Kate Bellm’s solo show, Night Sky Rising until 13 January 2018 at Lamb Arts, London.
Black Balloons II (Big Scale)
“Every single day I spend at my studio and my creative process resembles playing. Everything I create comes out of curiosity. The same happened with a project ‘Black Balloons’.
For an extensive amount of time I had an idea to connect two balloons. I found a free minute between the other currently run projects, bought two balloons, and got overwhelmed by the result.
It was so unpretentious and so magical at the same time! That opposition created by two very simple and playful objects once again brought a unique childlike sense of discovery.
This experience uncovers a lot and the more one looks at it, the more it becomes true: “simplicity is a genius”
For the first test I used two regular latex balloons and two different gasses: helium and sulfur hexafluoride – the light and the heavy ones. Later on, I worked out how to make the balloons float in the middle of a glass tank without connecting them to anything… Compositions started to grow more complex and bigger when eventually I was working with 3-meter big custom made balloons… Results can be found below.”
Materials: Rubber, plastic, metal, carbon dioxide, helium
Emanuela D’Ambrosi, 28, degree in photography at the European Institute of Design in Rome. She owes everything to the photograph which has enabled it to create a deep relationship with reality, to receive it at will. She abandoned her studies in Psychology to follow the path that most preferred, convinced that the two disciplines would complete each other, she preferred to speak in the first person, keeps on having a great passion for the workings of the human mind and the latent intentions of individuals. Citing Susan Sontag: “a photograph is both a pseudo-presence and an indication of a lack”
View of Myths of the Marble, ICA, Philadelphia, Florian Meisenberg, Of Defective Gods & Lucid Dreams (The Museum is Closed for Rennovation), 2017. © and courtesy the artist.
Beautiful New Worlds
Virtual realities in contemporary art
November 11, 2017 — April 8, 2018
The popularization of virtual reality has created a visual revolution that radically changes both our perception of images and our relationship to reality. Virtual spaces create illusionary worlds that can be directly experienced. Viewers immerse themselves in impressions as far away as possible from the outside world, thereby becoming physically involved through interactive elements that resemble their body. Through virtual reality, the audience becomes part of an image that fills their entire field of vision.
Technologies suitable for mass consumption, such as VR glasses, 3D cardboards, 3D projectors and televisions, are increasingly found in everyday life. The various fields of application for these technologies, including 3D-supported operation monitoring, video games, trauma coping and the digitization of lost cultural treasures all illustrate how virtual spatial images already influence different areas of our world and will continue to shape our future.
The exhibition Beautiful New Worlds addresses these recent developments in image technology and explores the resulting entanglement of virtual and physical spaces. A particular focus is placed on the socio-political potential of virtual technologies. In the crosshairs between illusion and critical distance, different artistic positions examine the possibilities presented in the fields of forensics, the porn industry, and modern warfare; after all, control over virtual space is always interlinked with control over physical space. Virtuality and reality are tightly intertwined with one another.
The escape into illusionary worlds is by no means a new phenomenon. Rather, it is grounded in long traditions. Panoramas, dioramas and stereoscopes illustrate the centuries-old history of mankind’s interest in immersive media. The starting point of the exhibition are stereoscopic photographs, which accompany the history of the Zeppelin from 1900 to the 1930s.
In an exhibition space spanning over 1000 square meters, 13 internationally renowned artists will address the relationship between virtual and physical spaces. In this way, the exhibition reflects different varieties of virtuality. Together with the Berlin-based architecture firm Kooperative für Darstellungspolitik, an exhibition course was created in order to make the complex relationship between virtual and physical spaces bodily perceptible for the audience. The range of virtual reality is explored through simulations in which the physical environment is artificially reproduced, through 3D videos, and through virtual reality spaces that create an all-encompassing illusionary space.
Working closely together with immersive visual media, the artists have collaborated with programmers to further develop the existing technology and revitalize the interdisciplinary interface between contemporary art and technological innovation.
Participating artists: Halil Altindere, Salome Asega & Reese Donohue & Tongkwai Lulin, Trisha Baga, Banz & Bowinkel, micha cárdenas, Harun Farocki, Forensic Architecture, Sidsel Meineche Hansen, Florian Meisenberg, The Nest Collective
20 x 16 in (50.8 x 40.64 cm)
AP 1/2 outside of main edition
Courtesy of Casemore Kirkeby Gallery
Signed on recto
Todd Hido (American, b. 1968) is a contemporary artist and photographer. Currently based in San Francisco, much of Hido’s work involves photographs of urban and suburban housing across the U.S.. He has produced a number of well received books, had his work exhibited widely and included in various public and private collections. Hido graduated in 1991 with a B.F.A. from Tufts University, Medford, Massachusetts and School of the Museum of Fine Arts, Boston, Massachusetts. Between 1991–92 he studied at Rhode Island School of Design, Providence, Rhode Island. In 1996 he gained an M.F.A. from California College of Arts and Crafts, Oakland, California.