Tian Shu is comprised of a display of books spread in a large rectangle across the ground, above which voluptuous scrolls unroll in long, pregnant arcs. The books—four hundred of them—are handmade with reverential adherence to the standards of traditional Ming dynasty fonts, bookbinding, typesetting and stringing techniques.
To make them, Xu painstakingly carved Chinese characters into square woodblocks, in just the way his ancient printing predecessors would have done, had them typeset and printed, and the printed pages mounted and bound into books and scrolls.
Yet, there’s the astonishing, Borgesian catch: out of the three or four thousand Chinese characters used in these volumes and scrolls, not a single one of them is a real Chinese character. They are made up of recognizable radicals and typical atomic components of Chinese characters, but Xu laboured to ensure that while they all retain the unmistakable look of Chinese script, they are all, so to speak, nonsense. They do not exist in any dictionary, and do not mean anything. Chinese speakers and non-Chinese speakers alike approach the books with the same sense of wonder at their beauty, and the same sense of incomprehension at their content. It’s a piece of art whose meaning is to be found in its meaninglessness. (via)
Kimsooja — To Breathe - A Mirror Woman, installation in the Palacio de Cristal, Madrid, 2006
Through the use of minimal elements - a translucent layer of diffraction that covers the whole of the Palacio’s glass structure and a mirror that spreads over the floor as well as the sound of her breathing - Kimsooja submerges the visitor in an experience of transfiguration, inviting them to experiment with their mind and their senses and activate their sensorial perceptions and imagination. (via)
oil paintings and picture frames, installation dimensions variable
Horizon (Leeds) is made up from a selection of 19th and early 20th century landscape paintings chosen from Leeds Art Gallery’s collection. Fitzmaurice has installed the paintings to create a single painted horizon, forming a graphic line cutting across the ornate frames.
Jeppe Hein — Water Flame. Pump, gas, watertank. 2006.
Water Flame is an installation that combines two opposing elements in a spectacular yet minimalist design: a small vertical jet of water with a flame burning from the highest point. This paradoxical synthesis of elements creates an effect of astonishment and wonder.