Sisyphus - Kinetic Sculpture by 옥 종근
“In Greek mythology Sisyphus was the king of Ephyra. He was punished for his self-aggrandizing craftiness and deceitfulness by being forced to roll an immense boulder up a hill, only to watch it come back to hit him, repeating this action for eternity.”
#steampunktendencies #steampunk #art #fantasy #gears #mechanical #sculpture #kinetics
Created by Dutch artist Theo Jansen, the Strandbeest is created by rudimentary objects such as PVC piping, wood and sails and contains no electrical or motorised parts; it is instead powered by the wind.
The Strandbeest has steadily evolved into more complex working structures. Some even having the ability to store wind power in the absence of a breeze, being able to nail pins into the sand when wind power becomes too great, and even sensing when they have entered the water or encountered an object so they can then avoid the obstruction.
Theo Jansen is ever improving and changing these creatures, and does have a final plan for them saying: “over time, these skeletons have become increasingly better at surviving the elements such as storms and water, and eventually I want to put these animals out in herds on the beaches, so they will live their own lives”.
Arthur Ganson, Machine with Wishbone, 1998 Paola Pivi, It’s a cocktail party, 2007, 9 electric pumps and water, red wine, olive oil, black ink, glycerine, woodruff, espresso, milk, facial tonic, 540x74x74 cm each Martin Riches, The Flute Playing Machine, 1979-82 Theo Jansen, one of the kinetic sculptures from the Strandbeest project, 1990-ongoing, PVC tubing, fabric, wood, etc, dimensions variable Jordan Wolfson, Colored Sculpture, 2016 Kristoffer Myskja, Smoking Machine, 2007, cigarettes, various metals, filament, motor, 23×15×20 cm Michael Sailstorfer, It Might as Well be Spring, 2014 Angela Bulloch, Betaville, 1994, bench activated drawing machine, ink, metal rails and electronic motor machine, 315×340 cm Nick Darmstaedter, Vicki Vallencourt (Trap), 2013, fishing rod, hammer, plant, rope, wire and moss in buckets, 55x33x24 in Mona Hatoum, + and -, 1994-2004, steel, aluminum, sand, electric motor
Almost two kilometres of neon lighting shaped into sharp lines and sweeping forms create this installation by Welsh artist Cerith Wyn Evans, which is suspended in the Tate Britain’s Duveen Galleries.
Forms in Space… by Light (in Time) is a major new installation by Wyn Evans, created for the Tate Britain Commission and supported by auction house Sotheby’s. The lighting is structured in three parts, emerging from a single neon ring before developing into a collection of three discs.
The forms appear as scribbles and rough drawings, similar to “light writing” with a torch captured by a DSLR camera on a slow-shutter-speed setting.
Jutting out from these tangled marks are sharper and more purposeful shapes and symbols, framing the perimeter of the forms. These maze-like lines are intended to mimic physical and kinetic gestures, like footsteps and folding material.
Wyn Evans describes these three forms as “occulist witnesses”, referenced by artist Marcel Duchamp in his sculpture The Bride Stripped Bare by Her Bachelors, Even (The Large Glass) (1915-23), which was donated to the Tate’s collection in 1975.
When walking through the long Duveen Galleries, the suspended sculptures appear to move with the viewer as the patterns created shift with their changing perspective.
Between the bursts of curves, loops and jagged straight lines, the suggestion of kinetics in the light sculptures reflects the artist’s interest in choreology – the practice of translating movement into notational form. Wyn Evans also drew influence from the codified and precise movements of Japanese Noh theatre for Forms in Space.