MOMO and Eltono

Improbables, 2012

Two artists install bits of found wood with a hand saw and rubber mallet, into 52 cellar door and window spaces particular to Besançon, France. Using only tension to hold these in place, they demonstrate a variety of arrangement possibilities across a range of spaces in the city. The results may go unnoticed (as artwork) until enough are recognized and associated as such.

We were inspired largely by the types of urban modifications, barriers, and repairs on buildings that demonstrate odd solutions, curious physics, or appear to be total mysteries. So we titled this “Improbables.”

Here is a video about a residency he did in Monterrey at El Narval.

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Related, other public space artists:

Bankview art installation

SpY

Brooms

Matt McVeigh

Trolling#1 
chrome plated steel miniature shopping trolleys
approx 73cm (high) x 87cm (wide) x 23cm (deep)

Trolling#1 is the first sculpture to be exhibited in a series exploring consumerism and its resulting social issues. By creating an infinite shape through the repetition of a shopping trolley, I hope to reference the instability of our culture in the dogged pursuit of more - “When too much is never enough.” This is the premise that is driving the other sculptures in a series on affluence

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More shopping carts

(via artist-influences)

Robert Morris, Labyrinth

Robert Morris, Labyrinth

(via shinoddddd)

(via crystalhabit)

Jeahyo Lee
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More shapes at justement

Jeahyo Lee

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More shapes at justement

(via artist-influences)

Cerith Wyn Evans, Untitled (Gold-plated barrier), 1998 Plated steel 122 x 259 cm (48.03 x 101.97 in). Yvon lambert Gallery.
Ha. As though the barrier itself is what makes what is going on behind it special.
Point of reference:
Versailles
Buckingham
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Related, Kristof Kintera, Paradise Now
(and more Kintera at justement)

Cerith Wyn Evans, Untitled (Gold-plated barrier), 1998 Plated steel 122 x 259 cm (48.03 x 101.97 in). Yvon lambert Gallery.

Ha. As though the barrier itself is what makes what is going on behind it special.

Point of reference:

Versailles

Buckingham

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Related, Kristof Kintera, Paradise Now

(and more Kintera at justement)

(via floresenelatico)

From FLOWmarketwho hopefully don’t believe their own marketing (see the “about”). Sure, it’s partially about how you package it but what is written about this is full of the same thing as Manzoni’s cans.
This is a can of Merda d’artista
“Anything said about a work of art enters into completion with the art itself.” Here are two good examples of what is said about a piece almost ruining the piece: this one written by the artist, this one written by the gallery.
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Related, Monster supplies

From FLOWmarketwho hopefully don’t believe their own marketing (see the “about”). Sure, it’s partially about how you package it but what is written about this is full of the same thing as Manzoni’s cans.

This is a can of Merda d’artista

“Anything said about a work of art enters into completion with the art itself.” Here are two good examples of what is said about a piece almost ruining the piece: this one written by the artist, this one written by the gallery.

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Related, Monster supplies

(via visual-poetry)

Latifa Echakhch, Frames

Carpets unravelled thread by thread until only the frame remains

Latifa Echakhch, Frames

Carpets unravelled thread by thread until only the frame remains

Amenhotep IV at the Neues Museum Berlin

Amenhotep IV at the Neues Museum Berlin

(via larameeee)

Fragment of the face of a queen, made in Egypt during the reign of Akhenaten, c.1353-1336 BC at the Met

Fragment of the face of a queen, made in Egypt during the reign of Akhenaten, c.1353-1336 BC at the Met

Naum Gabo, Constructivist Head No. 2, 1916. 

Naum Gabo, Constructivist Head No. 2, 1916. 

(via ratak-monodosico)