La instalación de Miroslaw Balka en el Tate Modern, Londres, consistía de una gran estructura situada al centro de lo que se conoce como el Turbine Hall. (Antiguamente la sala de turbinas de esta enorme fábrica, hoy en día funciona como una gigantesca dala de exposiciones donde bajo el auspicio de la marca Unilever se comisiona a diferentes artistas la creación de una instalación).
Esta gran estructura gris - básicamente un cubo de obscuridad – podía ser visitado y experimentado por los visitantes. Como el propio artista lo menciona, el punto era adentrarse hasta desparecer. Experimentar la obscuridad y con ella la desaparición de nuestros cuerpos.
M. Rojas
El link de la instalación es el siguiente:
http://www.tate.org.uk/modern/exhibitions/unilevermiroslawbalka/default.shtm
Sascha Schniotalla, RELIEF-STUDIES at Stedefreund Berlin 2010
Some works before 2010:
For more go to: www.schniotalla.com/
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In his work, Berlin artist Sascha Schniotalla (b. 1976) reflects on spatial constructions and addresses the ways they influence perceptual processes and the production of meaning. His focus is on strategies of presentation and representation, and on the conditions under which visuality and visibility are constituted in space.
The artistic practices of abstraction and minimal art form the frame of reference for Schniotalla’s work. However, though these references may be obvious in formal/aesthetic terms, the artist uses methods of abstraction and reduction to contrast them with specific, usually architectural contexts.
His first creations were large murals that projected autonomous color spaces through their delineations of utopian building frames. He later exhibited membranous architectural grids, whose optical structures functioned as canvases for abstract paintings while simultaneously undermining them in disconcerting fashion.
The wall objects conceived under the working title of “relief-studies” present themselves to the viewer as fragmentary sculptures, surface structures resembling bas-reliefs. They seem to be pieces dislodged from mass-produced architecture, yet neither their provenance nor their function can be conclusively determined. Their materiality and plasticity have an unsettling effect, since as reliefs they border on the pictorial. In their physical presence, they challenge viewers to examine them in detail, yet at the same time they defy such examination, hinting at perspectives that suggest other spaces impossible to see. (Stedefreund Presstext)
