Artist:
Arne Quinze
Title:
Uchronia
Year:
2006
Adress:
Burning Man Festival (contemporary)
Website:
protection
Everyone needs protection. In the Nevada desert it’s protection against the heat (by day), dehydration, cold (by night), loneliness. This are threats from nature and our human nature.
The desire for protection is a first step. A next step would be the actively protection against threads. Are we properly aware of our threats; because of nature (climate change) and culture (east-west relationship)?
I think we could improve our awareness and hopefully we take in time the applicable action.
By Theo, www.artatsite.com
Vertaling
bescherming
Iedereen heeft bescherming nodig. In de Nevada woestijn is dat bescherming tegen hitte (overdag), droogte, koude (’s nachts), eenzaamheid. Dit zijn bedreigingen vanuit de natuur en vanwege ons menselijke natuur.
Het verlangen naar bescherming is een eerste fase. Een volgende fase zou kunnen zijn dat we actief beschermen wat ons bedreigt. Zijn wij ons voldoende bewust van onze bedreigingen; vanuit de natuur (klimaatverandering) en onze cultuur (oost-west verhouding)?
Volgens mij kan er aan de bewustwording veel verbeterd worden en hopelijk realiseren wij ons snel welke acties wij gaan ondernemen.
Door Theo, www.artatsite.com
www.arnequinze.com:
Uchronia’s enormous scale gave the people a protective feeling, which persuaded them to remain there as long as possible. Sunbeams played with the wooden beams and resulted in a fascinating spectacle of light and shadow with consistently changing patterns.
www.arnequinze.com:
At the end of the 7-day festival, the sculpture' got its grand finale. In accordance with the festival’s philosophy in returning the desert to 'its original state, Arne Quinze set his work of art on fire. For him, burning the sculpture signified a symbol of transition, not to be afraid of starting anew, a transition into a new phase and sharing the energy which resulted from this process.
All of a sudden, people shared indescribable emotions with each other. This is the kind of communication Arne Quinze’s work is all about.
www.wikiart.org:
Once a year, tens of thousands of people gather in the Nevada Black Rock desert in to celebrate the Burning Man festival. There, they build ck Rock City literally from nothing, focussing on the basic ideas of community, art and self- expression. After one week, they again leave the desert without being allowed to leave a single trace of their presence.
www.arnequinze.com:
Once a year, tens of thousands of people gather in the Nevada Black Rock desert in to celebrate the Burning Man festival. There, they build up Black Rock City literally from nothing, focussing on the basic ideas of community, art and self-expression. After one week, they again leave the desert without being allowed to leave a single trace of their presence.
www.arnequinze.com:
Arne Quinze had already set up similar constructions in Chicago, Miami and New York, but in 2006, his Nevada construction defied every kind of imagination as far as scale and size is concerned. No less than 150 km of wooden beams was used to construct ‘Uchronia’ and' after 3 weeks, the 25-strong team had finished the complete sculpture.
www.arch2o.com:
One of the important things I’ve ever learned is the possibility of making curves and curved surfaces from straight lines. This construct could be the spokesperson for this concept. Thousands upon thousands of wooden planks are cleverly fastened to create incredibly complex and intricate ‘surfaces’ which swoop overhead and around.
www.wikipedia.org:
Arne Quinze (born 15 December 1971) is a Belgian conceptual artist best known for his unconventional and controversial public art installations. Quinze also creates large and small sculptures, drawings, and paintings. In his late teens, he started out as a graffiti artist in Brussels, and he never completed a formal art education.
Quinze is known for his trademark sculptures made out of wooden planks. His installations are built to provoke reaction and to intervene in the daily life of passersby confronted with his sculptures. Quinze sees his installations as places where people meet each other again and start conversations.
In 2006, he gained a lattention by building Uchronia: A message from the future, a large wide wooden sculpture at the Burning Man festival in Black Rock City,in the Nevada desert, United States. Cityscape (2007) and The Sequence (2008) are two of his giant wooden public art installations in the centre of Brussels, Belgium. It was the first time a sculpture gave the impression touching two buildings in the city center while traffic still passes by underneath it. The installation for the Flemish Parliament became an unequivocal actor in the city. In Munich, Germany, he built Traveller (2008) for French luxury fashion and leather goods brand Louis Vuitton. Other public art installations by Arne Quinze have recently been revealed in the centre of Paris, France (Rebirth, 2008), Beirut, Lebanon (The Visitor, 2009) and Louisville, Kentucky (Big Four Bridge, ongoing)
During the festival Rouen Impressionnée which took place in Rouen in the summer of 2010 he paid tribute to the impressionist Claude Monet by painting Les Jardins/The Watrlilies series for an exhibition in the Abbatiale de Saint-Ouen. The festival was organized as the contemporary component of the Normandie Impressionniste festival, a festival under the presidency of Laurent Fabius, former French Prime Minister, celebrating the impressionist past of the region. Next to the exhibition an installation (Camille) was built on the Boieldieu bridge, a bridge that has been painted by the impressionist painter Camille Pissarro several times.
Like a futuristic substitute for the market squares of old, Quinze sees his installations as places where people meet and converse as they used to in bygone eras. Red Beacon (2010) is placed in the Jing’an Sculpture Park, the pioneer of presenting public art in the heart of Shanghai located downtown in the Jing'an District. His sculptures redefine social space and provide alternative models of interaction.
Other work is focusing on the axiom that people tend to seek a safe environment, a cocoon eliminating the unexpectable. The installaon My Home My House My Stilthouse (2011) in Humlebaek, Denmark at the Louisiana Museum of Modern Art shows the visitor a new form of how housing and living can be perceived.
He revealed a virtual installation Rock Strangers (2011) on the Statue of Liberty in New York City, US on 4 July in collaboration with Beck's for their Green Box Project. The project is co-curated, commissioned and mentored by Nick Knight of SHOWstudio.com and producer Sam Spiegel. Commissioned work will only ever appear in the digital realm.
Arne Quinze: "With these sculptures I'm looking for a confrontation with the public, I hope they start asking questions about what their function on this planet is. What happens when putting all of the sudden an alien element in the city, our habitual urban environment? How do we react to unusual objects if we are confronted with them in our daily lives? Who or what remains the stranger, the person confronted with it or the object itself?"
In the context of Mons 2015 European Capital of Culture, a wooden installation called The Passenger has been built and will remain visible from 6 December 2014 until 19 December 2019. Unfortunately a partial collapse occurred on 24 December 2014. The installation was fully rebuilt on 15 October 2015 and inaugurated on 16 October 2015.
Everyone needs protection. In the Nevada desert it’s protection against the heat (by day), dehydration, cold (by night), loneliness. This are threats from nature and our human nature.
The desire for protection is a first step. A next step would be the actively protection against threads. Are we properly aware of our threats; because of nature (climate change) and culture (east-west relationship)?
I think we could improve our awareness and hopefully we take in time the applicable action.
By Theo, www.artatsite.com
Vertaling
bescherming
Iedereen heeft bescherming nodig. In de Nevada woestijn is dat bescherming tegen hitte (overdag), droogte, koude (’s nachts), eenzaamheid. Dit zijn bedreigingen vanuit de natuur en vanwege ons menselijke natuur.
Het verlangen naar bescherming is een eerste fase. Een volgende fase zou kunnen zijn dat we actief beschermen wat ons bedreigt. Zijn wij ons voldoende bewust van onze bedreigingen; vanuit de natuur (klimaatverandering) en onze cultuur (oost-west verhouding)?
Volgens mij kan er aan de bewustwording veel verbeterd worden en hopelijk realiseren wij ons snel welke acties wij gaan ondernemen.
Door Theo, www.artatsite.com
www.arnequinze.com:
Uchronia’s enormous scale gave the people a protective feeling, which persuaded them to remain there as long as possible. Sunbeams played with the wooden beams and resulted in a fascinating spectacle of light and shadow with consistently changing patterns.
www.arnequinze.com:
At the end of the 7-day festival, the sculpture' got its grand finale. In accordance with the festival’s philosophy in returning the desert to 'its original state, Arne Quinze set his work of art on fire. For him, burning the sculpture signified a symbol of transition, not to be afraid of starting anew, a transition into a new phase and sharing the energy which resulted from this process.
All of a sudden, people shared indescribable emotions with each other. This is the kind of communication Arne Quinze’s work is all about.
www.wikiart.org:
Once a year, tens of thousands of people gather in the Nevada Black Rock desert in to celebrate the Burning Man festival. There, they build ck Rock City literally from nothing, focussing on the basic ideas of community, art and self- expression. After one week, they again leave the desert without being allowed to leave a single trace of their presence.
www.arnequinze.com:
Once a year, tens of thousands of people gather in the Nevada Black Rock desert in to celebrate the Burning Man festival. There, they build up Black Rock City literally from nothing, focussing on the basic ideas of community, art and self-expression. After one week, they again leave the desert without being allowed to leave a single trace of their presence.
www.arnequinze.com:
Arne Quinze had already set up similar constructions in Chicago, Miami and New York, but in 2006, his Nevada construction defied every kind of imagination as far as scale and size is concerned. No less than 150 km of wooden beams was used to construct ‘Uchronia’ and' after 3 weeks, the 25-strong team had finished the complete sculpture.
www.arch2o.com:
One of the important things I’ve ever learned is the possibility of making curves and curved surfaces from straight lines. This construct could be the spokesperson for this concept. Thousands upon thousands of wooden planks are cleverly fastened to create incredibly complex and intricate ‘surfaces’ which swoop overhead and around.
www.wikipedia.org:
Arne Quinze (born 15 December 1971) is a Belgian conceptual artist best known for his unconventional and controversial public art installations. Quinze also creates large and small sculptures, drawings, and paintings. In his late teens, he started out as a graffiti artist in Brussels, and he never completed a formal art education.
Quinze is known for his trademark sculptures made out of wooden planks. His installations are built to provoke reaction and to intervene in the daily life of passersby confronted with his sculptures. Quinze sees his installations as places where people meet each other again and start conversations.
In 2006, he gained a lattention by building Uchronia: A message from the future, a large wide wooden sculpture at the Burning Man festival in Black Rock City,in the Nevada desert, United States. Cityscape (2007) and The Sequence (2008) are two of his giant wooden public art installations in the centre of Brussels, Belgium. It was the first time a sculpture gave the impression touching two buildings in the city center while traffic still passes by underneath it. The installation for the Flemish Parliament became an unequivocal actor in the city. In Munich, Germany, he built Traveller (2008) for French luxury fashion and leather goods brand Louis Vuitton. Other public art installations by Arne Quinze have recently been revealed in the centre of Paris, France (Rebirth, 2008), Beirut, Lebanon (The Visitor, 2009) and Louisville, Kentucky (Big Four Bridge, ongoing)
During the festival Rouen Impressionnée which took place in Rouen in the summer of 2010 he paid tribute to the impressionist Claude Monet by painting Les Jardins/The Watrlilies series for an exhibition in the Abbatiale de Saint-Ouen. The festival was organized as the contemporary component of the Normandie Impressionniste festival, a festival under the presidency of Laurent Fabius, former French Prime Minister, celebrating the impressionist past of the region. Next to the exhibition an installation (Camille) was built on the Boieldieu bridge, a bridge that has been painted by the impressionist painter Camille Pissarro several times.
Like a futuristic substitute for the market squares of old, Quinze sees his installations as places where people meet and converse as they used to in bygone eras. Red Beacon (2010) is placed in the Jing’an Sculpture Park, the pioneer of presenting public art in the heart of Shanghai located downtown in the Jing'an District. His sculptures redefine social space and provide alternative models of interaction.
Other work is focusing on the axiom that people tend to seek a safe environment, a cocoon eliminating the unexpectable. The installaon My Home My House My Stilthouse (2011) in Humlebaek, Denmark at the Louisiana Museum of Modern Art shows the visitor a new form of how housing and living can be perceived.
He revealed a virtual installation Rock Strangers (2011) on the Statue of Liberty in New York City, US on 4 July in collaboration with Beck's for their Green Box Project. The project is co-curated, commissioned and mentored by Nick Knight of SHOWstudio.com and producer Sam Spiegel. Commissioned work will only ever appear in the digital realm.
Arne Quinze: "With these sculptures I'm looking for a confrontation with the public, I hope they start asking questions about what their function on this planet is. What happens when putting all of the sudden an alien element in the city, our habitual urban environment? How do we react to unusual objects if we are confronted with them in our daily lives? Who or what remains the stranger, the person confronted with it or the object itself?"
In the context of Mons 2015 European Capital of Culture, a wooden installation called The Passenger has been built and will remain visible from 6 December 2014 until 19 December 2019. Unfortunately a partial collapse occurred on 24 December 2014. The installation was fully rebuilt on 15 October 2015 and inaugurated on 16 October 2015.