myampgoesto11:

 Anila Quayyum Agha: Intersections 

Created by mixed media artist Anila Quayyum Agha, this elaborately carved cube with an embedded light source projects a dazzling pattern of shadows onto the surrounding gallery walls. Titled Intersections, the installation is made from large panels of laser-cut wood meant to emulate the geometrical patters found in Islamic sacred spaces. Agha shares:

The Intersections project takes the seminal experience of exclusion as a woman from a space of community and creativity such as a Mosque and translates the complex expressions of both wonder and exclusion that have been my experience while growing up in Pakistan. The wooden frieze emulates a pattern from the Alhambra, which was poised at the intersection of history, culture and art and was a place where Islamic and Western discourses, met and co-existed in harmony and served as a testament to the symbiosis of difference. I have given substance to this mutualism with the installation project exploring the binaries of public and private, light and shadow, and static and dynamic. This installation project relies on the purity and inner symmetry of geometric design, the interpretation of the cast shadows and the viewer’s presence with in a public space.

Intersections is currently a finalist in the 3rd Annual See.Me: Year in Review Competition, and you can learn more about it here

via Colossal

tente de novo, diferente.

tente de novo, diferente.

(Source: weheartit.com, via aheart-beat)

Bela imagem

Bela imagem

(Source: bohemianpunk, via urbanoutfitters)

dotdotkomma:

2011 Installation view of Joseph Kosuth, Texts (Waiting for-) for Nothing, Samuel Beckett, at Sean Kelly Gallery.

First change of all in the end a fragment comes away and falls.
Traces blurs signs no meaning light grey almost white

—Excerpts from Samuel Beckett, Texts for Nothing

Samuel Beckett as source and inspiration for Joseph Kosuth’s installation at Sean Kelly Gallery entitled: Texts (Waiting for-) for Nothing, Samuel Beckett, in play.

Inside a black cube text glows near the ceiling. The reader looks up to it. Neon tubes are, at times, painted-over to obscure words of a ephemeral nature, “remnants of memory both personal and cultural.” Kosuth forces his reader/viewer to stretch his/her neck to enter the piece only to have it fade in and out of sight, just as fuzzy ideas/dreams flow in and out of the consciousness.

In Samuel Beckett’s Texts for Nothing (1950-52), he reconstructs memories that are at once whole and fragmentary. Through Duchamp-ian selection Kosuth speaks through Beckett: of the fear of solitude and a desire for isolation, of doubts that language can hold up to its promise and of belief that the relations between words make meaning. Listen/Talk, work/play, language within power relations.

Uma das mais incríveis.

(via quo-diapsalmata-deactivated2014)

kakaji:

Joseph Kosuth is an American who maes his home in both Rome and New York. A student of philosophy, anthropology, and linguistics as well as art, Kosuth has consistently pursued an investigation of art as idea. While Duchamp, spiritual father of all subsequent objectors to “optical” painting, used…

ce-sac-contient:

Joseph Kosuth - Cathexis, 1981
Photostat (187.5 × 123 cm)

ce-sac-contient:

Joseph KosuthCathexis, 1981

Photostat (187.5 × 123 cm)

jjunymuustardd:

Language Most Speak for Itself.
Joseph Kosuth.

jjunymuustardd:

Language Most Speak for Itself.

Joseph Kosuth.

kakaji:

CLEAR/ SQUARE/ GLASS/ LEANING

kakaji:

CLEAR/ SQUARE/ GLASS/ LEANING