303 GALLERY AGE OF AQUARIUS AI WEIWEI ALDO MONDINO ALIGHIERO BOETTI ALLORA & CALZADILLA AMSTERDAM ANDREAS GURSKY ANDREAS SCHON ANDY CROSS ANDY WARHOL ANISH KAPOOR ANNE IMHOF ANSELM KIEFER ANTON CORBIJN ARNDT ARNOLFINI ART PROSPECT ARTISSIMA ARTIST BOOK ATTILA CSORGO BALI BARBARA KRUGER BARCELONA BASEL BASQUIAT BEATRIX RUF BELA KOLAROVA BENJAMIN DEGEN BEPI GHIOTTI BERLIN BERND E HILLA BECHER BETTY WOODMAN BIENNALE BORIS MIKHAILOV BRISTOL BROOKLYN MUSEUM CAI GUO-QIANG CAMILLE HENROT'S CANDIDA HOFER CARDI GALLERY CARL ANDRE CAROL RAMA CAROLEE SCHNEEMANN CARSTEN HOLLER CASTELLO DI RIVARA CASTELLO DI RIVOLI CATHERINE AHEARN CENTRE POMPIDOU CHARLES RAY CHARLINE VON HEYL CHICAGO CHRIS BURDEN CHRIS WATSON CHRISTIAN BOLTANSKI CHRISTIE'S CHTO DELAT COLOGNE CONCEPTUALISM COPENHAGEN COSMIC CONNECTIONS CRISTIAN BOLTANSKY CY TWOMBLY DAMIEN HIRST DAN GRAHAM DANH VO DANIEL EDLEN DANIEL RICH DANNY MC DONALD DAVID ZWIRNER DIA ART FOUNDATION DIET WIEGMAN DIETER ROTH DOCUMENTA DUBAI DUSSELDORF ED ATKINS EDEN EDEN ELGER ESSER EMILIO ISGRO' ESKER FOUNDATION ETTORE SPALLETTI EVA HESSE EVA PRESENHUBER FANG LIJUN FAUSTO MELOTTI FELIX GONZALES-TORRES FILIPPO SCIASCIA FONDATION BEYELER FONDATION CARTIER FONDAZIONE MERZ FRANCESCO BONAMI FRANCESCO POLI FRANCESCO VEZZOLI FRANCIS BACON FRANKFURT FRANZ KLINE FRIEDMAN GABRIEL OROZCO GABRIEL YARED GAM GARY ROUGH GEORGE BURGES MILLER GEORGE HENRY LONGLY GERHARD RICHTER GILBERT & GEORGE GIULIO PAOLINI GLADSTONE GALLERY GREENE NAFTALI GUENZANI GUGGENHEIM GUGGENHEIM BERLIN GUGGENHEIM BILBAO GUILLAUME LEBLON HAMBURG HAMBURGER BAHNHOF HAMISH FULTON HANGAR BICOCCA HAUSDERKUNST HAUSER & WIRTH HE XIANGYU HELENA ALMEIDA HEMA UPADHYAY HENRY MOORE HIROSHI SUGIMOTO HOWIE TSUI HUANG YONG PING IAN BREAKWELL ICA ICHWAN NOOR INSTALLATION INTERVIEW ISABELLA BORTOLOZZI ISTAMBUL JAMES LAVADOUR'S ROSE JAMES MELINAT JAMIE XX JANET CARDIFF JANNIS KOUNELLIS JASSIE BOSWELL JEFF KOONS JEPPE HEIN JESSICA WARBOYS JIVYA SOMA MASHE JOAN FONTCUBERTA JOHN BALDESSARRI JOHN MCCRACKEN JOHN STEZAKER JON RAFMAN JORG SASSE JOSEPH KOSUTH JOTA CASTRO JURGEN TELLER KARA TANAKA KARL ANDERSSON KARLSRUHE KAVIN APPEL KONRAD LUEG KUNSTHAUS KUNSTMUSEUM LARRY BELL LIA RUMMA LISSON GALLERY LIU YE LONDON LOUISE BOURGEOIS LUC TUYMANS LUCIAN FREUD LUCIE STAHL LUIGI MAINOLFI LUISA RABBIA MADRE MAM PARIS MARC QUINN MARCO CASSANI MARIA CRISTINA MUNDICI MARIAN GOODMAN MARINA ABRAMOVIC MARIO MERZ MARK LECKEY MARK ROTHKO MARTIN KIPPENBERGER MARTIN McGEOWN MARZIA MIGLIORA MASSIMO DE CARLO MATTHEW BARNEY MAURIZIO CATTELAN MAX SCHAFFER MAXXI MIAMI MIKE PARR MILAN MIMMO ROTELLA MING WONG MOMA MONTREAL MOUSSE MUMBAI MUYBRIDGE NATIONAL GALLERY NEW YORK NICO MUHLY NOBUYOSHI ARAKI NOTTINGHAM CONTEMPORARY NY OFCA INTERNATIONAL OLAFUR ELIASSON OSCAR MURILLO OTTO PIENE PACE GALLERY PAOLA PIVI PAOLO CURTONI PARIS PAUL MCCARTHY PERFORMANCE PHILIP GLASS PHILIP-LORCA DICORCIA PHILIPPE PERRENO PHILLIPS DE PURY PHOTOGRAPHY PIA STADTBAUMER PIPILOTTI RIST PORTRAITS PRISCILLA TEA RAPHAEL HEFTI REBECCA HORN RICHARD LONG RICHARD SERRA RICHARD T. WALKER RICHARD TUTTLE RINEKE DIJKSTR ROBERT MORRIS ROBERT SMITHSON ROBERT SMITHSON'S ROBIN RHODE ROMA RON MUECK RUDOLF HERZ RUDOLF STIEGEL RUDOLF STINGEL SAM FRANCIS SANTIAGO SERRA SARAH SUZUKI SCULPTURE SHARJAH BIENNAL SHIGERU TAKATO SIMON THOMPSON SOL LEWITT SOPHIE CALLE SPY STEDELIJK MUSEUM STEPHAN BELKENHOL STEVE MCQUEEN STEVE REINKE SUBODH GUPTA SUSAN PHILIPSZ TALA MADANI TATE BRITAIN TATE BRITIAN TATE MODERN TERESA MARGOLLES THADDAEUS ROPAC THE RENAISSENCE SOCIETY THOMAS EGGERER THOMAS HIRSCHHORN THOMAS RUFF THOMAS SARACENO THOMAS STRUTH TIM FAIN TOBIAS ZIELONY TOM FRIEDMAN TONY COKES TONY CONRAD TONY CRAGG TOO MUCH TOTAH TOZER PAK TURIN TURNER PRIZE UGO RONDINONE UK ULAY VANESSA BEECROFT VENICE BIENNALE VERA LUTTER VICTOR MOSCOSO VICTORIA MIRO VIENNA VIK MUNIZ VOID SERIES WHITE CUBE WHITECHAPEL GALLERY WIELS WILLIAMS PRESENHUBER WU TSANG YAN PEI-MING YANG YONGLIANG YOHJI YAMAMOTO YOKO ONO YUSUKE BENDAI YVES KLEIN ZHANG DAQIAN ZURICH
Curated by Andrea Lissoni
From 25 October, 2012 to 3 February, 2013 HangarBicocca is presenting On Space Time Foam, a major exhibition project by Tomás Saraceno. Conceived for the “Cubo” of HangarBicocca, On Space Time Foam is a monumental installation, a multi-layer transparent surface accessible to visitors, suspended at a height of 20 metres and covering 1,200 square metres on three levels. This art work that combines artistic and scientific research was made possible through the interaction of skills and experiences in a broad array of fields of knowledge, and thanks to Pirelli’s support.
Saraceno engages with the concept of boundaries, challenging it and conceiving a pioneering installation activated by the visitors’ participation. On Space Time Foam transforms architecture into a living organism, one that breathes thanks to the movements of those who cross it, visualizing the infinite relationships that tie us to space. As the artist explains: “The films constituting the living core of HangarBicocca are constantly altered by climate and the simple movement of people. Each step, each breath, modifies the entire space: it is a metaphor for how our interrelations affect the Earth and other universes.”
On Space Time Foam represents an important moment of the study and experimentation process of Saraceno’s work, ever poised between the quest for the impossible and the scientific rigour. This project will be further developed during his residency at the Center for Art, Science & Technology (CAST)—part of Boston’s prestigious Massachusetts Institute of Technology—where Saraceno has been invited as the Inaugural Visiting Artist. The installation created for HangarBicocca, will become a floating biosphere to be positioned over the Maldives, made habitable thanks to solar panels and a system to desalinate seawater.
HB Public: a program of events and activitiesFor On Space Time Foam, HangarBicocca has again planned the HB Public program, a calendar of events offered free of charge for all age groups. Thursday evenings are devoted to cinema with Auteur Overview–The films chosen by Tomás Saraceno. The program includes guided tours every Sunday at 5pm in order to discover the permanent installations and current exhibitions, as well as guided tours with the curator Andrea Lissoni.
HB Kids: creative paths and films for childrenHangarBicocca continues its program of activities to introduce children to contemporary art and its languages. The activities are offered on weekends for families and during the week for schools through HB School, HangarBicocca’s new program specifically designed for all grades.
HangarBicocca FoundationHangarBicocca is a foundation chaired by Marco Tronchetti Provera. Pirelli is a charter member and promoter of the Foundation, and is flanked by the Region of Lombardy and the Milan Chamber of Commerce as charter members. The three partners share the vision of culture and contemporary art as a driving force for development. For Pirelli, in particular, HangarBicocca is the natural continuance of a corporate culture that has always made research and innovation a key principle. By sponsoring exhibitions, Pirelli guarantees the international quality of HangarBicocca’s programming, making it possible to produce site-specific installations planned and executed internally, a contribution that makes this art centre a true design laboratory.
Angiola Maria Gili – email@example.com / T +39 335 6413100
Stefano Zicchieri – firstname.lastname@example.org / T +39 334 6160366
Time Out London
London’s Best Sculpture – Five free shows to see this week
8 October 2012
Tom Friedman’s first solo exhibition at the Stephen Friedman Gallery since 2002 features a collection of new works (all 2012), which continue the investigative efforts of the artist-alchemist into the exploration and transformation of the familiar and everyday.
Tom Friedman is a thinker. The more he looks at something the less clear it becomes. His process is to deconstruct ideas and materials; a physical and conceptual unravelling that ultimately allows for a phenomenological discovery as opposed to the acceptance of a didactic explanation. The resulting works are each self-contained crystallisations that transmute these thought experiments with everyday materials into something unexpected.
On entering the first of the two Stephen Friedman Gallery spaces divided by the Old Burlington Road the audience encounters a tangle of wires suspended from the ceiling and gently twisting. Stepping around the outside of this freeze-framed explosion, the twists begin to form loose impressions of faces in profile, revealing a crowd in this gathering of lines. This work is a taster, an introduction to the demands that Friedman’s work puts upon the audience, to not trust the authority of our mind over the evidence of our eyes.
In the next room there are more cartoon-like arrangements, which occupy the walls and floor or are hovering somewhere between. Two party balloons, one blue and one green, have been tied to a skeleton and a lectern. Both dangling objects come from a place of education, a hierarchical situation of dry lecturing on subjects from long ago. These balloons enter the scenario to turn it on its head, bringing a much-needed levity to the situation.
The balloons, skeleton and lectern on closer inspection have all been rendered by the artist in polystyrene, a material that is 98% air, allowing the floating effect to be achieved by the support of a single monofilament. Rather than in the tradition of trompe l’oeil, where there is a hyper-reality, these works have a verisimilitude, operating via the internal logic that helium balloons in children’s stories can lift the heaviest objects.
On the flipside of the physical forces at play, the work Untitled (Gravity) sees a human head in a white material, approximately life-size, that has been squashed into a lozenge-like shape. The squeezed head with the face on its side could be a model in white tack, which once completed and considered by its creator has been pushed down onto a nearby surface until it can next be of use.
Across the road the exhibition continues with a more minimal presentation. Untitled (Becoming Unbecoming) sees a wooden cube that through 18 slices across different planes has become a much smaller cube. Each stage of the process exists as a separate object displayed across a shelf. Much like a diagram every action is represented, but rather than a pictorial depiction we are able to fully see the effect on the wood of each incision. In Untitled (Holey Paper) there is again the precision of craftsmanship in the manipulation of material. A paper which at first glance has had a number of circles removed from it to become a very fragile sheet has in fact gone through a process of removal and layering to create an intricate and rhythmic pattern.
Friedman is influenced by Quantum Physics, his intensive and obsessive practice driven by his desire to distil every idea and material down to its purest essence. The division of this exhibition allows two sides of Friedman to be displayed, on the one side the comic and on the other the deep thinker. These are not mutually exclusive but facets to an intelligent and obsessive mind with an anti-authoritarian streak.
9 October 2012 - 10 November 2012
Review by Beth Bramich