Tuesday, 15 April 2014

Wahrsagerei Und Pistazien Rauch*

Jean-Philippe Dordolo's plaster compositions at Art First, London 2014:

Wahrsagerei Und Pistazien Rauch (Fortune Telling And Pistachio Smoke) is the title of one of Dordolo's works on view.

Sunday, 13 April 2014

Genter Raum

I first visited Germany in the summer of 2005.  Since 2007, I have been travelling to Germany every summer, and I almost never missed Düsseldorf.  Every time I go to Düsseldorf, I would visit K21.  Imi Knoebel's Genter Raum has been on display at K21 for at least four years now.  I always stop at the room where the installation is and visually explore.  There is so much to see.  Usually there are no other visitors in the room - they just come and go, rarely stay.  People seem not too interested in Knoebel's seemingly arbitrary installation.  Sometimes I feel that Genter Raum is there only for me alone to enjoy.  I hope I will see Genter Raum again if I visit Düsseldorf this summer.

Knoebel at K21, Düsseldorf 2010-2013:

Saturday, 12 April 2014

Squared square

My interest in the squared square was sparked after reading Chris Shepherd's Squared.  A square is said to be squared if it is completely covered by smaller squares of integer side lengths without overlapping.  A squared square is simple if it does not contain a smaller squared rectangle.  It is perfect if all its constituent squares are of different sizes.  Discovered only as recently as in 1978 by A.J.W. Duijvestijn, the smallest possible simple perfect squared square contains 21 smaller squares and has a side length of 112, with Bouwkamp code [50, 35, 27], [8, 19], [15, 17, 11], [6, 24], [29, 25, 9, 2], [7, 18], [16], [42], [4, 37], [33]:

Friday, 11 April 2014

Monuments, on the verge of collapse

I was at Tate Britain last month for Richard Deacon's solo and the exhibition Ruin Lust when I caught sight of Phyllida Barlow's site specific work Dock being installed in the grand spaces of the Duveen Galleries.  Using inexpensive everyday materials, Barlow's large-scale installations embrace mess, absurdity and precariousness while contrasting sharply with the monumental spaces in which they are placed.  It's a pity I have already left London when Barlow's show opened.  These pictures taken while Dock was still being installed, appearing as if it's on the verge of collapse, are no less interesting than the finished work.