Tag Archives: olafur eliasson

RAIN ROOM

Visitors can magically walk through “Rain Room” at MoMA without getting wet (photo by twi-ny/mdr)

Visitors can magically walk through “Rain Room” at MoMA without getting wet (photo by twi-ny/mdr)

Museum of Modern Art
West 54th St. between Fifth & Sixth Aves.
Through July 28
Museum admission: $25 ($12 can be applied to the purchase of a film ticket within thirty days)
212-708-9400
www.moma.org
www.momaps1.org/expo1
rain room slideshow

If only it were so easy to control the weather. In the lot adjacent to the Museum of Modern Art, MoMA is presenting rAndom International’s “Rain Room,” an immersive, interactive installation in which visitors walk through falling water without getting wet. A series of sensors detect body motion, creating a barrier as people move slowly through the space, the spigots above them shutting off as they pass beneath them. A penetrating white light shoots through the rain, resulting in marvelous shadows and other very cool visual imagery. (Note that MoMA advises not to wear “dark, shiny, reflective fabrics, fabrics made of raincoat material, or skinny high heels”; also, if you move fast, the sensors won’t pick you up as well and you will get a little wet.) Only ten people are allowed inside at a time, and they are encouraged to stay for no more than ten to fifteen minutes, as the lines have been ridiculously long, stretching four hours and more. Members can start going in at 9:30, with nonmembers filing in at 10:30. In a wonderfully wacky little twist, on especially hot, sunny days MoMA hands out umbrellas to people on line, not to protect them from the rain in the exhibit, but to guard them against the beating sun as they stand outside absorbing the heat.

To accommodate the large crowds, MoMA has also instituted a faster-moving viewing line, allowing people to go inside and see “Rain Room” from the sides but not actually walk under the water and get the full experience. Although it is gimmicky, “Rain Room” is a lot of fun, too, offering visitors a unique way to kind of part the Red Sea themselves. It takes on even more meaning as climate change has been leading to dangerously unpredictable weather patterns that humanity has no control over, with many scientists claiming that it might be too late to save the earth as we know it. The U.S. premiere of “Rain Room,” which continues through July 28 as part of MoMA’s expansive “EXPO 1: New York” at PS1, will be followed this fall by “Autonomy,” a related show in RH Contemporary Art’s new gallery in Chelsea, owned by Restoration Hardware. “EXPO 1: New York,” the theme of which is “Dark Optimism,” runs through September 2 in Queens, featuring environmentally conscious works by such artists as Olafur Eliasson, Meg Webster, Adrián Villar Rojas, Marie Lorenz, and Ansel Adams as well as special “Speculations” talks through July 28 with Lynn Hershman Leeson, Otto Piene, and others.

OLAFUR ELIASSON: VOLCANOES AND SHELTERS

Olafur Eliasson, “The volcano series,” sixty-three C-prints, 2012 (© Olafur Eliasson)

Tanya Bonakdar Gallery
521 West 21st St. between Tenth & Eleventh Aves.
Through December 22, free, 10:00 am – 6:00 pm
212-414-4144
www.tanyabonakdargallery.com

Although best known for his colorful, dramatic installations using various combinations of glass, mirrors, metal, water, and light, Danish-Icelandic artist Olafur Eliasson has also been taking photographs of Iceland, the home of his parents’ birth, for two decades, capturing its unique natural landscapes and putting them together in fascinating grids. His latest exhibition at Tanya Bonakdar is highlighted by three such grids on separate walls in the Chelsea gallery’s main space, enveloping visitors with their looming physicality. “The hut series” consists of fifty-six photographs of “micro-parliaments,” small, remote cabins set against earth and sky. “The hot springs series” collects forty-eight photos of one of Iceland’s most distinctive natural elements, geothermal hot springs that bubble beneath the ground. And “The volcano series” captures sixty-three shots of volcanic craters from around the country. In the back room, “The large Iceland series” features bigger, individual portraits of more natural phenomena. Upstairs, Eliasson, who works in Berlin and Copenhagen and was the subject of the terrific 2008 MoMA/PS1 retrospective “Take Your Time,” has installed “Your disappearing garden,” filling nearly half a room with volcanic obsidian rocks, as if he shipped a part of Hrafntinnusker to New York City. And behind a curtain are three works that dazzle the senses, a trio of tabletop fountains that slowly spin in a dark room illuminated by strobe lights that make it look as if the cascading water is momentarily frozen in time; visitors will actually feel dizzy as they walk around these “anti-gravity experiments,” which Eliasson has titled “Object defined by activity (now),” “Object defined by activity (soon),” and “Object defined by activity (then).”

MULTIPLE PLEASURES

A multitude of well-known artists offer “Multiple Pleasures” at Tanya Bonakdar in Chelsea (photo by twi-ny/mdr)



FUNCTIONAL OBJECTS IN CONTEMPORARY ART

Tanya Bonakdar Gallery
521 West 21st St. between Tenth & Eleventh Aves.
Monday – Friday through July 30
Admission: free
212-414-4144
www.tanyabonakdargallery.com

A few months back, Sabrina Blaichman, Caroline Copley, and Genevieve Hudson-Price, of 7Eleven Gallery, put together “Make Yourself at Home,” in which they turned a Chelsea garage into a sort of home showcase, featuring works by a multitude of artists arranged in different “rooms,” with nearly every chair, table, lamp, tire swing, and fake shower available for sale, sitting, and touching. Curator Nathalie Karg, the founder of Cumulus Studios, has now organized “Multiple Pleasures: Functional Objects in Contemporary Art,” a two-floor exhibit of reimagined useful household items by such artists as Doug Aitken, Ross Bleckner, Olaf Breuning, Peter Doig, Sarah Sze, William Kentridge, Douglas Gordon, Barbara Kruger, Yoshitomo Nara, Andrea Zittel, Ernesto Nara, and Richard Prince, among more than eighty others, one big name after another. As opposed to the 7Eleven show, you can’t touch most of the pieces here, which tend to be somewhat more expensive on the whole. But at the front counter, Tanya Bonakdar is selling a number of far more affordable items, including magnets, T-shirts, salt-and-pepper shakers, and towels by the likes of Kenny Scharf, Ed Ruscha, and Damien Hirst. In addition, you can obtain a unique digital screensaver by Olafur Eliasson by making a small donation to Maternity Worldwide, a nonprofit organization seeking to reduce the maternal mortality rate in Ethiopia and around the world.

CHELSEA ART WALK: MARCH 2010

Shaq is a little too big to squeeze into Maurizio Cattelan’s elevators, which are less than a foot tall (photo by twi-ny/mdr)

Shaq is a little too big to squeeze into Maurizio Cattelan’s elevators, which are less than a foot tall (photo by twi-ny/mdr)

SIZE DOES MATTER
FLAG Art Foundation
545 West 25th St. between Tenth & Eleventh Aves.
Wednesday – Saturday 12 noon – 5:00 through May 27
Admission: free
212-206-0220
www.flagartfoundation.org
size does matter slideshow

Since 1992, Shaquille O’Neal has been a huge force in the NBA, using his massive 7’1 frame and 320-pound bulk to redefine the center position during his long career with the Magic, Lakers, Heat, Suns, and now Cavaliers. He has transcended the sport, also releasing music albums, starring in films (anyone remember KAZAAM?), and even being named an honorary U.S. marshal. Shaq has now turned art curator, selecting and/or commissioning all the works that make up “Size DOES Matter,” a well-organized if often obvious exhibition spread across two floors of Chelsea’s nonprofit FLAG Art Foundation. Ranging from Willard Wigan’s “Micro Shaq,” which has to be viewed through a microscope, to Robert Therrien’s enormous table and chairs that nearly burst through the ceiling, the show addresses scale and scope in fun, entertaining ways. When visitors first get off the elevator on the ninth floor, they are greeted by Maurizio Cattelan’s miniature working elevators; other stand-out selections include Ron Mueck’s desperately unhappy “Big Man,” Joe Fig’s small diorama of Jasper Johns at work, Tomoaki Suzuki’s tiny group of friends, Evan Penny’s elongated “Stretch #2,” and Ivan Witenstein’s “The Kiss,” in which a boy gives viewers the finger for walking in on him and his girlfriend in an intimate moment. Be sure to walk around Richard Dupont’s “Terminal Stage” and Therrien’s stacked plates to get their full effect.

Also in Chelsea
Olafur Eliassion’s “Multiple shadow house” continues at Tanya Bonakdar through March 20 (photo by twi-ny/mdr)

Olafur Eliassion’s “Multiple shadow house” continues at Tanya Bonakdar through March 20 (photo by twi-ny/mdr)

Parents and children who visit the family-friendly “Size DOES Matter” should also stop by Tanya Bonakdar, where Olafur Eliassion’s “Multiple shadow house” is on view through March 20, encouraging people of all ages to walk through its mazelike structure and create ever-changing images on screens. Over the last few years, we’ve been following the intriguing short films of Guido van der Werve, catching his existential vision at the Hirshhorn and the Aldrich as well as on Governors Island. His latest, “Nummer twaalf,” at Luhring Augustine through March 13, consists of three sections that use chess as the starting point to examine humanity’s place in the universe, with van der Werve traveling to Mount St. Helens and the San Andreas Fault and getting lost in gorgeous landscapes as his original music composition and continuing chess moves link the set pieces. Erwin Loaf’s “Hotel & Dawn/Dusk,” at Hasted Hunt Kraeutler through March 20, equates a black world with a white one in his dual-screen projection, along with a compelling series of photographs of lonely women in hotel rooms. Horror movie fans should get a kick out of Gary Simmons’s “Midnight Matinee” at Metro Pictures through March 20, a collection of black-on-black pieces featuring the houses from THE AMITYVILLE HORROR, BURNT OFFERINGS, PSYCHO, and THE TEXAS CHAINSAW MASSACRE.