{"id":6490,"date":"2018-12-13T16:27:47","date_gmt":"2018-12-13T15:27:47","guid":{"rendered":"http:\/\/sculpture-nature_local.test\/?p=6490"},"modified":"2018-12-15T14:55:16","modified_gmt":"2018-12-15T13:55:16","slug":"december-2018-s-picks","status":"publish","type":"post","link":"http:\/\/sculpture-nature_local.test\/en\/december-2018-s-picks\/","title":{"rendered":"December 2018 ‘s Picks"},"content":{"rendered":"

Bruno Peinado\u00a0:<\/a> From Paris with love, a code and a body for a new form of metaphysics
\n<\/em><\/strong>Porte de Saint-Ouen, Paris (France)<\/p>\n

Inaugurated at the end of November within the frame of the \u201cNew Patrons\u201d (les Nouveaux commenditaires) protocol and the extension of the T3 tram line in Paris, Bruno Peinado\u2019s From Paris with Love<\/em> is composed of two ensembles, installed at the crossroads of the 17th and 18th arrondissements, each made of different elements of the urban landscape \u2013 road signs, luminescent boxes, pylons \u2013 and wind turbines. These elements are transfigured by a play on materials and lights, bright colors, luminous messages in Morse code and the movement of wind blades. The work symbolizes the spirit of the renaissance and the different moods of a neighborhood, of passersby or of hospital visitors, and is a response to the artwork\u2019s sponsor \u2013 a group of employees from the Hospital Bichat-Claude Bernard, along with a former patient.<\/p>\n

The \u201cNew Patrons\u201d<\/a> allows citizens to take responsibility for the commissioning of artwork by contemporary artists from all disciplines with the support of a cultural mediator licensed by the Fondation de France. Other works are under way in the context of the extension of the T3 tramway line in Paris, including a sculpture by Joana Vasconcelos, C\u0153ur de Paris<\/em>.<\/p>\n

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The Nature of Arp<\/a>
\n<\/em><\/strong>Nasher Sculpture Center, Dallas (United States)
\n<\/em><\/strong>Through January 6th, 2019<\/p>\n

For its exhibition The Nature of Arp<\/em>, the Nasher Sculpture Center gathered over 80 works by Jean Arp, co-founder of the Dada movement in Zurich in 1916, which deeply questioned artistic conventions at the beginning of the 20th century. Chance and uncertainty are at the core of Jean Arp\u2019s aesthetics. He explores their creative possibilities to negate everything that pertains to tradition and institution and to achieve a creative act closer to that of Nature.<\/p>\n

The Nature of Arp<\/em> presents a selection of his biomorphic sculptures, his dada reliefs \u2013 shapes cut out in polychrome wood and assembled to create relief \u2013 or his abstract collages, which composition he entrusted to chance. The exhibition also explores the notion of fragmentation, evident in the artist\u2019s work, and offers an exhaustive outlook on his life\u2019s work.<\/p>\n

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Phyllida Barlow, tilt<\/em><\/strong><\/a>
\nHauser & Wirth, 22nd Street, New York (United States)
\nThrough December 22nd, 2018<\/p>\n

Famous for her large-scale sculptures that occupy and transform wide spaces with materials such as cardboard, fabric, Styrofoam or cement, Phyllida Barlow presents her latest work in a new exhibition entitled \u201ctilt\u201d in one of the New York Hauser & Wirth galleries. A shift occurs. The large immersive sculptural installations are associated to autonomous sculptures of smaller scale, thus creating a new experience for the visitor. Through her work, Phyllida Barlow explores the relationship to the sculptural object, something in between bewilderment and fascination.<\/p>\n

The artist was commissioned a piece for the High Line in New York that was recently inaugurated. Prop is inspired by a sculpture displayed in front of the British pavilion at the 2017 Venice Biennale. Prop is a large block of concrete with two circular holes, mounted onto a rudimentary metallic structure. About prop, Phyllida Barlow writes:<\/p>\n

\u201c[\u2026]\u00a0prop is a reminder of what might remain from an industrial past; it is an ambiguous object\u2014 although dependent on a hoarding structure, it cannot be that\u2026 the existing hoardings visible along the High Line are vast, supported by industrially fabricated structures; prop is a mere shadow of those contemporary monuments; in comparison to them, prop is a frail copy\u2014 [\u2026]\u201d<\/p><\/blockquote>\n