installation*

7

Margarita Sampson: Infectious Desires @ Stanley Street Gallery

After spending much of her youth on Norfolk Island, Margarita Sampson now lives and works in Newtown, Sydney.  Despite now residing in a major city her affinity with nature, and particularly the sea, is still a tangible and evocative element in her work.  We had the pleasure of attending the opening reception of Margarita’s first solo exhibition in Sydney in over 10 years, ‘Infectious Desires’ at Stanley Street Gallery, in Darlinghurst.  Margarita’s work is both challenging and humorous, beautiful and bizarre, and even a little titillating.  Stanley Street Gallery describes her new body of work as “based on the idea of a mythical Salon – a domestic interior where the very fabric of the objects have become animated, infectious with ideas, the desire for growth and expansion. Grounded in an upbringing where the natural world encompassed the human, Sampson turns the tables, so to speak, on our idea of domestic safety- the room as an ordered shelter from chaos. In her Salon series, the chaos has come to live in the very fabric of our furnishings – chairs grow rudimentary twins while their upholstery spills into reef-like forms. Holes eat through stuffing, forms mutate and are caught in the act of changing – often works are poised at a junction of collapse or expansion.”

@off____white c/o #LVMHprize installation entitled “Still Room”. ~ Actually thankful for my architecture professor that told me I wasn’t gonna do anything awesome. My booth is not a real booth. My idea was to design a fake teenage bedroom that was sorta chic. Off-White furniture and all. “sorta chic” that’s the m.o. lol.

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#TBT to 2009 and our first commissioned art installation, Ernesto Neto’s anthropodino, a large-scale, interactive sculpture. The Brazilian artist used hundreds of yards of translucent material, to suspend a gigantic canopy from the Wade Thompson Drill Hall’s latticework truss. These magnificent, aromatic “stalactites” were filled with spices and descended 60 feet to embrace a vast labyrinth of passageways and rooms. The wooden skeleton was made of innumerable bone-shaped plywood parts neatly cut by computer-driven machines and was assembled like a huge, three-dimensional puzzle without screws or glue. Hundreds of pounds of spices, including turmeric, clove, ginger, black pepper and cumin, infused the environment with scent and provided a heightened sensorial experience. This immersive, multi-sensory installation invited viewers to enter the work and explore the piece from many different perspectives. (Photos: James wing)

Good news!

So Wednesday I made a proposal to the owners of my flat to pay the damage off in smaller instalments and just now I finally got an answer and they agreed! Of course the problem’s not solved with that but at least I managed to buy some time and with the incredible amount of financial support you guys have given me and what’s left of my own savings, I’ll be able to pay the first instalment. Thank you so much again. Not only for the financial aid but also for your moral support. The kindness you sent my way inspired me to keep fighting and the effort was well worth it. I wouldn’t have made it without you. Thank you so very much. I’m incredibly grateful. I will definitely think of something to get back to each and everyone of you. 

4

Dieter VDO will be gracing the back covers of COPRA #s 19-24 with his own serialized Copra story! The first two installments are already out and I’ve seen the next one - it just gets sicker and sicker. Having this back up feature makes the single issue experience that much richer and cooler, and one you can’t get any other way.

I became a fan of Dieter’s when I worked with him on the TSDF project several lifetimes ago and have closely followed his work ever since. Check out the rest of his awesome comics and illustrations at dietervdo.carbonmade.com and follow him to the end of time.

2

Mona Hatoum, Turbulence (black), 2014

Mona Hatoum, Turbulence, 2012

Turbulence (2012) is a 4 x 4 meter square installation composed of thousands of glass marbles laid directly onto the floor. Placed exactly at the center of the exhibition(Turbulence, 2014), this installation lies at the heart of a linear but non-chronological trajectory whereby a number of unexpected juxtapositions echo the complexity through which the artist has managed to challenge, and at times disturb, our experience of the ordinary.

Rome and Exhibitions. Or, a short list of “things not built in a day.” Pt. 2

The person who submitted Tuesday’s post has sent in a follow up:

Part 2: 

The board member and an another co-worker have worked on labels for the past week and looks like everything is ready to go. So the cases are ready for the install.


You spend the next hour cleaning and preparing the cases. You carefully install the cases and objects as the board member looks on the entire time. 

You finish the install before the end of day (as requested) and it looks just:

The next week at the weekly staff meeting the big boss begins to say great job on the cases— they look great!

But then he follows up with “Next time don’t install during open hours; you need to do it when we are not open.” (We are open EVERY DAY). The board member who watched you installed the cases just sits there, agrees, and scolds you for during it during public hours.

Only one way to deal with the situation…