Casilda Sanchez — As Inside as the Eye can See, video, 2009
The video installation presents two eyes trying to see each other as close as they can. The avidity of “seeing” the “other”, of entering in his/her space and trying to understand, or even share, the other person’s intimacy through the gaze turns out to be an effort in vain because without distance we cannot see. We find ourselves in a paradox: so close but unable to see more than a blurred image. The gaze becomes now more of an haptic sense, perceiving the other not through the sight but through the rubbing between the eyelashes. The resulting image embodies a physical eye that beats, touches and relates intimately.
Letha Wilson — Right Back at You, 2009, c-print, flashlight, rocks
Xu Bing — Tian Shu (Book from the Sky), 1987-1991
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)
Horizon (Leeds), 2011
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.
Rebeca Méndez — At Any Given Moment, Fall, 2009
Nelly Agassi — from Palace of Tears, 2001
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.
Diana Thater — White Is the Color, 2003
Jason Fulford — Medusa’s Reflection
Andrew Newman — Attempt to fill an empty space (Performance Anxiety), 2008
Samuel Rousseau — The Tree and Its Shadow, 2008, video projection on natural tree branch