The extremely high level of artistic integrity we are committed to at TSAS is ensured with our first curatorial appointment. Renowned critic and writer, Hrag Vartanian, will serve as Chief Curator for our debut exhibition. He has selected Dutch-Brazilian artist Rafaël Rozendaal as the first to display his work on billboards during Art Square 2013. Check out the amazing video The Brooklyn Brothers made HEREWork: Rafaël Rozendaal’s “Into Time w/ Mirrors” installation at Museu da Imagem e do Som de São Paulo, Nova Festival, April 2012
Tokujin Yoshioka for Design Miami (2007) - An installation of 300,000 plastic straws
niform: interactive installation by Samuel Bianchini, 2007niform is an interactive installation. In a large darkened room, the whole of one wall facing an audience of viewers is taken up with a panoramic image; at first, the image is unchanging, is unchanging and blurred in its entirety. The group, rendered uniform by the blurring, is rendered even more so by the uniform clothing of the twenty men who constitute the group: the picture is that of a cordon of policemen in anti-riot gear, life-size.The viewers, as they move, change the focal point of the image: as they move towards the screen, and according to the disposition of their bodies, the section of the image in front of them becomes progressively more clearly focused. At a distance of fifty centimetres or less from the screen, a spectator is confronted with one of the representatives of the forces of law and order.The image no longer has a single depth of field, but several: these are localised, spectator-specific and are different for each viewer. From an initially fuzzy image, each spectator progresses towards a focusing-in on the image, onto a single man, toward the individual man with whom s/he stands face to face.
Artist Clare Twomey ”Heirloom”
Heirloom was a site-specific installation made up of more than 2000 cast porcelain objects collected from local sources; each object communicated its own personal narrative in relation to the history of domestic life in Swansea, where the Mission Gallery is situated.
Clare Twomey ”Trophy”
Trophy was a new work commissioned by the V&A Museum that played with notions of value, permanence and the culture of collecting. The artist worked in collaboration with Wedgwood to produce 4000 small birds made from Jasper Blue –an historical material created by Wedgwood in the 1800s– that were then displayed throughout the Cast Courts; the concept was to create a unique object for the museum’s collections that would be both beautiful and desirable. Within five hours of opening, the public had stolen each one of the 4000 birds that made up the collection; although they were not formally invited to take the birds home, many followed the behaviour of others in the space.
Urs Fischer, Untitled, 2011
(Wax, wicks, steel)
A life-size wax statue of the artist’s friend Rudolf Stingel. One of a series of works in which wicks were placed in strategic spots on the sculpture so that it gradually melted down in the course of the month-long exhibition.
Oh, I love this!
Thomas Houseago has come to public prominence in recent years with his monumental, figurative sculptures that are charged with a remarkable energy and vitality.
Houseago works primarily with media that demonstrates a sensibility towards classical sculptural materials and processes; primitive, totemic sculptures are hewn from giant timbers, Hessian is slathered in plaster and crudely wrapped around steel armatures, and largescale, free-standing works are ambitiously cast in bronze. Houseago’s sculptures possess a daring urgency, a tactility and brute physicality that expose the process of their own making. The visible ‘touch’ and ‘imprint’ of the artist are nakedly evident: a fist of plaster is gauged out to create an eye socket, a deft chiselling of redwood to suggest a shoulder blade.
Houseago’s work is unapologetic and relentless in its evocation of classical and modernist sculptural works. His somewhat crude and direct working belies a sophistication that is rich in a layering of cultural, mythological and art historical references. In a time of fast-paced
technological change, Houseago’s art takes on the psychological role of an awkward, unresolved reminder of the past – cumbersome and insistent in its emotional presence.
Imaginary Friend, 1999 artificial flowers, styrofoam sphere, monofilament, sand, mirror 36 x 36 inches