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Rothko toast for a nutritious and balanced breakfast
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The Sprial Jetty — , 1970
Built at the mouth of a terminal basin rich in minerals and nearly devoid of life, at the time of its creation, this earth work was a radical experiment in taking art outside the confines of the gallery space. Its precarious location lends itself to the structure’s inevitable disintegration, yet its impressive size and deliberate shape command the surrounding landscape. Constructed from 6,650 tons of rock and earth, the spiral continuously changes form as nature, industry, and time take effect.
‘An Orchid’ — , 1941
From the artist’s upcoming exhibition of works on paper, ‘To See Takes Time’, at in New York.
Cold showers, Buddha, New Year’s resolutions, humanness, divine timing via ’s series, “ ”
Snowman by Fischli and Weiss
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The sculpture shows the friendly and familiar figure of a snowman, consisting of three stacked snowballs, the top and smallest one displaying two holes for eyes and a dash for a mouth. It stands in a refrigerator with a glass door, allowing it to exist throughout the year.
Snowman illustrates the contradiction between nature and artificiality, displaying the penchant for the absurd typical of the work of Fischli/Weiss. The current context is different from the one the snowman in the fridge was originally conceived in. The image of complete energy dependency, so endearingly embodied by Snowman, acquires a new, poignant and terrifying dimension in view of the climate crisis.
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The Weather Project — , 2003
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Created for the Turbine Hall of Tate Modern, London, this site-specific installation employed a semi-circular screen, a ceiling of mirrors, and artificial mist to create the illusion of a sun. Aluminium frames lined with mirror foil were suspended from the ceiling to create a giant mirror that visually doubled the volume of the hall – along with the semi-circular screen mounted on the far wall, its long edge abutting the mirror ceiling. Backlit by approximately 200 mono-frequency lights, the semi-circle and its reflection created the image of a massive, indoor sunset seen through the artificial mist emitted into the room. By walking to the far end of the hall, visitors could see how the sun was constructed, and the reverse of the mirror structure was visible from the top floor of the museum.
In preparation for the exhibition, Eliasson devised a questionnaire for the employees at Tate Modern that included questions such as: ‘Has a weather phenomenon ever changed the course of your life dramatically?’ ‘Do you think tolerance to other individuals is proportional to the weather?’ ‘To what extent are you aware of the weather outside your workplace?’ The results were published in the catalogue accompanying the exhibition, which also included a roundtable discussion about the communication of art, meteorological reports of freak weather events, weather statistics, and a series of essays on the weather, time, and space.
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‘Winter Break’ — , 2022
‘I don’t want to forget about you’ — , 2000
Sculptures by Maria Bartuszová
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Every living organism forms a relationship with its environment. Bartuszová believed that personal and familial relationships
were interconnected with nature, art and culture. She integrated social and ecological themes in her art with knowledge of science and philosophy. She expressed these relationships through sculpture as a trace of a moment, captured in matter,
in a tactile format. Her work is not a rational reduction of natural forms. It is a realisation of her thinking through sensual
shapes and extended research through sculptural practice.
Paintings from Huguette Caland’s series ‘Bribes de Corps’ (Body Parts)
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Painting both self-portraits as well as friends and lovers, the Bribes de Corps are erotically charged works for which Caland magnified the female body, transforming these fleshy geometries using bright colours and sinuous lines. She rendered these forms as corporeal topographies, sumptuous, abundant and liberated.
Panoramic Sea Happening — , 1987
Tom Na H-iu on Teshima Island, Japan by Mariko Mori
In ancient Celtic folklore, Tom Na H-iu was the place where souls wait to pass on to their next life. Inspired by this myth, Mariko Mori created a contemporary monument of glass and installed it in the center of a pond in the forest.
Photos by Ivan Baan
Disco Earth by Lina Shamoon
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A man tending to Monet’s much depicted water-lily pond in Giverny, France
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‘Solitude’ — , 1960