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Thom / 이재원  this is my design

In April 1966, Paolo Icaro moved to New York and started developing the 'idea of the work as a place of experience'. That is, the physical place of work becomes the place of the scuplture itself, since Icaro is prompted by large, empty spaces - spaces he wants to conquer and transform into scuplture. The place of labro and the place of the work are therefore not two seperate entities, but blend into a single situation where the borders between life and work are challenged. This yields to his idea of merging the dimensions of the environment with the measurements of his own body, giving rise to a space that can be inhabited and crossed, where scuplture goes definitively beyond the object. This leads to the Foresta metallica / Metallic Forest in which the borders between scuplture, architecture an environment are blurred. Through the use of steel angle irons, hand-painted in an acid-green color, Icaro dissects and shapes the empty space of his studio, on the sixth floor of an industrial building at 53 Greene Street in SoHo, transforming it into an abnormal, eccentric geometry, a fantastic architecture that both occupies and dematerializes space.

The complete furnishings of a branch of former German chain store Schlecker have been transformed into an installation by Berlin-based artist-duo FORT (Alberta Niemann and Jenny Kropp). What was once Europe's largest drugstore chain (cosmetics, health care, and household products), comprising more than 14,000 branches and 50,000 employees, shut down completely in Germany in 2012. All employees dismissed, and abandoned Schlecker shops with empty shelves and bare walls bore witness to this economic disaster.
Staging absence in complex near-replicas of everyday life plays a central role in the work of FORT, as well as arranging places and objects that seem familiar and eerie at the same time. Here, the naked shelves and empty display surfaces, dipped in cold neon light, appear like a preserved skeleton, telling of a bygone era. The apocalyptic atmosphere is reinforced by the mechanical noise of a checkout belt that runs aimlessly. Confronting the viewers with the remnants of this ultimate collapse, the work critically reflects upon both the social consequences of business failure and the relationship between art and economy.

Otto Piene's mammoth inflatable sculpture Blue Star Linz is a tentacled structure nearly as high as it is wide and sprawling. Piene's inflatables, which are rhythmically filled with air and inflated with the assistance of programmed blowers, are part of his project towards a dematerialization of sculpture. With the main medium being air, Piene looked towards a redefinition of sculpture that accompanied his other experiments with light and fire. Blue Star Linz at once resembles a multi-limbed sea creature and flowering or spiked fauna alike. Late in his career, Piene produced numerous 'sky art' inflatables, typically with similar pointed forms, and, in this instance, the blue flower is both a symbol of yearning in German romanticism, and also an echo of the monochrome blue used by his friend Yves Klein.

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