Architektur für Kinder is an ongoing research project about the history of playgrounds and will transform into an international show in the Carnegie Museum of Art in Pittsburgh PA (June 2013).
The Baining—one of the indigenous cultural groups of Papua New Guinea—have the reputation, at least among some researchers, of being the dullest culture on earth. Early in his career, in the 1920s, the famous British anthropologist Gregory Bateson spent 14 months among them, until he finally left in frustration. He called them “unstudiable,” because of their reluctance to say anything interesting about their lives and their failure to exhibit much activity beyond the mundane routines of daily work, and he later wrote that they lived “a drab and colorless existence.” Forty years later, Jeremy Pool, a graduate student in anthropology, spent more than a year living among them in the attempt to develop a doctoral dissertation. He too found almost nothing interesting to say about the Baining, and the experience caused him to leave anthropology and go into computer science. Finally, however, anthropologist Jane Fajans, now at Cornell University, figured out a way to study them.
Univers Revolved is a three-dimensional alphabet. It invites the reader to play with their imaginative mind and think beyond the conversation of their familiar reading method.
Perhaps following his architecture-climbing predecessors, this is Vojtěch Fröhlich’s site-specific installation and performance climbing thru the Academy of Fine Arts in Prague without touching the ground.
Vojtěch Fröhlich, 2011. Academy of Fine Arts in Prague
Matthew Barney, 2006. San Francisco Museum of Modern Art
Gordon Matta-Clark, 1973. Clocktower Building in Manhattan
Johnny Weissmuller, 1942. Tarzan’s New York Adventure
Charles Laughton, 1938. The Hunchback of Notre Dame
The RedBall Project : Artist Statement
Through the RedBall Project I utilize my opportunity as an artist to be a catalyst for new encounters within the everyday. Through the magnetic, playful, and charismatic nature of the RedBall the work is able to access the imagination embedded in all of us. On the surface, the experience seems to be about the ball itself as an object, but the true power of the project is what it can create for those who experience it. It opens a doorway to imagine what if? As RedBall travels around the world people approach me on the street with excited suggestions about where to put it in their city. In that moment the person is not a spectator but a participant in the act of imagination. I have witnessed it across continents, diverse age spans, cultures, and languages, always issuing an invitation. That invitation to engage, to collectively imagine, is the true essence of the RedBall Project. The larger arc of the project is how each city responds to that invitation and, over time, what the developing story reveals about our individual and cultural imagination.
– Kurt Perschke