For a long time, I have been looking at how we shape landscapes and project meaning through them, but now I’m thinking less about a site and more about an event. With this piece, you’re experiencing a vignette of something happening in time.
Until the mid-20th century, governments (especially in America and Europe) erected propagandistic statues and memorials at will, works that quickly melted into the realm of invisible street furniture alongside lamp posts and traffic lights. Over the last 50 years, however, public sculpture has become properly public.
La artista plástica Marcela González trabaja las esculturas ejerciendo sobre ellas una mirada académica atravesada por los ecos contemporáneos. Sus conocimientos de las formas, técnicas y materiales hace que, si bien la Antigüedad, el Renacimiento, el Barroco sean una fuente de consulta y referencia permanente, la artista ponga especial atención en el diálogo con las estéticas actuales.
“My practice over the last decade has been a very slow and systematic inquiry into authorship—the critique of authorship, methods of eliminating the personal subjective, and questions of digital reproduction. It led me to cool, calculated Boolean operations and slick, high-production sculptures.”
Davina Semo is folded over her laptop, head in her hands, elbows on the table. She makes eye contact with the camera, with me, and we both laugh. There’s really nothing else we can do. We both have the lights on—she in her studio in San Francisco, me in my home a few miles away.
Martand Khosla’s sculptures capture the evolutionary forces at work in the modern city, with its constant churning, its shifting appearance and demographics, and the dynamics of the divide between rich and poor.
Chung Hyun, a professor at Hongik University in Seoul, is known for his flat, anonymous, mostly wooden, and slightly larger-than-life figures arranged in long processions, indoors and out. His work, which plays with existential questions, conveys a personalized vision that partakes of Modernism and installation art while remaining figurative in nature.
A set of deep blue glass sculptures sits in a window of Peggy Guggenheim’s unfinished palazzo, overlooking Venice’s Grand Canal. Made from sketches by Picasso, they are a rare relic of Guggenheim’s collaboration with Egidio Costantini, Murano’s “master of masters.”
Nacida en París, con estudios en Bellas Artes, diseño gráfico, textil, decoración y arquitectura, la artista francesa Valerie Rey desarrolla su obra desde fines de los años 90 en Costa Rica, tierra con la cual conecta de forma inmediata, estableciendo con la naturaleza del entorno un diálogo creativo.
Just over a year ago, I noticed a then-new Instagram account called @physical_culture_philosophy, and, because all three of those words interest me, I began to follow it. Turns out it is the creation of the London-based sculptor Graham Hudson, who has shown throughout Europe and the U.S.