While most of us have been admiring the new look in Bond Street, one of our elected councilors is claiming that it’s an abomination, Lindsay Shelton said.
When presenting public art or installation your work becomes open to criticism. This work here done by the council as a pop up space was fun and unexpected to me. The swing is fun and relaxing within the weather proof shipping container. Also within is an image of nature and rivers. the fake grass adds to the nature theme and relaxing space.
But I think the isolated swing is to stage like and intimidating for me. As you swing alone and can’t relax knowing someone else might want to go on. The bean bags were successful and the fun polka dots on the ground made it fun. After reading that some shop owners were mad at the pop up I was baffled as to how this pop up was effecting sales. I would never walk down bond, apart from taking a short cut down this boring street. With the pop up space i was pulled into the space and it court my attention. I found out about the space from word of mouth as lots of people had seen and chilled in the area or had taken photos.
The work was successful in advertising its self as everyone talked and spread images on the media. I hope with my own work a label like pop up space or anything will become a means of finding tagging the image online.
While wandering Cuba street on a ‘gallery wander’, I came across a concert couch sculpture placed in front of a bar. The hard-shaped old fashion couch design did not pull me in to sit on it, as it was a cold wet night in Wellington. I then came across glass text explaining that Weta created the couch and that there was a built-in heater that turns on every hour. I was very surprised and interested in the choice of material such as concrete which is hard and cold in winter. Also though the heater goes on every hour, it’s only between 7am and 9pm. I missed this heater time period and was skeptical regarding the relaxing heat element. I guess the choice of concrete was due to the outdoor weather in Wellington which would destroy any other couch. This is all a ‘cold reading’ as I did not find any information online about this work and the label on the glass only labelled the chair and did not provide any additional information. A bit more information on how and why this was made would be nice as it has sparked my curiosity.
If I was to make an outdoor comfy furniture using the Wellington theme, I think a cover from the wind and rain would be great. As a person who wanders from the train station to Newtown often, hiding from the elements is key sometimes. While this work was a surprise sculpture to me I’d like to do a more simplified method of surprising people.
By Sophia Gambitsis
TOO MUCH magazine is about romantic geography. Its purpose is to document our collective experience of cities, and look at the ways people and landscapes make and remake one another. Founded in 2011, TOO MUCH is produced and designed in Japan by a global group of writers, researchers, artists and photographers. It is for those searching for real stories about architecture, cities and art. These were the words written in the ‘about’ section on their website. This overview is short and concise. I enjoy the use of romantic relation with landscape and people. I believe it is successful on Instagram as it captures the magazine setting in my opinion. (With the images laid out on clean white drop.) The use of the internet link in the the top sending the viewer to their abstract website with not much info, but the Facebook link helps there and shows you the update with words and contexts.
In relation to my own work I love magazines and cannot help but aim my installations around the interior and coffee table books. These images on the Instagram document the happening and creating works is romantic way, which I think is a successful tool. With the filters and captured moment and words Instagram is an abstract space of people showing off their glamorous or the famous art life. The play of the romantic of social media is differently shown on here and I enjoy following their work
By Sophia Gambitsis
Chelsea New York, New York / Beacon, New York.
The word “dia” in Greek means “through” and it represents the Dia’s initial and ongoing support for artists, artist projects and long-term installations.
Why the obsession with space and wood floors? After wandering New York’s white cube, clustered and some cramped or over-filled galleries on Massey University New York tour. We left the city on a train and ended up at the Dia gallery. It was calm and quiet compared to the city galleries. I wandered the massive gallery and came across John Chamberlain. I had never seen his work but I was instantly amazed at the weight and size of the work. I found myself peering my head into the sculpture and consequentially being screamed at by staff. My curiosity however was set in. I wanted to see how he crafted these squished metal shapes.
I think that the Dia gallery gave these works a lot of breathing space — and I mean a lot. The large windows on the side highlighted the work and formed interesting shadows which created a natural beauty of nature which contrasted with the hard metal. The placement of the works in the room allowed great space visualisation. It made you want to walk around and stand back. If they were clustered together, I believe the works would have looked less like abstract sculptures and more like a pile of metal rubbish. In addition to this, the colour placement of the works were well-balanced, as I hate biggest to smallest set ups. These works looked romantic and beautiful in this gallery as I love space and the architecture. So all together I enjoyed the work in this gallery more than in the Guggenheim Museum, because the white walls and squished space did not give the work any space to breathe. Meaning his works were well displayed by not being put on plinths or being clustered together and was a successful display and had easy access for all ages.
By Sophia Gambitsis
Interactive Installation – Publication website
Toronto, ON /// 2008
September 27, 2008 – January 4, 2009
Project Team: Lateral Office
Mason White, Lola Sheppard, Joseph Yau
Photographs: Peter Legris
For more than 40 years, Harbourfront Centre has believed to have been both current and creative, bringing together the best in Canadian culture and various other cultures world wide.
Harbourfront Centre is an innovative, non-profit cultural organisation. Whilst I did not see this in-person, the information on the show was very detailed and successful as I felt well informed on the Later office web page . Documenting an interactive normally has some pictures and a summary, but this one had diagrams of the artists interaction and how people interacted. This created a parallel between knowing and the unknown.
The project was to highlight the unseen parts of personal space. This meant people would take some round disks to hold the hair like wire. Clearing is a commission for a room-sized interactive space that invites visitors to investigate the politics of personal space.
This is an interesting work which plays with human interactions such as making way for people. It looks like a very fun work that I would want to play in because it’s inviting and open. The images online showed an empty work and a filled one. The contrast of an interactive work with and without participants was a successful way of photographing the project. After seeing this way of documentation and the diagram, I wish i photographed my installations better as I always a did an untouched installation photograph. While the information was good on this project it could have had a better understanding of the work if video was used as well, since the movement of people on a time lapse would have been very interesting, as the space would change and dance in a way.
By Sophia Gambitsis
Storage in a house or studio is a big problem for me as someone who regularly has the choice of either a room the size of a shoe-box or a shared studio in the city. Small rooms provoking a need for storage and functionality are key in my method of thinking around small space. This work caught my eye as a fun and amazing idea for making storage in the walls with the novelty nail mould toy reference.
The work he created was made for the displaying of an interior product, but the design of the wall was creative and more interesting than the products. In my opinion, this would be a drawback from a sales perspective, however it succeeds in originality of wall display and people would definitely remember this more than a boring flat wall.
I read that Yoshimasa was bored with the constraints of the display wall, so he decided to investigate the fourth wall as in burying the product in it. Working on the installation at Diesel Art Gallery in Shibuya, Japan, Tsutsumi stacked 10,000 square paper pipes like moveable drawers to form the support structure, into which he inserted all manner of furniture. Generally speaking, shop displays usually work in three broad ways; Put your stuff on the floor, stick it to the wall, or hang it from the ceiling.
‘Diesel living’ is created around rock ’n’ roll and the casual living concept. So this display wall and the furniture presented within was a creative way of advertising the brand’s trademark style.
I would like to create a 4-wall inside my furniture or with the floor to create a sinking and mold effect with relaxing into a space. As much as I enjoy the look of the pipes I don’t think that they would be comfortable. I believe a bean bag could imitate a sinking effect as well.
By Sophia Gambitsis
THE DIA: BEACON, New York – Exhibition
LAWRENCE WEINER, 1987
The Dia gallery is set in New York and Lawrence Weiner was curated by Howie Chen, a co-founder of ‘dispatch’, a curatorial production office and product space. The work I will be reviewing is the couch that Howie Chen placed by a wall text. I’m looking at how Lawrence Weiner’s wall text was presented/displayed. While I was wandering the massive gallery, a large couch pulled me towards it. The moment I lay upon this plain grey couch, I relaxed my spine and sat in a long-stretched slouch with my chin rested against my chest. This position evoked a massive sigh of relaxation. I stayed in this chair for perhaps two hours, who knows, but while resting I read the wall work and began to appreciate it more. I started discussions with others who wanted a rest. During our discussions our minds wandered and the conversations became off topic, but the artwork became both a puzzle and a fun read for me.
I enjoyed the way that the couch added contrast to the work and how sitting right against the back would enable you to tilt your head and see the other wall text while resting. I would linger more when viewing artworks if comfortable furniture was present near all of them. I’m also pleased with the choice of colour for the couch as grey is known to be a creative thinking activator. I would recommend a cosy couch for any work where the artist wants the viewer to contemplate or debunk something as it was very conductive to this type of thinking. This work has influenced my ‘relax’ project as I think it was a successful curators’ set up and it is what I want to focus on.