OttO (solo exhibition)
OttO (the film)
ether
Structured around a set of brand-new works and around the eponymous film, the exhibition interconnects sacred spaces, animistic beliefs and scientific theories. Each of these works concerns imperceptible and yet active phenomena that have in common the real or supposed effects of electromagnetic waves, vibrations and frequencies. Perrotin Paris

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éther

Structurée autour d’un ensemble d’œuvres inédites et autour du film éponyme, l’exposition interconnecte espaces sacrés, croyances animistes et théories scientifiques. Chacun de ces travaux concerne des phénomènes imperceptibles et pourtant actifs qui ont en commun les effets réels ou supposés des ondes électromagnétiques, des vibrations et des fréquences. Perrotin Paris

afterglow

Anarchitecture

splitting house

“Of the many shows at the fabled 112 Greene Street gallery—an artistic epicenter of New York’s downtown scene in the 1970s—the Anarchitecture group show of March 1974 has been the subject of the most enduring discussion, despite a complete lack of documentation about it. Anarchitecture has become a foundational myth, but one that remains to be properly understood. Stemming from a series of meetings organized by Gordon Matta-Clark and reflecting his long-standing interest in architecture, the Anarchitecture exhibition was conceived as an anonymous group statement in photographs about the intersection of art and building. But did it actually happen? It exists only through oblique archival traces and the memories of the participants. Cutting Matta-Clark investigates the Anarchitecture group as a kind of collective research seminar, through extensive interviews with the protagonists and a dossier of all the available evidence. The dossier includes a collection of Matta-Clark’s aphoristic “art cards,” the 96 photographs that were produced by the various participants for possible inclusion in the exhibition, and images from a recently unearthed video of Matta-Clark’s now famous bus trip to see Splitting in Englewood, New Jersey.” Mark Wigley

The Olive Tree
SamMao
Don’t ask me where I’m coming from
My hometown is far far away
Why do I wander so far?
Wandering in the distant land?
For the little birds that soar through the sky
For the creeks that rush between the mountains
For the endless grasslands
Wandering afar, wandering

GoatMan

I tried to become a goat to escape the angst inherent in being a human. The project became an exploration of how close modern technology can take us to fulfilling an ancient human dream: to take on characteristics from other animals. But instead of the ferocity of a bear, or the perspective of a bird, the characteristic most useful in modern life is something else; being present in the moment perhaps.

Anyway I ended up in the Alps, on four legs, at a goat farm, with a prosthetic rumen strapped to my chest, eating grass, and becoming a goat.

The Roe’s Room
opera movie
In this “absolutely singular autobiographical film opera” (Time Out London), multi-talented composer, writer, director and artist Lech Majewski presents a stunning, intimate, and ultimately magical work of unbridled creativity. A ravishing ode to the imagination, THE ROE’S ROOM is a place where the energy of youth and the eternal power of the natural world triumph over the banalities and deprivations of the commonplace.Within their apartment, a father, mother and son bear the dulling yoke of an ordinary urban life. His mind and heart borne aloft by the cycle of the seasons and the images and music within him, the son transforms his cloistered existence into a richly poetic emotional utopia. As autumn arrives, cracking flakes of plaster become falling leaves. With spring, a cold hard floor comes alive with meadow grass and love beckons in the form of a beautiful young girl’s outstretched hand.

Fog Sound Environment
Fog Sound Environment is a site specific installation originally conceived for the foreland of DordtYart located nearby the junction of the three rivers that traverse Dordrecht. In this experiential artwork real fog is being created by pushing water under very high pressure through hundreds of nozzles. The fog system consists of independent sections that surround the foreland. The timing and distribution of the fog is part of a composition system that incorporates the on-site wind direction in real-time. The fog is dispersed across the, by high trees and water enclosed, grassy terrain . The behavior of the fog is under direct influence of the local weather; sun, rain and wind all have their influence on the behavior of the fog and experience of the work.

ماتيلد روسيل
玛蒂尔德罗素
Матильда Руссель
Lifes of Grass
Mathilde Roussel est une artiste française travaillant à Paris. Son travail “questionne la nature humaine dans ce qu’elle a de plus imperceptible”. Chacune de ses œuvres dévoile en effet des évolutions, mutations souvent discrètes qui s’opèrent pourtant en chacun de nous. Pour ce faire, ses installations reposent le plus souvent sur des matériaux et idées très simples mais néanmoins frappantes..

grasscut

Chair 5
Born in Warsaw in 1965, Paweł Grunert is a designer, creator of artistic furniture and sculptor. The objects he creates fall somewhere between sculpture and applied art. He uses natural materials such as branches, straw, earth, grass, hay, reeds and wood, but he also employs bricks, fabrics and metals. He has designed and created around two hundred sculptures, spatial arrangements and pieces of furniture.

“With macro photography I escape to another little world. I love exploring the tiny details in nature that often get over looked. I love finding beautiful colours and abstract compositions within nature and can even get passionate about photographing moss or a blade of grass.”

汉斯·哈克
הנס האקה
ハンス·ハーケ
ХАНС ХААКЕ
Grass Cube

Planting Grass

鲁道夫斯廷格尔
Palazzo Grassi

鲁道夫斯廷格尔
Palazzo Grassi

Sans titre

Anita Molinero, tuttavia, impiega spazzatura non mascherata come materia primaria delle sue sculture esponendole pericolosamente al rischio che non vengano riconosciute come opere d’arte perché il loro status di spazzatura rifiutata è difficile da scrollarsi di dosso. La natura ripugnante della spazzatura avrebbe potuto essere così facilmente sfruttata per attingere ad aspetti simbolici ed emotivi; trasformare il normale grasso e la sporcizia ripugnanti in grasso e sporcizia grondante di significato e metafora. Invece no, Anita Molinero ci confronta senza compromessi con oggetti di plastica e polistirolo espanso, contenitori di scarto e sacchi della spazzatura. Sono sculture letteralmente abbandonate, colte in uno stato di debolezza come i personaggi di un’opera teatrale di Beckett, che divorano costantemente la loro desolazione e solitudine, ma profondamente umane nella loro esitazione, espressione inadeguata e consapevolezza del loro abbandono.

Хизер Экройд и Дэн Харви
Dilston Grove (was transformed into a green chamber of living grass)

grassofa

ماتيلد روسيل
玛蒂尔德罗素
Матильда Руссель
life of grass

杰西卡股东
Джессика Акционер
Growing Rock Candy Mountain Grasses in Canned Sand