Sarah crowEST, 'its origins justify its browns' (channelling Gedi Siboney) from the exhibition 'Cashmere If You Can' Series 4 at the Trocadero, Footscray 20 oct- 6 nov, 2010
This is a mound of coffee with an impossible angle of internal friction.
by Carsten Nicolai, 'anti' pp lightweight structure, sound module, theramin module, transducer, amplifier, light-absorbent black paint,
255 x 255 x 300cm, 2004
Regular geometric forms represent systematic thinking and the interrelationship between mathematics, optics, art and philosophy. anti is a geometrical form, a distorted cube, truncated on top and bottom to obtain rhombic and triangular faces. It reacts to the magnetic field of bodies, enabling an interaction with the visitor while its mechanism remains hidden. anti refuses instant recognition. Its black, light-absorbent surface and monolith-like crystalline shape, that derives from Albrecht Dürer’s engraving Melancholia I (1514), confronts the viewer, trying both to mask its form and to disguise its function and thereby absorbing information.
by Carsten Nicolai, 'Cluster', nickel silver, dimensions variable, 2008
The sculptural series cluster refers to an experiment by the american architect Buckminster Fuller about the packing of spheres in space. the ‚kepler conjecture’ deals with the maximum density of differently arranged three-dimensional layers of spheres. reflecting this test set-up the sculptures, which nicolai casted in nickel silver emerge from a simple design principle – balloons filled with ping-pong balls. thus the outer appearance of the sculptures is affected by the adjustment of the spheres in the inside of the balloon. the changing force effect on the outside surface allows a high number of variation of the form. but in the end not the formal result is focused by Carsten Nicolai but the adopted design principle with its artistic capabilities.
by Sarah crowEST
“The chaotic indeterminacy of the real, its impulses to ceaseless variation, gives rise to the creation of networks, planes, zones of cohesion, which do not map this chaos so much as draw strength, force, material from it for a provisional and open-ended cohesion, temporary mode of ordering, slowing, filtering.”
Elizabeth Grosz, 'Chaos, Territory, Art: Deleuze and the Framing of the Earth' Columbia University Press, New York, 2008 via Akira Akira my splendid research assistant.