Tag: installation

Jenny Holzer, Truisms (Marquees), 1993, installation, NYC

Muriel Zeller, “Self, Time and External Circumstances”

Gwendolyn Brooks, “The Mother”

Mona Hatoum, Marrow , 1996, rubber, 128.3 x 58.4 x 50.8 cm. (50.5 x 23 x 20 in

Doris Salcedo, Untitled, 1987, Steel cot, steel shelving, rubber, 10 plastic dolls and pig intestine, 1870 x 2410 x 460 mm, 65, Tate

Tracey Emin, Terribly Wrong 1997, monoprint on paper, 58.2 x 81.1. Tate

Frida Kahlo, My Birth, Mi Nacimiento, 1932

Anne Sexton, “The Abortion”

Sylvia Plath, April 18th 

Tracey Emin, Feeling Pregnant (in 6 parts) , 2000, clothes, wood and text

Recollection 

Mona Hatoum

1995

Installation, variable dimensions.
Materials: hair balls, strands of hair hung from ceiling, wooden loom with woven hair, table

Collection: De Vleeshal Collection, Middelburg (The Netherlands) (Inv. no. VH0204).

Recollection consists of a table-shaped loom used to weave human hair; strewn on the ground around it we come across hundreds of little brown balls made out of hair – the artist’s own – and an invisible ‘wall’ of hairs strung up, in a precise grid, from ceiling to floor. A chilling mixture of bodily intimacy and abject domesticity, the work exemplifies Hatoum’s interest in topics related to imprisonment, incarceration and enslavement.

Eran Schaerf

‘We is OK’

1994

“At the foundation of the installation We is OK from Eran Schaerf, is the artist’s own poem Zaun-Town. The text is composed from quotations, allusions and his own twists and turns; he lets it be read as a poem, as a philosophical treatise and as an autonomous work where metaphor has become reality. In his text Schaerf refers to figures including the political philosopher Hannah Arendt, architect Erich Mendelsohn and philosopher of language Ludwig Wittgenstein. The poem is painted on a 45 meter-long ribbon of sailcloth that, according to the spaces’ dimensions, can be rolled out in varying compositions. This written element of the installation is then mirrored by Schaerf in sound. The sail canvas from which the ribbon unrolls is printed with all kinds of quotes from pop songs, and these are played over a sound system. Moreover, the poem’s text where the ribbon stops is transposed in sound and translated into Dutch in the accompanying sound recording.The opposition script-sound, reading-listening that is so created is typical of Schaerf’s work, regularly founded on the (un)intentional face-to-face confrontation of opposites and the resulting cognitive effect evoked by these contrasts. Schaerf use of his poem in We is OK was not its first apparition: it also appeared in his book Folding Public Plans (1994). This yen for recycling is also characteristic for Schaerf’s oeuvre, where elements of old installations regularly return in newer works. He offers earlier used ideas a new context in new work, and by so doing undermines the original meaning, while reminding the public of the instability of what we call reality.“

—Vleeshal Center for Contemporary Art 

Source: vleeshal.nl