DET LYTTENDE SPEJL
Visitors to DNV-Gødstrup, a new hospital near Herning, Denmark, are greeted at the main entrance by an airy, round pavilion. Two curved pipes, crossing one another perpendicularly, hold a large disc aloft at a slight angle. The reflective underside of the disc mirrors the semicircular pipes, creating the illusion of two complete circles passing through the ceiling and rising into an imaginary space above. As visitors enter the pavilion, they can gaze up at their own reflections in the mirror and see themselves incorporated, upside down, into the artwork, embraced within the globe drawn by the pipes. The tilt of the ceiling allows the reflections to be seen from the outside. As the viewer moves towards and around the pavilion, the rings appear to shift in shape, changing from ellipses to circles and back again.

Sonic Mountain
As a unique site-specific commission for the Donum Estate, Los Angeles-based artist Doug Aitken has created the ethereal work Sonic Mountain (Sonoma), three concentric circles of suspended stainless-steel pipes whose differing lengths form a wave at their base, mirroring the free Euler-Bernoulli shape that describes the chime’s frequency. Installed in the eucalyptus grove, measuring forty-five feet in diameter and twice human height, and comprising 365 chimes — one for each day of the year — Sonic Mountain (Sonoma) works with one of Donum’s most persistent elements, the Carneros breeze that cools the grapes and creates a temperate zone for growing Pinot Noir. Each day, the warm wind begins its soft whisper, rustling through the vines and trees, building in strength through the day until mid-afternoon, and then gradually diminishing in force. Known to have been used since at least the ancient Roman period in Europe and the second century in India and China, wind chimes create chance, inharmonic music. At Donum, Aitken has teamed up with his friend the composer Terry Riley to compose chords in the chimes to be played by the wind , depending on how it blows, so the lyrical work sounds throughout the estate, demonstrating the artist’s practice of making installations that synthesize many media and are never constrained by tradition.
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Ad lib
The sound sculpture Ad lib. combines a medical machine for automatic pulmonary ventilation with a few organ pipes that play a musical chord to the constant rhythm of the mechanical breath, creating an artificial organ that is metaphorically a mechanical requiem that sounds incessantly. The title of the work Ad lib., an abbreviation of the Latin expression “ad libitum”, is a musical caption that gives the performer discretion of interpretation, allowing for instance to repeat “at will” certain bars of the score. The sculpture aims to refer to the situation in which people, who suffer from critical health conditions, see their survival tied to a breathing machine and, therefore, to the discretion of those who are taking care of them.

Bombay Sapphire Distillery
The existing buildings at the complex were built during the Victorian era to house a mill that produced paper for English bank notes. The buildings were later abandoned and left derelict until the complex was bought by Bombay Sapphire, the gin brand owned by alcoholic drinks giant Bacardi, who commissioned Heatherwick to overhaul the site, creating a new distillery and visitors’ centre […] Two curving glass greenhouses form the major new additions to the site. Hot air is channeled into the greenhouses through large pipes clad in strips of metal, picking up heat produced during the distillation process and carrying it out through openings in the red-brick walls of one of the existing buildings.

Playground Structure (Steps)
In his recent channels of work, Przemek Pyszczek has painted with concrete and ripped apart playgrounds. As hardcore as this sounds, his bright studio in Schöneweide features friendly knots of primary-colored pipes resting in one corner, and opposite, a canvas with waves of sherbet hues leans against the wall. Pyszczek’s use of a variety of aesthetics and materials is the outcome of his recent focus on the contemporary urban landscape of Poland, where he was born.

Multiple Identities, Sustainable Development
The focus is on multiple identities. There are pale, milky plastic pipes attached to the ceiling of the concrete interior, inside which, moved by fans, roll white balls. One after the other. If the one arrives, a new one is sent to another tube.Such works breathe inner unity. This closeness is sometimes a closeness, if not encryption. Because the language of contemporary installation art is foreign and difficult to read. The viewer’s gaze likes to evaluate subjectively and is always shaped by environmental influences such as culture, trends, styles, beliefs, experiences and politics. This makes the interpretation uncertain, it becomes subjective, often tempting to misconduct. Because anyone who claims that the work of art is created in the eye of the beholder and means that everyone, regardless of where they come from and how educated, can make a valid statement about a work of art is wrong. What Marcel DuChamp meant is that it unfolds in the eye of the beholder. But this development should not mean that simply opening the eyes also brings with it knowledge and insight. These qualities are developed through active participation, through perception. This, in turn, is not only feasible through the visual stimulus in the eye. It is possible, however, if you know who the artist is, what he is doing, what he wishes to express and with which underlying design principles the view is guided in what way to what. Only then does the processing take place, a connection of the causal relationships, which ultimately leads to art in the eye of the beholder. To an inner feeling outside of the spontaneous feelings.

Die Gesamtheit aller Orte

“It’s easy to trace the curves in Kwade’s perfectly placed bent tubing and piping, but it takes a second to realize that even the installation’s larger, solid objects—a door, a window, mirrors, iron gates, sheets of metal, and even a bicycle—not only travel on her orbits’ paths, but have also been altered (in some cases just barely) to conform to them. The white door’s slight curvature is hardly noticeable until you’re at close range. The imposing rusty gates are generously rounded. There’s an almost imperceptible bend to a door with an oval mirror. A few copper pipes in the outermost rings disappear into the gallery wall; in the very center of the installation, a two-euro coin, propped up on its rim, and a sharply curved sheet of metal face each other, mysteriously.”Kimberly Bradley