Lane Walkup

Lane Walkup is a sculptural artist based in Brooklyn, NY who uses steel and paint.




Avant Gardey




Miwa Ito Glasses




Tadao Andō / "a short film of light & shadow"

This is a personal 3d animation based on works by the architect Tadao Andō. The idea is to explore the behavior of light and shadow in some of his minimalist projects. Music: Grass (Silent Partner)




Precure Happy Shower Shining (Cure Happy Attack)




Onishi Yasuaki - vertical emptiness

Onishi Yasuaki uses tree branches, hot glue, and urea for his installation. He uses the glue to connect our ground to an imaginary world. Crystalized urea appears on thin glue lines and in the tree branches. This installation is presently exhibited at the Kyoto Art Center. Music by Suzuki Ryosuke,Kurachi Martha / kurachino Produced by Murayama Kanako




Fujiko Nakaya: Veil. Fog Installation at The Glass House

Fujiko Nakaya: Veil is a site-specific installation that enters into dialog with the Glass House, the iconic building that was designed American architect Philip Johnson and completed in 1949. The Japanese artist Fujiko Nakaya is known for her fog sculptures and environments. With Veil, she wraps the Glass House in a veil of dense mist that comes and goes, hiding the Glass House, and making it visible again. Inside the house, the fog seems to turn the huge glass plates of the structure into white walls, producing an opaque atmosphere in the otherwise extremely transparent building. Visitors can make this experience for approximately 10 to 15 minutes each hour, until November 30, 2014. Fujiko Nakaya: Veil coincides with the 65th anniversary of the Glass House and its 2014 tour season. It's the first site-specific artist project to engage the iconic Glass House itself. For the installation, Fujiko Nakaya uses water that is pumped at high pressure through 600 nozzles installed on three sides of the Glass House. The fog that is created by this installation makes the wind and the air streams visible, which surround the Glass House. As Nakaya explains: "Fog responds constantly to its own surroundings, revealing and concealing the features of the environment. Fog makes visible things become invisible and invisible things — like wind — become visible."




Issy Wood Featured at Carlos/Ishikawa Gallery in London




Filip Custic en BIBLI





Shot in Dakar, Senegal MEMORIES OF WHAT BECAME A DESERT depicts two people who are scared to face their unbridgeable emotional distance. Through dance, language and space it explores the growing separation between its protagonists. Starring: Shelly Ohene-Nyako, Babacar Mané Music composition: Ilias Kampanis Voice recording: Samia Sayah





PICTURAL IDENTITY : Enfant Précoce MAKE-UP: Maud Eigenheer DANCERS : Mes Lesne - Eva Ndiaye - Patric Kuo - Katharina Diedrich - Mattéo Masson - Aliashka Hilsum - Tom Migné





‘SIGNS’ is a mesmeric trip through prohibitions, warnings, and symbols made from thousands of international road signs.

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Shilpa Gupta | Galleria Continua


While training in sculpture, the Indian artist began to work experimentally with a wide range of media, including video, photography and interactive mixed media installations. Mid 2000’s Gupta already occupied a prominent position on the international art scene. The show prepared by the artist for the former cinema-theatre of San Gimignano includes a large number of works produced specially for the occasion – objects, images, interactive sound installation – and some recent works. Technology for Gupta is a kind of extension of everyday reality, a narrative tool but also a subject/object of inquiry. The artist is interested in human perception, in how information, either visible or invisible, is transmitted and interiorized in daily life. Constantly drawn by the definition of objects and by mechanisms for identifying places, people and experiences, Gupta explores the zones in which these definitions acquire form, whether this concerns borderlines, labels or notions of censorship or security. Her work involves the viewer, creating intimacy and setting up an intense and never didactic dialogue. Gupta asked a hundred people to draw from memory a map of the place where they live. This gave rise to 100 Hand Drawn Maps, a work with intimate and delicate features that reflects on the theme of belonging, on the complexity of the concept of the frontier – real, imaginary, political, geographical – but also on the power exercised by institutional forces through cartography. The tryst with the uncontainable edge of a nation is explored in many other works in the show, for instance in Untitled 2014, a set of six pieces of hand woven fabric ranging in size from A0 to A5. “I use incremental measurements”, the artist explains, “because we surround ourselves with measures, say a simple sheet of ‘A4’ paper that we slip into a printer”. Precise factual data, proportional relations are accompanied in Shilpa Gupta’s work by deliberately concealed notions – the names of the two nations in this case – serving as a warning that the passage of time just like the movements of people render vain any attempt to schematize or to label. The sound installation Speaking Wall speaks of a border drawn in sand that is constantly shifted by wind and rain. Listener and narrating voice enter into contact through a poetic monologue on borders, not just geopolitical but also strictly pertaining to the space of the installation, triggering a series of reflections on the sense of distance, on surveillance and on bureaucracy. Gupta recounts the story of a world that is constantly in search of identity and in constant transformation. The artist gathered stories of people who, for various reasons, be it fear of political persecution, social prejudice, personal aspiration or embarassment, decided, at a certain point in their lives, to change their surname.


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