Autonomous Morris, by Zak Ové, London, UK
British-Trinidadian artist Zak Ové debuts his largest mask-sculpture to date at the newly reopened Smithson Plaza in London’s St James’s neighbourhood. The totemic sculpture comprises discarded car parts welded together including several vintage Morris bonnets, a nod to the tradition of Morris dancing that came to the UK by way of the Moors. Autonomous Morris is described by Ové as motorised ‘Macco’ – in other words, a busybody prying to other people’s business. ‘My sculpture highlights my belief in the power or play embodied in masquerade, to liberate a sense of self and provide an alternate or evolving creative space both personal and communal,’ explains the artist. ‘Autonomous Morris soaks up contemporary oral history and information, recording and storing as a “never forgetterer”.‘
Autonomous Morris is on view until early 2019; 25 St James’s Street, London SW1A 1HJ, UK; www.smithson-plaza.com (opens in new tab), www.vigogallery.com (opens in new tab)
Writer: Jessica Klingelfuss.
Bridging Home, London, by Doh Ho Suh, London, UK
A traditional Korean house and bamboo garden have mysteriously landed atop a footbridge above one of London’s busiest roads, near Liverpool Street station. It is not a housing project gone awry, but rather, artist Do Ho Suh’s first large-scale outdoor installation in the capital. Bridging Home, London echoes Suh’s own experience of shifting between continents and cultures, continuing his career-long investigation of memory, migration, and the immigrant experience. ‘For me, a building is more than just space. It is not only physical but also metaphorical and psychological,’ says the artist. ‘While Bridging Home, London comes from personal experience, I hope it is something a lot of people can relate to.’
Bridging Home, London will be on view for a minimum of six months from September 2018; Wormwood Street, London EC2; www.sculptureinthecity.org.uk (opens in new tab), www.artnight.london (opens in new tab)
Writer: Jessica Klingelfuss. © Do Ho Suh. Courtesy of the artist; Lehmann Maupin, New York, Hong Kong and Seoul; and Victoria Miro, London/Venice
Space Waste Lab, by Daan Roosegaarde, Almere, Netherlands
Daan Roosegaarde set his sights on tackling urban air pollution with a tower that turned smog into jewellery. Following on the from the success of his Smog Free Project, the Dutch artist and innovator is looking above and beyond our local environs to outer space, where waste parts and debris from spacecrafts are disturbing our digital communications by colliding with satellites. Around 29,000 waste objects larger than 10cm are estimated to be orbiting Earth. ‘We need to look at space in a better way,’ states Roosegaarde. ‘What is space waste, how can we fix it, and what is its potential? Space waste is the smog of our universe.’ From October, the artist’s new installation in Almere, Netherlands, will continue his crusade for a cleaner environment through design. After sunset on select weekends, vertical lines of light will be beamed into outer space, connecting the planet with the pollution. The installation will highlight one per cent of the earth’s orbiting waste, at an altitude between 200 and 20,000 km, in real-time.
Space Waste Lab is on view 5-6 October; 9-10 November; 7-8 December; and 18-19 January 2019; Kunstlinie Almere Flevoland, Esplanade 10, 1315 TA Almere, Netherlands; www.studioroosegaarde.net (opens in new tab); www.kaf.nl (opens in new tab)
Writer: Luke Halls. Visualisation courtesy of Studio Roosegaarde
The Constellation, by Ralph Helmick, Abu Dhabi, UAE
The Constellation is a monumental public artwork that forms the centrepiece of The Founder’s Memorial in Abu Dhabi, a permanent national tribute to the UAE’s founding father, the late Sheikh Zayed bin Sultan Al Nahyan. Boston-based sculptor Ralph Helmick collaborated with Dpa Lighting to bring his celestial installation to life in the pavilion at the heart of the memorial.
The Founder’s Memorial, Intersection of Abu Dhabi Corniche and 18th Street, Abu Dhabi, UAE; www.helmicksculpture.com (opens in new tab); www.dpalighting.com (opens in new tab)
Writer: Jessica Klingelfuss.
The Constellation, by Ralph Helmick, Abu Dhabi, UAE
The intricate installation comprises over 1,300 geometric shapes suspended from more than 1,000 tensioned cables. Extensive lighting trials were conducted in Abu Dhabi to achieve the three-dimensional rendition of the sculpture at night. To wit, 753 downlights and 1203 uplights were custom made to illuminate the sculpture from above and below.
The Founder’s Memorial, Intersection of Abu Dhabi Corniche and 18th Street, Abu Dhabi, UAE; www.helmicksculpture.com (opens in new tab); www.dpalighting.com (opens in new tab)
Writer: Jessica Klingelfuss.
Green Man Festival, Wales, UK
Taking place over four days in Wales’ Brecon Beacons, arts and music festival Green Man commissioned three artists to create temporary installations at its 2018 edition, among them Megan Broadmeadow and duo Flow Conceptions. Italian artist Carlo Bernardini’s site-specific artwork, Impalpable Suspension (pictured), responds directly to the space of Green Man’s pine copse, with a geometric arrangement of lights piercing the forest canopy.
Green Man Festival ran from 15-18 August; www.greenman.net (opens in new tab)
Writer: Jessica Klingelfuss
JEM, by Eness, Brisbane, Australia
Interdisciplinary Australian firm Eness has designed JEM, an interactive space of contemplation and calm. Placed at the heart of Flowstate, a recently revitalised creative space at Brisbane’s South Bank, the installation responds to user interaction. The 32 LED-lined arms utilise a 360-degree laser tracking system, replying to movement through pulsating, multi-coloured lighting phrases and rhythmic sounds. Plush crochet beds invite guests to relax awhile, to embed themselves within the dynamic experience and to gaze at the sky above. ‘JEM is here to unify people through a shared experience,’ states Eness. ‘We’re excited to see how people rest, dream and play in this rare space’.
Flowstate, The Arbour, Tribune Street, Brisbane, Australia; www.eness.com (opens in new tab)
Writer: Luke Halls.
The Manchester Lamps, by Acrylicize, Manchester, UK
A series of five sculptural lamps are shining a light on Manchester’s city centre. Designed by Seattle and London-based studio Acrylicize and commissioned by Property Alliance Group, the larger than life creations echo various eras of innovation in design and beyond, each with a distinctive style, from art nouveau, to art deco, midcentury, Victorian and contemporary. Paying homage to the Sir Robert Peel quote, ‘What Manchester does today, the rest of the world does tomorrow’, these public sculptures honour Manchester’s industrial past while ‘optimistically looking towards the future’, explains the studio. The 1903 art nouveau Tiffany lamp (pictured right) nods to the city’s history of education, including the Chetham Library, which houses the UK’s oldest free public reference library. The sculpture’s canopy is adorned with open books alongside classical pen nibs and square academic caps.
Piccadilly Place, Manchester, UK; www.acrylicize.com
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Writer: Jessica Klingelfuss
The Manchester Lamps, by Acrylicize, Manchester, UK
The 1909 banker’s desk lamp is recognisable for its green shade – a design feature that softened the bulb, making it easier to work at night. Recreated in towering sculptural form (pictured left), it represents the dedication of world-famous computer pioneer Dr Alan Turing. The glowing canopy integrates a scrambled code, inspired by the circuit board patterns and the ground breaking Enigma code. Acrylicize has also reinterpreted the iconic Anglepoise lamp, which here playfully projects a graphic pattern onto the surrounding architecture.
Piccadilly Place, Manchester, UK; www.acrylicize.com
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Writer: Jessica Klingelfuss
Franchise Freedom, by Studio Drift, Amsterdam, Netherlands
Studio Drift’s Franchise Freedom, a flying sculpture of 300 luminous drones in bird swarming formation, made its debut to much acclaim at Art Basel Miami Beach in 2017. The performative artwork will be on view for three days during sunset, from 10-12 August, above the river IJ in Amsterdam, where the duo are based. Studio Drift’s Lonneke Gordijn and Ralph Nauta have been studying the flight patterns of starlings moving in a swarm for ten years. Fascinated by the movements whereby freedom and at the same time limitations of the individual birds within the swarm alternate, the Future\Pace (opens in new tab) artists developed an algorithm that can make autonomous choices. This allowed them to translate their movements them into software that was specially developed and embedded in the luminous drones. The European premiere of Franchise Freedom coincides with the duo’s retrospective, ‘Coded Nature’, at Amsterdam’s Stedelijk Museum, on view until 26 August.
Franchise Freedom is on view 10-12 August, from 9.30pm; The installation can be seen from locations around the river IJ, the best spots being Pllek, Amsterdam Noord or the Haparandadam in the Houthavens; www.studiodrift.com (opens in new tab)
Writer: Jessica Klingelfuss
Where the Lights in My Heart Go, by Yayoi Kusama, Boston, US
One of Yayoi Kusama’s cosmic Infinity Mirror Rooms is being shown in the Boston area for the first time. Installed outdoors at deCordova Sculpture Park and Museum, Where the Lights in My Heart Go (2016) is a ten-by-ten-foot polished stainless steel chamber with a mirrored interior; perforations in the walls and ceiling allow natural light to penetrate the darkened room, creating a celestial experience when visitors step inside. Kusama calls the work a ‘subtle planetarium’, an intimate and enclosed space that also gives the illusion of a continuously expanding universe. Pictured, Where the Lights in My Heart Go, 2016, by Yayoi Kusama, mirror polished stainless steel with glass mirror.
Where the Lights in My Heart Go is on view 5 July – 28 October; deCordova Sculpture Park and Museum, 51 Sandy Pond Road, Lincoln, MA 01773, US; www.decordova.org (opens in new tab)
Sculpture In the City, London, UK
London’s Square Mile has been transformed into an outdoor sculpture park for the City of London’s annual public art programme. Now in its eighth year, Sculpture in The City (opens in new tab) sees works from internationally renowned artists – Sarah Lucas, Tracey Emin, Sean Scullly among them – crop up near the English capital’s architectural landmarks, such as the Gherkin and The Leadenhall Building. Pictured, The Adventurer, 2014, by Gabriel Lester, metal, wood, fluorescent light, billboard.
Sculpture In The City runs until May 2019 in London’s Square Mile
Writer: Jessica Klingelfuss.
Sculpture In the City, London, UK
Sound works are being presented for the first time at Sculpture in The City (opens in new tab): Marina Abramović’s 1972 Tree installation (pictured) confronts visitors with the sound of birdsong with an insistent, distorted repetition, enclosed within a tree at 99 Bishopsgate.
Sculpture In The City runs until May 2019 in London’s Square Mile
Writer: Jessica Klingelfuss. Image © Marina Abramović. Courtesy of Lisson Gallery
Will Ryman outdoor sculptures, Paris, France
American sculptor Will Ryman has installed seven monumental sulphur-yellow ‘heads’ (pictured), each over 3m in height, in Paris’ Parc de la Villette as part of the third edition of the 100 Percent Festival. Abstract in form, with varying apertures (or eyes), each is purposefully imperfect, recalling gongshi, ancient Chinese scholars’ rocks. Hand-sculpted in clay and then cast in resin, the Heads are titled after Samuel Beckett’s seminal 1984 play, Waiting for Godot.
Will Ryman’s sculptures are on view until 16 September; Parc de la Villette, 211 Avenue Jean Jaurès, 75019 Paris, France
Will Ryman outdoor sculptures, Paris, France
Elsewhere in the Paris park, Ryman has erected a labyrinth of primary-coloured resin slabs, inspired by the arcade game Pac-Man. This is the New York-based artist’s first large-scale presentation in Europe.
Will Ryman’s sculptures are on view until 16 September; Parc de la Villette, 211 Avenue Jean Jaurès, 75019 Paris, France
Uraeus, by Anselm Kiefer, New York, US
Anselm Kiefer touched down in New York this May with his first site-specific public sculpture in the US, presented by Gagosian and organised by Public Art Fund and Tishman Speyer. Sitting at the Fifth Avenue entrace of the Rockefeller Center’s Channel Gardens, the sculpture explores the symbolism of books. Constructed from lead (a material preferred by Kiefer), a gigantic book rests open on spread eagle’s wings, while a winding serpent coils up a 20ft stainless steel column, anchored by a base of lead-clad books. The array of classical imagery incorporated into the piece questions the development and production of fact throughout history. Juxtaposed against today’s digital age, which democratises knowledge unlike ever before, Kiefer masterfully asks viewers of Uraeus to see literature as powerful, yet also dangerous.
Uraeus is on view until 22 July 2018; Channel Gardens, New York, NY 10020, US
Writer: Luke Halls.
Wind Sculpture (SG) I , by Yinka Shonibare, New York, US
Yinka Shonibare is having a moment in the US. The British-Nigerian artist recently installed one of his signature batik-inspired Wind Sculptures at The National Museum of African American Art in Washington DC. Now, Shonibare has unveiled his first public art commission in New York – at Central Park no less. Presented by nonprofit organisation Public Art Fund, the 23ft tall fibreglass sculpture is the first in a new generation of Wind Sculptures, taking on a deeper, and more dynamically twisting form than previous iterations – the 55-year-old has described it as an attempt to ‘playfully sculpt the impossible’. Visitors will find it difficult to miss this billowing hand-painted sculpture, which uses a palette of turquoise, red, and orange – colours that recall Shonibare’s childhood on the beaches of Lagos. Shonibare has called the Dutch wax batik print that inspires his work the ‘perfect metaphor for multilayered identities’. Ultimately, isn’t that what New York is all about?
Wind Sculpture (SG) I is on view until 14 October; Doris C Freedman Plaza, access via southeast entrance, Central Park, New York, US
Writer: Jessica Klingelfuss.
Champ, by Zoe Buckman, Los Angeles, US
With International Women’s Day (8 March) just around the corner, female artists are enjoying their moment in the spotlight more than ever. Case in point: Zoe Buckman, who has just unveiled her first-ever public art installation, Champ, in front of the The Standard Hollywood hotel in Los Angeles. Presented by Art Production Fund (opens in new tab) with support from fashion label Alice + Olivia by Stacey Bendet, the kinetic 43ft tall neon artwork – depicting an abstracted uterus with fibreglass boxing gloves in place of ovaries – will slowly rotate on the corner of Sunset Boulevard and Sweetzer Avenue. ‘Whether it speaks to reproductive rights or advocacy around domestic violence, or women’s health awareness, my goal is to give agency to these women whilst also transcending gender in the fight for women’s rights,’ says the London-born artist, now based in New York. ‘The use of boxing gloves as stereotypically masculine objects, and the choice to use white light for its neutral quality, will hopefully encourage us all to band together in face of current adversity.’
Champ is on view until February 2019; The Standard Hollywood, 8300 Sunset Boulevard, West Hollywood, CA 90069, US
Writer: Jessica Klingelfuss.
‘Smog Free Tower’, by Studio Roosegaarde, Kraków, Poland
Design Awards 2018 judge Daan Roosegaarde believes that design should genuinely improve quality of life. Now, Studio Roosegaarde has garnered international acclaim with its Smog Free Tower, a 7m tall air cleanser that purifies 30,000 m3 of air per hour, on as much energy as a water boiler. The tower is currently occupying Park Jordana in Kraków, Poland, promoting an optimistic vision of a cleaner future.
Park Jordana, Aleja 3 Maja 11, 30-062 Kraków, Poland
Writer: Luke Halls
‘Smog Free Tower’, by Studio Roosegaarde, Kraków, Poland
ING Bank Śląski SA partnered with Roosegaarde Studio to bring the tower to Kraków, having adopted the Green Statement in 2017 to actively find innovative solutions to prevent air pollution. A pop-up exhibition at the Museum of Contemporary Arts in Kraków joins the tower – part of Roosegaarde’s larger work ‘Landscapes of the Future’, connecting people, technology and space to improve quality of life in urban environments.
Park Jordana, Aleja 3 Maja 11, 30-062 Kraków, Poland
Writer: Luke Halls
Ice Breakers, Toronto, Canada
Downtown Toronto has received a fresh wave of public installations this winter. Spread across the city’s waterfront, winning submissions of the Ice Breakers (opens in new tab) design competition come from Canadian, Chinese and Portuguese studios, designed under the theme of constellations. Winning designs include Winter FanFare (pictured) by Thena Tak from Vancouver, as well as Root Cabin by Winnipeg’s Liz Wreford and Peter Samson of Public City Architecture.
HTO Park West, 375 Queens Quay W, Toronto, ON M5V 1A2, Canada
Writer: Luke Halls
Ice Breakers, Toronto, Canada
Another winning submission Through the Eyes of the Bear (pictured), by Tanya Goertzen of Calgary-based People Places, is constructed from completely renewable, recyclable and compostable materials. The buried bear invites user interaction, asking onlookers to consider their own relationship with nature by literally looking ‘through the bear’s eyes’. Goertzen looked to the Ursa Major constellation for inspiration, which is widely known as the ‘Great Bear’. Waterfront BIA’s Executive Director Carol Jolly sees the new installations as having ‘really brought a community together’ during the colder months, and are reason enough to head water-side this winter.
HTO Park West, 375 Queens Quay W, Toronto, ON M5V 1A2, Canada
Writer: Luke Halls
Relatum – Stage, by Lee Ufan, London UK
London’s art-filled Kensington Gardens has gained a new public sculpture outside Serpentine Galleries. Following in the footprints of works by Michael Craig-Martin, Alex Katz, and Anish Kapoor, Lee Ufan’s Relatum – Stage continues the South Korean artist’s renowned ‘Relatum’ series, ongoing in global public spaces since the 1960s. Comprising two, angled, mirrored-steel sheets and two different-sized stones, this new work aims to merge the natural and industrial in a poetic installation that reflects the peace of the Park – a haven in its city centre spot.
Serpentine Galleries, Kensington Gardens, London W2 3XA, UK; www.serpentinegalleries.org (opens in new tab)
Writer: Elly Parsons
Knots, by Alex Chinneck, Kirchheim unter Teck, Germany
‘I like to give fluidity to typically inflexible things, transcending their material nature,’ says British sculptor Alex Chinneck of his latest outlandish installation – an enormous brick column that he has seemingly ‘tied in a knot’. The installation mimics similar columns that feature prominently on and inside a 450-year-old museum in Kirchheim unter Teck, Germany. ‘This intervention took an opportunity to defy logic and distort history,’ says the artist. The work titled ‘Birth, death and a midlife crisis’, complements a new exhibition of Chinneck’s work happening concurrently inside the museum, featuring a wooden broom (also knotted) leaning comically against the wall.
‘Knots’ is on view until 8 April; Städtische Galerie Kornhaus, Max-Eyth-Strasse 19, 73230 Kirchheim unter Teck, Germany; www.kornhausgaleriekirchheim.wordpress.com (opens in new tab)
Writer: Elly Parsons
Robert Indiana, New York, US
Robert Indiana once said, ‘It’s the role of the artist – my particular role, if you will – to make words and numbers very, very special.’ It’s a role the celebrated American artist exercised when creating his seminal word-art, LOVE WALL and ONE through ZERO, which Paul Kasmin Gallery (opens in new tab) has brought to 515 West Street, New York City. Indiana’s archetypal LOVE compositions, with their bold serif lettering, is one of the most ubiquitous works of art of the 20th century. It’s return to New York marks not only 15 years representation with Paul Kasmin, but the artist’s 90th birthday.
‘Robert Indiana’ is on view until 3 March; 515 W 27th Street, New York, NY 10001, US; www.paulkasmingallery.com (opens in new tab)
Writer: Elly Parsons
Aventura Mall slide tower, by Carsten Höller, Miami, US
Miami’s answer to Anish Kapoor’s ARCELORMITTAL ORBIT in London, will get you feeling ‘somewhere between delight and madness’, says its creator Carsten Höller
. Housed at Aventura Mall, Miami’s premier shopping destination (home to a world-class contemporary art collection), the nine-storey slide is Höller’s first in America.
Aventura Mall, 19501 Biscayne Blvd, Aventura, FL 33180, US; www.aventuramall.com (opens in new tab)
Writer: Elly Parsons
Aventura Mall slide tower, by Carsten Höller, Miami, US
After climbing a titanium steel staircase, visitors will plummet 93 feet at 15 miles per hour, enjoying dizzying views of the new, three-level expansion wing of the Aventura Mall (which houses works by Louise Bourgeois, Jorge Pardo, The Haas Brothers and Daniel Arsham, among others). This permanent installation will be free to the (daredevil) public.
Aventura Mall, 19501 Biscayne Blvd, Aventura, FL 33180, US; www.aventuramall.com (opens in new tab)
Writer: Elly Parsons
Jacob’s Ladder, by Gerry Judah, Makarau, New Zealand
Gibbs Farm – a 1000-acre open-air sculpture park in Kaipara Harbour, near Auckland – features over 30 monumental sculptures from a roll-call of top international contemporary artists including Richard Serra, Anish Kapoor and Andy Goldsworthy. All works are commissioned by Alan Gibbs, a New Zealand businessman, entrepreneur and art collector who has been assembling the Gibbs Farm collection for 26 years. Now, British artist Gerry Judah has joined the cast, with Jacob’s Ladder – a sweeping, 110ft tall sculpture made out of square-sectioned steel tube.
Gibbs Farm Sculpture Park, 2421 Kaipara Coast Hwy, Makarau 0984, New Zealand; www.gibbsfarm.org.nz (opens in new tab)
Writer: Elly Parsons.
Jacob’s Ladder, by Gerry Judah, Makarau, New Zealand
Jacob’s Ladder (a colloquial term referring to the connection between the earth and heaven) is made from 480 lengths of steel, stacked one on top of each other. Each layer is slightly different in length and size, so the sculpture appears to shift and rotate, producing the final gracefully curving shape – despite the components themselves all being straight steel sections. Despite its physical rigidity, the sculpture evokes both a hurricane, and smoke billowing from a fire, appearing to blow in the wind.
Gibbs Farm Sculpture Park, 2421 Kaipara Coast Hwy, Makarau 0984, New Zealand; www.gibbsfarm.org.nz (opens in new tab)
Writer: Elly Parsons.
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Lynda Benglis’ seductive hall of mirrors and juicy neon eggs in London
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