Sol Lewitt
from Six Geometric Figures in Superimposed Pairs
1977
from Six Geometric Figures in Superimposed Pairs
1977
❤3
“…Though Andy Goldsworthy has made enormous and relatively durable works such as those in Grizedale Forest (AR September 1985), some of his sculptures are tiny, even inconspicuous, and the vast majority - like those described above - are ephemeral. For most of us they exist only second hand in photographs. Originals lodge only in the memory of the artist, and maybe of a few fortunate others. Some sculptures are so ephemeral - such as rainbowed splashes, or loose clusters of thrown sticks - that they can be appreciated fully only in a prolonged instant frozen on film.”
— Peter Buchanan, The nature of Andy Goldsworthy, for The Architectural Review
[x]
— Peter Buchanan, The nature of Andy Goldsworthy, for The Architectural Review
[x]
❤4
Andy Goldsworthy, Ice points, held upright in muddy pond bottom, Helbeck, Cumbrial. January 1983
“Crystalline shards of ice, precariously poised beside a pond, form an arch that glistens and sparkles in the sunlight. Soon each face melts, shards slip past each other, and the whole crashes into a chaos of scattered fragments that slowly seep into the earth. On the next day, thin sharp shards project as a cluster of small translucent sails from the cold waters into which they are steadily dissolving. In another season, coloured leaves or petals stuck by spittle form chains or patches of contrasting colours that soon break up as the parts curl up or blow away. A chain of leaves slides slowly over the still surface of a pond, or even floats away in a conga dance on the surface of a stream, casting a shadow that leaps over pebbles and bright winking wave patterns in a self-destructive and frenzied fandango.”
— Peter Buchanan, The nature of Andy Goldsworthy, for The Architectural Review
[x]
“Crystalline shards of ice, precariously poised beside a pond, form an arch that glistens and sparkles in the sunlight. Soon each face melts, shards slip past each other, and the whole crashes into a chaos of scattered fragments that slowly seep into the earth. On the next day, thin sharp shards project as a cluster of small translucent sails from the cold waters into which they are steadily dissolving. In another season, coloured leaves or petals stuck by spittle form chains or patches of contrasting colours that soon break up as the parts curl up or blow away. A chain of leaves slides slowly over the still surface of a pond, or even floats away in a conga dance on the surface of a stream, casting a shadow that leaps over pebbles and bright winking wave patterns in a self-destructive and frenzied fandango.”
— Peter Buchanan, The nature of Andy Goldsworthy, for The Architectural Review
[x]
❤3
Unfold
Artefacts of a New History
2016
“The limited edition Artefacts of a New History (2016) is a collector box featuring nine different intricate ceramic 3d prints produced using Unfold’s finest printing capabilities. The collection resembles a set of artefacts like those you might find in a natural history museum, on one hand they look ancient, like fossils, but on closer inspection they reveal their strange technical nature…”
[x]
Artefacts of a New History
2016
“The limited edition Artefacts of a New History (2016) is a collector box featuring nine different intricate ceramic 3d prints produced using Unfold’s finest printing capabilities. The collection resembles a set of artefacts like those you might find in a natural history museum, on one hand they look ancient, like fossils, but on closer inspection they reveal their strange technical nature…”
[x]
❤3
There’s a peaceful land of maidens crystal-pure,
where children are as unbreakable as steel
where snake-victors kneel and drink
the wine of angels in silent, frozen halls.
There’s a peaceful land of grasses
where the dragon sings for eternal hours.
He waits, his wise head bowed,
powerful wings embroidered with flowers.
Monks dwell in cells among burgundy rocks.
Fire burns inside their stone bowls.
And the wine of angels can’t been tasted or seen
like tears in a river or in our dead souls.
Here no victories or failures prevail.
The scorpion sleeps at the foot of the rhododendron.
And in the window’s light—a sacred darkness,
like writing on a scorpion’s scales.
Natalka Bilotserkivets, from Eccentric Days of Hope and Sorrow, Dzvinia Orlowsky (Ukrainian translation), Lost Horse Press
where children are as unbreakable as steel
where snake-victors kneel and drink
the wine of angels in silent, frozen halls.
There’s a peaceful land of grasses
where the dragon sings for eternal hours.
He waits, his wise head bowed,
powerful wings embroidered with flowers.
Monks dwell in cells among burgundy rocks.
Fire burns inside their stone bowls.
And the wine of angels can’t been tasted or seen
like tears in a river or in our dead souls.
Here no victories or failures prevail.
The scorpion sleeps at the foot of the rhododendron.
And in the window’s light—a sacred darkness,
like writing on a scorpion’s scales.
Natalka Bilotserkivets, from Eccentric Days of Hope and Sorrow, Dzvinia Orlowsky (Ukrainian translation), Lost Horse Press
❤4
Joachim Koester
Variation of Incomplete Open Cubes
2011
“Variation of Incomplete Cubes shows a close-up of two hands attempting to form the shape of cubes. The film pays homage to the American minimalist artist Sol LeWitt, whose 1974 work Incomplete Open Cubes explores the permutations of a cube through a variety of sculptures, photographs and drawings.”
[x]
Variation of Incomplete Open Cubes
2011
“Variation of Incomplete Cubes shows a close-up of two hands attempting to form the shape of cubes. The film pays homage to the American minimalist artist Sol LeWitt, whose 1974 work Incomplete Open Cubes explores the permutations of a cube through a variety of sculptures, photographs and drawings.”
[x]
Vimeo
Joachim Koester "Variation of Incomplete Open Cubes" (2011)
16mm film installation, black and white, mute, 8'40''. Variation of Incomplete Cubes shows a close-up of two hands attempting to form the shape of…
Ettore Sottsass Jr.
Metafore
1972-1979
“Sottsass was questioning the act of building as well as the underpinnings of industrial culture. He then abandoned this artistic production to focus on writing and design. His “constructions” are a sort of “study of the language of architecture” (Barbara Radice), on the link between oneself and the physical environment. These temporary structures are composed of humble and fragile elements, bits of string, wood, ribbons, leaves, rocks, bits of clothing, etc., referring to the precariousness of things.
Sottsass wrote: “I felt a deep necessity to visit deserted places, mountains, to establish a new physical relationship with the cosmos, which is the only environment there is, precisely because it cannot be measured, anticipated, controlled or known...”
[x]
Metafore
1972-1979
“Sottsass was questioning the act of building as well as the underpinnings of industrial culture. He then abandoned this artistic production to focus on writing and design. His “constructions” are a sort of “study of the language of architecture” (Barbara Radice), on the link between oneself and the physical environment. These temporary structures are composed of humble and fragile elements, bits of string, wood, ribbons, leaves, rocks, bits of clothing, etc., referring to the precariousness of things.
Sottsass wrote: “I felt a deep necessity to visit deserted places, mountains, to establish a new physical relationship with the cosmos, which is the only environment there is, precisely because it cannot be measured, anticipated, controlled or known...”
[x]
❤6🥰1