Opale wine cellar

opale by sand & birch design

opale by sand & birch design

Opale is one of our extra-climatized luxury wine cellars, evocating a precious black stone wedged and gem-setted in a white, smooth base that enhances the equilibrium and purity of its design, creating a contrast that emphasize the elegant break between the elliptical shape of its vertical body and the roundness of its foothold.

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How we live now: photographs that capture the 21st century

 

Wild River, Florida, from the 2005 series Fake Holidays by Reiner Riedler. Photograph: © Reiner Riedler

 

Civilisation, a new photography exhibition and accompanying book, is an ambitious attempt to document the human experience of the modern world

What does the 21st century look like? What are the resonant images of a civilisation that aspires to be global? These kinds of questions were the starting point for a project that formed in the mind of William A Ewing, who had been a museum director, curator of international exhibitions and writer about photography for nearly 40 years.

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Neri Oxman’s swarm of Fiberbots autonomously build architectural structures

Neri Oxman and her Mediated Matter group at MIT have created a swarm of robots designed to rapidly build high-strength tubular structures by winding fibreglass filament around themselves.

Oxman and her team have developed a digital fabrication system, comprised of 16 robots and a separate design system used to control them.

Each robot in the swarm is identical and works simultaneously, using a fibreglass winding system to autonomously construct self-supporting composite tubes up to 4.5 metres tall.

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The mind gardener: the machine that turns your thoughts into art

 

 

‘We tend to find them alarming’ … detail of an AI-derived image in Huyghe’s show. Photograph: Courtesy of the artist and Serpentine Galleries; © Kamitani Lab / Kyoto University and ATR

He has made art out of bees, cancer cells, painted dogs and genetically modified GloFish. Now Pierre Huyghe is entering consciousness itself – with the help of AI and 50,000 bluebottles

‘Iwas looking for something that could write itself, that could self-generate, evolve or mutate,” says Pierre Huyghe. Impeccably grizzled and sparkly eyed, the French artist sits vaping discreetly in dappled sunshine beaming through the upper windows of the Serpentine Gallery in London. Downstairs, Huyghe’s new exhibition is being installed. After our interview I’ll try for a glance through the gallery door. The show is not available for sneak peeks. I’ll try again, unsuccessfully, a week later. It’s not that they won’t let me in, the polite, dust-covered curator explains, it’s that they can’t. Not yet.

I’m not surprised: Huyghe is exacting. Autonomous, changing, self-regulatory systems such as colonies of bees, dividing cancer cells, flu virus, ants’ nests and groups of creatures cohabiting in an aquarium are this artist’s preferred raw materials. They tend to make his work tricky to install.

While he also makes film and sculpture, over the last decade Huyghe has become known for reimagining the artwork as ecosystem. He deposits groups of objects – some evidently alive, others not so – into an environment, then retires and allows nature to take its course.

Last summer I made a pilgrimage to his acclaimed ecosystem After ALife Ahead. An eight-hour journey from London ended in a rain-soaked trudge through the German city of Münster, to city margins where the urban fabric dissolves into

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Experimental works to look out for at PAD London 2018

 

Guglielmo Poletti at Rossana Orlandi

PAD London returns to its traditional Mayfair spot for the 12th edition of its week-long showcase of design, art and craftsmanship from the best European galleries. The fair’s unique combination of midcentury, antique and contemporary works will be on display, with new and established talent offering a broad view of creativity and craftsmanship. Here, we select our top picks to look out for…

Amelie Marei Loellmann at Galerie Gosserez

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Oceania review – marvels of the human mind that were ripped off by modernists

‘A freedom that left Picasso and Matisse running to catch up’ … a female tattooed figure, 18th or early 19th century, Aitutaki, Cook Islands. Photograph: Five Continents Museum, Munich

‘A freedom that left Picasso and Matisse running to catch up’ … a female tattooed figure, 18th or early 19th century, Aitutaki, Cook Islands. Photograph: Five Continents Museum, Munich

In around 1900, an artist portrayed a woman with an oval abstract face bisected by a long rigid slash of a nose, who sits with her legs wide apart to expose her triangular pubic hair framing a well-observed vagina. And no, this artist was not Picasso.

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Elmgreen & Dragset: ‘Making art is a headache. Only 2.5% of it is fun’

From gay urinals to a Prada store in the Texas desert, the Scandinavian duo are as playful as they are provocative – as their clashes with Boris Johnson over the fourth plinth rocking horse proved

Handy … the Prada store that was dropped near Valentine, Texas; the duo’s new show is at the Whitechapel gallery in London. Photograph: Matt Slocum/AP

There’s something hanging in the Berlin studio of Michael Elmgreen and Ingar Dragset that is unusual even by their peculiar standards. At first glance, it’s just a punchbag. But, as you approach it, you notice that its blue fabric is decorated with the stars of the European Union. “We’re calling it Anger Management,” chuckles Elmgreen. “We might offer Boris Johnson a 10% discount.”

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‘Breathtakingly beautiful’: Kew’s Temperate House

Five-year project involved moving 10,000 plants and replacing 15,000 panes of glass

Kew’s Temperate House reopens. Photograph: Alicia Canter for the Guardian

After five years, 10,000 plants uprooted and replanted, 15,000 panes of glass replaced, 69,000 sections of metal, stone and timber repaired or replaced, enough scaffolding to stretch the length of the M25, and £41m spent, the largest Victorian glasshouse in the world is ready to open its doors again. The Temperate House in Kew Gardens is once again, as the naturalist Sir David Attenborough describes it, “a breathtakingly beautiful space”.

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Sex, drugs and social media

Sugar, shopping, cash, drugs, booze and smartphones … this great show details how artists have responded – and succumbed – to addictive vices down the ages

Blue-faced corporate trolls … a still from Feed Me, 2013 at the new Science Gallery. Photograph: Rachel Maclean

Can you become addicted to getting a bunch of psychedelic cats aligned in a row? I’ve got to admit it gave me a warm glow when I “won” while playing an interactive artwork by Katriona Beales that mimics online gambling. The pleasure persisted even when her “game” informed me it had been compiling data based on my eye movements.

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Knock knock review – ‘I like a laugh as much as the next miserable critic!’

There are old jokes, new jokes, even Welsh sheep jokes. But the real star of this show about humour in art is the rescued fire station much of it is housed in

Eyes that follow you round the room … Ryan Gander, Dominae Illud Opus Populare, 2016. Photograph: Ryan Gander. Courtesy the artist and Lisson Gallery.

Knock Knock! Who’s there? A Welshman overly fond of sheep. Rodney Graham, seated on a park bench, eyeing the world through two small holes torn in the newspaper he’s pretending to read. A clown and a tin-foil flailing rock-god guitarist. Donald Duck and Mickey Mouse and the real Snow White. Here comes everybody.

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