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...
Pérez Art Museum Miami acquires Colombian trans activist’s portrait at Nada Art market Museums & heritage Exhibitions Books Podcasts Columns Technology Adventures with Van Gogh Search Search Art Basel in Miami Beach 2023 news Pérez Art Museum Miami acquires Colombian trans activist’s portrait at Nada Photograph by Camila Falquez shows coffee picker Samantha Siagama Benjamin Sutton 7 December 2023 Share Samantha Siagama advocates for a group of trans women exiled from the Emberá Indigenous community Courtesy the artist and Hannah Traore Gallery The Pérez Art Museum Miami has acquired a work for its permanent collection from the New Art Dealers Alliance’s (Nada) Miami fair ...
In addition to Yang’s signature drying rack and light bulbs, Office Voodoo includes various office supplies like CDs, paper clips, headphones, a computer mouse, a stamp, a hole puncher, a mobile phone charger...
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...
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 ...
Plastic Kingdom: art exhibition questions Cambodia’s rampant waste problem (via SEA Globe) | ArtsEquator Thinking and Talking about Arts and Culture in Southeast Asia Articles November 28, 2018 An new art exhibition in Phnom Penh featuring works by Cambodian and foreign artists will raise questions about plastic use and recycling, through woodcarvings, illustrations and even a motorbike...
Central Station, Alignment, and Argument are “situation portraits” that present whimsical characters within distorted and troubling worlds...
« 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...
The Tower of Babel is an installation of large-format photographs that forces the audience to occupy a central position through its monumental scale...
Collector Eugenio López Alonso on his museum’s tenth anniversary and Mexico City’s rising profile in the art world Art market Museums & heritage Exhibitions Books Podcasts Columns Technology Adventures with Van Gogh Search Search Collectors interview Collector Eugenio López Alonso on his museum’s tenth anniversary and Mexico City’s rising profile in the art world Visitors to the city during Zona Maco can also take in Museo Jumex’s anniversary group show, curated by New Museum director Lisa Philips Osman Can Yerebakan 8 February 2024 Share Collector and Museo Jumex founder Eugenio López Alonso Brian Harkin Museo Jumex, a major engine in Mexico City’s transformation into a contemporary art hub, is celebrating its tenth anniversary with programming that includes the group exhibition Everything Gets Lighter , curated by Lisa Philips, the director of New York City’s New Museum, and the upcoming first survey of Damien Hirst’s work at a Mexican institution...