Emmanuelle Moureaux’s Color Wheel Crazy ‘Forest of Numbers’ Install


The National Art Center, in Tokyo commemorated its 10th Anniversary in January by commissioning a large installation from architect, Emmanuelle Moureaux, “Forest of Numbers” – a visualized symbolization of their future from 2017 to 2026.  Their 2000 square meter exhibition room was presented with partition walls for the first time, filled with “100 colors – more than 60,000 pieces of suspended numeral figures – ceiling to floor inspirations and emotions, for vistors to wander through.  This installation was created with the help of 300 volunteers, and drew over 20,000 visitors in 10 days.

Emmanuelle Moureaux does layers and color like no other.  She’s not simply playing around with the color wheel, but assigning meaning and hopeful desires to her three-dimensional layered numerology.  This practice she attributes to the first time she visited Tokyo, where she now works and lives.

“I was immediately impressed by the colorful store signs and vending machines…these elements gave depth to the space and appeared beautifully like a painting.  The emotion I felt was the inspiration to my design concept of shikiri, which means dividing space with color.” *

“The numeral figures from 0 to 9 were aligned in three dimensional grids. A section was removed, created a path that cut through the installation, invited visitors to wonder inside the colorful forest filled with numbers. The installation was composed of 10 layers which is the representation of 10 years time. Each layer employed 4 digits to express the relevant year such as 2, 0, 1, and 7 for 2017, which were randomly positioned on the grids. As part of Emmanuelle’s “100 colors” installation series, the layers of time were colored in 100 shades of colors, created a colorful time travel through the forest.”**

The installation is composed of 10 layers, representing the 10 years to come all images © daisuke shima

Forest of Numbers Emmanuelle Moureaux-hahamag

Forest of Numbers Emmanuelle Moureaux

Forest of Numbers Emmanuelle Moureaux

The More You Know:

  • Watch a video of the installation, Forest of Numbers going up here on Emmanuelle’s Vimeo.

via [design boom] [Emmanuelle Moureaux website]

*quote pulled from interview with Moureaux in Attitude Magazine, 2015

**quote pulled from Emmanuelle Moureaux website.


One-Way Color Tunnel by Olafur Eliasson


One-way color tunnel, 2007 San Francisco Museum of Modern Art, 2007 Photo: Ian Reeves / Courtesy of San Francisco Museum of Modern Art

Danish-Icelandic artist Olafur Eliasson has proved over the years that he’s producing some of the most mesmerizing works of art, playing with light and color, challenging his viewers’ perception of space.  In 2007, he created a one-way color tunnel, now in the collection of the SFMoMa (San Francisco Museum of Modern Art), installed on a semi-transparent elevated walkway.

“One-way color tunnel is an arched walkway constructed from triangular panels of color-effect acrylic glass and acrylic mirrors. The panels are assembled into a rugged form, with the longest triangles at the base of the tunnel and the shortest triangles forming pyramidal outcroppings on the ceiling. As visitors move through the passageway, they see a fluctuating display of varied hues caused by the color-effect acrylic glass, which changes tone depending on how light strikes it. When they look back, however, instead of seeing the colorful environment they just passed through, they are met with the dull black backs of the panels, with only hints of color escaping through the interstices.”

As visitors move through the passageway, they see the fluctuating effect of light and reflections created by the color-effect acrylic and acrylic mirrors. On one side, the tunnel’s triangular panels seem completely black; from the other end, a multicolored spectrum shines through, changing as the viewers walks by.

photos courtesy of Olaf Eliasson

[via] The Inspiration Grid


Put Your Head Into Gallery: An Interactive Project from Tezi Gabunia

Tezi Gabunia_Put Your Head Into Gallery

Gagosian Gallery

Tezi Gabunia_Put Your Head Into Gallery

The Louvre

Tezi Gabunia_Put Your Head Into Gallery

Saatchi Gallery

Put Your Head into Gallery is an interactive art project from Tezi Gabunia which presents four different models of famous galleries’ rooms. The installation allows visitors to become part of the exhibition by putting their heads into miniature models of world famous art galleries complete with exhibitions of different artists in the spaces: Saatchi Gallery (Tezi Gabunia), The Louvre (Rubens), Tate Modern (Hirst), Gagosian Gallery (Liechtenstein).

Gabunia explores the idea of falsification and hyperrealism within the art world. Under a concept of falsification, Tezi Gabunia presents his false exhibition at Saatchi Gallery. The second stage involved the scaled copies of famous gallery rooms created using laser cutting technology and PVC and plexiglass allowing the participant to become part the exhibits themselves – conceptually making art accessible to all.

Tezi Gabunia_Put Your Head Into Gallery

Tate Modern

Tezi Gabunia_Put Your Head Into Gallery

The Louvre

project credits:

concept: tezi gabunia, ucha urushadze, nika maisuradze, dato tsanava
model: davit dolidze
text: mariam nadareishvili
research: dato koroshinadze, oto shengelia
photography: andro eradze, saba shengelia, chipo pelicano, giorgi machavariani, ani beridze

via [designboom]

All images © Tezi Gabunia 

Shifting Consciousness with Chiharu Shiota


"The Locked Room" 2016, KAAT Kanagawa Arts Theater, Yokohama, Japan, photo by Masanobu Nishino “The Locked Room” 2016, KAAT Kanagawa Arts Theater, Yokohama, Japan, photo by Masanobu Nishino

‘A sleepy mystery intertwined with beauty’, is how I like to think of Chiharu Shiota’s intricate large-scale installation pieces exploring the relationship between body and mind. Her work feels like being let into remnants of someone else’s dreams.

She tethers her memories to objects with lengths of tangled, crisscrossing black threads, securing them in a physical realm. Here we are offered the questions, the quandaries of an woman who dreams herself in and out of reality without ever really leaving the suspension of time.

It’s rare to see Shiota’s installations come towards the U.S., although (claps) her 2017 exhibition calendar has a solo show booked for Feb 21 2017 – Aug 6 at the SCAD Museum of Art, Savannah, GA / U.S.A.


Conscious Sleep, Venue: Cockatoo Island, 22th Biennale of Sydney, photo by Paul Green

Conscious Sleep, Venue: Cockatoo Island, 22th Biennale of Sydney, photo by Paul Green


“When I dream, I feel the dream as reality. I can’t distinguish between dream and reality. When I wake up, I have the feeling I’m still dreaming.” -Chiharu Shiota




I found a pretty amazing time lapse of “After the Dream” being installed at Birmingham Museum & Art Gallery during the ‘Lost in Lace’ exhibition in London back in 2011.

That Time JR Made the Pyramid at the Louvre Disappear


©JR-ART.NET paysage.jpg


French street artist, JR, was invited by the Louvre museum to wrap their world-famous glass pyramid with one of his monumental anamorphic images.

The Louvre has an amazing history —  originally built as a fortress in 1190, it was reconstructed in the 16th century to serve as a royal palace; in 1793, Louis XIV and Marie Antoinette moved out and relocated their entire royal court to Versailles. And now, the Louvre is an art museum, exhibiting the royal collection and artifacts.

It’s equally famous pyramid was designed in 1985 by American architect, I.M.Pei.  The pyramid is a subterranean entrance into the Louvre, restructuring the old design, merging all of the museum’s wings with a common access point.  There’s nothing quite like witnessing the contrast of this contemporary wonder against the museum’s  baroque stateliness as you descend into what will seem like a endless abyss of art (it covers a whopping 652,300 square feet).

There’s was backlash against it’s construction, as art lovers around the world fought against what they were sure would destroy the very heart of Paris. Now this otherworldly 71-foot-high structure of glass and metal sitting in front of the main entrance is one of the most photographed landmarks in Paris.  Recent studies show that the Louvre draws nearly twice the number of visitors than it did before the Pyramid’s installation. That steamrolling commentary of fear that Pei’s design would violate the museum’s historical integrity found new air as the conversation retained relevancy with the course of JR’s Louvre project.

JR talked about the ongoing feud between traditional and modern tastes in art in an interview with curator and journalist, Hugo Vitrani.
“Making the Pyramid disappear is a way for me to distance myself from my subject…My work is about transmitting history to better understand the present, and find echoes with our own times. What happened in the past is part of a broader context that can still have relevance for today. By erasing the Louvre Pyramid, I am highlighting the way Pei made the Louvre relevant for his time, while bringing the Louvre back to its original state. The Pyramid is one of the most photographed French monuments. I am re-directing its energy, because people are going to have to move around it. They are going to look for the best angle to get the full impact of the anamorphic image, and really make the Pyramid disappear.”
It’s been more than 25 years since the pyramid was introduced to the world.  Some say, Pei achieved a kind of architectural sleight-of-hand with so much more there than meets the eye.  I’d say JR has joined those ranks.

Photo credit: legeekcestchic.eu

Jim Bachor’s 2016 Pothole Art Installation ‘Pretty Trashed’

Jim Bachor_Beer Can_HM

Jim Bachor_Pretty Trashed_HM


Thanks to another successful Kickstarter campaign, Chicago artist, Jim Bachor has gotten started on his 2016 pothole art campaign.

Unless you’ve been living under a rock, Bachor has been delighting art blogs since 2014 when he decided to put a beautiful spin on the excess of damaging potholes left from brutal Chicago winters.

We’ve been impatiently waiting for the next theme to his well-received pothole art installations – the new series is called Pretty Trashed.  This first mosaic dropped is ‘Beer Can’.  It’s located on Montrose, just east of California on the south side of the street. Go see it Chicago – you lucky ducks. The rest of us will just have to live vicariously through Bachor’s Instagram feed.

It’s not our first time covering Bachor’s cute mosaic potholes. You can check out his past mosaic themes here:




*photos courtesy of Jim Bachor

Ivan Sikic – It’s My Party and I do What I Want To!

Sikic6Sikic7 Sikic4 Sikic3 Sikic2-2


It’s My Party and I do What I Want To! aims to comment on the widening wealth gap. Conceptual artist Ivan Sikic aims to maintain that debate with his installation denounces this system. He placed 99 balloons held by a fake gold bar over 7,000 thumbtacks.

“This is the political and social context Iván Sikic aims to respond to in this instance by presenting It’s My Party and I do What I Want To! In a corner of gallery Luis Adelantado, Valencia, 99 helium filled balloons keep a gilded brick afloat. During the two months that the work will be open for viewing, each week, a newly inflated balloon gets added to supplement the ones that will continue to deflate. These remain, deflated, in the spot where they land, as a crude testimony that their replacement is both cheap and inevitable. On the ground, a small and helpless thumbtack army dramatize the inanity of their posture against the relentless golden brick.”*

*quote taken from artist statement.

This is an evolving work, Sikic invites everyone to check back at the end of September for the finalized documentation of the piece.

photos via artist website.

FAILE Installs a Prayer Wheel In the Middle of Times Square


Photograph courtesy of Ka-Man Tse for @TSqArts.

Photograph courtesy of Ka-Man Tse for @TSqArts.

New York, NY – There’s a little bit of sacred sitting amidst the lights and constant stream of noise in Times Square.

Times Square Arts* collaborates with contemporary artists to experiment and engage in one of the most iconic places – Times Square, have joined with the Brooklyn-based artists collaboration FAILE for FAILE: Wishing on You, an interactive public installation reimagining Asian prayer wheels.  Wishing on You explores this form of mediation with contemporary patterns of consumption, desire, and myth-making within a contextually juxtaposing landscape.

Prayer Wheels, used in some European, Asian, and American spiritual rituals are found in sacred gathering places.  Used for enlightenment – one would spin the prayer wheel clockwise while chanting the wheel’s inscribed mantra to accumulate good karma to purify oneself from the negative (bad karma).

FAILE’s spin on this spiritual symbol puts the contemporary offering in the hands of the public in an untraditional spot of communal gathering. The hand carved 7ft tall prayer wheel is full of the duo’s trademark typography, and eye-catching boldly colored collage graphics.

“The piece will ask viewers to think about what spirituality and desire look like in the context of affluent global cities and create a place of spontaneity and shared experience. Even the movement of the sculpture, with each turn of the wheel powering the neon lights on the piece, is an act of collaboration and hope rather than passive viewing.”

The piece will be on display at Broadway plaza between 42nd and 43rd Streets from August 17 – September 1, 2015; presented in collaboration with FAILE’s exhibition, FAILE: Savage/Sacred Young Minds, running at the Brooklyn Museum from July 10- October 4, 2015.

photo by Jaime rojo/ Brooklyn Street Art

photo by Jaime rojo/ Brooklyn Street Art

Photograph courtesy of Ka-Man Tse for @TSqArts.

Photograph courtesy of Ka-Man Tse for @TSqArts.



Photograph courtesy of Ka-Man Tse for @TSqArts.

Photograph courtesy of Ka-Man Tse for @TSqArts.


*Times Square Arts, the public art program of the Times Square Alliance, collaborates with contemporary artists and cultural institutions to experiment and engage with one of the world’s most iconic urban places. FAILE

For more information, visit www.faile.net.


ricci albenda_3


CHELSEA, NEW YORK – I get excited when I step into shows like this, where the work is clean and color wheel fantastic, which pretty much describes Ricci Albenda’s work.  Supercallefragelistic-expialledocious opened last Thursday at the Andrew Krep Gallery, marking the completion of his Universal Color series – a system based on the exploration of color Albenda developed over the past two decades.

Albenda filled the white walls of the Andrew Kreps Gallery with musical lyrics, pop culture references, scientific classifications and one off words that read as statements.  A place where “The imagined, real, and appropriated exist side by side; pointing towards the system’s future that is accessible by all.” — Albenda

The words effectively are the images and you find yourself standing there repeating them in you head, saying them out loud to — the pronunciation becoming a more primal experience.  The tri piece ‘Chrysanthemum’ plays so well off your tongue — “Chrysanthemum, Chrysanthemum, Chrysanthemum”.  Going down the line, the colors in the pieces merge along with the letters-playing with and tantalizing; tiny conversations with a pretty little vernacular that plays to the senses.

Ricci Albenda’s Supercallefragelistic-expialledocious is up now at Andrew Kreps Gallery thru June 20, 2015.

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Colorful Shredded Paper Installations




Accumulation 2013 Shredded Paper Variable Installation at Moberg Gallery

Artist Travis Rice’s colorful installations are made up of thousands of strips of shredded paper layered in organized chaos. The ceiling to floor installations take on whimsical vibes – the room often looking more like a set for a Seuss inspired photo shoot.

His work creates a sense of stillness in movement; the frozen motion of undulating waves and cascading waterfalls that start feeling like living organisms stun you with blasts of brilliant colors.

“The approach is similar to that of the impressionist painter, but the brush stroke has been replaced by individual thin strips of paper that are the resultant product of a mechanical shredder,” he says. “The constructed forms are meant to imply frozen motion often starting from the ceiling and cascading to the floor.

My installations explore marks as modules that accumulate to create ordered masses. The approach is similar to that of the impressionist painter but the brush stroke has been replaced by individual thin strips of paper that are the resultant product of a mechanical shredder.

My palette is at one moment subjective and in another moment a basic application of color theory, but always gaudy and corrupt. Color allows me the opportunity to interject my cynical sense of humor and infatuation with early Disney cartoons. Ultimately, I see the work as a celebration of composition’s most fundamental element represented in an optimistic, mischievous manner while at the same time maintaining an aspiration toward intellectual purpose.”


Cotton Candy Cesspool 2013 Shredded Paper Variable Pearson Lakes Art Center Okoboji, IA




Rainbow Dyed Psychedelic Hallucination 2012 Shredded Paper Variable Artstop 2012 Des Moines, IA

Rainbow Dyed Psychedelic Hallucination
Shredded Paper
Artstop 2012 Des Moines, IA



Consumable Fragments 2007 Shredded Paper, Galvanized Metal, Pastel and Graphite Drawings Variable Fitch Gallery Des Moines, IA



Contamination 2013 Mixed Media Variable Moberg Gallery

Mixed Media
Moberg Gallery


Multiple Universes 2006 Shredded Paper, Stainless Steel Gazing Balls, Pastel on Paper Drawings Variable


Top 5 Art Shows of 2014

There was no polling of art aficionados, no pouring over magazines or newspaper reviews, and there’s definitely no big ballin’ art plays for likability listed below.  These shows made the list because I visited them more than once (that rarely ever happens) or my sensibilities were totally confounded by the creativity.  Shows that make that kind of impression can provide a year’s worth of conversational tidbits and a measure to which you might hold all others.  Aw, enough with that…these shows rocked my 2014.

Spring Break Art Show

It’s fun, fresh, and daring like newly graduated art school minds before they get crushed and compromised. This curator driven show, gets set up in an old schoolhouse during Armory Arts Week in New York. Yes, we know it’s technically an art fair. But the 2014 show, PublicPrivate won us over with installations that we talked up all-year-long.

Kara Walker: A Subtlety or the Marvelous Sugar Baby

Kara Walker’s Installation at the Domino Sugar Factory in Brooklyn was a “homage to the unpaid and overworked Artisans who have refined our sweet tastes from the cane fields to the Kitchens of the New World on the Occasion of the demolition of the Domino Sugar Refining Plant.” The exhibit was mind-blowing – from the overwhelmingly beautiful conceptual execution of the sugar-coated sphinx-like woman, to the very unexpected nauseating smell of burnt sugar permeating the hot factory.

A photo posted by @hahamag on

Swoon: Submerged Motherlands

Swoon’s intricate wheat-paste portraits normally grace New York buildings, but for Motherlands she went large-scale, telling landscaped stories against a backdrop of dramatically blue washed walls in the Brooklyn Museum rotunda. The star of the show was the massive sculptural tree that nearly kissed the rotunda’s 72 foot high glass domed ceiling.

David Lynch: The Unified Field

Lynch’s grime aesthetics found solace at Pennsylvania Academy of the Fine Arts in Philadelphia (PAFA), where he studied as an advanced painting student in 1967. The exhibit explored Lynch’s hybrid collection of works, displaying a delicate balance from disturbing narratives to richly descriptive lithographs. Unified Field is his world of opposites that he wanders in and out of at will.

Interhaven: The Works of Caitlin McCormack

McCormack’s sorted things in shadowboxes lay posed and gracefully still as if they once knew air – their layers of articulated overlapping crocheted beige string bones resembled the things they never were. The show’s curio layout carried a pleasantly haunting tone, but it was the lingering of McCormack’s stored memories seen through these tangible manifestations of contained dreams and nightmares that left me feeling domed under her bell jars.

*thank you to paperclips215 & Paradigm Gallery for the use of their Instagram Photos

We Made It Thru Art Basel Miami 2014, And We’ve got the Pictures to Prove It

[tribulant_slideshow gallery_id=”3″]

We are late with this article and we know it. It’s just possible that this list got held up because we were reading everyone else’s Basel lists. They were clever, entertaining and made us cringe when we realized we had not ‘in fact’ seen everything Basel had to offer.

Miami Art Basel Week is amazing. It’s a art plethora of more art than is humanly possible for your brain to process…eyeball overload. At some point – no matter what anyone else tells you – it just starts to turn into ‘stuff’. But boy do I love ‘stuff’. Stuff from other countries, simple stuff I think I could make in my garage (I could not. It’s just the Bob Ross effect talking), huge stuff that you walk around trying to imagine how it was even conceived, stuff that you’ve only seen in magazines until now. Stuff that was born from imagination and memory, from social and political pondering, from dreams and nightmares.

If that sounds remotely romantic in notion and dramatic in speech – then good – that’s how I feel after getting to immerse myself in what I love doing. And I love having the opportunity to bring it back to you.

“It is simply a consideration of the arts out of which aesthetic reflection arises, and the experience out of which the arts grow, which they clarify and which they enhance”.

But I digress, switch off the artsy fartsy and simply say…Yo, here’s our Art Basel Miami 2014 list.

If you’re still not overloaded, check out our roundup of the Miami Art Project, Pinta (Latin American Art Fair), The Rubell Collection, and Miami Scope. For the sake of time and sanity we’re gonna call it: The Best of the Rest.

*the pics belong to us, the quote to Irwin Edman.