Showing posts with label abbey. Show all posts
Showing posts with label abbey. Show all posts
Tuesday, December 13, 2016
Monday, July 22, 2013
BEAUTY: Installation--Romain Crelier
The Abbey-church of Bellelay in Switzerland is the site of Romain Crelier's site-specific installation entitled La Mise en Abîme. Very shallow containers shaped like puddles hold pools of used motor oil but end up becoming obsidian mirrors which reflect the Abbey's magnificent architecture as well as any visitors, thus doubling and redefining the space. It creates an eerie looking glass effect that gives the illusion of depth--a second Abbey hovers in another dimension--where there is none. And finally, there is the exquisite play and tension between the pristine white abbey and the inky black oil.
http://www.courantdart.ch/ca_artiste_crelier.htm
Romain Crelier's piece reminds me so very much of 20:50, a piece by Richard Wilson which I saw at the Saatchi on the Thames many years ago.
From the Saatchi website:
Richard Wilson’s 20:50 is truly a contemporary masterpiece. The work is the only permanent installation at the Saatchi Gallery and has been continuously shown in each of the gallery’s venues since 1991. Currently on display in Gallery 13 – a room custom built for the piece – 20:50 transforms the gallery into a site of epic illusion.
Viewed from the entrance platform 20:50 appears as a holographic field: simultaneously a polished floor, infinite clear pool, an expansive and indefinable virtual space that clinically absorbs and mirrors the gallery architecture. The room is in fact entirely flooded in oil.
Visitors are invited to examine the piece close-up via a walkway that extends into the lake, placing the viewer, waist deep, at the centre of a perfect mathematically symmetrical scope. Through this altered perspective 20:50’s phantasmical aura is enhanced, amplifying the disorientating and mesmerising experience of the space, and further confounding physical logic.
20:50 takes its name from the type of recycled engine oil used. It is thick, pitch black, and absolutely indelible: please take extreme care with your clothing and belongings, and no matter how tempting, please do not touch. 20:50 often has to be demonstrated to be believed: the liquid can be seen by blowing very gently on the surface.
http://www.saatchigallery.com/artists/artpages/richard_wilson_oil.htm
http://www.courantdart.ch/ca_artiste_crelier.htm
Romain Crelier's piece reminds me so very much of 20:50, a piece by Richard Wilson which I saw at the Saatchi on the Thames many years ago.
From the Saatchi website:
Richard Wilson’s 20:50 is truly a contemporary masterpiece. The work is the only permanent installation at the Saatchi Gallery and has been continuously shown in each of the gallery’s venues since 1991. Currently on display in Gallery 13 – a room custom built for the piece – 20:50 transforms the gallery into a site of epic illusion.
Viewed from the entrance platform 20:50 appears as a holographic field: simultaneously a polished floor, infinite clear pool, an expansive and indefinable virtual space that clinically absorbs and mirrors the gallery architecture. The room is in fact entirely flooded in oil.
Visitors are invited to examine the piece close-up via a walkway that extends into the lake, placing the viewer, waist deep, at the centre of a perfect mathematically symmetrical scope. Through this altered perspective 20:50’s phantasmical aura is enhanced, amplifying the disorientating and mesmerising experience of the space, and further confounding physical logic.
20:50 takes its name from the type of recycled engine oil used. It is thick, pitch black, and absolutely indelible: please take extreme care with your clothing and belongings, and no matter how tempting, please do not touch. 20:50 often has to be demonstrated to be believed: the liquid can be seen by blowing very gently on the surface.
http://www.saatchigallery.com/artists/artpages/richard_wilson_oil.htm
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