CARSTEN HÖLLER

卡斯滕·奥莱
КАРСТЕН ХЕЛЛЕР

flying city tablewae

Carsten Holler  flying city tablewae

source: yatzer
Belgian artist Carsten Höller has devised a very special edition for Porzellan Manufaktur Nymphenburg, called the Flying City Tableware, and we at Yatzer are quite illusioned. The tableware comprises a combination of a service plate, a dinner plate, a side plate, and a teacup and saucer, each decorated with a design relating to two fundamentally different sources: on the one hand, Georgy Krutikov’s (Russian constructivist architect and artist) design for a Flying City (1928). On the other hand, the rotating Benham top or disc (1894-95), eponymously named after its inventor, Charles Benham, that when is spun, arcs of pale colors are visible at different places on the disk causing an impressive optical illusion. Höller chose Wolfgang von Wersin’s LOTOS Service (1932) upon which to present the motif – tableware that belongs to the classical Nymphenburg services of the New Sobriety and reflects, in its elegant simplicity, the functional aesthetics of the avant-garde period.

Let’s take a deeper look at Höller’s influences: a radical redesigning of the world was at the heart of the avant-garde movements during the 1910s and 1920s; in 1928, as part of his diploma, the Russian architect Georgy Tikhonovich Krutikov (1899-1958) sketched his utopian, future vision of life in the Flying City which would fly across the skies. His concept comprised residential tower blocks linked to production sites, hotels, factories, etc. Residents could access these sites by means of flying capsules that docked directly in the living spaces and would live and work in the Flying City, whereas the earth was to be primarily reserved for recreation. Höller, for his part, has developed the designs for both the service plate and the inside of the teacup, based on Krutikov’s pencil drawings.

At first glance, the abstract monochrome pattern of the dinner plate, the side plate and the saucer may well be reminiscent of graphic designs from the Russian avant-garde. However, it is in fact derived from the rotating discs invented by the British toy manufacturer Charles Benham (1860-1929) towards the end of the nineteenth century. One half of the surface of the disc is painted black whereas the other bears an arrangement of three parallel, black bars that are stepped inwards at a distance of forty five degrees. When the disc is rotated at sufficient speed, it is possible to see shades of color in place of the black and white pattern. The seen colors, however, vary from person to person—a phenomenon described by cognitive psychology that remains unexplained to this day. Höller presents the plates with a Benhamesque pattern, as if they had come from the Flying City. When the Flying City Tableware is used, Krutikow’s design is extended to encompass the earth—through our minds and our stomachs.

The Flying City Tableware is produced in two different versions. The wall installation – a unique specimen that Höller will be presenting until 25 April 2010 in Rotterdam – comprises eight hand-painted plates, each mounted on a rotating mechanism and connected to one another by a leather transmission belt. The plates can be rotated at a maximum of 600 revolutions per minute, by means of a manual crank. From about 300 revolutions, the effect discovered by Benham, whereby the black and white graphic design is perceived in color, starts to emerge. In the installation, the dynamisation inherent in the motifs is achieved through actual mechanical motion. At the same time, the tableware is intended for use: service plate, dinner plate, side plate, and teacup and saucer are also available in a limited edition of twenty five signed services, each designed for two people. A table centrifuge for the rotation of the Benhamesque plates also forms part of this edition.

Carsten Höller’s Flying City Tableware for the Porzellan Manufaktur Nymphenburg is both a continuation as well as a premiere. It follows directly on from past collaborations with the most prominent industrial designers such as Konstantin Grcic, Hella Jongerius, and Clemens Weisshaar and Reed Kram; but also the COMMEDIA DELL’ARTE–COUTURE EDITION (2008), to which sixteen leading international couturiers, including Vivienne Westwood, Christian Lacroix, and Gareth Pugh, were invited to design a new “costume” for each of Franz Anton Bustelli’s COMMEDIA DELL’ARTE figurines (1759-60). . Carsten Höller is the first contemporary fine artist to participate in this new series of editions that will continue in the near future, with artists such as Tobias Rehberger, winner of the Golden Lion at the 2009 Venice Biennale, and Joep van Lieshout. Yatzer promises to keep an eye on these very promising collaborations and to keep on flying till then with our readers to the cities of our imagination.
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source: jardinatlanticowordpress
Carsten Höller es un artista belga nacido en 1961 en Bruselas. Las creaciones de este artista son una búsqueda de sensaciones psicológicas nuevas. Para ello intenta ir más allá en la frontera de la percepción humana creando espacios psicológicos diferentes.
Carsten Höller cree que para explorar nuevos universos psicológicos debemos de abandonar hábitos y certidumbres los cuales crean en cada individuo estereotipos o modelos preestablecidos.
Su idea primordial de trabajo se basa contraponer la afirmación sobre el arte, donde se argumenta que éste adquiere significado en proporción a su carencia de función. Para rebatir esta idea intenta con sus obras dar respuesta a una serie de preguntas como ¿quién soy yo? ¿de dónde vengo? centrándose en sensaciones fisiológicas y ofreciendo experiencias físicas intando con ello dotar de significado a sus obras…
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source: paulkuzlivejournal

Не знаю, кончится ли дело судебными разборками, но с точки зрения морали тут дело нечисто. Был такой (великий) утопист-архитектор Георгий Крутиков. Учился в 20-е во ВХУТЕМАСе и даже в то свободное от предрассудков время, когда молодое поколение архитектурного авангарда мало чем можно было удивить, кажется, ему это удалось: защита его диплома в 1928 году на тему “Летающий город” собрала огромную аудиторию. Он считал, что уже в ближайшем будущем люди будут жить в воздухе, в летающем городе в домах-коммунах особого устройства (похожих на гроздьи), передвигаться в специальных капсулах, а на грешную землю спускаться исключительно поработать. И он все это детально прорисовал, оставив много чертежей и набросков. Забытый на десятилетия Крутиков невероятно популярен сейчас во всем мире. Его хотят показать и напечатать очень многие. Этим летом, в частности, он попал в каталог испанской выставки “Космос и русский авангард”.

По моей информации, вся коллекция работ Георгия Крутикова находится в музее архитектуры на Воздвиженке, это часть нашего культурного наследия, Музейного фонда РФ. Но вот на днях добрые люди просигнализировали, что в последнем номере русского Vogue его “Летающий город” появился на тарелочках от модного немецкого художника Карстена Хеллера (можно купить в Москве, в Доме фарфора на площади Гагарина), которого Крутиков якобы вдохновил.
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source: inlogorg
Born in Bruxelles, worked in Germany for a while, but now living and working in Stockholm; visual artist Carsten Höller has seen some places before he became well-known with his extraordinary art. Besides artist he’s also a biologist and you will notice the influences from that profession. Something it looks like the spectator becomes a participant. Another fascination from this artist are fairgrounds and theme parks. Due his exhibition in Tate Modern in 2006 Höller made a 55.5 metre slide and had some own thoughts about his creation:
“When people are on their way down a slide, they often shout for pure joy. I’m interested in the aspect of letting go. Once you let go, you travel without motivation to some specific place. It’s a very special state of mind. Maybe “happiness” (or “pleasure”) isn’t the right word, but it has to do with relief or even freedom.”
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source: artandbibliophiliablogspot
Carsten Höller è un artista che adoro e credo fermamente in una sua futura collocazione nella rosa degli artisti destinati ad entrare nei libri di storia dell’arte.
A metà strada tra installazione e arte ambientale, la sua produzione artistica coinvolge lo spettatore facendolo entrare in un mondo magico e spettacolare. Enormi funghi appesi al soffitto (Upside-down Mushroom Room, 2000), grandi giostre con giochi di specchi e luci (Mirror Carousel, 2005) o addirittura una piscina (Psycho Tank, 1999), inserita in una “camera di ‘privazione sensoriale’ che genera una strana sensazione di ‘uscita dal corpo’ grazie a un ambiente surriscaldato e all’uso di sale di epsomite” (vedi link1, 2). Questi gli strumenti della sua strepitosa creazione.
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source: blogdalenita
Carsten Holler, artista alemão, nascido em 1961, tem Doutorado em Ciências Agrárias e especialização na área de insetos olfativos.
Só no final de 1980, começou á fazer arte. Ganhou destaque em 1990, trabalhando ao lado de um grupo de artistas, para reinventar a experiencia e o espaço da arte.
Em sua obra, ele cria situações que questionam formas familiares de percepção e permite que os visitantes das exposições experimentem e participem.
O seu trabalho é composto de edificios, veículos, slides, brinquedos e etc … Holler interage entre trabalho e o público, de diversas maneiras; muitas vezes quimicamente analisa a natureza das emoções humanas, outras vezes cria elementos lúdicos como em “Sliding Doors” ( 2003), uma série de portas eletrônicas de correr com
uma superfície espelhada, através da qual o público atravessa por uma passagem aparentemente interminável.
Outra obra é “O Quarto de Hotel Giratório9,” um quarto de hotel para 2 pessoas, como parte de uma exposição no Museu Gugenheim em New York.
Outra obra bastante famosa: ” Mushrooms”.
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source: artspycn
卡斯特·奥莱(Carsten Holler)1961年出生于比利时首都布鲁塞尔,现居住并工作于瑞典斯德哥尔摩。他曾获得过生物学博士学位。
他通常会创作一些引发人们质疑熟悉的感知形态的场景,并邀请观众积极地参与到这些场景之中。他的作品偶尔还会对科学试验的过程进行回顾,同时也允许观众成为这些试验的主体。
在过去的20年间,他的作品曾在世界各地展出,其中包括在米兰普拉达基金会(2000)、波士顿当代艺术馆(2003)、马赛市当代艺术博物馆(2004)、麻州现代艺术博物馆(2006)、澳大利亚布雷根茨美术馆(2008)、柏林汉堡火车站美术馆等举办的个人作品展等。