Sean Hathaway stuck 80 Teddy Ruxpins on a gallery wall and hooked them up to a sentiment-analysis engine fed by a social media scraper. Snippets of emotional, throwaway text are turned into synthetic ruxpin-utterances, accompanied by emotional music:
TED is a large, wall-based installation consisting of an array of 80 Teddy Ruxpin dolls that speak emotional content gathered from the web via synthetic speech with animated mouths. The speaking of the emotional content is accompanied by one of twenty-four musical vignettes that have been paired to the emotional content being spoken. Each vignette, representing one of twenty-four subtle variants of human emotion, have been composed in such a way that the beginnings and ends of the short pieces will seamlessly dogleg in any possible configuration and stream endlessly as a unified whole. The installation is allowed to drift about freely through the emotional landscape being driven only by those who are contributing content to the piece whether unwittingly or consciously. As such the overall presentation of the piece can vary greatly based on external conditions such as seasons, world events and even time of day. The piece is essentially taking the instantaneous emotional pulse of the internet and this collective pulse, like a human pulse, varies over time.
T,E.D. (Transformations, Emotional Deconstruction)
r0r0 sez, "Ping Pong Ball Suction Construction is a pneumatic delivery system for ping pong balls as part of an art environment that's actually on display in Lille, France."
In Spring/Summer 2012 both guys were invited to create an installation version of Ping Pong Country in Lille’s Gare St. Sauveur. They were a bit tired of doing the same thing for such a long time over and over again, so they asked me to contribute some machinery to the environment in order to make it a bit different in its actual version. I came up with the devilish plan to offer the audience an opportunity for sabotaging the game in a playful way. “Ping Pong Country / Edition Sabotage” was born.
While some people play ping pong (preferably more than two players which then have to run around the table) another visitor can confuse the players via a separate control panel which is part of the sabotage edition: This destructive master mixer lets you switch the music to Heavy Metal (accompanied by disturbing strobe light); you can turn on fans on the ceiling for an additional wind challenge; you can just add some funny train and animal sounds with a supercool children’s toy, or – and now it comes – you can spill plenty of balls onto the ping pong table which you collected beforehand with the “Ping Pong Ball Suction Construction”!
Ping Pong Ball Suction Construction
"Home," an installation at NYC's MagnanMetz Gallery by Colombian artist Miler Lagos is a stable igloo made of carefully stacked books.
HOME. 2011. . New York - EE.UU (via Colossal)
Seoul's Leeum Samsung Museum of Art is exhibiting Do Ho Suh remarkable "Home Within Home" until June 3. Suh's piece consists of several large-scale hanging fabric recreations of the houses he's inhabited.
An important characteristic of Suh’s “homes” can be found in the fact that they respond to the spaces in which they are exhibited and by doing so, bring about new interpretations to them. His artistic attempts in the unique Rem Koolhaas-designed architectural space at Leeum are especially remarkable in that light. Suh installed Reflection near the sloping passageway that leads to the exhibition galleries so that the work can serve as an introduction to the exhibition. In the Ground Gallery, he also built a home out of a soft, light, and translucent fabric that stands in a stark contrast with the almost overwhelming space made out of concrete. Suh first received wide attention from the international art world with a work in which he recreated, using thin jade-toned Chinese silk, the traditional-style house (hanok) in the Seongbuk-dong neighborhood of Seoul where he spent his childhood and adolescence. In addition to this work, titled Seoul Home/Seoul Home, he also presents in this exhibition other homes he has had in New York and Berlin. Through their placement in a museum, these private spaces become spaces for others that are open to interpretation through viewers’ experiences.
The Black Box, an especially distinct feature of the Koolhaas building, is like a “home within home” that floats inside the enormous space of the architecture. By placing two works, Fallen Star-1/5 and Home within Home-1/11, together in this space, Suh draws out an interesting conversation. Specifically, Fallen Star-1/5 expresses the emotions the artist experienced while living as a foreign student in the United States through the form of a hanok that fell and crashed into an American apartment building. On the other hand, Home within Home-1/11, taking the form of a hanok lodged inside an American house, represents the state of becoming gradually familiar with a new culture. While works like these grow out of the artist’s private experiences of cultural collision, they also symbolize more broadly the experience of the contemporary being, who constantly experiences clashes arising from individual, cultural, and regional “differences” and struggles to adapt to them. In A Perfect Home: The Bridge Project (Leeum Version) and Gate (Leeum Version), also installed inside the Black Box, Suh tries to give new meanings to “home as both boundary and passage.”
Home Within Home (via Geisha Asobi)
(Image: GoMA Blog)
Yayoi Kusama's installation The Obliteration Room at the Brisbane Gallery of Modern Art started as a stark white room, and then thousands of passing children were given brightly colored dots with which to decorate it. The result is exuberant and marvellous.
(Image: Stuart Addelsee, used with permission)
This is What Happens When You Give Thousands of Stickers to Thousands of Kids
(Thanks, Fipi Lele!)
Behold, Jessica Wohl's "Hairy Staircase" installation: "2011. synthetic hair, fabric and steel installed in the abandoned Mountainaire Hotel, Hot Springs, Arkansas."