Simon Starling and Contemporary Art Introduction
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Simon Starling and Contemporary Art Introduction
- 1. Simon Starling and Contemporary Art --- By Cathy Yang
- 2. Shedboatshed
- 5. How much does it worth? •$ 1000? •$ 5000? •$ 10000?
- 7. The Owner?
- 8. What is the story behind the shed?
- 12. The shed!
- 15. Simon Starling
- 16. The bicycle and the Paint
- 20. Relationship?
- 21. • Ride the bike into the desert • Made water by the bike • Use the water draw the cactus • The cactus reminds people about the desert
- 22. Burn-Times
- 23. Burn-Times
Editor's Notes
- What is this? This is a very simple, old, broken, ugly shed, right? So, how much do you think it worth?
- Inside part, seems already broken …
- It is an art work made by Simon Starling and win the Turning prize in 2005! A great deal was made in the press about the winning entry by Simon Starling, which was a shed that he had converted into a boat, sailed down the River Rhineand turned back into a shed again. Two newspapers bought sheds and floated them to parody the work. The prize was presented by Culture Minister, David Lammy. Before introducing him, Sir Nicholas Serota, in an "unusual, possibly unprecedented" move, took the opportunity to make "an angry defence" of the Tate's purchase ofThe Upper Room.
- The owner of this Shed is Simon Starling, a famous contemporary artist. It is a shed that Simon had converted into a boat, sailed down the River Rhine and turned back into a shed again. The artist describes Shedboatshed as 'a reinterpretation of the idea of mobile architecture'. The structure started life as a wooden shed on the banks of the Rhine, which Starling spotted while cycling past. He dismantled it and used the wood to construct a traditional Wiedling boat, in which he drifted downstream to the centre of Basle in Switzerland. He then rebuilt the shed in its new location. 'Spending a month turning a shed into a boat only to turn it back into a shed seems wilfully absurd,' he says. 'Hopefully that has some resonance in a world at which everything happens at such high speed.'
- With the story made by the artist, the shed worth 25000! Without the story, the shed may worth nothing!
- The shed is related with a story
- Simon was called “The nutty professor!” Simon Starling is fascinated by the processes involved in transforming one object or substance into another. He makes objects, installations, and pilgrimage-like journeys which draw out an array of ideas About nature, technology and economics. Starling describes his work as ‘the physical manifestation of a thought process’, revealing hidden histories and relationships. For Tabernas Desert Run 2004, Starling crossed the Tabernas desert in Spain on an improvised electric bicycle. The only waste product the vehicle produced was water, which he used to paint an illustration of a cactus. The contrast between the supremely efficient cactus and the contrived efforts of man is both comic and insightful, highlighting the commercial exploitation of natural resources in the region. Shedboatshed (Mobile Architecture No 2) 2005 has a similar circularity. Starling dismantled a shed and turned it into a boat; loaded with the remains of the shed, the boat was paddled down the Rhine to a museum in Basel, dismantled and re-made into a shed.Both pilgrimages, provide a kind of buttress against the pressures of modernity, mass production and global capitalism. Starling’s new work One Ton, II 2005 focuses attention on energy consumption: the huge amounts of energy used to produce tiny quantities of platinum. One ton of ore, mined from the South African open cast mine pictured in the images, was needed to produce the five handmade platinum prints exhibited here. Simon Starling has been nominated for his solo exhibitions at The Modern Institute, Glasgow, and the Fundació Joan Miró, Barcelona.
- “It is about the long route from A to B. The sense of detour is important to me.” Like the alchemists of ancient legend, Starling is known for his ability to “magically transform” materials, functions, and even meanings in his pieces.
- Let keep a close look!
- It is this bicycle!
- And it is this painting！
- The display of his work at the Turner prize exhibition at Tate Britain also includes a makeshift motorised bicycle, which Starling used to ride across the Tabernas desert in southern Spain. It was powered by hydrogen in lightweight canisters that reacted with oxygen in the atmosphere to produce water as a byproduct. The artist used that in turn to paint a simple watercolour of a cactus he found en route. The watercolour is installed alongside the oversize, makeshift bike. Starling, who calls his work a "physical manifestation of a thought process", said he was pleased that his work had been noticed. "It's nice to be recognised," he said last night. "I'm not somebody well known as an artist in this country. It's nice to come home and get a big cheque." According to the Tate's curator Rachel Tant: "He's interested in the creation of objects; he is a researcher, traveller, narrator. He looks at how things got to be the way they are, and reasserts a human connection between processes we take for granted."
- Burn Time (2000), Simon Starling − Private Collection. Courtesy neugerriemschneider, Berlin © The Artist. Courtesy neugerriemschneider, Berlin Simon Starling is a great teller of stories; his many-layered stories show how interlinked our fragile world is. The installation Burn-Time made in 2000, brings together an unlikely collection of objects which are, in fact, linked: the truncated wooden model of a neo-classical building, once used as a henhouse in Scotland; the sawn-up timbers taken from that model lying on a tarpaulin; a brick-built stove with several glass and metal egg-coddlers and a pan sitting on the top. The man who designed the simple, but functional egg-coddler is Wilhelm Wagenfeld (1900-1990), a Bauhaus-trained, modernist German designer. The building, whose model Starling made, now houses a museum devoted to Wagenfeld, but it was actually built as a jail and was used by the Gestapo for interrogations during the Third Reich and, more recently, housed unsuccessful asylum seekers. Starling turned the model into a henhouse and then used it as a source of wood to fuel the stove in order to cook the eggs, laid by the hens kept in the coop, in a Wagenfeld coddler. Through this cyclical story Starling makes us consider how interrelated our world is; how cultural heroes can sit side-by-side with the blackest moments of human history. Starling was born in Epsom near London. He studied in Nottingham between 1987-and 1990 and at the Glasgow School of Art in 1992. He won the Turner Prize in 2005. He now lives and works in Copenhagen.
- Starling’s other work are a series of photos called Burn Time (2000). Superficially these prints are very amusing, as they capture an installation in which Starling built a chicken coop modeled after a museum of a German Artist whose designs of glass egg poachers Starling revered. Nonetheless it made my night seeing chickens frolicking about such a finely crafted architectural model. Something about Starling’s work at the Bass made me think of Earth n’ Us Farm, the only organic Urban farm in Little Haiti (7630 NE 1st Ave), and a place where one can see people living in tree houses surrounded by poultry, pigs and produce on the ground below.
- 另外，在80年代中期，斑马贝在多伦多的五大湖Great Lakes大量的繁殖，它们由来自黑海的轮船带到五大湖后严重的侵害了大湖的生态环境，除了让物种失衡的破坏，它还把排水道给堵住了，给多伦多带了很多困扰和损失。 2006年，Simon 将摩尔的雕塑 “Warrior with Shield”“手握盾牌的战士”的复制品，投入湖中希望斑马贝能喜欢上它。虽然一开始斑马贝似乎不加理睬，但在2008年将其拖出水面时，印证了斑马贝的顽强的适应能力。
- Enter Infestation Piece (Musselled Moore). In 2006, Starling created a full-scale steel replica of Moore’s Warrior with Shield that was subsequently submerged in Lake Ontario with the intention of attracting and supporting the growth of zebra mussels. Despite some early resistance by the otherwise tenacious mollusk, the work was pulled from the lake early in 2008, time-worn and mussel-encrusted. - See more at: http://www.canadianart.ca/reviews/2008/03/27/simon-starling-3/#sthash.LbjJ6NwA.dpuf
- “When I'm making art,” says Starling, “I'm thinking up novels in a way…I'm involved in an activity which is similar to that of a narrator.” This approach of active narration epitomizes his new commission for The Power Plant. The work alludes to the close relationship between British sculptor Henry Moore and the city of Toronto, which has one of the most significant collections of Moore's sculpture in the world and commissioned one of Moore's most important public works, The Archer (1964–65). The commission provoked a public outcry in Toronto, due in part to nationalist opposition over foreign artists receiving public funds. The objections were thwarted by enthusiasts who raised private money to purchase the sculpture, thereby cementing a relationship between Moore and Toronto that resulted in Moore awarding the Art Gallery of Ontario (AGO) a significant selection of his plaster originals and works on paper. Previously, a small number of Moore's sculptures entered the AGO's collection at the recommendation of gallery adviser Anthony Blunt, the art historian and member of the infamous spy ring that betrayed British secrets to the Soviet Union during the Second World War. They included the bronze Warrior with Shield (1953–54) that evolved, in Moore's words, from “a pebble I found on the seashore in the summer of 1952, and which reminded me of the stump of a leg, amputated at the hip.” Moore's fascination with the suggestive formal possibilities of natural objects particularly interested Starling, and provided a jumping off point for his sculptural commission. Subsequently Starling became fascinated with the invasion of the Eastern European zebra mussel throughout the North American Great Lakes. Marine biologists speculate that the zebra mussel entered the Great Lakes in 1988 via ballast water from large ocean-going trading vessels. Native to the Black Sea, the mussels have become a dominant aquatic species in the Great Lakes, with both beneficial and destructive ecological repercussions, through filtering pollutants from the lakes while also eliminating many native species. Starling combined his interests in Moore and the zebra mussel by creating a steel copy of Moore's bronze sculpture Warrior with Shield and submerging it into Lake Ontario for 18 months where it was gradually colonized by zebra mussels. The recently removed sculpture, titled Infestation Piece (Musselled Moore), is now covered with dried mussel shells, and forms the centerpiece of Starling's exhibition. This dialogue with Moore is both an engagement with an artistic legacy and an examination of larger social, cultural and environmental contexts. The exhibition includes recent works that expand on these concerns. Island for Weeds (Prototype) (2003) alludes to the migration of the rhododendron and proposes a floating island to contain the non-native plant that is now being eradicated in Scotland. Bird in Space 2004 (2004) refers to Marcel Duchamp's importation of Brancusi's Bird in Space to the United States in 1927, when customs deemed it not art and imposed an import tax. Starling's work uses a large block of steel exported to the US from Romania, Brancusi's homeland, shortly after George Bush dropped tariffs designed to protect the US steel industry. As with Infestation Piece (Musselled Moore), these works refer to multiple journeys – those that are constricted and shaped by the processes of culture. Born in 1967 in Epsom, England, Simon Starling is a graduate of the Glasgow School of Art. He won the Turner Prize in 2005 and was shortlisted for the Hugo Boss Prize in 2004. Currently, he lives in Copenhagen and is Professor of Fine Arts at the Staedelschule, in Frankfurt. He has exhibited widely, including at the Bienal de São Paulo (2004) and the Busan Biennal (2006), and represented Scotland at the Venice Bienniale in 2003. In the past five years, Starling has also had solo exhibitions at Dundee Contemporary Arts, Scotland (2002); the Museum of Contemporary Art, Sydney (2002); Villa Arson, Nice (2003); and Museum für Gegenwartskunst, Basel (2005). Upcoming solo exhibitions in 2008 include MASS MoCA, North Adams, MA; Kunstraum Dornbirn, Germany; The Modern Institute, Glasgow; and Galleria Franco Noero, Turin. This exhibition has been given Special Recognition as part of the 2008 OAAG Awards.