Variable dimensions
This work is meditative and fragile. These abstract forms are projected slides belonging to another lecture, Travelogue , where the images have been removed. What is left is the hole of the frame of the slide that light draws upon and projects on the wall. Seated on a group of corduroy cushions, the spectator is invited the follow the ‘spectacle’ of forms that appear and disappear to the rhythm of the two projectors. Ryan Gander presents us with a void which is a space to fill. Here absence is presence. He plays with emptiness and fullness, forms and counter-forms. These voids are proof of removed content, leaving an ‘aura’ which becomes a place for nostalgia or the imagination.
Ryan Gander’s practice explores what-ifs, questioning the structural limits and rules of society and being. His work, which ranges from installations, sculptures and photographs, to performative lectures, publications, inventions and intervention, looks at the production of art and culture, to enquire into the processes through which art is perceived and valued. The spirit of his practice centers on development, education, and storytelling, hoping to evoke immediate and honest engagements by the viewer with his narratives. Gander is a collector. His studio is filled with found images, personal images, printed documents and newspaper clippings.
Archaeologists Find Evidence of Hallucinogenic Drug in Ancient Rome Skip to content A bust of Emperor Trajan surrounded by black henbane seends and flowers and a femur discovered by archaeologists (edit Valentina Di Liscia/ Hyperallergic ) Two new archaeological finds suggest Roman subjects at the northern edge of the ancient empire used a hallucinogenic and poisonous plant called black henbane, the effects of which were described by Greek philosopher Plutarch as “not so properly called drunkenness” but rather “alienation of mind or madness.” Dutch zooarchaeologists Maaike Groot and Martijn van Haasteren and archaeobotanist Laura I...
Artist Rejected from Venice Biennale Polish Pavilion Says He was Censored | Art & Object Skip to main content Subscribe to our free e-letter! Webform Your Email Address Role Art Collector/Enthusiast Artist Art World Professional Academic Country USA Afghanistan Albania Algeria American Samoa Andorra Angola Anguilla Antarctica Antigua & Barbuda Argentina Armenia Aruba Ascension Island Australia Austria Azerbaijan Bahamas Bahrain Bangladesh Barbados Belarus Belgium Belize Benin Bermuda Bhutan Bolivia Bosnia & Herzegovina Botswana Bouvet Island Brazil British Indian Ocean Territory British Virgin Islands Brunei Bulgaria Burkina Faso Burundi Cambodia Cameroon Canada Canary Islands Cape Verde Caribbean Netherlands Cayman Islands Central African Republic Ceuta & Melilla Chad Chile China Christmas Island Clipperton Island Cocos (Keeling) Islands Colombia Comoros Congo - Brazzaville Congo - Kinshasa Cook Islands Costa Rica Croatia Cuba Curaçao Cyprus Czechia Côte d’Ivoire Denmark Diego Garcia Djibouti Dominica Dominican Republic Ecuador Egypt El Salvador Equatorial Guinea Eritrea Estonia Eswatini Ethiopia Falkland Islands Faroe Islands Fiji Finland France French Guiana French Polynesia French Southern Territories Gabon Gambia Georgia Germany Ghana Gibraltar Greece Greenland Grenada Guadeloupe Guam Guatemala Guernsey Guinea Guinea-Bissau Guyana Haiti Heard & McDonald Islands Honduras Hong Kong SAR China Hungary Iceland India Indonesia Iran Iraq Ireland Isle of Man Israel Italy Jamaica Japan Jersey Jordan Kazakhstan Kenya Kiribati Kosovo Kuwait Kyrgyzstan Laos Latvia Lebanon Lesotho Liberia Libya Liechtenstein Lithuania Luxembourg Macao SAR China Madagascar Malawi Malaysia Maldives Mali Malta Marshall Islands Martinique Mauritania Mauritius Mayotte Mexico Micronesia Moldova Monaco Mongolia Montenegro Montserrat Morocco Mozambique Myanmar (Burma) Namibia Nauru Nepal Netherlands Netherlands Antilles New Caledonia New Zealand Nicaragua Niger Nigeria Niue Norfolk Island Northern Mariana Islands North Korea North Macedonia Norway Oman Outlying Oceania Pakistan Palau Palestinian Territories Panama Papua New Guinea Paraguay Peru Philippines Pitcairn Islands Poland Portugal Puerto Rico Qatar Romania Russia Rwanda Réunion Samoa San Marino Saudi Arabia Senegal Serbia Seychelles Sierra Leone Singapore Sint Maarten Slovakia Slovenia Solomon Islands Somalia South Africa South Georgia & South Sandwich Islands South Korea South Sudan Spain Sri Lanka St...
Prabhakar Pachpute was born in 1986 and raised in Chandrapur (Maharashtra), India, a place known as ‘The City of Black Gold’, where his family has worked for three generations in one of the oldest mines in the country...
Aesthetica Magazine - Curator Interview: 130 Years of Native Photography Curator Interview: 130 Years of Native Photography In Our Hands: Native Photography, 1890 to Now is a major exhibition at the Minneapolis Institute of Art, spanning 130 years of work by First Nations, Métis, Inuit, and Native American photographers...
The Sirens’ Stage/Le Stade des Sirènes/Lo stato delle sirene April 3 – May 2, 2010 Kadist Art Foundation is pleased to present “The Sirens’ Stage/Le Stade des Sirènes/Lo stato delle sirene”, an exhibition by Etienne Chambaud in the framework of Vincent Normand’s project Permanent Exhibition, Temporary Collections ...
My Mom Wants To Go Back Home - Photographs by Hanna Hrabarska | Interview by Sophie Wright | LensCulture Feature My Mom Wants To Go Back Home Documenting her journey from Ukraine to The Netherlands with her mother, Hanna Hrabarska’s visual diary grapples with the experience of being forced to leave one’s home in the face of war—and the challenges of arriving in a new country...
In the video, the artist follows her grandmother, Aldona, during her daily walk through the Grutas Park in Lithuania...
Mario Garcia Torres imagines cinematic devices to replay stories occasionally forgotten by Conceptual art...
Did you want more sleep?: weish knows people are tired of livestreams | ArtsEquator Thinking and Talking about Arts and Culture in Southeast Asia ArtsEquator Viewpoints SIFA December 23, 2020 For artist weish, who is one-half of electronica duo .gif, this has been an intense year creatively, and one of increased self-scrutiny...
For the two-channel work Asking the Repentistas – Peneira & Sonhador – to remix my octopus works Shimabuku asked two Brazilian street singers to compose a ballad about his previous works with octopi (in which he created traditional Japanese ceramic vessels to catch octopi, with a fisherman who took him on his boat to test them out as we can see on one of the channel)...
“A Dream Under the Southern Bough: Reverie”: Down the Ant Hole | ArtsEquator Thinking and Talking about Arts and Culture in Southeast Asia Articles Courtesy of Toy Factory June 6, 2019 By Jocelyn Chng (1,138 words, five-minute read) My strongest memory from the first instalment of this three-year series by Toy Factory, A Dream Under the Southern Bough: The Beginning , was its dramatic cliffhanger of an ending...
The Tower of Babel is an installation of large-format photographs that forces the audience to occupy a central position through its monumental scale...
With Inner Child , Bady Dalloul continues his ongoing reflection on migration and belonging, putting in balance levantine and Japanese histories...
Opinion | How the word ‘hostage’ used to mean something quite different to its modern definition, as the Israel-Gaza war rumbles on | South China Morning Post Advertisement Advertisement Hostages who were abducted by Hamas gunmen during the October 7 attack on Israel are handed over by militants to the International Red Cross in an unknown location in the Gaza Strip on November 30, 2023...
« Les musées doivent pleinement jouer leur rôle dans le débat écologique » nav_close_menu Offrir Le Monde F ace au dérèglement climatique et alors que s’est achevée mercredi 13 décembre la COP28 , les musées, institutions ancrées dans la vie de la cité, sont à un tournant de leur histoire, contraints de réinventer leurs modes d’action, de pensée et de fonctionnement...