architect and teacher. Phillip is the ISCs
fourth international board member and an important voice as we develop
more international programming and services in the coming years.
I am also proud to welcome Prescott Muir to the ISC Board of Trustees.
Prescott is a professor and director of the School of Architecture at the
University of Utah and principal of a 35-year-old architectural firm with
offices in Salt Lake City and Los Angeles. He has played a leading role
in shaping the urban form of Salt Lake City, having served as the chair
of the Salt Lake City Chamber of Commerce, Salt Lake Downtown
Alliance, and Salt Lake Planning Commission. As an award-winning
architect, he will play an important role in the success of our Board
of Trustees.
I am pleased to report that we completed two successful fundraising
campaigns at the end of 2011the Plan of Action Campaign, the 2011
Annual Appeal, and the Matching Gift of Art Campaign, in which contri-
butions to receive the Peter Voulkos print Abstraction #1 went toward
matching a grant from the Johnson Art & Education Foundation. Thank
you to everyone who made these two campaigns a success.
Marc LeBaron
Chairman, ISC Board of Trustees
From the Chairman
4 Sculpture 31.2
ISC Board of Trustees
Chairman: Marc LeBaron, Lincoln, NE
Chakaia Booker, New York, NY
Robert Edwards, Naples, FL
Bill FitzGibbons, San Antonio, TX
Ralfonso Gschwend, Switzerland
David Handley, Australia
Paul Hubbard, Philadelphia, PA
Ree Kaneko, Omaha, NE
Gertrud Kohler-Aeschlimann, Switzerland
Creighton Michael, Mt. Kisco, NY
Prescott Muir, Salt Lake City, UT
George W. Neubert, Brownville, NE
F. Douglass Schatz, Potsdam, NY
Steinunn Thorarinsdottir, Iceland
Boaz Vaadia, New York, NY
Philipp von Matt, Germany
Chairmen Emeriti: Robert Duncan, Lincoln, NE
John Henry, Chattanooga, TN
Peter Hobart, Italy
Josh Kanter, Salt Lake City, UT
Robert Vogele, Hinsdale, IL
Founder: Elden Tefft, Lawrence, KS
Lifetime Achievement in
Contemporary Sculpture Recipients
Magdalena Abakanowicz
Fletcher Benton
Louise Bourgeois
Anthony Caro
Elizabeth Catlett
John Chamberlain
Eduardo Chillida
Christo & Jeanne-Claude
Mark di Suvero
Richard Hunt
Phillip King
William King
Manuel Neri
Claes Oldenburg & Coosje van Bruggen
Nam June Paik
Arnaldo Pomodoro
Gio Pomodoro
Robert Rauschenberg
George Rickey
George Segal
Kenneth Snelson
Frank Stella
William Tucker
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Departments
14 Itinerary
20 Commissions
80 ISC News
Reviews
71 New York: Leandro Erlich
72 Toronto: Phillip Beesley
73 Leitrim, Ireland: Karl Burke
74 Paris: Takashi Murakami
75 Rome: Rome Biennale: International
Exhibition of Sculpture
76 Beijing and Shanghai: Xu Bing
76 Singapore: Wee Hong Ling
77 Mount Tomah, Australia: Rae Bolotin
78 Dispatch: 12th Istanbul Biennial
On the Cover: Andrew Mowbray, Bathyscape
(detail), 2007. Polyethylene plastic, acrylic,
bronze, steel, and vinyl, 84 x 42 x 42 in.
Photograph: Peter Harris.
Features
22 Weird Science and Aesthetics: A Conversation with Andrew Mowbray by Francine Koslow Miller
30 Perus Contemporary Sculptors: Crafting New Social and Cultural Identities by Jan Garden Castro
36 Listening to Stones: A Conversation with Lika Mutal by Jan Garden Castro
42 Camilo Guinot: Exacting Immateriality by Maria Carolina Baulo
46 Working with the Wind: A Conversation with Tim Prentice by Jane Ingram Allen
52 Suzanne Morlock: The Green Magic of Recycling by Katarzyna Zimna
46
sculpture
March 2012
Vol. 31 No. 2
A publication of the
International Sculpture Center
52
36
Sculpture March 2012 5
77
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S CUL PT URE MAGAZ I NE
Editor Glenn Harper
Managing Editor Twylene Moyer
Editorial Assistants Elena Goukassian, Joshua Parkey
Design Eileen Schramm visual communication
Advertising Sales Manager Brenden OHanlon
Contributing Editors Maria Carolina Baulo (Buenos
Aires), Roger Boyce (Christchurch), Susan Canning (New
York), Marty Carlock (Boston), Jan Garden Castro (New
York), Collette Chattopadhyay (Los Angeles), Ina Cole
(London), Ana Finel Honigman (Berlin), John K. Grande
(Montreal), Kay Itoi (Tokyo), Matthew Kangas (Seattle),
Zoe Kosmidou (Athens), Angela Levine (Tel Aviv), Brian
McAvera (Belfast), Robert C. Morgan (New York), Robert
Preece (Rotterdam), Brooke Kamin Rapaport (New
York), Ken Scarlett (Melbourne), Peter Selz (Berkeley),
Sarah Tanguy (Washington), Laura Tansini (Rome)
Each issue of Sculpture is indexed in The Art Index and
the Bibliography of the History of Art (BHA).
isc
Benefactors Circle ($100,000+)
Atlantic Foundation
Karen & Robert Duncan
John Henry
J. Seward Johnson, Jr.
Johnson Art & Education Foundation
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Kanter Family Foundation
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Marc LeBaron
Lincoln Industries
National Endowment for the Arts
Mary OShaughnessy
I.A. OShaughnessy Foundation
Estate of John A. Renna
Jon & Mary Shirley Foundation
Dr. & Mrs. Robert Slotkin
Bernar Venet
Chairmans Circle ($10,00049,999)
Magdalena Abakanowicz
Anonymous Foundation
Janet Blocker
Blue Star Contemporary Art Center
Debra Cafaro & Terrance Livingston
Chelsea College of Art & Design
Sir Anthony Caro
Clinton Family Fund
Richard Cohen
Don Cooperman
David Diamond
Jarvis & Constance Doctorow Family Foundation
Geraldine R. Dodge Foundation
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Lin Emery
Fred Eychaner
Carole Feuerman
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Alan Gibbs
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Richard Heinrich
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KANEKO
Ree & Jun Kaneko
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Keeler Foundation
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Cynthia Madden Leitner/Museum of Outdoor Arts
Toby D. Lewis Philanthropic Fund
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STRETCH
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Address all editorial correspondence to:
Sculpture
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Phone: 202.234.0555, fax 202.234.2663
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I NT E RNAT I ONAL SCUL PT URE CE NT E R CONT E MPORARY SCUL PT URE CI RCL E
The International Sculpture Center is a 501(c)3 nonprofit organization
that provides programming and services supported by contributions, grants,
sponsorships, and memberships.
The ISC Board of Trustees gratefully acknowledges the generosity of our
members and donors in our Contemporary Sculpture Circle: those who have
contributed $350 and above.
I NT E RNAT I ONAL S CUL PT URE CE NT E R
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Major Donors ($50,00099,999)
Chakaia Booker
Fletcher Benton
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Rob Fisher
Richard Hunt
Robert Mangold
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Frederik Meijer Gardens & Sculpture Park
New Jersey State Council on the Arts
Pew Charitable Trust
Arnaldo Pomodoro
Walter Schatz
William Tucker
Nadine Witkin, Estate of Isaac Witkin
Mary & John Young
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About the ISC
The International Sculpture Center is a member-supported, nonprofit organization
founded in 1960 to champion the creation and understanding of sculpture and
its unique and vital contribution to society. The mission of the ISC is to expand
public understanding and appreciation of sculpture internationally, demonstrate
the power of sculpture to educate and effect social change, engage artists and
arts professionals in a dialogue to advance the art form, and promote a support-
ive environment for sculpture and sculptors. The ISC values: our constituents
Sculptors, Institutions, and Patrons; dialogueas the catalyst to innovation and
understanding; educationas fundamental to personal, professional, and soci-
etal growth; and communityas a place for encouragement and opportunity.
Membership
ISC membership includes subscriptions to Sculpture and Insider; access to
International Sculpture Conferences; free registration in Portfolio, the ISCs
on-line sculpture registry; and discounts on publications, supplies, and services.
International Sculpture Conferences
The ISCs International Sculpture Conferences gather sculpture enthusiasts
from all over the world to network and dialogue about technical, aesthetic,
and professional issues.
Sculpture Magazine
Published 10 times per year, Sculpture is dedicated to all forms of contemporary
sculpture. The members edition includes the Insider newsletter, which contains
timely information on professional opportunities for sculptors, as well as a list
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www.sculpture.org
The ISCs award-winning Web site <www.sculpture.org> is the most comprehensive
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Education Programs and Special Events
ISC programs include the Outstanding Sculpture Educator Award, the Outstanding
Student Achievement in Contemporary Sculpture Awards, and the Lifetime
Achievement Award in Contemporary Sculpture and gala. Other special events
include opportunities for viewing art and for meeting colleagues in the field.
Directors Circle ($5,0009,999)
This issue is supported
in part by a grant from
the National Endowment
for the Arts.
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part by funds from the New Jersey
State Council on the Arts/Department
of State, a Partner Agency of the
National Endowment for the Arts.
555 International Inc.Ruth AbernethyLinda Ackley-EakerD. James Adams
John AdduciOsman AkanMine AkinElizabeth AraliaMichelle Armitage
Art ValleyUluhan AtacMichael AurbachHelena Bacardi-KielySarah
Barnhart-FieldsBrooke BarrieJerry Ross BarrishCarlos BasantaFatma
Basoglu-TakiiilBruce BeasleyJoseph BechererEdward BenaventeJoshua
BedersonJoseph BeneveniaPatricia Bengtson JonesConstance Bergfors
Evan BerghanRonald BermanRoger BerryHenri BertrandCindy
BillingsleyDenice BizotRita BlittChristian BoltMarina BonomiGilbert V.
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Riva Yares Gallery
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14 Sculpture 31.2
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Asia Society
|eu 'c||
Sarah Sze
||co| |c|:| .,, .o:.
For nearly two decades, Szes dis-
tinctive assemblages of common
disposable objects have riveted and
challenged viewers. Her complex
spatial matrices combine water bot-
tles, drawing pins, paper, salt, string,
lamps, matchsticks, and wire into
spectacularly intricate universes that
mold themselves to their host
spaces, spreading across, over, and
through architectural surfaces.
Within the delicate balance of her
compositions, the slightest change
seems capable of precipitating a
descent into chaos. Infinite Line is
the first exhibition to focus on the
process behind Szes illusions.
Exploring line across media, from
drawing to sculpture to installation,
the works collected here (including
a new installation) demonstrate
how the careful calibration of dis-
order can re-orchestrate our under-
standing of and relationship to
space.
Tel: 212.517.ASIA
Web site <www.asiasociety.org>
Fondation Cartier
|c||
Mathematics: A Beautiful
Elsewhere
||co| |c|:| :3, .o:.
Mathematics instigates what
algebraic geometer Alexandre
Grothendieck calls a sudden change
of scenery. Intended to expand the
mind and senses, this unique
collaborative endeavor teamed math-
ematicians and scientists with a
group of artists distinguished by
their curiosity and their ability
to observe. Jean-Michel Alberola,
Raymond Depardon and Claudine
Nougaret, Takeshi Kitano, David
Lynch, Beatriz Milhazes, Patti Smith,
Hiroshi Sugimoto, and Tadanori
Yokoo, as well as Pierre Buffin and
his crew (BUF), have translated the
most arcane beauties of equations
(from number theory to differential
geometry, topology, and probability)
into a series of sensorial and
inspiring experiences. From the finite
boundaries of material reality to
the infinite vastness of conceptual
universes, mathematics governs
our world: this show allows even
humanities majors to grasp the
wonder behind the code.
Tel: + 33 (0) 1 42 18 56 50
Web site
<www.fondation.cartier.com>
Gemeentemuseum
|e |coe
Andr Kruysen
||co| |c|:| :3, .o:.
In Kruysens sculpture, the numi-
nous effects of light contrast sharply
with todays fast-moving image
culture. Harnessing the constant
barrage, he distills a meditative
experience from its cacophony
though the harmony is not without
rebellious, anarchical strains. Like
the stacked planes of Russian
Constructivism or the buildings of
Daniel Libeskind, Kruysens haphaz-
ard heaps of curbside waste and
informal structures strike a precari-
ous balance between chaos and
order. Detailed investigations of the
interactions among space, light,
and material, they coalesce in huge
floating architectural compositions.
For his Ouborg Prize exhibition,
he has constructed a new space in
movement that takes natural light
as its starting point. Captured within
the distorted planes of the sculp-
ture, timeless luminosity becomes
a vehicle for ever- changing experi-
ence.
Tel: + 31 (0) 70 3381111
Web site
<www.gemeentemuseum.nl>
Henry Moore Institute
|eeo, ||
United Enemies
||co| |c|:| ::, .o:.
United Enemies explores the 1960s
and 70s, a radically fertile period in
the history of British (and Western)
sculpture, when the very idea of
three-dimensional art came under
intense scrutiny. Three themes
organize opposing approaches. The
hand celebrates the artists (and
the viewers) touch and the role
of manual thinking, from folding
to eating (a re- creation of Roelof
itinerary
Far left: Sarah Sze, Notepad. Left:
The Library of Mysteries, from
Mathematics. Below left: Andr
Kruysen, Close Enough.
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opens the exhibition with 6,000 free
snacks). The standing form investi-
gates the body and verticality, a
departure from the prone position
preferred by many artists of the
period. And the ground examines
three-dimensional representations
and interventions in the landscape
(outdoor sculpture as usual comes
under fire in /n |n||| ||cn||e|,
which documents a walk conducted
by Richard Long with Tony Cragg,
Roger Ackling, Jim Rogers, and Bill
Woodrow). Works by a range
of artistsincluding Keith Arnatt,
Shirley Cameron, Anthony Caro,
Angela Carter, Helen Chadwick,
Barry Flanagan, and Wendy Taylor
reveal how the disparate achieve-
ments of this era pushed per-
ceptions and opened the way to
todays unfettered sculptural
expressions.
Tel: + 44 (0) 113 246 7467
Web site
<www.henry-moore.ac.uk>
Kunsthaus Bregenz
3|een, /o|||c
Antony Gormley
||co| /||| .o:.
Gormleys explorations of the human
body mediate between individual
and collective, containment and
extension, what can be seen
and what can be sensed. Making
unexpected connections across
ideas and disciplines, his works have
moved the domain of figural sculp-
ture beyond the confines of the
physical body to include interaction
with the surrounding world, whether
that be the matrix of community,
space and energy, memory, or built
form. One hundred of his life-size
figures are now about to end
their sojourn in the Austrian Alps.
Spread over a 150-square-kilome-
ter area, some of the sculptures
can be reached on foot or
skis, while others remain visible but
unapproachable, defining a rela-
tional field that places the human
in its original, unprotected context,
weathering the elements and the
unknown.
Tel: + 43 55 74 4 85 94-0
Web site
<www.kunsthaus-bregenz.at>
Mori Art Museum
c|,c
Lee Bul
||co| |c, .,, .o:.
Bul approaches the human form
not just as individual body, but also
as social entity. Expanding the idea
of the physical, her work embraces
new technologies and redraws
the frontiers of human existence.
Monsters and cyborgs conflate
reality, science, and fiction, delib-
erately leaving their borders open
to interpretation. Her recent sculp-
tures and installations have become
more ambitious in scope, exploring
a global history of humanity in
which the recognizable human form
is replaced by its products and
achievements. This retrospective,
covering more than 20 years, reveals
a progressively expansive vision.
Within Lees sensuous and darkly
seductive spaces of glittering ruin,
human desire and ambition give
rise to a realm of disintegrating uto-
pian aspirations.
Tel: + 81 3 5777 8600
Web site
<www.mori.art.museum>
Museum of Chinese in America
|eu 'c||
Lee Mingwei
||co| |c|:| .o, .o:.
Whatever materials Lee uses in his
installations, his true medium is
people, and shared experience. For
over a decade, he has played a piv-
otal role in the expansion of invita-
tional aesthetics through his gen-
erous people-to-people participatory
projects. His new work, |e
|c.e|e|, began in 2010, when Lee
and MOCA released 100 artist-
designed notebooks to the public,
inviting each recipient to write a
Top left: John Davies, Three Figures:
One Standing, One Kneeling, One
Standing on a Chair, from United
Enemies. Left: Lee Bul, After Bruno
Taut (Beware the sweetness of things).
Top: Antony Gormley, Horizon Field
(detail). Above: Lee Mingwei, The
Travelers.
D
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16 Sculpture 31.2
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personal story about leaving home,
then pass the book along like a
chain letter. The last writers were
charged with the return of the books,
and those that made their way
back are featured here. A second
work, |e oc||e| ||ce:|, considers
displacement from a more immedi-
ate perspective, this time through
Dvoraks American String Quartet.
Viewers dictate the works orches-
tration, activating or silencing parts
of the music as they move through
the darkened space.
Tel: 212.619.4785
Web site <www.mocanyc.org>
Museum Ludwig
|c|n
Cosima von Bonin
||co| |c, :,, .o:.
von Bonin epitomizes the protean
media- and role-shifting that defines
contemporary artistic practice.
Her conceptual-feminist work shifts
across sculpture, installation, per-
formance, photography, video, and
painting, just as von Bonin herself
transforms from artist to curator,
to DJ, to raconteur, to collaborator.
Her hybridized approach finds inspi-
ration in a wide range of sources,
including pop culture, fashion, and
electronic music, as she tackles ideas
of play and indoctrination, structure
and improvisation, cultural and
gender representations, and identity
and self-reflection. This home-town
exhibition of 70 works features both
old and new work elaborately
combined in ensemble installations,
as well as a new architectural
intervention and outdoor sculptures.
Tel: + 49 221 221 26165
Web site
<www.museum-ludwig.de>
Museum of Modern Art
|eu 'c||
Sanja Ivekovi c
||co| |c|:| .o, .o:.
A feminist, activist, and video pio-
neer, Ivekovi c came of age in a post-
1968 Yugoslavia, where artists broke
free from mainstream institutional
settings and rebelled against official
art. Part of the generation known
as the Nova Umjetnika Praksa (New
Art Practice), she produced works of
cross-cultural resonance that range
from conceptual photomontages to
video, performance, and social sculp-
ture. In the 1970s, she probed the
persuasive qualities of mass media
and its identity-forging potential, but
after 1990following the fall of
the Berlin Wall, the disintegration
of Yugoslavia, and the birth of a new
nationshe focused on the transfor-
mation from socialist to post-social-
ist political systems. Her first U.S.
museum show features more than
100 works, including the contro-
versial monument |co, |cc c|
|o\em|co| (2001), which trades
mythic ideals for hard facts and
replaces definitions of male heroism
with terms of female abuse.
Tel: 212.708.9400
Web site <www.moma.org>
Museum of Old and New Art
|c|c||, /o||c||c
Wim Delvoye
||co| /||| ., .o:.
In Delvoyes work, opposites attract:
the divine merges with the secular,
past meets present, and ornament
overcomes function. Needless to
say, high also encounters low. His
ongoing Gothic series applies tra-
ditional craft and folk art practices
to industrial objects, such as gas
canisters hand-painted with blue
Delftware motifs and Caterpillar
excavators perforated with tracery.
The undeniably popularizing, and
perhaps a bit juvenile, t|cc:c project
transforms the mechanics of the
human body into a tongue-in-cheek
machine for the production of art
and commodities. MONA, an insti-
tution that defies almost every
accepted convention of institutional
practice, is the perfect foil for such
obstinate flaunting of decorum. The
13 subterranean galleries devoted
to Delvoyes first Australian exhibi-
tion also feature his version of the
word made flesha tattooed
manand oc (2010), a giant
Above: Cosima von Bonin, installation
view of Cut! Cut! Cut! Left: Sanja
Ivekovi c, Lady Rosa of Luxembourg
(detail). Right: Wim Delvoye, Untitled
(Suppo)scale model 1:2.
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suspended sculpture in rectal
Gothic style.
Tel: + 61 (3) 6277 9900
Web site <http://mona.net.au>
The Noguchi Museum
|cn ||cno t||,, |eu 'c||
Civic Action
||co| /||| .., .o:.
The Queens neighborhood that hosts
the Noguchi Museum and Socrates
Sculpture Park boasts a vital mix
of large open spaces, waterfront
access, industrial buildings, resi-
dences, and studios. Once a polluted,
almost abandoned zone, the area
again faces serious threatthis
time, from speculative development
that flaunts zoning regulations and
disregards infrastructure capacity,
traffic, parking, and quality of life.
In response to these abuses, the
museum and sculpture park invited
Natalie Jeremijenko, Mary Miss,
Rirkrit Tiravanija, George Trakas, and
their teams to create visionary alter-
natives to mindless expansion. This
exhibition offers a first glimpse
of their plans, which tackle nothing
less than the redefinition of growth.
Their integrated concept of plan-
ning envisions an evolving and sus-
tainable neighborhood, rich in pub-
lic amenities, affordable housing,
jobs, and creative outlets. Later this
year, a show of large-scale proto-
types at Socrates will continue the
dialogue.
Tel: 718.204.7088
Web site <www.noguchi.org>
Toledo Museum of Art
c|eoc, 0||c
Small Worlds
||co| |c|:| .,, .o:.
The power of the miniature receives
nuanced treatment in this considera-
tion of smallness and what it means
in todays world. Artistic microcosms
have not enjoyed this degree of pop-
ularity since the Victorian era (the
Museum of Arts and Design ran
a similar show last year), perhaps
because we once again need relief
from the burdens of responsibility
and an escape from the boredom of
reality; their almost magical view of
the ordinary lends something fantas-
tical, colorful, and adventurous to
the grayest, most prosaic of everyday
scenarios. The five artists featured
hereGregory Euclide, Tabaimo, Joe
Fig, Lori Nix, and Charles Kanwischer,
offer more than 40 intricate and inti-
mate worlds that instill wonder
into the everyday normality of the
home, the studio, the neighborhood,
the city, and the natural world.
Tel: 419.255.8000
Web site
<www.toledomuseum.org>
de Young Museum
cn ||cn:|:c
Stephen De Staebler
||co| /||| .., .o:.
De Staebler (who died last year)
once observed that the human fig-
ure is obviously the most loaded
of all forms because we live in
oneIts our prison. Its what gives
us life and also gives us death. For
more than 50 years, this equivocal
approach to the human condition
found expression in fragmented clay
sculptures that fuse nature, mor-
tality, and culture in forms both con-
temporary and ancient. Questioning
both the relevance of the figural
tradition and the efficacy of faith in
a postmodern world, these crum-
bling, alienated ruins (55 of them
gathered here) capture the meta-
morphic potential between matter
and spirit, creation and decay.
Tel: 415.750.3600
Web site <www.famsf.org>
Top: Natalie Jeremijenko, X-ing Problem, from Civic Action. Above: Gregory
Euclide, Capture #9, from Small Worlds. Right: Stephen De Staebler,
Standing Woman and Standing Man.
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Through March 25
Internationally renowned Spanish master Manolo Valds
is a pioneer in the fields of painting, sculpture, drawing
and printmaking. This stunning retrospective features a
variety of paintings and sculpture that demonstrate the
range and singular talent of this great artist.
Generously underwritten by Bruce and Cynthia Sherman
This exhibition is organized by the Patty & Jay Baker Naples Museum
of Art and Marlborough Gallery, New York
LOUI SE NEVELSON
Through April 29
Featuring a remarkable variety of works from throughout
Nevelsons prolific career, ranging from massive wall
pieces to more intimate wood sculptures.
Organized by the Patty & Jay Baker Naples Museum of Art and the
Pace Galleries, New York
ThePhil.org 800.597.1900
SW Floridas premier art museum. Three floors. 30,000
square feet. Located at the Philharmonic Center for
the Arts: 5833 Pelican Bay Boulevard, Naples, Florida
Hours: Tues.-Sat., 10 a.m.-4 p.m.; Sun., noon-4 p.m.
NAPLES MUSEUMOF ART
PATTY & JAY BAKER
MANOLO VALDS
View these fine exhibitions and more at the
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__________________
louts 8oukoots Anu Ptk IuMtuok
Steilneset: Memorial to the Victims of the Finnmark
Witchcraft Trials
Vard, Norway
At the easternmost point of Norway, less than 200
kilometers from Murmansk, Russia, lies the small
island of Vard, Finnmark. Home to the legendary 24-
hour days of the Arctic summer, equally long nights
in winter, and six months of prime Aurora Borealis
viewing, the fishing town of just over 2,000 people
has seen its fair share of extremesboth natural and
manmade.
Toward the end of the 16th century, Christian IV
of Denmark journeyed to the far north of his kingdom
(then Norway-Denmark) in an effort to create a more
unified state, setting up local governments along the
way. At the time of Protestantisms spread into northern
Scandinavia, the remote island of Vard was largely
populated by Norwegians and the indigenous Sami
people, groups that appeared backwards, even hea-
then, from the vantage point of the royal residence in
Copenhagen almost 2,000 kilometers away. It comes
as no surprise, then, that when the district governor
suddenly died shortly after the kings visit, witchcraft
bore the blame. Sudden storms and shipwrecks
occurring at around the same time only aggravated
the situation. Thus began a series of witch-hunts
leading to some of the most extensive witch trials in
the history of the Scandinavian Peninsula. By the
end of the 1600s, 91 people, mostly lower-class
Norwegian women and a few Sami men, were burned
at the stake. Now, more than 300 years later, the
victims of the Finnmark Witchcraft Trials have finally
been memorialized.
A joint project created by the late Louise Bourgeois
and architect Peter Zumthor, Steilneset stands on
a desolate, rocky shore, where the condemned met
their demise. The memorial is composed of two parts.
Visitors first walk up a wooden ramp into Zumthors
Memorial Hall. A 120-meter-long structure reminis-
cent of a canoe turned on its side, the exterior of the
hall echoes the wooden racks used by the locals
for drying fish. Inside the hall, as Suzanne Stephens
observed in Architectural Record, the feeling is like
being in the stomach of some prehistoric creature,
half-fish, half reptile, except there is a glimmer of
light. The glow emanates from 91 small, haphaz-
ardly arranged windows, each one with a light bulb
hanging in front, mimicking Vards tradition of
hanging lamps in the curtainless windows of houses.
There is one lighted window for each victim of the
Finnmark Witchcraft Trials. Detailed information about the individuals
accompanies these solemnly poetic displays.
After exiting the Memorial Hall at the opposite end, visitors encounter a
second structure, Zumthors glass-and-steel House of Fire, which contains
Bourgeoiss The Damned, the Possessed, and the Beloved. At once powerful
and awe-inspiring, the installation consists of a chair placed in what
appears to be a fire pit surrounded by oval mirrors. Flames burst from the
seat. The glass walls encourage viewers to consider the piece in the context
of the treeless landscape and the crashing waves of the Barents Sea, creating
a mysteriously solemn space of contemplation and remembrance.
When the Norwegian government first approached Bourgeois with the idea
of designing a memorial to the victims of the Finnmark witch-hunts a few
20 Sculpture 31.2
commissions commissions
Louise Bourgeois and Peter Zumthor, Steilneset: Memorial to the Victims of the Finnmark
Witchcraft Trials, 2011.
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years ago, the artist saw it as an opportunity
to draw attention to the plight of women.
As Bourgeoiss longtime assistant Jerry
Gorovoy pointed out in an interview with
The Art Newspaper, What happened to
women [in the 17th century] is still going
on in parts of the world today. They are not
being burned, but stoned, hacked, acid
thrown in their faces. Although Steilneset
commemorates a specific event, it also
embraces witch trials in Germany and
Salem, Massachusetts, and stretches to the
condemned in present-day sub-Saharan
Africa and Saudi Arabia. The international
nature of Steilnesetdesigned in Norway
by a French-American artist and a Swiss
architectdraws further attention to witch-
hunting as a shamefully global and inter-
cultural phenomenon.
Part of an initiative sponsored by the Nor-
wegian government, Steilneset is the first
in a series of projects sited in some of
Norways most remote regions. The goal of
the National Tourist Routes project is to
create public artworks along 18 major road-
ways in an effort to promote tourism and
settlement in rural areas. Scheduled for
completion in 2020, the project will feature
about 200 works from major international
artists, including Mark Dion, Peter Fischli
and David Weiss, and Lars Ramberg.
Steilneset, at the northeastern-most of the
National Tourist Routes, seems to teeter on
the edge of the islandand, by extension,
on the edge of Norway, the European conti-
nent, and the world as we know it in
the 21st century. The burning of women
accused of witchery in Finnmarkis a for-
gotten history in a forgotten place, Zum-
thor told ARTINFO in 2010, noting, There
is a line, which is mine, and a dot, which
is [Bourgeoiss]. With the dedication
of Steilneset last June, the historically over-
looked has been beautifully remembered
by a profound simplicity in the form
of Zumthor and Bourgeoiss line and dot.
Elena Goukassian
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Above: Peter Zumthor, interior of Memorial Hall, 2011, 120 x 78 x 6 meters. Below: Louise Bourgeois,
The Damned, the Possessed, and the Beloved, 200710. Glass, steel, concrete, mirrors, mixed media, and
fire, installation view.
Juries are convened each month to select works for Commissions. Information on recently completed commissions, along with high-resolution
digital images (300 dpi at 4 x 5 in. minimum), should be sent to: Commissions, Sculpture, 1633 Connecticut Avenue NW, 4th Floor, Washington,
DC 20009. E-mail <elena@sculpture.org>.
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___________
Weird Science
and Aesthetics
A Conversation with
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In Search Of, 2011. View of exhibition at LaMontagne Gallery, Boston. C
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BY FRANCINE KOSLOW MILLER
Andrew Mowbray makes objects that, in
the spirit of his hero Marcel Duchamp,
upend elitist notions about the artist, the
art object, and its place in the traditional
white-box gallery. His finely tooled works
frequently carved out of ivory polyure-
thaneare often used in video perfor-
mances sited outside or staged within
gallery walls. His recent show, Andrew
Mowbray: In Search Of at Bostons
LaMontagne Gallery, dealt with luck and
fate through a selection of handmade
objects that included a divining rod, a
wishbone, a planchette, and a lucky horse-
shoe. Writing his own press release in the
third person, Mowbray described his prob-
lem with privileging fine art by referring
to one of Bruce Naumans most iconic
and ironic neon sculptures: Mowbray ack-
nowledges the absurdity of applying
meaning to both art objects and fortune-
telling implements. This struggle with
belief in art is similar to Bruce Naumans
neon work that states The True Artist Helps
the World by Revealing Mystic Truths.
After two days of lengthy conversations
with the naturally droll, deeply earnest,
and ever-inquisitive Mowbray, I began
to realize that his unique gift involves an
idiosyncratic spiritual sincerity combined
with a proletarian approach to the role of
art in society.
Mowbray was born in Boston in 1971
and grew up in the coastal town of Dux-
bury, Massachusetts, where he first began
fly-fishing. He received his BFA in 1995
from the Maryland Institute College of Art
and his MFA in 1998 from Cranbrook Aca-
demy. Mowbray has been the subject
of one-person shows at the Mills Gallery,
Boston Center for the Arts (2005); Space
Other, Boston (2007); Gallery Diet, Miami
(2008); and the DeCordova Sculpture
Park and Museum, Lincoln, Massachu-
setts (2009). He has received grants
from the LEF Foundation, the Massachu-
setts Cultural Council, and the Artists
Resource Trust Fund. He is currently
teaching in the art department at Wel-
lesley College.
Francine Koslow Miller: From your earliest days as a sculpture student at Cranbrook, you
have been making, packaging, and selling art that is distinctly sweet and subversive. Back
in 1995, you made chocolate Jesus figures that celebrated and satirized Easter.
Andrew Mowbray: I made an endless edition called Sweet Jesus and packaged each one
in what looked like a coffin. I made them around Easter time, and they were my version
of the omnipresent marshmallow Peeps. I thought that they related more directly to what
Easter was about than pink or yellow candy chickens.
FKM: Speaking of chickens, for your 1998 MFA thesis show, you made a vending cart and sold
plastic wishbones with chicken heads, combining a Pop aesthetic derived from commercial
products with a Fluxus subversion of the art world and recognition of art as commodity.
24 Sculpture 31.2
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Palingenesis, 2005. Mixed-media installation, 12 x 14 x 3 ft.
Wishbone, 1998. Packaging, plastic, and cardboard, 6 x 4 x 1 in.
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AM: I formed wishbones from cast urethane plastic and added my own carved and painted
eyes, beaks, and packaging. My studio became my personal sweatshop. The idea was to
explore the strange belief that a wishbone could grant you a wish if you broke off the
larger part of the bone. It is absurd to think that this synthetic plastic product could
potentially be a fortune-telling instrument, but there is all this weirdness out there and
I wanted to add to it.
FKM: And you had an entrepreneurial spirit, selling quite a few breakable, chicken-headed
wishbones for $9.95 apiece.
AM: Yes, I made just enough money to cover my expenses, pay my phone bill, and help
out with my rent.
FKM: After moving back to Boston in 1998, you participated in a number of group shows,
among them Supermarket (Slop Art, Kansas City, Missouri, 1999), The Entertainment
Show (Jorge Hernandez Cultural Center, Boston, 2003), Boys Life (Evos Art Center,
Lowell, Massachusetts, 2005), and Back From Nature: The Sportsman Redux (ICA, Maine
College of Art, Portland, 2005). These titles imply a populist-allied life outside the studio
and the gallery. One show was even named after the official magazine of the Boy Scouts
of America, leading to an association between your work and male gender identity.
AM: I like the fact that my work draws on everyday life. The most elaborate installation
for me was the one in Back From Nature, which included Bob Braine, Kimberley Hart,
Arturo Herrera, Jocelyn Lee, Scott Peterman, Alexis Rockman, Mark Swanson, and Inga
Svala Thorsdottir.
FKM: Back From Nature explored art either dealing directly with the activities of hunting
and fishing or with the aesthetics, cult status, history, and politics of the sportsman.
Although three women contributed work, the press release stated, The American sports-
man is a cultural icon and enduring metaphor for manliness, bravado, and courage.
AM: My contribution to the show was an installation of sculpture and framed digital pho-
tographs called Palingenesis, which is a term referring to rebirth, regeneration, and rein-
carnation. In genetics, it describes an unmodified inheritance of ancestral characteristics.
FKM: You have said that the conceptual setting for this work dealing with maleness,
bachelorhood, and fishing was inspired by Duchamps The Bride Stripped Bare by Her
Bachelors, Even (The Large Glass). Palingenesis recapitulates Duchamps mechanistic
interpretation of desire, featuring a Bride in her domain above and the Bachelors Appa-
ratus below. The nine Malic Molds symbolizing the Bachelors share their space with,
among other things, a Chocolate Grinder. The Bride floats in an amorphous Milky Way
with three windows. Her suitors misfire their
shots and are thus forced to grind their
own chocolate (masturbate), while being
watched by faint circular patterns repre-
senting Oculist Witnesses. Explain your rein-
carnation of Duchamps love machine
AM: My installation also dealt with bach-
elorhood. I put my personal twist on it by
taking the Large Glass and translating it
into a functional piece whose themes were
fishing, masculinity, and femininity. Posi-
tioned in two layers against one of the
gallery walls were my hand-crafted objects,
including a horizontal metal bar to sepa-
rate the Bride from the Bachelors. The
Bride was represented by an oversized
pink creel basketused to carry fish and
usually made from willow, though mine
was made with interlacing pink plastic
lanyard and had three windows woven
into it. I created a replica of the Milky
Way from white synthetic fur. Below, my
Bachelors were signified by a white vinyl
two-piece suit on which I sewed tiny uri-
nal buttons to refer to Duchamps Foun-
tain. Beside the suit, I arranged my ver-
sion of seven sieveswhich were small
landing nets for catching troutabove
my fly-fishing rod, or chocolate grinder. I
then cut tufts of hair from my head and
used them as dubbing around hooks to
create freshwater fishing flies. I placed a
number of these flies inside a white cabi-
net fitted with an oval window and a zipper
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Bathyscape, 2007. Polyethylene plastic, acrylic, bronze, steel, and vinyl, installation view and detail.
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latch. Picture this as the area of the Oculist Witnesses, where the
Bachelors shoot a look, or other things, up at the Bride located in
the Milky Way.
FKM: This wall and another with video stills documented a per-
formance at Walden Pond.
AM: I associated Thoreau and his Walden adventure with bache-
lorhood. My pre-show private performance featured me fly-fishing,
dressed in the waterproof white vinyl suit, which stood out as
being very out of place with nature. Just above my crotch, I wore
a gimbal belt cummerbund, which is a girdle-like device used to
hold a rod while fighting and catching large fish. My action of
turning the fishing reel was meant to refer to the Bachelors grinding
their own chocolate. I carried the oversized pink creel on my shoul-
der. The video was never intended to be shown, but I photographed
stills from it and framed them in white plastic. I like the pixelated
look because it suggests that my fishing efforts were simply a
performance and not real life. It also suggests action without
being tied to a narrative.
FKM: Everything became fetishistic and sexy. The gimbal belt
makes the attached rod appear as an extended phallus, and your
white waterproof suit reminds me of John Travoltas suit in Satur-
day Night Fever.
AM: But the sexy part is very tame, and everything was a result of
extensive research. I have clippings in my scrapbook/sketchbook
of Michael Jackson, the Bee Gees, the Beatles, and the Superfly
album cover in which the men are dressed in white suits. I also
have images of Victorian hair wreaths that inspired me to use my
own hair.
FKM: Indeed, you have put together voluminous notes, sketches,
clippings, and photographs in what seems to be a modern ver-
sion of Duchamps own mass of notes, which he began jotting
down in 1913 while fabricating The Large Glass and later pub-
lished as The Green Box (1934).
AM: I just kept collecting and drawing, and the pages kept piling
up and started to fall out of the notebook. Eventually, I put all of
my notebooks into a white plastic and vinyl box fitted with a handle
on which I stitched another urinal.
FKM: Your first big solo show in Boston was in 2007 at the pro-
gressive South End gallery Space Other. To prepare, you sat dressed
in a white T-shirt and pants on a small stool inside your Victorian-
style version of a bathyscaphe. Your four-sided rendition with deli-
cate legs, four windows, and water installed in a ceiling tank was
created from white polyethylene plastic, acrylic, bronze, and steel.
What is a bathyscaphe?
AM: Its a rare device related to a diving bell, which is an airtight
windowed chamber lowered underwater to transport a small num-
ber of divers. The pressure of the water keeps the air trapped inside
the bell. Although the first bathyscaphes were engineered in the
late 1920s to investigate the deep sea, interest in diving bells goes
back to the time of Aristotle. Along with a number of designs for
diving bells, I also found an illustration from a medieval manuscript
showing Alexander the Great being lowered into the ocean in a
diving bell. I pictured divers bringing treasure and stories to the
surface in much the same way that artists bring ideas to light
in the gallery.
FKM: Your one-person apparatus seems to be from the world of
fantasy. It reminds me of Cinderellas carriage.
AM: It has also been compared to a Victorian cabinet and the
elevator in Tim Burtons Willy Wonka. I love that. The top has a
hatch to let air in, while the top basin percolates with water to
create an undersea illusion. For me, Bathyscape was more like a
birth canal with four oval windows. I had a hollow tube attached
to the top, which was like an umbilical cord that connected me
to the gallery.
FKM: So you made a womb/studio inside Bathyscape. Bellows
operated by gallery workers dressed in white vinyl suits pumped
air into the area where you sat silently on a white cushion and
created the works of art, which you framed.
AM: I installed the apparatus for tying fishing flies on a small
white plastic table. I cut locks of my hair off and used them to
tie 24 Hairwing flies, which are the type used to catch salmon.
I then framed each fly in an egg-like plastic oval and clipped it
to a pulley system that ran through a small hole in the bottom
of Bathyscape.
26 Sculpture 31.2
Top: Anemometer, 2008. Video still from performance. Above: Tempest
Prognosticator with Park Bench, 2009. View of mixed-media installation
at the DeCordova Sculpture Park and Museum.
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FKM: Again, you used your hair as the main material for your
product. As the frames came out, another assistant, also dressed
in a sanitary white costume, received them and hung them on
an adjoining wall in a predetermined pattern of spirals based on
your double cowlick. This complicated performance seems to com-
bine fetish with ritual and identity. Your hair, a source for DNA, is
also a memento of a performance enacted without an audience.
AM: Bathyscape was about networks and devices of support. The
diving bell is tethered to the ship like a baby to its mother and
the artist to the gallery. The performance was documented in
a video that became part of the installation.
FKM: This elaborate performative sculptural installation has been
compared to Matthew Barneys CREMASTER cycle.
AM: I admit that we share an interest in materials and what they
stand for in the history of art, as well as a definite theatricality.
However, Barneys work has an overt and dark sexuality to it that
mine doesnt. In Bathyscape, Im more like a baby in an incu-
bator, while Barney is an athletic hero wrestling with his content.
We both deal with masculinity in different ways. My work is internal
and contemplative rather than aggressive and spectacle oriented.
FKM: There is a strong narrative insinuated by the sculptural arti-
facts of your performances. Tempest Prognosticator, your next
major work (originally at Gallery Diet in Miami in 2008, then at
the DeCordova Sculpture Park and Museum in 2009), used weather
to symbolize the uncontrollable parts of life that we try to mea-
sure through technology. For this project, you placed yourself on
a Boston rooftop clad in a black business suit and a white plastic
harness with three extending arms, each ending in a wind-catching
cup. You became a human anemometer and weather vane, standing
on a low plastic table and rotating at a very slow pace. The per-
formance was shown as a video in the museum, and the audience
was invited to sit on a white polyethylene park bench that you
fashioned.
AM: Even when I try to make something functional, it is absurd
because it all comes down to weird science and aesthetics in the
end. The title refers to a rather bizarre Victorian device, which
Left: Weather Vane/Anemometer, 2008. Polyethylene, steel, vinyl, and PVC, installation view. Right: Drawing Machine #2, 2009. Steel, polycarbonate, Mylar,
and pen, installation view.
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used live leeches to measure atmospheric
conditions. It was invented in 1851 by a Dr.
George Merryweather who had observed
that freshwater leeches tended to become
quite agitated before a severe storm. He
created an apparatus meant to harness the
energy of the leeches. He placed 12 white
glass pint bottles around a circular stand
at whose top was a bell and 12 hammers.
Each bottle was attached to a hammer
through a metal tube, a piece of whale-
bone, and wire to which a gilt chain was
connected. Merryweather then poured a
small amount of rainwater and a live leech
into each bottle. When influenced by elec-
tromagnetic changes in the atmosphere,
the leeches ascended into the tubes;
in doing so, they dislodged the whalebone
and caused the bell to ring, thus predicting
a thunderstorm. In the spirit of Merry-
weathers device, I created a series of
alternative weather instruments, including
my wearable weather vane and anemo-
meter. I was the leech in this work.
FKM: Weather Vane/Anemometer (2008)
became an artifact of your rooftop perfor-
mance and a unique sculptural object. Three
plastic arms with catching cups and an
elaborate interlaced arabesque capped by
an arrow were attached to PVC pipe.
AM: The pipe was affixed to a white Lazy
Susan pedestal-type table, which I stood
on in the performance. It appears to be another chocolate grinder.
FKM: You also made a drawing machine that reacts to the weather outside.
AM: I put together a vitrine-style table meant to be used outside to make drawings from
wind power. A wing-like weather vane catches the wind and moves two pens attached by
magnets to create all-over drawings on Mylar inside the case. The markings are purely
aesthetic and reveal little measurable evidence of wind direction or speed.
FKM: One of my favorite performance-based artifacts is Parachute (2005), made from
found umbrellas sewn together with kite lines. You attached yourself to the parachute
with a human-scaled vinyl umbrella handle. Did you actually fly?
AM: Well, I did get my feet a bit off the ground. When I made Parachute, I was thinking
about the corporate world, which is why I wore a black suit for my performances first
in 2005 and then in 2008. I collected a ton of umbrellasall representing corporations
and sewed them together as one giant parachute-umbrella. In the gallery, Parachute
is best displayed in a pile. When an object enters a gallery, it cannot function, so it has
to be seen deflated. It was on exhibit in 2008 during the economic crash.
FKM: Your most recent show, In Search Of, moved from parascience to the paranormal.
AM: Most of the objects in this show are implements used to conjure and interact with
luck and chance. Im trying to tap into something inexplicablethe unknown. These
sculptural implements were made to draw on some power that scientific instruments
cannot. Im concerned here with the somewhat futile attempt to get any real answers.
FKM: The show featured two baroque magic mirrorsone white and the other black
installed on either side of the gallery. They reminded me of the magic mirror in Disneys
28 Sculpture 31.2
Above: Parachute, 2008. View of performance.
Right: Parachute, 2005. Found umbrellas, kite
line, vinyl, and aluminum.
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Snow White. They reflect ones image with some texture, because you used a
polycarbonate, and they both have solid polyethylene frames. How did you
come up with the design, and what does a mirror inside a gallery mean to you?
AM: I found the design motif in a Sothebys auction catalogue. Both mirrors
are based on an Italian rococo tinted mirror. I wanted supernatural ornate
mirrors because I was thinking about mirrors as portholes to another realm.
When I made the decision to create a mirror, anything reflective was at the
forefront of my mind. I consider these pieces performative, too, in that the
viewer is performing with him/herself while looking in the mirrors. At the
same time, the viewer is being reflected into the gallery space.
FKM: This show featured a great deal of work made from white plastic. Why
are you attracted to this material?
AM: I use a solid polyethylene, a strong white surface most commonly used
to make cutting boards, and carve into it with a chisel. Ours is the age of
plastic, whether we like it or not. And plastic has the ability to mimic many
traditional sculptural materials both in form and craft. Since the gallery space
is white and sanitized, it provides a good home for plastic objects.
FKM: Oracle (2011) was one of my favorite pieces from In Search Of. It is an
oversized planchettea heart-shaped movable indicator made to be used with
a Ouija board to spell out messages from the spirits during a sance.
AM: Oracle was used in a performance to find something unknown or mean-
ingful within the empty gallery space. But it can also be a functional coffee
table if nothing works out with your search for the supernatural.
FKM: You placed a coffee mug from Marfa, Texas, and a copy of Artforum
containing the Best Shows of 2010 on top of Oracle.
AM: Those objects ended up there during the installation of the show, and I
just left them. It seemed fitting. I think that the investment side of the art
world deals with the future and a search for the unknown.
FKM: You used an oversized black plastic divining rod called The Curator (2011)
to find water or treasure in a clever video performance. When the gallery
was still empty, you walked around with this representation of a stick held
in front of you.
AM: As much as Im joking around with this material,
I take my art and humor seriously. I am interested in
my work having a functional quality. I used the stick
to mark out the places for the works. I taped off the
areas where the stick seemed to lead and eventually
installed the works there. Maybe the rod was telling
me good places to stop, but Im not sure.
FKM: It seems that you have gone full circle, back to
your student days of making plastic chicken wish-
bones, with Implement for Studio Practice (2011),
which is a giant white plastic wishbone made to be
broken.
AM: I wanted something that could be broken and put
back together again, so I fitted the sculpture with equal
breaking points and magnets on both sides. I wanted
something to interact with physically, so I made a video
performance with it held in my hands. I kept pulling
the bone apart and putting it back together again. This
reflects a lot of the art-making process.
FKM: How so?
AM: Well, you just mentioned that Im back to wish-
bones. This is one example of re-creating something.
The repetition of process can be very revealing. Whether
it is a line repeated in a drawing created by the wind,
a form or subject revisited, or a performative action,
there is an understanding achieved by the meditative
quality of a repetitive process.
FKM: Like fishing?
AM: Like fishing.
Francine Koslow Miller, a Boston-area critic for Artforum
for over 20 years and a regular contributor to Sculpture,
has published numerous catalogues and monographs,
including the forthcoming Cashing in on Culture:
Betraying the Trust at the Rose Art Museum (Hol Art
Books).
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Oracle, 2011. High-density polyethylene and acrylic, 18 x 34 x 48 in.
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Perus sculptors range broadly in ethnicity, processes, and materials, yet many
share a keen awareness of their countrys cultural heritage. With a new presi-
dent, a new culture minister, and surging tourism, Peru is still struggling to
overcome its legacy of gang, cult, and government violence (an ongoing dilemma
that resulted in more than 60,000 murders during the 1980s and 90s), racism,
and poverty. From the capital city of Lima to Cuzco, to the town of Puno,
Peruvian culture today continues to blend the historic and the modern. At
12,000 feet above sea level, Puno, located near Lake Titicaca, is rich in ancient
culture; it is an isolated area, removed until very recently from the national
project that is Peru.
Opposite: Csar Cornejo, model of MoCA installation for Galeria Lucia de la Puente at
Art Basel Miami, 2011. Cardboard, wood, and paper, 42 x 50 x 45 cm. This page: Aymar
Ccopacatty, Chullo for a New Leader, 2010. Knitted plastic bags, 9 x 5 ft.
BY JAN GARDEN CASTRO
PERUS
CONTEMPORARY
SCULPTORS
Crafting New
Social and Cultural
Identities
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Puno native Aymar Ccopacatty <www.
aymart.org>, who studied at the Rhode
Island School of Design, is proud of Punos
pre-Inca Aymara and Quechua heritage. He
translates the textile traditions of his Aymara
grandmother into non-biodegradable plas-
tic weavings and knittings, plastic paintings,
and art objects of all sizes. His objective is to
acknowledge marginalized traditional crafts
while critiquing pollution and waste. Cco-
pacatty says, Obviously all this is in the
interest of getting the bags out of nature,
and back to serving a function, while helping
people to reflect about how much we waste,
and alternatives to this waste.
1
One of
his favorite icons is the chullo, a traditional
pointed hat with earflaps. Before the 2011
national election, he knitted a large-scale
plastic chullo that could serve as a giant
thinking cap for Perus president. Chullo
for a New Leader was constructed using
oversized knitting needles made from PVC
tubes with pointed wooden tips at one end.
Ccopacatty divides his time between intro-
ducing technology to Aymara-speaking
teachers and students in Puno and exhi-
biting and directing exhibitions in Lima
that transform recycled materials into art.
While respecting the traditions of Peru-
vian artists such as Alberto Guzman, Joa-
qun Roca Rey, Jorge Piqueras, Cristina
Glvez, Anna Maccagno, Lika Mutal, Johanna
Hamann, Sonia Prager, and Benito Rosas,
the metal sculptor Rhony Alhalel Lender
<www.rhonyalhalel.com> aligns his spare
forms to various cultural traditions, from
pre-Columbian and Andean to Japanese and
Turkish. His public art commissions in key
public squares include La Marinera, dedi-
cated to Chabuca Granda, a well-known
composer; The Night Guard, located at an
important business center; El Lector, for
the new faade of the Universidad del Pac-
fico; and Signos, a project for the Peru
International Airport. Arriving passengers
see a form resembling a fetus/question
markindicating that Peru is still devel-
opingwhile departing passengers see a
human form/exclamation marksignifying
wonder at the pace of Perus progress. After
training at the school of plastic arts at the
Universidad Catolica del Peru, Alhalel studied
painting, papermaking, and Zen calligra-
phy in Japan and later encouraged his com-
patriot Csar Cornejo to do the same.
Cornejos work <www.cesarcornejo.com>
addresses how socio-political, environmen-
tal, aesthetic, and economic issues in Peru
translate into international contexts. His
ongoing Puno Museum project, initially
funded by New Yorks Creative Time, is a
collaborative endeavor. Cornejo works with
Puno residents to improve their dwellings
by adding modern design to traditional
houses; for an agreed-upon period, he then
helps them transform those spaces into
galleries showing contemporary art. With
its unique blend of the traditional and
the modern, public and private, the Puno
Museum gives a new kind of life to contem-
porary art, encouraging interactions among
tourists and visitors, city residents, and
artists with varied backgrounds. The tem-
porary house museums offer immediate
anthropological, cultural, and economic
exchanges on many levels, and in many
directions, forming a new model for com-
munity development.
In 2005, Cornejo created La Cantuta to
commemorate the July 18, 1992 kidnapping,
torture, and murder of nine students and
a teacher at La Cantuta University by a
government death squad. The bodies were
found buried on the outskirts of Lima, and
government officials were later tried and
convicted for the crime. Though a public
monument was planned, it was never built,
and 13 years later, it was still radical to
mourn this loss of life publicly by using art
to grieve and rebuild community. Cornejos
project brought together more than a
32 Sculpture 31.2
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Above: Rhony Alhalel Lender, Link / Vnculo (scale model), 2008. Cor-ten steel, acrylic paint, and
graphite powder, .33 x .58 x .18 meters. Right: Cecilia Paredes, The River Within, 2010. Recovered
crystals and monofilament, detail of installation.
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thousand citizens and students to make
60,000 black paper flowers commemorat-
ing every victim of violence in Peru.
2
La
Cantuta consisted of nine flower-covered
student desks and one teachers desk in a
setting landscaped with black flowers.
Making art to remember the dead during
a repressive period when such behavior
was risky created a collective memory.
It was also a synecdoche, a microcosm of
mourning for a nation still afraid to mourn.
Cornejos work was featured at Art Basel
Miami Beach in 2011, and his solo show
El Cambio is on view at the World Bank
in Washington, DC, from March through
June 2012.
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Above: Cecilia Paredes, Tapiz, 2010. Abandoned
chrysalis and thread, 39 x 40 in. Right: Cecilia
Paredes, Necklace, 2010. Porcupine quills and
linen, 9.5 x 8 in.
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Like Cornejo, Carlos Runcie Tanaka, Ceci-
lia Paredes, and Ishmael Randall Weeks
show their work on the international stage.
Lima-based ceramic artist Runcie Tanaka
<www.carlosruncietanaka.com> has taught
and exhibited internationally and has repre-
sented Peru twice at the So Paulo Biennial.
3
He and sculptor/performance artist Cecilia
Paredes and many other Peruvian artists
have had solo shows at the International
Center for Peru and North America (ICPNA),
in Lima.
Paredes <www.ceciliaparedes.com>
divides her time among Lima, Costa Rica,
Philadelphia, and other locations, including
China and Spain. She uses unusual and
symbolic materials such as butterfly cocoons,
which have a natural fluorescent quality.
The work featured in her 2010 solo exhibi-
tion The River Within at the ICPNA was
composed of elements gathered in far-flung
locations. Paredes traveled to the highlands
to find cane for A Light I Gathered, a fragile
woven shelter referring to the shantytowns
that highland immigrants piece together
for shelter. In the Amazon, she collected
porcupine quills for Necklace and rain sticks
for Ucayali, a musical tribute to the Amazon
in which bamboo instruments filled with
musical pebbles were wired to sensors
that triggered them to play when viewers
approached.
Ishmael Randall Weeks <www.randall
weeks.com> was raised in Ollantaytambo,
a small town between Cuzco and Machu
Picchu. Much of his work, as he says, comes
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Right: Ishmael Randall Weeks, Huacales, 2008.
Mirror-covered market crates and light, dimen-
sions variable. Below: Ishmael Randall Weeks,
Progreso, 2006. Used tires, steel, inner tubes,
netting, sand, and water, 132 x 856 x 334 cm.
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from thinking about that culture, about
migration, mobility and change.
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His father,
Robert Randall, was a writer and ethno-
historian, and his painter mother, Wendy
Weeks, still lives in Peru. At Bard, Weeks
studied with Elizabeth Murray and Judy Pfaff
and worked for Gillian Jagger. His lengthy
exhibition list includes representing Peru
in two biennials, a gallery-sized installation
at MoMA PS1s Greater New York show
(2010); a tribute in rubber to Vallejo for
New Yorks Museo el Barrio Biennial (2011);
and installations at Dublin Contemporary
and at the Drawing Room in London (2011).
In Lima, the ICPNA, which is notable for
its openness toward showing a range of
innovative work, provides an important
gathering place for contemporary artists.
The Museo de arte de Lima, a magnificent
example of Limas eclectic architecture circa
1870, shows international artists and art
from earliest times to present. The politi-
cal art of Fernando Bryce, born in Lima in
1965, was recently featured. MAC, a new
building for contemporary art in the
Barranco area has remained unfinished for
decades but is slated for completion in
2012. Although the contemporary art scene
in Peru leaves much to be desired, Alhalel
Lender cites three interesting facts: New
private foundations, cultural institutions,
and municipalities are organizing compe-
titions for public sculpture. Today most
of the best- known sculptors and highly
regarded pedagogues in the field are women.
And finally, sculpture is no longer a three-
dimensional figure of a saint or hero in the
middle of a park.
5
Many Peruvian-born artists live in other
countries and exhibit internationally. Berlin-
based David Zink Yi recently exhibited
Untitled (Architeuthis), a 660-pound, room-
sized ceramic rendering of a prehistoric
squid surrounded by its inky residue, as
part of his solo show at New Yorks Hauser
& Wirth Gallery. Conjuring ancient oceans,
this elegant yet grotesque form seems to
be a metaphor about nature, history, and
myth. Grimanesa Amoros, a sculptor and
mixed-media artist based in New York, has
recently shown in Madrid and Finland; her
work incorporates social history and explores
notions of personal and community iden-
tity. Whether at home or abroad, these
contemporary artists combine keen aes-
thetics with a sense of social history.
Through talent and networking, they are
forging their own paths.
Notes
1
E-mail from Ccopacatty, June 4, 2011.
2
Some reports count almost 70,000 victims.
3
For a detailed analysis of Runcie Tanakas work, see Sculpture May 2011:
pp. 2833.
4
E-mail from Weeks, August 2011.
5
E-mail from Lender, June 17, 2011.
Jan Garden Castro is a contributing editor
for Sculpture and the author of books on
Sonia Delaunay and Georgia OKeeffe.
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David Zink Yi, Untitled (Architeuthis), 2010. Burnt and glazed clay, 575 x 115 x 29 cm.
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Lika Mutal knows the ages of stones. Her stu-
dios in Lima, Villa Salvador, and Pulpos, Peru,
contain examples of ancient igneous forma-
tions that she has harvested from Perus moun-
tains and deserts and reverently transported
making sure that granite boulders weighing
up to seven tons arrive without a chip or
scratch. It may take years for Mutal to use a
piece and up to a year to hand-polish a large
work. Leaving parts of original golden-brown
outer surfaces while revealing sparkling green-
black interiors or mating stones of different
ages and hues is part of her magic.
Opposite: Lunar Stone, 2010. Traver-
tine with calcarian algae, 106 x 106
x 38 cm. Above: Stonebud Ocean,
199092. Travertine, 215 x 230 x
159 cm.
Listening
to Stones
Lika Mutal
A Conversation with
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38 Sculpture 31.2
Jan Garden Castro: You speak eloquently about the genders, his-
tories, and ages of stones.
2
Why are these understandings impor-
tant?
Lika Mutal: As a European, I was taught that stone was a lifeless
material, while here in Peru, in traditional and popular lore,
An avid reader, pianist, and music lover who has lived in Peru
for more than 40 years, Dutch-born Mutal continuously refines
the role of vision in her work, bringing out possible resonances
inherent in the stones themselves. Recognizing the palpable
presence of Mutals sculpture, the Novartis campus in Basel
changed the faade of a building to be more in harmony with
her stone. Without criticizing sculptors who waste materials or
rely on industrial equipment, Mutal creates work that honors
and preserves the earths ecology, environment, and substance.
Stone not only represents millions of years of the earths history,
but also, in Mutals hands, its transformations, resonances,
beauty, and messages.
Mutal has had many solo exhibitions at the Daniel Gervis
Gallery in Paris, the Nohra Haime Gallery in New York, and the
Galeria Lucia de la Puente in Lima. In 2008, she exhibited 20
sculptures, including four monumental works, at the new Patricia
Ready Gallery in Santiago, Chile. Her work is in public and private
collections around the world, including the Centre Pompidou in
Paris and the Krller-Mller Museum in the Netherlands. Her
awards include two prizes from the Fujisankei Biennale in Japan.
Mutal has received international attention for The Eye that Cries,
a memorial labyrinth and sculpture in Lima for the more than
60,000 victims of the armed conflict between government and
guerrilla forces during the 80s and 90s. This work brought consola-
tion and symbolic reparations to survivors, but it became contro-
versial after its desecration by followers of the Fujimori govern-
ment, whose methods of suppressing terrorism were often as vio-
lent as the terrorist acts they sought to control. The memorial is
now supervised by a consortium of human rights groups.
1
Above: The Eye That Cries, 200306. Memorial to the victims of Peruvian
violence, Lima. Below: Messenger, 2007. Travertine with fossil, 147 x 147
x 48 cm.
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to feel these stones as emissaries of nature. When a group of poor
people turned the quarry into a shantytown, I had to look in other
directions. In the north of Peru, I found a place of astronomical
proportions with thousands of blocks of eroded black granite. The
new stone carver with whom I visited the place would say, It is
an enigmahow these blocks of granite flowered here. It must
have been the result of a giant cataclysm that broke the layers of
lava into pieces.
stone is alive. What it meant to my European mind was that one
stone was a reliable material and with another you had to be
careful. Later on, this was confirmed in a profound way by the
Andean priests of the Qero nation when they told me, upon seeing
the stones in my studio, that each was a direct descendent of a
sacred mountain (Apu) sharing in all the properties of the moun-
tain, and that they were called ancestral stones. One stone could
teach you vision; another stone was a healing stone and would
bring great blessings to the person to whom that stone would
come. The central stone of The Eye that Cries is a descendent of
Ausangate, the sacred tutelary mountain of all the pre-Hispanic
nations in Peru.
JGC: How did you find the Inkarri stone and develop your friend-
ship with Don Martin Quispe, an altomesayog or stone sage from
the remote mountain-based Qero nation?
LM: It was Martin who told me that the stones in my studio
are related. The Inkarri is like a messiah. When Martin and other
sages first came to my studio in Barranco and saw the stones
and sculptures on my patio, one of them went into a trance and
started to communicate with the stones. They called one a sym-
bol of Inkarri, and when I said that I was going to work in the
stone, I was told not to touch it as it would be punishment for
the stone. One man said that this stone was the center of my
house. Then he bent over and touched the rim of the stone and
said, If you work Inkarri here, maybe Inkarri would grow. I
interpreted that to mean if I put it on a mirror of water, it would
grow through its reflection. I chose to surround it with flowers and
plants, and it is the center of my house. Its a gray granite stone
with a knife edge in three sectionslike a mountain. I brought
that stone from a quarry where I went with Don Juan Arias, a stone
carver who taught at the School of Fine Art at Catholic University
where I studied.
JGC: What did you study with Don Juan?
LM: He taught that the big challenge for sculpture was granite
the giant that you attack in its weakest spot. He would visit my
studio to teach me direct carving with chisel and hammerall
hand-work. When I was done expressing ideas in travertine, the
softest hard stone, he took me to a small natural quarry where
there were hundreds of little granite blocks shaped by nature. You
could read their history: the north face would be rusted, the south
covered with moss; there was a different texture, color, and feel
to each side of the stone. I would sit near one that had attracted
my attention, then I would walk away, and if, coming back, I could
still recognize it, I would take it to my studio. Then, in my studio,
I would live with it for months or years until I knew what to do
with ithow to enhance an aspect in it that would make it land-
scape, architecture, sculpture, by lifting a part out of the mass
and polishing it while basically leaving the same stone. I started
Echo of the Wind, 2007. Granite with wind- and water-eroded stone, 164 x 133.5
x 94 cm.
Hommage Louise Bourgeois, 2007. Marble, travertine, and natural stone,
26 x 37 x 34 cm.
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JGC: What about the seven-ton stone in your studio in Villa
Salvador?
LM: That was from a different place, which I found later when
this quarry, too, became inaccessible because of huge avocado
plantations that had been built around it. The stones in this new
place were shaped by water and by wind. This stone is bigger than
any of the others and has spectacular features; it says, You may
use me but you may not touch me.
JGC: A maquette shows where you plan to place it with other stones.
LM: Ive learned during the years that you cannot take what you
like. You have to ask permission to use it. I do that through a small
ceremony that the Qero have taught me to perform, making small
bundles of coca leaves in a special shape enhanced with flowers
of a special color. You blow your intention into the leaves, and
then it is burned as an offering. At the same time, you feed all
the stonesthe ones you take and the ones you dont takewith
drops of pisco and chicha (Peruvian distilled wine and beer).
JGC: In your earlier work, you turned some of the travertine into
quipus, or counting knots, used for recording in the Inca Empire.
How do quipus figure in Quechua culture?
LM: A quipu is an object made of chords and tied with many knots.
Each knot means something. It is believed that it was both a
counting device and a way of writing. It inspired me because it
represented an unknown language. Between 1978 and 1982, I
was looking for a personal idiom, and to create knots that could
move around one stone without being separate from the central
ring was an irresistible challenge. It was very difficult to do. Don
Juan would come in to teach me about weights and sounds. If the
sound produced by the chisel started to lose its resonance, he
would say, Youre riskingthe stone could break. I always had
to consider the relationship (among the parts) and keep in har-
mony the several weights (of the parts of each work).
JGC: How do you connect dream time, the fusion of time, con-
sciousness, and topography created by aboriginal songs, with
your work?
LM: Ive written about this in an essay called The Conscience
of Space. The work has taken me to realms where there are no
defined separations between the conscious and the subconscious
mind. I was raised in a culture where people called early religious
beliefs paganism. I have come to recognize those beliefs as the
religion or spirituality of nature. The cruel sacrifices of early nature
40 Sculpture 31.2
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Listening to See, 2011. Travertine with wind- and water-eroded granite, 101.5
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View of the artists studio in Lima.
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religions have been discarded, while the munay or the charismatic and emo-
tional intelligence of the universe is there for us to discover.
3
JGC: In the same essay, you mention Alfred North Whitehead and the quan-
tum physics of Max Planck and Niels Bohr. What else has inspired your work?
LM: Though I have learned much from pre-Columbian and other early cul-
tures, nowadays, my work has to do with ecology. We can only discover the
secrets of matter by being open to nature and by coming into our own high-
er consciousness of nature as it reveals itself to us.
JGC: Mario Vargas Llosa says that your process shows the original nature of
the stone and sometimes reveals that its inner core and polished face may
show different hues, textures, or moods.
4
Listening to See is a sculpted globe
of travertine into which you have set an ear-like stone shaped by the ele-
ments. The two somehow curl around each other.
LM: I brought the old stone from the wind-blown place, and I used the traver-
tine as its dwelling. Look at the circles in the old one, which continue inside
the travertine. This shape is the echo of the shape inside the stone. Vargas
Llosa talks about an amorous surge within the stone, a deep urge and mystery
related to these old stones that represent nature, and I like that very much
because I feel its truth. If you are silent enough and alert enough, a wordless
communication is established. This guides your doings
in the stone, as well as your awareness about art,
about life. Its an experience that guides you to new
findings and levels that reach beyond matter per se.
From matter, life was born. From life, mind. And being
silent, or meditating, you come to learn that there is
no end to these levels, which become non-material.
There is higher mind, there is highest consciousness,
and all of these layers inform each other. In our present
world, we are stuck too much in the layer of mind and
in the tricks it can perform: excess technology, vio-
lence, fanaticism. A mind that divides and does not
feed from the lesson of oneness of matter does not
evolve to another level. In my understanding about the
importance of matter in all kinds of creation, there is a
quality of is, now, and beingto create that
presence and the light around it is like a mission.
Jan Garden Castro is a contributing editor for Sculpture.
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Front and back views of Isle de Paracas, 2007. Natural stones, 21 x 17 x 8 cm.
Notes
1
Katherine Hite, The Eye that Cries: The Politics of Representing Victims in Contemporary Peru, A Contra
corriente, A Journal on Social History and Literature in Latin America, Fall 2007: pp. 108134.
2
This interview took place in Pulpos on February 9, 2011. Mutals essay Stones are My Teachers is featured in Encountering Art,
Different Facets of the Esthetic Experience (Shigaraki, Japan: Miho Museum, 2001), pp. 2336.
3
Lika Mutal: Del espacio sagrado, de las piedras soadas, del munay, exhibition catalogue,
(Lima: Galeria Lucia de la Puente, 2007): pp. 3744.
4
Mario Vargas Llosa, La tentacion de la piedra (1983), reprinted in La tentacion de la piedra
(Santiago: Patricia Ready Galeria, 2008).
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Camilo Guinots work is notable for its sensitivity and meticulousness. The Argentinian
artist works on each piece like a surgeon. He approaches everything in his environment
as a potential medium for expression, discrediting no technique or material as he exper-
iments with installation, sculpture, drawing, photography, and performance. Neverthe-
less, the importance given to objects stands out in his productions: the exactitude of
construction, conceptual rigor, and finished form of his sculptures are amazing.
Guinot first came into contact with art when he was a little kid, through play, though
he recognizes that the ability to create is a skill inherent to humans and never felt special
because of it. His works tell us about an artist trained for years in exhaustive, almost
obsessive practices. In each work, formal resources adapt to the necessities of the con-
cept or the nature of the object, and each piece is conceived as a tool for knowledge,
acting as a bond between the artists sensibility and the outside world. Guinots works
establish a fluid communication in which images translate intuitions without language.
Each action seems to develop into a new creation; theres no place for repetition, but
always room for the creation of something absolutely new.
Guinots aesthetic rests on several foundations, as he points out: Octimio Landi and
Javier Lampreabe, Duchamps attitude, Matta-Clarks physicality, Beuyss messianic and
shamanic aura, the precise, precious, and invisible in Boetti, Als and Orozcos simplici-
ty in re-creating the predecessors, Xul Solar and De la Vegas plurality, Miyazakis worlds
and characters, the precarious and sophisticated Gondry machines, Thoreaus irreverence
and unique vision, Cages re-interpretation of Duchamps attitude, Jorge Luis Borges,
Bukowskis sense of humor, Villa-Mattas essays, Murakamis landscapes, the terrible
and fascinating challenge in the way that Lao Tz, Bohm, Castaneda, Heraclitus, the
Epicureans, the skeptics see thingsand the list goes on and on.
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EXACTING
IMMATERIALITY
BY MARIA CAROLINA BAULO
Opposite top: Esfera, 2005. Matches, 10 cm.
diameter. Opposite bottom: S/T (panadero),
2009. Spores, 35 cm. diameter. This page: Bicho,
2010. Sugar canes and scotch tape, 5 x 4 x 2.5
meters.
Camilo Guinot
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Life and death, time, and the construction of identityrelated
themes for Guinotconcern him in a particular way, driving him
to search for new experiences. But multiple sources of inspiration
arent the only factors operating in his work: creativity awakens
according to the specific context. Series and isolated pieces become
alive. Theres no methodology regulating Guinots work, his only
method is variety. The act of discovering, the power of curiosity,
trial and error, the possibility to playeverything becomes part
of a process, in continuous movement.
The importance given to forms is fundamental: forms prevail
within these works. The pieces are intense and ordered because
the methodology of multiplicity demands a system, certain pat-
terns, in order to organize the elements. These qualities define
an artist dedicated and committed to his craft, following a phi-
losophy that he applies not only to his work, but also to his life.
The presence of beauty gives evidence to internal rhythms and
harmonies, the different parts combining in exact ways to achieve
balance. This is particularly obvious in the small pieces, where
attention to detail recalls the care applied to creating ships inside
bottles: elegance, patience, and determination govern Guinots
forms. Sculptures created by putting together hundreds, and
even thousands, of tiny pieces of woodmatches mostlylines
drawn in space with steel, zinc, or paper supports, they all show
the binding conjunction fusing the idea, the concept, and
the materiality of the object itself. Guinot defines his forms as
a welcome and goodbye dance, a battlefield and a celebration at
the same time; a movement searching for its right spot, its space,
its way. Enormous and minuscule rhizomes, these works seem
to hold the key to a jealously guarded secret code.
Each one of Guinots forms is a small part of an entire concep-
tionevery sculpture, no matter its size, shape, or format, is
complementary and establishes a dialogue with the rest of the
pieces. Something similar happens when he works with photogra-
phy, drawing, and painting; they act as additional links in this
large chain, which materializes the immaterial. Immateriality,
desire, and memory rule his creativity, and even when they cant
44 Sculpture 31.2
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Left: S/T (oval), 2010. Matches, mdf, and paint, 120 x 80 cm. Right: Delta, 2008. Branches, plastic bottles, scotch tape, and chairs, detail of installation.
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be apprehended, he captures them in a
precise moment of their existence, here
and now, preserving that portion of time
intact. Ephemeral art also captures Guinots
attention, and when he uses organic mate-
rials, he embraces their degradation and
finitude. Freedom is absolute: the journey,
the experience itself, has no boundaries
even when it comes to works that will cer-
tainly vanish as time goes by.
Guinot has participated in numerous
exhibitions, international residencies, com-
petitions, and art fairs. He believes that
time will provide his works with new mean-
ings, enriching and nurturing them with
every change that takes place in their envi-
ronment. Art isnt something given once
and forever, it interacts with its context and
history. The future will bring new ways of
reading and approaching the work. Full of
ideas and faithful to materials, Guinots cre-
ations carry the stamp of the one who took
them beneath his wing day and night for
long periods of time before setting them
free and watching them fly.
Maria Carolina Baulo is a writer based in
Buenos Aires.
Left and detail: S/T, 201011. Matches and lac-
quer, 85 x 85 x 65 cm. Below: Fragilsimo, 2006.
Matches, lamp, and cord, installation view.
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Tim Prentice is a kinetic sculptor whose works can be seen in many public
buildings and corporate collections, including American Express, Bank
of America, Citigroup, Mobil, AT&T, and Hewlett-Packard. He received a
masters degree in architecture from Yale in 1960 and founded the award-
winning architectural firm of Prentice and Chan in 1965. Ten years later,
he moved to Cornwall, Connecticut, to design and fabricate kinetic sculp-
ture. Over the last few years, he has completed installations in Japan,
Korea, Northern Ireland, Australia, and Taiwan. Prentice has had recent
solo exhibitions at Maxwell Davidson Gallery in New York and the Berk-
shire Botanical Gardens in Lenox, Massachusetts, and the Schuylkill
Center for Environmental Education in Philadelphia featured his Yellow
Zinger in its 2010 show Elemental Energy: Art Powered by Nature. He
recently completed a nine-part kinetic installation for the atrium of
a new building in Taipei.
I first met Prentice in 1992 when he was installing a work over the
stairway at the Federal Reserve Bank of New York Operations Center in
East Rutherford, New Jersey. The whimsical, wind-generated movement
and fluid, fabric-like qualities of his kinetic sculpture, along with its
unique combination of very technical, controlled precision and unpredict-
able and spontaneous movement, captivated me.
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Working with the Wind
Opposite and above: Swarm, 2010.
Lexan, aluminum, and stainless
steel, 15 x 100 x 30 ft. Work at 42nd
Street and 8th Avenue, New York.
BY JANE INGRAM ALLEN
A Conversation with
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Jane Ingram Allen: How does your training and experience as an architect
inform your work as a sculptor?
Tim Prentice: The architectural training is useful for a number of reasons. My
skills and experience are helpful in visualizing the space, making models,
renderings, and perspectives. This is second nature to me, but I think it is not
the case with most artists. Architects have the experience in graduate school
of defending their work to a battery of critics and fellow students. I am often
presenting my work to architects, and we speak the same language.
JIA: Do you feel that there is much difference between what an architect does
and what a sculptor does?
TP: The difference is huge. Architecture requires a balance of function and
expression. Function without expression is flat. Sculpture is expression without
function. The contrast between the general publics reaction to buildings and
to art tells the story. People respect the functional obligations of buildings.
They may not consider themselves authorities on architecture, but they live
in a manmade environment and have experienced a wide variety of building
types. People are usually not shy about sharing their opinions on design.
When confronted with contemporary art, they feel much less confident.
Architecture is not hands-on. A small house can take months to design and
a year to build. You dont get the answers back for a year. Its as if you
snapped a photograph and took it to the developer and were told that the
print would be ready in a year. You cant learn quickly from that process, its
too slow. If you are making something with your hands, you can learn immedi-
ately. I missed that experience.
JIA: When did you decide to go into sculpture, and how did that come about?
TP: It crept up on me for years. I came out of school with a very hot genera-
tion of architects, many of whom now enjoy international reputations. During
the early stages of my career, most of the projects I drew were built, but I
didnt feel that I was finding my own voice. This nagged at me. Peter Eisen-
man and I were friends at the time. He was a theorist with a slim record of
construction, and I was a non-intellectual with a growing list of built pro-
jects. We were separate halves of a balanced diet.
I was intrigued with the kinetic sculpture of Alexander Calder and George
Rickey and had been since I was a kid. I like to tell the story of being taken
48 Sculpture 31.2
Above: Yellow Zinger, 2008. Neoprene, aluminum, and stainless
steel, 96 ft. long. Below: Tall Windframe II, 2010. Stainless
steel, 32 x 4 x 1 ft. Work at Eastern Connecticut State University.
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as a teenager to the Addison Gallery in
Andover, Massachusetts, and seeing my
first Calder. It was standing in the entrance
lobby. When the tour was over, I was still
frozen there. I never got past the lobby. I
went back several times to see this piece,
but it was always out on loan. I finally
caught up with it years later in an exhibi-
tion at the Hartford Athenaeum in Con-
necticut. I thought I had memorized the
work that changed the course of my life,
but it was about half the size that I expected.
It wasnt until I was in my early 40s
that I dared to take the plunge and aban-
don what was seen as a successful career
as an architect to begin a new one as a
sculptor. I had been making kinetic sculp-
ture all along as a hobby, but thats
another story.
JIA: Tell me about those early years. It must
have been difficult to make the change.
TP: I started in the living room of our apart-
ment in New York. I was yearning to move
to the country, but we still had kids in
school in the city. Fortunately, I was offered
a job teaching at Columbia, which helped
to tide me over. Sculpture was not imme-
diately successful, as most ventures are
rarely immediately successful. I am now
working out of an old farm in Connecticut
with a small team of craftsmen.
JIA: Did you start with kinetic sculpture?
TP: Yes, it was always kinetic. That was what
intrigued methe movement, the balance,
the craft, and the element of time.
JIA: Do you remember your first piece?
TP: Yes. It was when I was still in school.
I began with wire coat hangers. I made
something hanging from the ceiling in the
student housing. It was vaguely anthropo-
morphic and, in a way, a kind of joke. I
remember it because every once in a while,
in a quiet way, it would come into a conjunc-
tion and have an assignation with itself.
JIA: You mentioned Calder as a great influ-
ence. Who are some others?
TP: When I was in high school, I opened a
book on the Russian Constructivists, and
it blew my mind. That period, from 1910
to 1915, shook me into consciousness and
still doesTatlin, Malevich, Rodchenko,
and the others. Calder came out of that
period with a heavy dose of Surrealism. His
forms recall Arp and Mir, and his primary
colors came out of the Constructivists. Then George Rickey comes along. Comparing the
two, Calder was not an intellectual and hid behind his humor when people asked him
tough questions. He was purely intuitive. Rickey was an intellectual. He taught most of
his life. He was far more Constructivist. He analytically isolated movement the way that
Josef Albers isolated color. They represent the contrasting left and right sides of the brain.
JIA: Are there any contemporary sculptors or artists who have influenced you?
TP: I like the discipline of Agnes Martin. I studied with Albers, and he was a great influence.
I took his color course twice, once as an undergraduate and again in graduate school. The
course was The Interaction of Color, which became a model for schools across the country.
JIA: Did color become an important element in your work?
TP: No. The interesting thing is how Albers isolated color. Composition went out, surface
went out, and he focused only on color. He neutralized composition by settling on only
one format (Homage to the Square). So how did that work for me? I thought, Lets try
to isolate movement with the same discipline. I tried to think like an engineer rather
than an artist. I wanted to reduce friction and only use elements strong enough to do
the job. Its curious how much is made of Calders engineering training; in reality, his
engineering is pretty rudimentary. Rickey, however, was a master engineer, which is sur-
prising for a history major.
JIA: You mentioned that you admire the discipline of Agnes Martin. It seems that disci-
pline is very important to your work, as is economy.
TP: Yes, the economy of means. Coming back to Calder, everybody knows his soft floating
triangular forms and how the relationship changes as they move. I thought, What if
you could have the forms themselves change? With that in mind, the first breakthrough
for me was the sort of piece that I showed at Schuylkilla line in space made up of a
string of small elements that the wind can warp and bend at will.
JIA: The elements in your work all seem pretty much the same, repeated geometrical
shapes and no color.
Nine Dragons, 2011. Aluminum and stainless steel, 80 x 25 x 25 ft. View of work in Taipei.
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TP: Yes, many small elements are assembled to make a larger form. The light-reflecting
materials pick up the colors around them. As the air moves the elements, the colors
change. Theres always color.
JIA: Do you often use prefabricated or commercially made and recycled materials?
TP: Yes, the Schuylkill piece was made with industrial scrapers from the local paint store.
JIA: Did you experiment at all with motors?
TP: No, thats another branch of kinetic sculpture that comes out of Jean Tinguely. I pre-
fer natural forces to make the movement. I make the machine that I hope will attract
the attention of the wind, and then the wind becomes the choreographer.
JIA: Have you always worked with the same materials?
TP: Well, the movement is the primary subject, and I wanted materials both light and
strong. I rarely use color, because I want to reflect the light since that is the second
subjectlight, reflecting light and shadow. This means aluminum or stainless steel sur-
faces that can be mirror or matte. I also use a polycarbonate called Lexan, the cham-
pagne of plastic. If it is backlit, it glows in a wonderful way. If you mix aluminum
and Lexan, you get one effect with the light behind and another with the light in front.
As they move, the darks become light and the lights become dark.
JIA: Have you changed materials over the years?
TP: I find that these are the ones that work best for reflectivity and translucency. Actually, I
started with plastic milk cartons because the price was right, but of course, they dont
last, so I switched to Lexan. Ive also worked with feathers. Hospitals love them for their
beauty. Corporations hate the feather pieces because they have the one thing they fear
most, whimsy.
JIA: Yellow Zinger, the piece at Schuylkill, was outside in a nature park, but most of your
works are indoors. Which do you prefer?
TP: Indoors and outdoors are two different worlds. Any occupied space will have air move-
ment. It can be very gentle, so the work must be very light to catch the air indoors.
Outdoors is far more difficult because the wind is so unpredictable. The engineering has
to be foolproof. I like the example of a sailor picking a sail for a race. If it is too large,
hell be fast but risk capsizing. If it is too small, hell barely move. It has to work well
in all conditions.
JIA: Does your work have any connection to the environment?
TP: Working with the wind is dealing with the environment in the most direct way pos-
sible. The constantly changing energy in the environment is what makes the work. The
same piece in a different environment will have an entirely different response.
JIA: What do you want viewers to get from
your work? You have mentioned light and
movement. What do you want people to
feel?
TP: Thats up to them. In a perfect world,
a work of art might stop somebodys clock
and draw him out of his worries for just a
moment. Delight is what I would like peo-
ple to feel. There is no other agenda.
JIA: What were the most difficult things
about creating the piece in Taipei?
TP: The challenge was the tremendous
verticality of the space. People dont look
up. They are more comfortable looking
out directly, and I discovered this in an
odd way. I got a call from a local develop-
er who had heard about me and wanted a
piece for a new building but said he wasnt
familiar with my work. I asked if he ever
flew out of Bradley Airport where I had
installed a piece years ago. He asked, What
piece? He flew out of there all the time
but had never noticed a kinetic ribbon over
200 feet long, bright red, and moving.
He had walked under it any number of
times and never noticed it. This was a
hard lesson.
In the Taipei building, you come in on
the ground floor and have to crane your
neck to look up because the space is very
tall but not very wide. We made nine
50 Sculpture 31.2
Cloud, 2006. Lexan, aluminum, and stainless
steel, 1.5 x 12 x 4 ft. Work at Wells Fargo Bank,
Des Moines, IA.
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pieces to deal with the height and scat-
tered them through the space. As a result,
the best views are looking out from the
upper floors.
JIA: For this commission, you communi-
cated with the client through the Internet
and e-mail. How did that work out?
TP: This client liked what he saw of my
work on the Internet and contacted me.
I was dealing with the architect of the
building from the beginning. So, to pre-
sent my idea for the space, I made a
maquette and sent him a video proposing
to make a total of nine at full size. He
eventually came to my studio in Connec-
ticut to see the work in progress.
Video is the best way to present the work
to clients or public art committees. I make
an architectural model of the space with
the maquette of the sculpture. I make a
booklet for each member of the commit-
tee with renderings, construction details,
and material samples. My experience with
public art commissions has been quite dif-
ferent.
The selection committee is typically
made up of several future occupants,
the building manager, and representa-
tive members of the community, the
architect, and an artist. As they consider
the options, they are asking themselves
what they (the public) would like to see.
I believe that this is the wrong question.
It is difficult enough for most people to
know their own mind when confronted
with a work of art and virtually impossi-
ble to predict with any accuracy how
someone else will respond. I worry that
out of the concern to satisfy an unknown
audience these decisions are made more
out of fear than love.
JIA: Tell me about your next project.
TP: There is a project in development at
the moment, and I am exploring a series
of triangular banners that will warp and
turn independently. I imagine them moving
like so many boats moored in a harbor and
responding to the conflicting energy of wind and tide by moving together but not in
unison.
JIA: I see in your work a dance between spontaneity and control.
TP: The wind is moody, whimsical, and unpredictable. If I could capture these qualities,
the wind itself would be the work of art. I work for the wind. I like to imagine the air
becoming visible.
Jane Ingram Allen is an artist and writer living in Taiwan. She is a frequent contributor
to Sculpture, Public Art Review, and other publications. Her most recent exhibition was
a two-person show at Galerie N in Bangkok.
Three Wheeler, 2003. Lexan, aluminum, and
stainless steel, 12 x 6 x 3 ft.
Turbines, 2002. Lexan, aluminum, and stainless
steel, 2 units, 12 x 7.5 x 7.5 ft. each. Work at
Wright State University, Dayton, OH.
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Suzanne
Morlock
The Green Magic
of Recycling
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An 80-foot-long train of knitted newspaper glides through
the gallery space at the Central Museum of Textiles in d z,
Poland. Its tangled, dynamic shape plays with air, light, and
structural elements, winding around pillars and hovering just
below the ceiling. Suzanne Morlocks Magic Carpet Ride seems
to represent both the carpet and the ride itself. It is full of mys-
terious primal power and energy, despite its fragile material.
This charming, outwardly simple installation serves as a per-
fect introduction to other projects by Morlock, a mixed-media
artist based in Jackson Hole, Wyoming. Magic Carpet Ride
offers a conceptual and emotional ride on many different lev-
els. It can be interpreted as a piece of site-specific, sustainable
art that makes new connections between Third Wave feminist
issues and ecological concerns. Manifesting eco-feminist ideas
in its celebration of womens creative potential, the work does
not refer to oppression, a shared reality for many women and
the natural habitat in our civilized world. Instead, it introduces
a positivemaybe even idealisticway of thinking by connoting
the Moirae, or the Fates, symbols of feminine powercreative,
inventive, playful, and responsiveand spirits of transition
and transformation. Femininity, a theme knitted into Magic
Carpet Ride, refers to the strength, determination, and persis-
tence of every sorceress and every housewife who transforms
the mundane into the magical, who recycles abandoned
waste and toxic, outworn scraps of life into something new
and inspiring.
Magic Carpet Ride, 2011. Knitted newspaper, 25 x 20 x 80 ft. 2 views of
installation in d, Poland.
BY KATARZYNA ZIMNA
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The idea to knit installations with news-
paper came to Morlock as she considered
what to enter in a paper exhibition held in
France in 2010, for which participants were
challenged to think about alternative ways
to produce paper. One night, at her hearth,
she used a newspaper to ignite a fire. This
act sparked the idea of using newspaper
as an art materiala material that she
would knit. Inspired, her husband invented
a system of spinning glued pieces of news-
paper into yarn. This perfect, almost arche-
typical, beginning to the story of a magic
carpet transforms darkness, night, and
destruction into light, warmth, and the
creation of a new series of artworks. The
show was held in a chapel turned art space
in Le Vigan. Morlocks Overlay was designed
to cover the stained glass windows with
overlays of knitted paper to create a border
zone between light and shadow, sacred
and profane, old and new. Since the show
relied on natural light to illuminate the
works on display, Morlock covered only one
window, but Lassociation Chaine de Papier
invited her to develop her idea in a second,
separate show at the Chapelle de la Con-
damine (2012).
Excited by the creative potential and
formal qualities of her knitting technique,
Morlock adopted it for other projects. For
her, the attractiveness of knitting stems
from its associations with womens craft,
something widely considered as less valu-
able than high art. Morlock enjoys the
ambiguous territory between craft and art
(between useful and useless, practical and
poetical) that makes her work difficult to
label.
Magic Carpet Ride primarily explores the
conceptual duality of mudane/routine/
ordinary versus magical/startling/revital-
izing, telling a story about movement and
the ongoing transition between these oppo-
site yet complementary aspects of our
experience. The aspect of the everyday
can be traced on a few levels. Ride was
knitted with local newspapers, a kaleido-
scope of news that had already lost its
sparkle. The process of knitting took seven
days of monotonous labor by Morlock and
12 students from the Academy of Fine Arts
in d z (10 women and two men).
The notion of routine work (particularly
in textile production and workshops) relates
to the local context of past and present-
day d z and the Central Museum of Tex-
tiles. The museum is located in the classi-
cist White Factory, a facility erected by the
family of Ludwik Geyer between 1835 and
1886. The White Factory was the first multi-
department factory in Poland, with steam-
driven spinning, weaving, and printing
looms for cotton. The history of d z is
closely tied to the development of the tex-
tile industry. The city experienced rapid
development in the 19th century, becoming
a multicultural promised land that then
suffered a decline by the end of the com-
munist era. This history brings together
the lives of rich industrialists, who made
fortunes on cloth production and trade, and
the lives of the thousands of women
spinners and seamstresseswho worked
in three shifts, day after day, and repre-
sented the citys main workforce. d z has
recently transformed again, this time into
a center of creative industry, with a strong
academic foundation represented by the
Technical University, the Wladyslaw Strze-
minski Academy of Fine Arts, and the famous
Leon Schiller Film School, among other
institutions of higher education.
This historical, practical, and functional
context provides important elements for
Morlocks site-specific work. The aspect of
magic can be understood as a reference to
the hope for transformationor rather trans-
mutationof d z from a gray, gloomy, and
polluted city of chimneys to a vibrant cen-
ter where abandoned industrial sites are
being revitalized and adapted for new cul-
tural and artistic functions. Here, women
eagerly use their opportunities for educa-
tion. Because of a difficult job market,
however, they must embrace and employ
their creative potential to tailor career
54 Sculpture 31.2
Overlay, 2010. Knitted newspaper, 144 x 48 x .25 in.
View of installation in Le Vigan, France.
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opportunities for themselves. In response
to these local conditions, Morlocks instal-
lation asserts that womens creativity can
do wonders.
Morlock recently executed a project in
Skagastrnd, Iceland, that, like Magic Car-
pet Ride, references the social and indus-
trial context of its site. In Nets, she com-
bined two concepts: knitting and fishing.
In order to develop the contextual back-
ground, she spent time talking to the owner
of a local net-making shop and to a woman
recognized as a local knitter. At the village
dump, Morlock found old, discarded nets,
took the refuse to the studio, cleaned and
sorted it by color, and tied the material end
to end in order to knit a new and curious
version of the original nets. This was again
a laborious process of reworkingnot only
of the old material into a new object, but
also of a piece of history and of the local
everyday into an unexpected piece of artis-
tic magic.
The ecological dimension in Morlocks
work is related to the feminine side of cre-
ative nature. Eco, from the Greek oikos
or home, suggests that we should go back
to basics and seek solutions within reach
of our hands. Homethe traditional domain
of womens activitiescan be interpreted
as a beginning for the transformative process
of healing people and communities suffering
from the side- effects of civilization: envi-
ronmental degradation, isolation, loneli-
ness, stress, and unhealthy lifestyles. It is
not a matter of going back to the tired
nature/culture dichotomy, but of finding a
creative and responsive solution to the prob-
lems that arise in a specific local context.
Morlocks work proposes that knitting can
be a contemplative and creative form of
recycling.
A great remedy for the overproduction
of our civilized world, recycling represents
the inventive character of womennot,
as Claude Lvi-Strauss would have it, the
invention of an engineer but of a bricoleur,
someone who resourcefully combines and
uses already existing objects and ideas,
regardless of their original purpose. It is
Nets, 2010. Knitted found materials, 84 x 60
x 84 in. 2 views of installation in Skagastrnd,
Iceland.
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second nature for women to find solutions
to everyday problems on the go, to use
creatively accessible tools, and to do all
this with the household budget in mind.
Morlock designs her works to be ephem-
eral, avoiding the production of new waste.
In fact, the process, and not just the prod-
uct of her knitting, is crucial to the concep-
tual impact of her installations. She invites
collaborative help to make the creative
process a social experience, and she often
performs knitting during the show, as in
the case of Overlay. Her works belong to
the endless cycle of creation and decom-
position that characterizes both the natur-
al and the human-made worlds. These ele-
ments make Morlocks work an example
of sustainable art, produced with consid-
eration for the wider environmental con-
text (ecological, social, economic, histori-
cal, and cultural). Locality (an extension
of site-specificity), especially with regard
to materials, is very important to Morlock.
She knits her installations with fabrics
that are part of a local, everyday experi-
ence.
This said, Morlocks work resists the ossi-
fication of ethical position-taking. She
avoids didacticism, and her work is open
to interpretation. Above all else, one impor-
tant and eagerly applied ingredientplay
makes Morlocks work ambiguous and full
of life. Playfulness helps her to balance at
the edge, between everyday life and magic,
repetition and surprise, ethics and aesthet-
ics. She admits that the artist is a player
one who juxtaposes distant objects, mate-
rials, processes, and ideas and invites sur-
reality into everyday life. In her installa-
tion all the time in the world (2005), she
posted a motto from Heraclitus on the
wall: Those who approach life like a child
playing a game, moving and pushing pieces,
possess the power of kings. In this respect,
Morlock draws her inspiration from the
Surrealists: she welcomes the unexpected,
incorporates chance into her working
process, plays with various materials, and
looks for unusual applications of ordinary
things. Her objects can be seen as fetishes
or strange dream-like creatures. She does
not want to terrify viewers, but she does
want to surprise and inspire them to look
outside the box.
56 Sculpture 31.2
Above: all the time in the world, 2005. Mixed
media, installation view. Left: Kitedreams II, 2010.
Found materials, dimensions variable.
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Childhood themes and attributes often
appear in Morlocks works, a product of
her nature and disposition. She is cheer-
ful, loves to laugh, and possesses that child-
like ability to look at things as if for the
first time, with innocent eyes. The beauti-
ful and poetic Kitedreams II (2010), an
installation of tiny dresses collected from
thrift shops and hung as if in defiance
of gravity, expresses her playful tone. Her
recent project, Sweater, is reminiscent of
Charlie Browns iconic shirt. Morlock knit-
ted her enlarged version of this familiar
piece of clothing with Mylar remnants from
a sequin and spangle factory. Sweater was
installed outdoors in Jackson Hole as a tem-
porary public art piece during the winter
season. Huge and strange, Sweater acted
as a playful totem watching over local
residents. As Morlock explains, she was
inspired by Charlie Browns unfortunate
experiences, and she wanted to capture
that spirit with an image that would carry
people through the long winter and pro-
vide them with some mental refreshment.
This project refers us back to Magic Car-
pet Ride as an example of good sorcery,
white or rather green magic that gives
new life to the by-products of civilization.
Riding through Morlocks world turns out
to be simultaneously serious and playful,
visually pleasing and mentally demanding.
She proves, by example, that we can draw
inspiration from our closest surroundings,
from such simple activities as knitting,
to transform the everyday into the magi-
cal, old into new, gray into green. The
ecological attitude begins at home and
concerns all aspects of life. Women have
the power and potential to lead the way,
and they should celebrate and use their
everyday creativity, ingenuity, and play-
fulness.
Katarzyna Zimna is an artist and researcher
based in Poland. She is currently working
on a book about play as a creative strategy
in contemporary art.
Sweater, 2010. Knitted Mylar remnants, view of
work in Jackson Hole, WY.
Silage, 2011. Knitted recycled water barrier fabric
and cable spool, 65 x 45 x 45 in.
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______________________ ____________ ______________ ______________
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________________
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G O N G
SITE 2801 AT THE CROCKER ART MUSEUM
Cong Stuoio 01o 20th Street, Sacramento cA 0o811 gongyuebin.com ybg_gong_yahoo.com

March 10 ---- April 20, 2012
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1u Scuttuk kAncu Pkoktv orrku 8v
Sotu8vs IntknAttonAt kAttv
This magnificent ranch is a jewel of the Texas hill Country, owned at
one time by President Lyndon Johnson. In 1999, it was purchased by
the Italian artist Benini, who turned these special 142 +/- acres into a
showcase for international sculpture on the hillside. At the top of the
highest (1800 ft.) hill sits the main cedar and stone 2300 +/- sq. ft.
home, with 360-degree views. Secluded in the woods is the 1100 +/- sq.
ft. guest cabin with granite counters and Italian tile floors, central heat,
and air conditioning. In the natural valley, an 11,000 +/- sq. ft. building
currently houses galleries, offices, a fine arts library, studios, and
workhouse. For information, contact Joe Salinas with Kuper Sothebys
International Realty.
www.SculptureRanch.com
www.KuperRealty.com
Offered exclusively by
Joe Salinas III, GRI
Kuper Sothebys International Realty
830.456.2233
joe.salinas@sothebysrealty.com
MAkkttAc
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__________________________
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advertise in
contact: Brenden OHanlon
email: advertising@sculpture.org
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J
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Leandro Erlich
Sean Kelly Gallery
In the exhibition Two Different
Tomorrows, Argentinian conceptual
sculptor Leandro Erlich addressed the
problem of time that he encountered
while traveling in Asia: he confused
the tomorrow that followed his place
of residence with the tomorrow of
his gallerys time zone. Interested in
creating a temporal no mans land,
he offered four highly realistic ver-
sions of elevators, their verisimilitude
so accurate as to reach trompe loeil
proportions. According to Erlich, an
elevator is a functional object, but
one in which life seems to be sus-
pended parenthetically. These copies,
which include an elevator stalled
mid-floor, a bank of elevators, an ele-
vator shaft laid out horizontally
rather than vertically, and an elevator
that opens to reveal changing videos
of Japanese riders in Tokyo, are fabu-
lously realistic. They engender such
a facsimile of reality that we can no
longer tell what is actual and what
is not. Influenced by artists outside
his fieldincluding the Argentinian
writer Jorge Luis Borges and the film-
makers Alfred Hitchcock and Luis
BuuelErlich preys on our capacity
to experience the uncanny, where
artificial reality is more convincing
than the real thing.
|o:| ||e.c|c| (2011) is exactly
thatan elevator stuck between
floors. While we know that it is a
sculptural, even an architectural,
construct, the structure nonetheless
gives the impression of actuality, cov-
ered on the sides with a thin layer
of concrete, with its door revealing
mostly shaft and cables. But toward
the bottom of the open door,
the viewer sees the interior, cleverly
given depth by the use of a mirror,
so that a newspaper (actually affixed
to the ceiling) looks like it lies on the
floor. Here, the copy is distressingly
real, with the paper adding a note of
mysterious narrative. ||e.c|c| |ce
(2011) presents a bank of four eleva-
tors, each meticulously reproduced,
but whose disorienting mirrors feign
walls. Once again, a narrative ele-
ment accompanies the illusion, as
we work out just how exactly the
trick is attained. In fact, the mirrors
occur at the ends of the installation,
while the two inner walls are open,
so that one is looking at reflections
while inside the two center elevators.
Here, the sense that not all is
quite right undermines any feeling
of security within the maze.
Walking the 50-foot length of the
horizontally aligned ||e.c|c| |c||
(2011) offers a powerful experience.
Passing through the dimly lit space
meticulously conceived and created
walking on what would be one of the
reviews
Leandro Erlich, installation detail
of Two Different Tomorrows, 2011.
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72 Sculpture 31.2
shafts walls and following the heavy
cables, one experiences a thrillingly
exact sense of place. In this exhibi-
tion, |c|| was set up so that viewers
moved toward what would be the
top of an actual elevator, darkened
and scuffed to suggest actuality.
||e.c|c| |||:| (2011) consists of
an elevator with an automatic door
that opens to reveal video footage
of Japanese shoppers in an elevator,
shot while Erlich was in Tokyo. The
video lasts fives minutes and runs
on a loop, so that the pictures
of the shoppers change as viewers
stand in front of the opening of the
genuine door. All four installations
play with the notion of the copy
as trompe loeil experience, so that
small changes come as revelations
and reveal the structures to be art.
The results are strikingly entertain-
ing and uncannily precise.
|cnc||cn 6ccomcn
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Phillip Beesley
Allen Lambert Galleria
It was there for 10 days, and then it
was gonea site-specific piece for
the Luminato Festival that expanded
and enhanced an already spectacular
locale, recalculating traditional
notions of both art and architecture.
Phillip Beesleys c|cc was a
spiny, feathery cascade of plastic
fronds, bulbs, and electronic gear,
a wave-like network responding to
atmospheric changes in a slow dance
with its viewers/partners. It could
have been a pathway for an avatar,
a cloud, a sea creature, a glacier, a
viral mathematical aberration, or
a generator of some kind, and while
the science intrigued, it was the
artistry that captured the imagina-
tion. This beautiful thing tumbled
down the center of Santiago Cala-
travas soaring atrium. A massive
accumulation of white feathery
fronds gradually reacted as viewers
entered the space. Beakers contain-
ing what appeared to be amber liq-
uid were suspended like light bulbs,
some blinking on and off, while
inflatable sacs imitated lungs as they
puffed out and contracted at glacial
speed. It was like walking inside
a giant benevolent body, its inner
workings exposed. Engulfed by sea-
weed-like ferns, the viewer became
agent, an intelligent interface inter-
acting with external stimuli, creat-
ing a dynamic and reciprocal rela-
tionship between audience and art.
The science involved in making
c|cc could be found in its use of
sensors, air-processing bladders, and
environmental membranes. Embed-
ded machine intelligence mimicked
living systems, enacting breathing
and swallowing motions. As we
inhaled and exhaled, perspired, or
made dust walking past, c|cc
processed our actions. It responded
by creating a skin-like material in tiny
incubator nests, effectively increasing
its volume in minute stages, nour-
ished by its environment. J
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Above: Leandro Erlich, Stuck Elevator,
2011. Mixed media, metal structure,
wood, stainless steel, mirrors, paint-
ing, and button panel, 109.5 x 68.25
x 66.5 in. Left: Leandro Erlich, detail
from Two Different Tomorrows.
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The installation suggested that
architecture can refuse to remain
static, that it can adapt in order
to descend from its lofty heightsa
brilliantly appropriate metaphor for
the design of the galleria as a com-
munal arcade, where a variety of
events take place and through which
city workers bustle. As an architect,
Beesley rewrites traditional discipli-
nary boundaries, mining wide-rang-
ing facets of contemporary knowl-
edge, including the recognition that
our reality conflates artificial and
natural process and response. As an
artist, he accomplished the same
thing through a forcefully stunning
installation of mythic proportion.
|c|c|e| |coe|
ltt 1st M, l sttAWb
Karl Burke
Leitrim Sculpture Centre
When confronting a scientific prob-
lem, simplification yields the most
suitable basis from which to carry
out a logical and deductive analysis.
This direction of thought is useful
in that it brings the world and
its phenomena toward the mind,
breaking the complex into crude,
static moments that can then be
analyzed. Intuition is placed outside
of this methodbetween the one
who objectively intervenes and the
world he or she intervenes into.
Karl Burkes recent solo show, Tak-
ing a Line, included a series of logi-
cal interventions primarily concerned
with perceptions of space and time
Either end of the large gallery space
held photographic prints, placed
directly on the walls, a drawing, a
video piece, and a canvas with some
painted text. The photographs depict
a hand thrust into a sylvan setting
(with the thumb, index, and middle
finger pointing out Cartesian x, y,
and z axes), a mound of boulders
with a strip of white tape traced
across them, and then a mound of
building rubble with some faces
of the strewn material painted yel-
low. The segments of color suggest a
continuous whole; the urge is to plot
continuity from these fragmented
gestures of form. The images could
be photographs of drawings, or
sculptures, or something in between.
One photograph shows an arbitrary
section of ditch. In the foreground, a
fallen branch has some white tape
fixed along its side, suggesting a sort
of speculative probing. The space
becomes a place, the place this
branch draws itself into.
The first stanza of William Henry
Daviess poem Leisure was painted
in Helvetica-like black lettering on a
large, square, white canvas: what is
this life if, / full of care / we have no
time / to stand and stare. The same
canvas also appears in the video,
where it is placed on an easel, block-
ing a path into a forest. Where the
previous works focused on an objecti-
fied, static, Cartesian space, these
pieces introduced duration. And this
is where Burke (also a practicing
musician) becomes really playful.
Time here is counted out in different
ways, using the iambic meter of
verse, the meaning of the quoted
words, and through the looping of
the video. Where analysis stills the
object, intuition goes toward it,
immersing the viewer in continuous
encounter.
Reusing these methods of naviga-
tion and investigation, Burke opened
out four large, black, modular steel
frames in the middle third of the
space, (evoking Robert Morriss L-
beams and Sol LeWitts open cube
drawings). Each frame is square and
split horizontally by another piece of
steel, thus making two equal 1:2 rec-
tangles. All four forms stood upright
and were placed end to end at right
angles to produce a zigzag shape
across the spacesuggesting a frag-
mented navigation through a series
of Cartesian origin points. There were
two of these modular arrangements,
and the eye skipped across them,
putting the viewer into the position
of one who is re-creating the move-
ment of drawing.
Burkes is a methodical, quiet, and
committed description of spaces
and duration. He asks the viewer to
appraise these objects and spaces
with an intellectual sympathy at
once analytical, intuitive, and poetic.
/o||cn |on:cn
Phillip Beesley Architect Inc., Sargasso,
2011. Mylar, acrylic, aluminum, latex,
glass, custom electronics, Freeduino,
and microcontrollers, 36 x 24 x 110 ft.
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74 Sculpture 31.2
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Takashi Murakami
Versailles
Once again the battle to save classi-
cal French culture from the ugly
claws of globalization has been
making headlines in France. This
time around it was provocateur-artist
Takashi Murakami who raised the
hackles of Prince Sixte-Henri de
Bourbon-Parme, a descendent of
Louis XIV, and members of the Coor-
dination de la Dfense de Versailles,
an organization formed to prevent
Jeff Koons from exhibiting at the
palace in 2008. Condemning Mura-
kamis veritable murder of our her-
itage, our artistic identity, and our
most sacred culture, de Bourbon-
Parme claimed that the artists work
disrespects the glory of Versailles:
There are puppets in that exhibition
that are frankly grotesque.
Murakamis exhibition was not
derailed, but the powers that be
did capitulate ever so slightly. The
more titillating body fluid sculp-
tures, deemed too explosive to
show, were not on view. Also missing
in action were |, |cnecme tcu|c,
(1998), which features a masturbat-
ing young man whose ejaculation,
exploding from a large penis, floats
lasso-style overhead, and |||ccn
(1997), in which a young woman
wearing only a bikini top squeezes
her oversized breasts and nipples,
while a frothy stream of milk swirls
around her like a jump rope. The
nearest thing to sex at Versailles was
the six-foot-tall || |c' (1997), a
blond, perky-breasted, and scantily
dressed Barbie-doll waitress.
Whether Murakami succeeded in
creating a vibrant, meaningful
dialoguethe stated intention of
curator Laurent Le Bonwas a
matter of opinion, and all of France
seemed to weigh in. For me,
Murakamis invasion of the royal
chambers was little more than
sideshow entertainmenta diver-
sionfor youngsters and tourists
who know little more about
Versailles than that its former occu-
pants lost their heads.
Two or three of the 22 featured
works managed to register in the
already spectacular Baroque set-
ting. But many of Murakamis ironic,
mildly impertinent, and cutesy-poo
productions were neutered by the
peerless powers of the Sun Kings
palace. For instance, ||cue|
|cn|cnc (200106), an oversized,
double-globed sculpture covered
with sprouting tendrils and grinning
flowers in a thousand eye-popping
colors, was reduced to an annoying
accessory by the Hall of Mirrors,
an awe-inspiring jewel of a space.
|e |me|c| |eu t|c||e (2005),
a nod to Hans Christian Andersen,
added the ultimate ironic touch
serving as a statement about the
entire exhibition. A diminutive, large-
headed, wide-eyed, comedic-looking
character occupied the Coronation
Room, which is filled with paintings
celebrating the glories of Napoleon.
But Murakami hit the bulls eye
with cnc|||on (200304), the
crowning glory of the exhibition.
This work represents Murakami
at his most inventive and luxurious
best. The 23-foot-high, baroque ren-
dering of Buddha explodes with
a colorful fusion of Surrealism, Art
Nouveau, and manga. With numer-
ous arms gracing his sides, Buddha
sits on a frog, which in turn, rests
on a lotus flower. Sitting beneath
an opulently painted ceiling and
framed by a pair of Veroneses, this
imposing figure was a showstopper.
Here, Murakami, if only during the
run of the exhibition, got to rule.
|ouc|o |o||n
Above: Karl Burke, Mound, 2011.
Building rubble and yellow paint,
dimensions variable. Right: Takashi
Murakami, Tongari-Kun, 200304.
Fiberglass, steel, and oil, acrylic, and
urethane paint, 22.96 x 11.48 ft.
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8oMt
Rome Biennale: International
Exhibition of Sculpture
Billed as the first sculpture biennial
in Rome, the original and very
ambitious plan was to place con-
temporary artworks in many of the
piazzas of a city celebrated for piaz-
zasif not for contemporary art
(although that might change now
with MACRO, MAXXI, and Gagosian).
Many of these spaces are already
occupied by destination artone
obvious instance is Berninis |con
|c|n c| ||e |co| ||.e| in Piazza
Navona. It therefore seemed a great
idea to site more recent works
in the context of a public exhibition,
alternating old and new, Italian and
international, pegged to the Venice
Biennale not so far away. However,
due to bureaucratic snafus and
other impediments, it was not to
be, although the curators, Gloria
Porcella and Lamberto Petrecca, are
hopeful for the next edition, which
they are already planning.
This first exhibition, sponsored in
part by Roma Capitale and the Euro-
pean Commission, was greatly cur-
tailed, however, confined to the gar-
dens of the Casina Valadier, located
on the Pincio not far from the Villa
Borghese, and the park of the Villa
Torlonia, the residence of Mussolini
from 192543two storied (but in
Rome, what isnt) and popular gath-
ering places for Romans and tourists.
Porcella and Petrecca expressed a
desire that their project be populist,
accessible, and (in some cases)
interactive, and toward that end,
they presented frequently Pop-
derived and kitsch-based works,
although they also included several
Modernist-inspired works by con-
temporary artists, as well as canoni-
cal 20th-century artists such as
Henry Moore, Sante Monachesi,
Giacomo Manz (a wonderful
crouching, life-size faun), Giorgio de
Chirico (a bronze statue of a stan-
dard from his repertory of figures,
|e /|:|ec|c||), and Dal (|c|||||,
c| |me, a signature melting clock
leaning against a budding tree
stump in black and gold bronze that
works better as a painting).
Its title notwithstanding, the exhi-
bition was short on international
artists; of the 31 participants, only
six came from countries other than
Italy. Contemporary Italians included
Lorenzo Quinn with his enormous
sculpture of a hand holding a
Vespa, |c |c|:e /||c, (he also recon-
structed a T55 Russian tank in
Venice, part of || | |c| c 6cme,
his contribution to the Italian
Pavilion, in dialogue perhaps with
the overturned Centurion tank of
Allora & Calzadilla that guarded the
entrance to the U.S. Pavilion).
Camilla Ancilotto contributed the
colorful |e::c|c 0|||nc|e (0|||nc|
|n), which resembles a childs free-
standing, three-dimensional puzzle,
only much bigger, its sections capa-
ble of rotation. As the sections turn,
images of the em|c||cn and
|\o||cn from the Sistine Chapel
shift in a state of perpetual decon-
struction and revision.
Michelangelo-inspired works
abounded, including London-based
Mauro Peruchettis blinding white
resin ||:|e|cne|c .o.o / |||o|e
|c Hcmen and his humorous rendi-
tion of Batman and Superman as
Michelangelo figures. He also con-
tributed some tubby translucent
resin mannequins from his jelly baby
family. Cracking Art Groups splashy
orange, recycled plastic snails are
many times life-size, part of a series
of enlarged creatures that includes
a colony of scarlet penguins shown
in Venice some years ago and now
in the collection of the 21c Museum
Hotel in Louisville, Kentucky.
Australian artist Andrew Rogerss
(best known for his immense land
art projects) two soaring bronzes
were more weighted, resonating
between the representational and
the abstract, the heaviness of the
material transformed into some-
thing visually much lighter, more
buoyant. |n|o|||n, a graceful
abstraction, suggests a figure or a
gigantic leaf en c|n|e, its ridged
surface, catching the light, turning
gold. The other, gilded and touched
with color, is an enormous flower,
plucked, perhaps, from some magi-
cal garden. The Villa Torlonia half
of the show was dominated
by American artist Seward Johnsons
||, a 26-foot, towering sculpture
of a sailor kissing a girl, a camped-
up, colorized copy of Alfred Eisen-
staedts iconic black and white pho-
tograph taken in Times Square,
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Left: Takashi Murakami, Oval Buddha,
200710. Bronze and gold leaf, 568 x
312 x 319 cm. Below: Andrew Rogers,
Unfurling, 2003. Bronze, 310 x 100
x 120 cm. From the Rome Biennale.
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76 Sculpture 31.2
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which personified the jubilation of
V-J Day and the end of the war.
Porcella and Petrecca wanted a
festive exhibition and succeeded in
creating a crowd-pleaser as stream-
ing groups of people of all ages
stopped to look and interact with
the artit was, it seems, a peoples
exhibition, if not a biennial.
||||, He|
8tt j t Ws AWb SMAWsMAt
Xu Bing
Today Art Museum and Shanghai
Expo 2010
Xu Bings two enormous, 28-meter-
long ||cen|\ sculptures are a pas-
tiche of dangling three-dimensional
tales chronicling Chinas past, pre-
sent, and future. Images of these
mythical birds dying in flames, then
shooting up, reborn from their
ashes, have appeared for at least
4,000 years, beginning with early
Shang Dynasty pottery motifs. Refer-
red to as |en|ocn, the phoenix
is both |en (male) and |ocn
(female) and is traditionally associ-
ated with the Chinese empress.
Actually a composite of many birds,
it sports the head of a golden
pheasant, the body of a mandarin
duck, the tail of a peacock, the legs
of a crane, the mouth of a parrot,
and the wings of a swallow. Each
Chinese dynasty developed its own
version, and Xu searched the differ-
ent interpretations to find his exact
approach. The Qing Dynasty, he felt,
was too soft and celebratory, so
he chose the Han Dynasty, with its
harsher and more angular depic-
tions.
His idea for constructing these
12-ton birds began during Chinas
pre-Olympic economic boom. A
real estate developer constructing
a building designed by Csar Pelli
commissioned Xu to create a motif
over the entrance. At first it was
going to be two cranes, but that
birds associations in Chinese cul-
ture are not pleasantcranes assist
in the flight toward death. Xu decided
instead on phoenixes, which signify
transformation. He planned to fin-
ish making them in just two months,
but it took two years. Part of the
delay stemmed from the fact that
all of Beijings factories were closed
during the Olympics.
Xu notes that, according to Mao
Zedong, art is for the people and
should be returned to the people
to inspire them. To create a direct
connection between the extreme
wealth financing the real estate
project and the workers who built
it, he collected raw construction
materials and debris from the site
of the new Beijing World Financial
Center. The birds were cobbled
together using rubber tubes, wires,
bamboo, rusted metal, steel rods
and plates, tools, hoses, filter grates
and meshes, safety helmets, and
orange warning cones. The unused
parts were returned and recycled.
The tails mimic shadow puppet ani-
mals from Chinese theater called
|| |c (paper models). Xus
phoenixes, however, change their
shape depending on the viewing
angle. Even though it required six
construction cranes to lift them into
the air, their weight seems to disap-
pear when they are lit up at night.
From far away, they float; from up
close, they are stark and raw.
When the economic crisis hit, Xus
sponsor refused to accept the pro-
ject. Barry Lam, founder and direc-
tor of Quanta Computer in Taiwan,
a Fortune 500 company, and a great
patron of Chinese arts, stepped in
to take over the funding. After open-
ing at the Today Art Museum in
Beijings Central Business District,
the phoenixes were installed in the
China Pavilion at the Shanghai Expo
2010, a national place of honor.
|||en |ec||mcn
St WsAost
Wee Hong Ling
Sculpture Square
A cat hides behind the china cabinet,
and a dog sleeps under the studio
bench where the artist works. The
Left: Mauro Perucchetti, Michelangelo
2020 A Tribute to Women, 2010. Hand-
carved marble, 174 x 62 x 42 cm. From
the Rome Biennale. Below: Xu Bing,
Phoenix Project, 200710. Construc-
tion debris and light-emitting diodes,
2 elements, 27 and 28 meters long.
sculpture
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presence of these two pets in Wee
Hong Lings No Place Like Home,
albeit in the form of two-dimensional
vinyl cutouts, may seem like a play-
ful gesture; but they are essential to
the dcor that frames and contex-
tualizes the ceramic works of this
Singapore-born and New York-based
artist.
Wees exhibition takes place with-
in the framework of the home. Two-
dimensional vinyl cutouts on
the floor delineate rooms, amenities
(such as bathtub and toilet), and
some furniture (such as bed
and sofa). Actual tables and shelves
serve as display units for Wees
ceramics. Within this context, the
two pets are more than after-
thoughts; instead, they form an
integral part of the space, inviting
visitors to suspend disbelief and
imagine that they are in their own
home or any home of their desire.
Whether one prefers a cat to a dog
or vice versa, one cannot deny
the pets place in that house of the
imagination.
Like the 1980 romantic sci-fi
tragedy cmeu|e|e |n |me, in which
physical trappings such as attire and
fashion accessories (together with
the power of self-suggestion) allow
for time travel, in Wees installation,
the cat and the dog draw the viewer
into the dialectics of the artists
world. The reason is simple: pets are
generally not allowed into gallery or
exhibition spaces. But, they are
hereor are they? And if that is so,
where is the viewer? In a house or in
a gallery? And what, then, are Wees
works? Utilitarian ceramics or sculp-
tures or both?
Wee repeatedly teases the viewer
with these questions. A large
celadon porcelain bowl placed on
a dining table serves the dual pur-
pose of functional vessel and deco-
rative centerpiece. The area marked
Bathroom contains a sink of
similar form, with the difference that
this vessel has a hole at the bottom
for the drain.
In |e |ce||: c| c:e, Gaston
Bachelard wrote that a house con-
stitutes a body of images that give
mankind proofs or illusions of stabil-
ity. Wees installation, however,
playfully challenges that notion of
stability. By expecting each simple
object to serve more than its obvi-
ous function and to also inspire cre-
ativity, sustain ones reverence for
cultural symbolism, and forge ties
to ancestry and heritage, she effects
change and shakes stability.
Wee asks whether a house, as
Bachelard claims, actually shelters
day dreaming and protects the
dreamer. By creating an installation
that raises questions about the
nature of the objects exhibited with-
in the context of a house, Wee also
interrogates the concept of home.
Such questioning of the obvious is
an inevitable function of art and of
the artist.
||cn ||n 'en
MouW1 1oMAM, Aus1sAtt A
Rae Bolotin
Blue Mountains Botanic Garden
Australian sculptor Rae Bolotin cre-
ates works characterized by seduc-
tive surfaces and the innovative use
of line in space. Born in Tashkent
in Uzbekistan, she took an electrical
engineering degree and studied
art. She came to Australia in 1979
as a refugee. An interior design
business led to an interest in space,
form, and volume, and, ultimately,
to sculpture.
The simple outline and form of
the apple has intrigued Bolotin
since her earliest work in concrete.
However, when she became inter-
ested in the peela form about the
absence of formshe had to find
a new material. During a residency
at the Red Gate Gallery in Beijing,
Bolotin studied the ancient Chinese
method of metal beating. She want-
ed to preserve the craft by using it
in a contemporary way. Traditionally
this method is used for panels of
copper, and after initial experimen-
tation with that metal, she decided
to work with stainless steel.
Because she could not learn this
complex method on her own, metal
workers wereand arean inte-
gral part of her process, and she
works very closely with them: when
they are in the factory, she is there
as well.
Her initial procedure is to make
same-size models in clay and
welded steel, which are shipped
to China. In the factory, steel is
painstakingly beaten piece by piece,
from the inside out, and then
welded together. The surfaces of
Bolotins sculptures are intrinsic to
the materials themselves, though
sometimes she bakes enamel onto
part of them.
Bolotins new work marks a major
shift both conceptually and techni-
cally. The forms derive from seed
pods, inspired by the botanical gar-
dens in which they are installed,
and also by her studio move to
Bilpin in the Blue Mountains, an
hours drive from Sydney. Perhaps
because of their closed forms and
focus on mass, volume, and texture
rather than line and negative space,
these pods seem less abstract than
the Peel works. Large, richly sur-
faced and colored, they are almost
Above and detail: Wee Hong Ling, installation viewof No Place Like Home, 2011.
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78 Sculpture 31.2
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recognizable, but not mimetic.
There is a resemblance to nature in
the form, yet the surface color is
unearthly in its beauty. The tension
between organic form and industrial
surface gives rise to a sense of dislo-
cationa disturbing quality of an
unknown species spreading among
the innocuous flowerbeds and
shrubs.
Artisans at the metal beating fac-
tory in Beijing were reluctant
to fabricate the pod sculptures as
Bolotin wanted them. They thought
it would be technically impossi-
bledue to the complex external
patterningbut the effort to realize
this new concept succeeded in
expanding the medium. After two
weeks of intense discussion with
workers in the factory, a satisfactory
method was found to solve the
issue and enable this technique to
be taken to its limits. Each form is
realized in either pure surfaced
stainless steel or in rich iridescent
color. The color is obtained by plac-
ing the work in a vacuum chamber
where the steel is chemically modi-
fied, a technique invented by Rus-
sian spaceship engineers.
Bolotin has had two major shifts
in her work, both stemming from a
new location and new possibilities.
Each shift has been a leap forward
technically, conceptually, and aes-
thetically.
Carole Driver
D
12th Istanbul Biennial
The 12th Istanbul Biennial focused on
artists from the Middle East and Latin
America. According to Untitled co-
curator Jens Hoffman, We were look-
ing for artworks that are formally
innovative as well as politically out-
spoken and that relate to the general
themes of the exhibition such as
migration, violence, identity, and poli-
tics.
The overall theme was drawn from
the works of Flix Gonzles-Torres,
whose artistic subjects echoed
through the cavernous venue, evoked
in various forms, shapes, and styles,
though without appearing per se.
Hoffman explained, The work of
Flix Gonzles-Torres brings together
the personal and the political in
a very unique way. It tells us some-
thing about ourselves and the world
around us in equal measures. It is
sad and sober but never dramatic or
didactic or even highly intellectual.
Even the biennials architecture and
design reflected this perspective.
Working with co-curators Hoffman
and Adriano Pedrosa, architect Ryue
Nishizawa borrowed thoughts and
shapes from the layout of Istanbul
while integrating the refined grace
inherent in Gonzles-Torress work.
The biennial included approxi-
mately 50 solo exhibitions and five
large group exhibitions titled after
five Gonzles-Torres works: Untitled
(Abstraction), Untitled (Ross), Untitled
(Passport), Untitled (History), and
Untitled (Death by Gun). The struggle
between art and politics has come to
be reflected in the Istanbul Biennial.
With regard to this years event,
Director Bige rer stated, Works
of Gonzles-Torres inspired the theme
of the biennial due to the figurally
innovative and politically outspoken
nature they embody. We think
that discovering the relationship
between the figural and the political
is not only significant for Turkey
but for the practice of art around
the world.
After entering Antrepo 5a mas-
sive space separated into various
sized exhibition areas with metal
panelsI first set foot in a medium-
sized room containing Adrian Espar-
zas solo exhibition, which included
Far and Wide (2011), an unraveled
serape or Mexican blanket. The
multi-colored thread extended across
three walls in a geometric design,
with the remaining part of the ser-
ape hung on a hook opposite a
display of the Panorama of Constan-
tinople (1920). Esparzas abstract
work presents a feeling of the impor-
tance of multicultural values and
a shared world history while also
reminding the viewer of the disinte-
gration of the fabric of society.
One of the most interesting works
in Untitled (Abstraction) was Theo
Craveiros FormicaryVisible Idea
(1956/2010), which was inspired by
Waldemar Cordeiros painting Idia
Visvel (1956) and displays a colony of
ants in a wall-mounted installation,
with the internal glass grids echoing
the lines of Cordeiros painting.
Visitors gathered to watch the insects
as they carried pieces of leaves and
tiny nuggets of apple to their nest.
The juxtaposition of wilting stores
and lively activity served as a small-
scale representation of the effort
underlying human survival, a domi-
nant theme in Gonzles-Torress work.
The upper floor of Antrepo 5 hosted
Ahmet gts Perfect Lovers, an instal-
lation of a two-Euro coin and a one-
Turkish Lira coin in a black showcase
inspired by Gonzles-Torress Untitled
(Perfect Lovers) (1991). The artist cre-
ated this work, which consists of two
identical, adjacent, battery-operated
clocks set to the same hour, shortly
after his lover Ross Laycock was
diagnosed with AIDS. Over time, the
clocks inevitably fall out of synch,
offering personal and poetic insight
into human relationships as well as
mortality. gts Perfect Lovers, which
showcased the formal similarities
and disparate financial values of the
two coins while alluding to Turkeys
Above: Rae Bolotin, Peeled World 3,
2007. Stainless steel and baked
enamel, 173 x 150 x 130 cm. Below:
Rae Bolotin, Seed Form 1 Colour,
2010. Stainless steel, 60 x 80 x 55 cm.
sculpture
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application to become an E.U. mem-
ber, managed to go hand in hand
with the group exhibitions Untitled
(Ross) and Untitled (Passport).
Elmgreen and Dragset contributed
one of the most interesting works to
Untitled (Ross). |e 3|c:| cno
H|||e ||c|,, || , (2009) consists of
365 black and white photographs
displayed in white synthetic leather
frames on two rows of opposing
shelves in an L-shaped corridor. The
photographs depict the daily lives of
the artists in informal surroundings.
Freedom of sexuality and gender
are common topics in almost all of
the photographs, which defy social
norms and expectations by laying
bare their most candid moments.
Crossing over to the building oppo-
site (Antrepo 3), the group exhibition
Untitled (History) stretched across
a spacious rectangular hall display-
ing works focused on our under-
standings/misunderstandings and
knowledge/belatedness of history.
As stated in the biennial handbook,
|e tcmcn|cn, Untitled (History)
focuses on the writing of history, his-
torys writing, and the history of writ-
ing. Confidentiality of governmental
documents and the manipulation
and destruction of sensitive informa-
tion across several countries, includ-
ing the U.S., Iran, Lebanon, Peru, and
Serbia, were represented through the
works of various artists. Julieta Aran-
das |e|e |c 3een c ||:c|:o|c||cn
(2007/2011) consists of a Perspex
cube containing pulverized books of
20th-century history. History is some-
how changed every time the comput-
erized air compressor goes off, puff-
ing mangled pages into the cube.
Untitled (Death by Gun) included
works that create a feeling of unease.
Kris Martins installation 0|oen ||
(2010) consists of a large heap of 700
Howitzer shells from World War I.
It is difficult to comprehend that the
contents of these casings, gleaming
innocently on the floor, killed thou-
sands of people.
The following room contained the
most bewildering sculpture installa-
tion of the biennial, Eylem Aladogans
|||en |c ,co| co|, m, ||cco |
|n|n ||cn |||e| ||c| :co|o |e
|e|eceo (200911). Almost five
meters tall, the sculpture consists of
magnified feathers, rifle barrels and
butts, all interconnected and rising
toward the ceiling in a unified form.
Composed of wood, metal, and fab-
ric, the work revolves around fear.
In an interview conducted for |e
tcmcn|cn, Aladogan stated, For
me, the rifles reflect both fear and
strength at the same time. You can
say that without death there is no
urge to survive. We need the fear
to trigger inner growth.
The 12th Istanbul Biennial covered
significant issues related to art and
politics. The exhibitions also created
a total work that enabled viewers to
title the Untitled Biennial accord-
ing to their own experiences of this
vast montage of emotion. As Flix
Gonzles-Torres said, Always think
about practice, theory is not the end-
point of work, it is work along the
way to work.
|cnoe |c|e
Above: EylemAladogan, Listen to your
soul, my blood is singing iron triggers
that could be released, 200911. Wood,
metal, and textile, 370 x 130 x 480
cm. Top right: Julieta Aranda, There
Has Been a Miscalculation (Flattened
Ammunition), 2011. Perspex, wood,
lacquered steel, history books, and
compressor, 150 x 129 x 129 cm. Right:
Michael Elmgreen and Ingar Dragset,
The Black and White Diary, Fig. 5, 2009.
365 black-and-white and desaturated
color prints, installation view.
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isc PEOPLE, PLACES, AND EVENTS
I SCONNECTS
In 2011, the ISC launched ISConnects, an innovative
new program developed to reach new audiences and
increase collaboration with cultural institutions around
the globe. Panel discussions, exhibition tours, and artist
lectures hosted by the Museum of Arts and Design (New
York), Grounds For Sculpture (Hamilton, New Jersey),
Moore College of Art and Design (Philadelphia), and
Princeton University Art Museum (Princeton, New
Jersey) kicked off the program last year. The geographic
reach of ISConnects events is expected to grow in the
coming years, as many established and emerging arts
organizations world-wide have expressed interest in
hosting events in 2012 and beyond.
The intent of ISConnects is to explore unique perspec-
tives on contemporary sculpture through a variety of
accessible programs that encourage engaging and lively
discourse. Post-program surveys show that this objective
is being met. Audience engagement at last years events
was high, with more than 90 percent of attendees
responding that they enjoyed the events, would recom-
mend them to others, and would attend another
ISConnects event themselves. One attendee expressed
satisfaction by stating, Excellent opportunity and
contribution to the city and area. Keep them coming!
In addition to engaging audiences with timely and inter-
esting topics and speakers, the program is also succeeding
in introducing the ISC to new audiences. Approximately
50 percent of all attendees are not current ISC members.
Many have gone on to attend other ISC programs and
become ISC members and Sculpture magazine subscribers.
The program also appeals to art educators, who often
bring groups of students to ISConnects events. One
educator stated, Terrific regional event for me and my
students at Southern Connecticut State University. We
also really appreciated that museum admission was
included in the event price. We would look forward to
more events in the area.
ISConnects succeeds in providing dynamic programs to
a wide range of audiences and does so at an incredibly low
price to attendeesevent admissions have ranged from no
cost to $15, and most include access to museums and exhi-
bitions, as well as cocktail receptions. The program experi-
enced great success in 2011 and will continue to provide
new avenues for exploration of topics that address the
unique and shared interests of sculptors, collectors, and
institutions that support contemporary sculpture.
Visit <www.sculpture.org/isconnects> for more infor-
mation about the ISConnects program and upcoming 2012
events.
1
Museum of Arts and Design panel.
2
Museum of Arts and Design reception.
3
Moore College of Art and
Design Anya Gallaccio lecture.
4
Grounds For Sculpture champagne reception.
5
Grounds For Sculpture tram
tour.
6
Princeton University Art Museum Thomas Hirschhorn lecture.
4
6 5
1 2 3
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____________________________
____________________
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______________________________
__________________________

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