#grimanesa amorós

[biglisbonnews]

A Tribeca Loft With a Kitchen Swing and an Old Convent Door “Everything changes in this house,” says its owner, Grimanesa Amorós, who has filled it with her organic light sculptures. https://www.curbed.com/article/grimanesa-amors-tribeca-loft-tour.html

[visionistvenus]

Magic Box, Grimanesa Amorós, 2009

“Fill me with your dreams.” said the Magic Box.

[habana-arte]

GOLDEN BUTTERFLY, a lighting installation project by GRIMANESA AMORÓS (Peru-USA) ‘has as a conceptual base the visuality and the meaning of the emblematic Mariposa flower.’ This light sculpture is part of DETRÁS DEL MURO, the massive public art intervention in Havana’s Malecón and opens officially on April 14, 2019 at 5:00pm at the corner of Malecón & Galiano. 

Follow us on Instagram: http://bit.ly/habanaarte

[madilynskeyreid]

Week 2 - 1.1 -  LIGHT PRECEDENTS:

Grimanesa Amorós

They combine lighting, metal, silkscreen, and hi-tech materials to create wondrous, walk-in lightscapes. Their current inspiration derives from nature and its natural elements, such as the Northern Lights and the Uros floating Islands in Lake Titicaca. “My work is sculpture and installation at the same time. Like sculpture, it focuses on the subject and the interpretation of the viewer. Like installation, it is site-specific and creates a whole environment.”Each sculpture requires detailed planning: designing the structures the LEDs or domes are attached to (usually a truss system), drawing up a list of materials and equipment, and deciding how to pack and unpack the work. The budget is extremely important to the quality of materials used during production.The entire process has a lot to do with the site where the work will be installed. Each site has its restrictions and constraints—currents, weather, buildings, sun, wind, building rules, time limits, use of materials, imagery. That’s okay, because as an artist, I use these constraints to help create a powerful piece.

Kim Morgan

Can you tell us about the process of creating the work in the exhibition?

It's a latex rubber imprint/cast of the interior and exterior of a de-commissioned range light from the town of Borden-Carleton, Prince Edward Island. It was cast on location with the help of a crew. There are seven layers of latex rubber with one layer of mosquito netting in the middle. It took 3-4 weeks to cast and 100 gallons of liquid rubber latex.*

The work is very process oriented and very labor intensive. As a site-responsive work it continues to be so.

It connects to the broader themes of identity, community, technology, memory, and desire. And of course our relationship to change. How inevitable change is in our lives and how uncomfortable it can be.

Ernesto Neto

‘Neto’s installations are designed to be walked through, inhabited, felt, and even smelt, which enables the viewer to experience their own body, their senses, and their mind through the work of art.’

Ernesto’s work is exploring the body though large instillation made from materials and structures that you wouldn’t normally associate with the the human form.

‘The artist creates forms that resemble the human body or other living organisms. In The Falling Body [Le corps] female [from Leviathan Thot], the enormous white form suspended overhead almost seems to breathe. Its long, soft limbs hang heavily, reminding us of the force of gravity that anchors us to the earth. The sculpture is pliable, sensual, and transitory—like our own bodies.’

Looking at his work I am taking inspiration from the way he uses unbodily materials and shapes to represent the human form similar to that of Eva Hesse. and how it theses materials and shapes, and the scale of the installations can be used to create a awkward and consuming experience.

Bright white lights up the enhance the white mesh material used within the space. 

Natsu, Cradle - Island Universe, rope, hardware

a group exhibition by five female artists reflecting on the trajectory ofgender-specific issues from cross-generational and diverse social and cultural contexts.

PRESS RELEASE / WINTER 2011

- rope sculpture. 4 spot lights are projected on the piece at the same level. creates an effect where the sculpture is entirely lit up while casting shadows on near by walls 

[gloriajover]

GOLDEN CONNECTION (2013) by Grimanesa Amorós de Grimanesa Amoros en Vimeo.

[latikobe]

“Todas las Bienales del mundo eligen los artistas que van a invitar”

Los panelistas Margarita González, Norma Rodríguez, moderador y Jorge Alfonso (foto CubaNet)

LA HABANA, Cuba. – En la mañana de hoy tuvo lugar la esperada rueda de prensa correspondiente a la decimotercera Bienal de La Habana, que se celebrará del 12 de abril al 12 de mayo de 2019. La actividad se realizó en el Centro de Prensa Internacional, con la participación se periodistas estatales, especialistas, autoridades del Ministerio de Cultura y algún que otro miembro camuflado de la policía política. La prensa independiente no fue admitida, como era de esperar teniendo en cuenta el ambiente de represión y control que ha acompañado a los preparativos de la 13 edición del mayor evento de artes visuales en la Isla.

El panel a cargo de la presentación estuvo integrado por Norma Rodríguez Derivet -Presidenta del Consejo Nacional de Artes Plásticas (CNAP)-, Margarita González Lorente -Subdirectora del Centro de Arte Contemporáneo Wifredo Lam- y Jorge Alfonso “Chicho” -designado Director Ejecutivo e Ideólogo de la Bienal-, quienes expusieron las principales coordenadas de la gran cita que intenta mantenerse fiel a su premisa fundacional: respaldar y promover la producción artística de regiones periféricas.

Con el tema “La construcción de lo posible”, la Bienal recibirá artistas de 52 países y se extenderá por primera vez a las provincias de Pinar del Río, Matanzas, Cienfuegos y Camagüey. Más de 300 creadores integran la nómina principal, de los cuales 68 realizarán exposiciones individuales. El resto estará diseminado entre los doce proyectos colectivos concebidos para esta edición: Detrás del Muro, Museo Nacional de Bellas Artes, Factoría Habana, Taller Chuyima (del artista Wifredo Prieto), Corredor Cultural de la calle Línea en El Vedado, provincias invitadas, Universidad de las Artes (ISA), una producción grupal de artistas chinos y un programa audiovisual de creadores australianos que será exhibido en la Casa de Asia.

Por la parte cubana, 17 autores de distintas generaciones -incluidos nueve Premios Nacionales de Artes Plásticas- realizarán muestras personales; mientras que 37 artistas estadounidenses viajarán a Matanzas para participar en el proyecto de la cubanoamericana Magdalena Campos.

En su intervención, Norma Rodríguez tuvo el noble gesto de reconocer el trabajo realizado por los curadores del Centro de Arte Contemporáneo, que han acompañado la Bienal desde su nacimiento, en el año 1984. Asimismo reiteró que esta edición será dedicada al 500 aniversario de la fundación de La Habana.

Jorge Alfonso “Chicho” declaró que la Bienal es “un evento de inclusión, resistencia y diálogo”; interesante afirmación de un individuo que acusa de “contrarrevolucionarios” a los artistas irreverentes, y en más de una ocasión ha calificado de “gusanera” al público que acude a las exposiciones de arte contemporáneo.

Margarita González, por su parte, agradeció el apoyo de las muchísimas personas que han colaborado en la organización y financiamiento de la Bienal. Abundó sobre las implicaciones globales del concepto curatorial “La construcción de lo posible”, en torno al cual se abordarán temas urgentes como la emigración, la protección ambiental, los desplazamientos humanos y las relaciones interpersonales.

En cuanto a soportes y formatos habrá instalaciones, esculturas, pintura, fotografía, intervenciones públicas y obras que buscan la interacción con los espectadores. El impacto social del evento será apreciable no solo a través de la apropiación de espacios abiertos; sino a través del nexo entre la producción visual y otras formas de creación, entiéndase música, literatura y artes escénicas. Reconocidos grupos de teatro y danza se insertarán en la programación de la Bienal con el fin de ofrecer experiencias multisensoriales, polisémicas y transdisciplinarias.

Los principales espacios expositivos serán las instituciones del Consejo Nacional de Artes Plásticas -Centro Lam, Centro de Desarrollo de las Artes Visuales, Fototeca de Cuba-, entidades de la Oficina del Historiador, Museo Nacional de Bellas Artes, su homólogo de Artes Decorativas y galerías.

González aseguró que la 13 edición de la Bienal sobresale por la cantidad de instituciones involucradas y la alta calidad de su nómina, que integra a los principales exponentes del arte cubano contemporáneo e importantes creadores internacionales como Grimanesa Amorós (Perú), Maya Watanabe (Perú), Pedro Cabrita Reis (Portugal), Laurent Grasso (Francia) y tantos otros. Similar a lo acontecido en ediciones anteriores, hay una fuerte presencia latinoamericana y caribeña, a la cual se suma una docena de reconocidos artistas africanos.

El tradicional evento teórico será sustituido en esta edición por “Jornadas Teóricas”, que sesionarán en el Museo Nacional de Bellas Artes cada martes a partir del 16 de abril. El primer encuentro será una conferencia magistral impartida por Jorge Fernández -director del museo-, y el público podrá disfrutar del nuevo planteamiento museográfico de la institución, una tarea postergada durante años.

Respecto al criterio de selección de artistas para la 13 Bienal de La Habana y la polémica en torno al Decreto 349, Norma Rodríguez Derivet aseguró que la elección de los participantes no tuvo que ver con su postura política, sino con la calidad de sus obras y la capacidad de ajustarse al tema de la Bienal. “Todas las Bienales del mundo eligen los artistas que van a invitar (…) nadie participa libremente solo porque quiere hacerlo”, precisó.

No obstante, sus declaraciones, han trascendido noticias del acoso sobre figuras independientes del arte cubano y la intención de que esta sea una Bienal “a cuatro ojos”, para evitar los happenings de esos “artistas malditos” que no aceptan los límites impuestos por el Ministerio de Cultura, ni las amenazas de la policía política.

“Todas las Bienales del mundo eligen los artistas que van a invitar”

[xulfus]

Grimanesa Amorós

[artinbuildings]

Throw Back Thursday to Art-in-Buildings’ 2014 exhibition, Grimanesa Amorós: Breathless Maiden Lane!

Breathless Maiden Lane explores and reveals the atrium's architecture of 125 Maiden Lane, a glass, marble and granite space in New York's Financial District. This installation is from her series of work utilizing LED lights in combination with diffusive material and her signature "bubble" sculptures. Originally from Lima, Peru, Amorós draws from the distinctive Peruvian culture and landscape in her work. The bubbles recall the man-made islands floating on the surface of Lake Titicaca and the long lines of LED tubing allude to distinctive reeds that grow in northern Peru. Amorós suspended Breathless Maiden Lane in the middle of the atrium, hovering above the ground as if weightless. Although the work appears to defy gravity, a structural grid, designed to echo the building's monumental windows, stands against the back wall of the atrium. This structure serves as the work's spine, supporting the bubble sculptures and graceful LED lines. The lines stretch from the bubbles and structure to explore the architecture of the atrium in undulating loops. Some lines touch the window panes as if grasping for the street. The result is a marvelous tangle of coils, swirls and arcs. A dynamic pattern activates the LEDs, in four shades of white and a golden yellow, giving the work an ethereal quality. At night, reflections from Breathless Maiden Lane bounce off the high shine marble walls, stainless steel ceiling and windows to create an immersive environment of reflections on an endless feedback loop.

Amorós researches the sites, histories and communities of any installation site; however her process remains organic and instinctive. This intuitive relationship to technology is a distinctive feature of Amorós' practice. Some elements must be planned and programmed but others, such as the exact placement of the lines of lights, come to Amorós while she installs. In this sense, the technology does not determine but complements the aesthetics of her work. The glittering lights are undeniably spectacular, but it is the subtle nuances -- the cadence of the custom lighting sequence revealing itself like a musical score -- that compels continued and focused viewing.

[joeinct]

Grimanesa Amorós, Light Between the Islands (Detail), 2013, Installation at Katonah Museum of Art, Photo by Joe Bruha, 7 27 16, Copyright 2016  

[artruby]

Grimanesa Amorós, Pink Lotus, (2015). now at view at the The Peninsula New York.

[madforfashiondude]

Internationally-Acclaimed Artist Creates Large-Scale Light Sculpture Installation On The Landmark Hotel’s Facade

On October 1, The Peninsula New York presents PINK LOTUS, a large-scale light installation sculpture by noted interdisciplinary Peruvian artist, Grimanesa Amorós, in honor of Breast Cancer Awareness Month. The installation, exclusively curated for The Peninsula New York by Circa 1881, is part of the brand’s global “The Art of Pink” charitable program, with Peninsula hotels around the world partnering with artists to help raise both funds and awareness for the fight against breast cancer. Supporting innovative public art around the world is an ongoing commitment at The Peninsula Hotels. The Art of Pink Campaign builds on the partnerships each hotel has created with leading art museums, galleries and private collectors to provide guests with privileged access to groundbreaking art by established global masters and emerging local artists.

PINK LOTUS, a large-scale light installation sculpture by noted interdisciplinary Peruvian artist, Grimanesa Amorós, in honor of Breast Cancer Awareness Month.

The Peninsula New York supports SHARE, a nationwide community that offers support, information and the benefit of experience to women diagnosed with breast and ovarian cancers. PINK LOTUS will be on view at The Peninsula New York from October 1 to November 15.

This slideshow requires JavaScript.

In keeping with the initiative’s “pink” theme, Amorós has used LED lights to create a pink lotus flower that highlights The Peninsula New York‘s landmark Beaux-Arts facade. The installation activates the entrance of the hotel on 55th Street and Fifth Avenue, with a focus on the large Palladian window and the carvings of Ceres, Roman Goddess of agriculture and abundance, and Diana, Roman Goddess of the hunt, the moon and childbirth. By placing the installation on the main facade, Amorós is supporting Breast Cancer Awareness Month by drawing attention to both the Roman Goddesses, who represent the power of women worldwide and to the lotus flower’s symbolic associations with creation, enlightenment and rebirth.

The installation, exclusively curated for The Peninsula New York by Circa 1881, is part of the brand’s global “The Art of Pink” charitable program, with Peninsula hotels around the world partnering with artists to help raise both funds and awareness for the fight against breast cancer.

As in all of her work, Amorós’ PINK LOTUS has created a dialogue with the existing architecture and the history of the site. The dramatic composition provides the public with a unique visual experience created by the use of LED lighting. The beauty and spiritual symbolism of the lotus flower are certain to make the PINK LOTUS one of the highlights of The Art of Pink.

Limited edition PINK LOTUS tote bags have also been exclusively designed by Amorós and can be purchased at The Peninsula New York for $40, with all proceeds benefiting SHARE. On October 27, 2015, Amorós will give an art talk on PINK LOTUS from 6:00 pm to 7:00 pm at The Peninsula New York, open to the public. For more information on PINK LOTUS, visit www.peninsula.com/newyork.

A popular part of every Peninsula in Pink campaign is the Pink Afternoon Tea. This October, guests at The Lobby of each hotel will relish a creatively themed The Art of Pink Peninsula Afternoon Tea, featuring rose-tinted sweet and savory treats served on a tiered silver platter, and accompanied by rosé wines and bubbles.

Pink Lotus Cocktail

Pink Panna Cotta

Pink Panna Cotta

Gotham Lounge’s Pink Afternoon Tea

The Peninsula New York is once again supporting Peninsula in Pink with a collection of initiatives including Gotham Lounge‘s Pink Afternoon Tea and a bespoke cocktail, known as the Pink Lotus, which is available at all dining outlets throughout the month of October. Guests can also take advantage of a number of specialty pink packages at The Peninsula Spa, including a Touch of Pink manicure, pink body scrubs, massages, facials and more.

Guests can likewise participate by purchasing the specially commissioned Pink Ribbon Pin during October, with part of the proceeds donated to local breast cancer charities.

The Peninsula New York Hotel Entrance

The Peninsula New York is ideally located on Fifth Avenue and 55th Street, in the heart of New York City’s most prestigious shopping, cultural, and business neighborhood in Midtown Manhattan. A 23 story, 1905 landmark building, The Peninsula New York features 235 spacious and luxurious guest rooms and suites, decorated in a classic, contemporary style with art nouveau accents.  The hotel is part of the Peninsula Hotel Group who are based in Hong Kong and owned and operated by The Hongkong and Shanghai Hotels, Limited. The hotel was bought in 1988 by the Peninsula group; and since then, The Peninsula New York has received the AAA Five Diamond Award for thirteen consecutive years and in 2007 it was named one of the greatest hotels in the world by Travel + Leisure Magazine.

The hotel offers a limousine transfer service to New York’s three main airports; John F. Kennedy International Airport, Newark Liberty International Airport and LaGuardia Airport. For these transfers there is a choice between limousines or Mini Clubmans.

The six function rooms have a combined floor area of 3,500 sq ft. The hotel has three restaurants; Salon De Ning which specialize in Chinese food, the Yabu Pushelberg-designed Clement, named after The Hongkong and Shanghai Hotels Limited CEO Mr Clement Kwok, and The Gotham Lounge named after the hotel’s original name.

The Fitness Centre at the Peninsula New York is located at the top floor. The pool is in a glass enclosed room and during the summer a sundeck is available. The Spa at the Peninsula is one of the largest in New York City with a floor area of 35,000 sq ft spaced out over three floors.

The Peninsula New York Presents Grimanesa Amoros’ PINK LOTUS in Honor of Breast Cancer Awareness Month Internationally-Acclaimed Artist Creates Large-Scale Light Sculpture Installation On The Landmark Hotel's Facade On October 1, The Peninsula New York…

[archpaper]

ON VIEW> Grimanesa Amorós sketches lines on water

ON VIEW> Grimanesa Amorós sketches lines on water

Golden Waters, Grimanesa Amoró’s light installation on Soleri Bridge. (Courtesy Grimanesa Amorós)

In 2010, at 91, architect and Arcosanti founder Paolo Soleri saw the opening of the Soleri Bridge in Scottsdale, Arizona. The cable-stay pedestrian crossing was the culmination of 60 years of bridge sketches and drawings. Peruvian artist Grimanesa Amoróscontinues Soleri’s dedication to…

[thefashionabletruth-deluxewords]

[column size=two_thirds position=first ]

Grimanesa Amorós is an artist fascinated by social history, scientific research and critical theory. Her revelatory work is captivating and beguiling, with an entrancing creativity that illuminates our notions of personal identity and community. She has become one of the most closely watched artists in New York and and is now building a strong following in China.

 [dropcap size=small]A[/dropcap]conversation with New York-based artistGrimanesaAmorós is like riding aWaltzer, a fairground attraction from my childhood. The contraption was a bit like being inside a chaotic rotating kaleidoscope. I’d sit with friends in a spinning car on a speeding turntable that would fling my imagination in a new direction with every beat of my agitated heart. It was thrilling and kinetic and we’d walk away with our heads spinning and a skip in our step.Amorós was born in Peru, but she has been based in New York for most of this teenage century. Her hyperbolic works incorporate elements from sculpture, video, lighting, and digital technology to create site-specific installations. Her projects bristle with energy and are designed to engage with architecture and create a sense of community through conversation.Some artists seek a place of unobtainable abstraction in their works, others strive for a sense of harmony or the capture of beauty. Amorós’s work has elements of all three but her primary goal is to communicate and participate.“I am looking to share what I do with others,” she says from her studio on the Lower West Side of Manhattan.

“It’s important for me to establish communication with my viewers, and make them think of infinite possibilities. I don’t want to control them so they just see my point of view.”

Uros 2012 Light Sculpture

Amorós has spoken of her desire that “the piece, the person and the structure to become one”, which suggests a high and unusual degree of interaction between her work and the viewer – although Amorós might prefer the term “participant”, as many of her kinetic light sculptures seem to demand high levels of engagement.

“I want the viewers to not be distracted and be able to feel and think when they see my work,”

she says. “That will be much easier when you enter a place as a whole. The lighting sequences on my pieces, because they are ephemeral, give my work a timeless quality and that’s an aspect of the participation I’m looking for. You want to grab the moment but you can’t, it’s ever changing.”

One of Amorós’s most famous works to date is UROS, which was unveiled at the Issey Miyake headquarters in New York in 2011. The crowds that flocked to see the installation referred to the piece as “the bubbles”.

Built from translucent plastic diffusion material illuminated by carefully wired and sequenced LED arrays, the work features glowing hemispheres that evoke the floating islands build by the Uros people of Lake Titicaca. Crafted from reeds, these islands floated on the gas bubbles released as their submerged portion decomposed.

Amorós has created installations that were derived from the Uros project in Times Square, New York and at the Venice Biennale. She has often drawn upon important Peruvian cultural legacies for inspiration in work that has been presented in Mexico, Tel Aviv and Beijing. She continues to be inspired from Peru’s history but she does not hold an essentialist or nostalgic view of her birth nation. Her recent work has taken a more technological direction and her talks at museums and universities often attract students and faculty engaged with science and technology, giving the sense that her work creates a space in which the past meets the future.

“I think we are going to a time when everything and anything goes,”

she says. “The disciplines are merging, which creates much more and broader possibilities for collaborations.”

Amorós work may be evolving at warp speed, in step with the quantum leaps of technology, but it has had a common aspect throughout her recent development – a fascination with light, its forms and way of changing at unimaginable speed.

“To me light is parallel to perfection, because it’s hard to grab the moment, you can only try to achieve a relationship with it, and work towards it,”

she says. “Light fascinates me with all its possibilities and endless combinations, which creates so much to share. This technology is a tool for me, like a brush. A painter has their colors. I use light and technology.”

The Mirror Connection 2013 Light Sculpture Installation, Museum of China Central Academy of Fine Arts, Beijing

In her most recent work Amorós created an installation called “Big Brother”, which had its public debut at the inaugural TEDxSouth! Conference, where she was a featured speaker. The piece consists of flickering LED strips fused with domed, mirrored surfaces to create a pulsating effect that’s meant to evoke our collective consciousness. It’s programmed to flash on a continuous, erratic loop, giving it the feeling of a living, breathing organism standing guard.

Amorós sees “Big Brother” as an investigation of our relationship with the cameras that have become ubiquitous in urban life. “I liked working on ‘Surveillance’ because places like downtown are already filled with hundreds of cameras,” she says. “People walk by the cameras all the time but never look. It’s important to create awareness that we are being watched. But I also want people to look back — to become part of the conversation.”

Amorós has recently been commissioned by the Art-in-Buildings programme to do a major piece at 125 Maiden Lane, a development in Lower Manhattan.  Her approach to the piece says much about the fascinating conceptual layers in her work. The piece is called “Bretaless Maiden Lane” an is a light sculpture installation that reflects the bustling energy of downtown New York City.

“I studied Maiden Lane’s history,” she says. “Early city planners patterned the majority of the streets in Lower Manhattan to follow pre-existing waterways, rather than the grid system of midtown. That’s why the streets of Lower Manhattan appear to be chaotic. Maiden Lane’s winding path made it an attractive place for lovers. The surroundings, the energy and the people created this busy area. Maiden Lane prompted a feeling of breathlessness.”

Amorós  now has her eyes firmly set on doing work in Asia, which she regards as a spiritual home.

“I love eastern culture,” she says. “I feel like I might have been living in Asia in another life, so I’m re-learning everything I’ve already had within myself. That’s why most of the people in my studio are from different parts of Asia; it makes me feel like home.

“What I like about Asia artists is that they live in the present moment and they are open to learn from other cultures to see what’s going on in the western world and they want to share their work with a wider community. I want them to be fascinated with the work, then we can have a dialogue, but that is just everywhere not just in China.”

Amorós is increasingly catching the eye of galleries and curators in Asia, and with her commitment to creating work that is participatory it’s likely that she will be soon casting a bright light across the China art scene, as museums and galleries look for work that inspires a population that is new to collecting and is seeking artists who understand the powerful forces that motivate the human imagination.

..Read more in Quintessentially Asia.

[/column]

PAINTING WITH LIGHT BY Grimanesa Amorós Grimanesa Amorós is an artist fascinated by social history, scientific research and critical theory. Her revelatory work is captivating and beguiling, with an entrancing creativity that illuminates our notions of personal identity and community.

[artnerdnewyork]

Grimanesa Amorós : BREATHLESS MAIDEN LANE on Art Nerd New York http://art-nerd.com/newyork/grimanesa-amoros-breathless-maiden-lane/

[artinbuildings]

Aib alum Grimanesa Amoros is a visiting lecturer at The New School! Learn more about her work Wednesday, April 5, 7pm!

Grimanesa Amorós is an interdisciplinary artist with diverse interests in the fields of social history, scientific research and critical theory. Through her art she conveys an ephemeral wonder, often drawing inspiration from Peruvian cultural legacies. Her sculpture, video and large-scale light-based installations illuminate our notions of personal identity and community.