101
MARBLES DAAN ROOSEGAARDE
Dann Roosegaarde innovatively uses LED to humanise public spaces. ‘Marbles’ was placed in ‘The Fountain’, a largely Loyalist area of the city, and consisted of large multi-coloured gem like stones, which interact with people using sound, colour and light. Smart sensors are in- stalled within the crystals and they are able to change their mood from ‘bored’ to ‘excited’, becoming more animated as the audience interacts with them. The stones are also able to communicate with each other, interacting via flashes of colour.
FIRE GARDEN COMPAGNIE CARABOSSE
The rolling hillside of St Columb’s Park, just by Ebrington, should attract some of the visitors that are lured across the Foyle by the Peace Bridge. Alas, it re- mains something of an undiscovered gem. Carabosse, one of France’s most important street art groups, renowned for bringing their ‘Fire Garden’ to spaces around the world, set out to put this right, creating a firey wonderworld touched by a sense of bohemian whimsy, with engraved furnaces and antique kettles bellowing out flames. There is a tradition right across Derry of bonfire burning, a very hostile and ag- gressive statement, and Artichoke wanted to present something involving fire that showed it could be a medium both peace- ful and delightful.
site at all was quite extraordinary. When it was standing, the column looked out over the Bogside, home to a large chunk of the city’s Catholic population, another flash-point in Derry’s rocky history, the place were the Bloody Sunday march set out from and until the conclusion of The Troubles a no-go area for Protestants. Lum- iere turned the Bogside into a momentary art-gallery, attracting crowds into the area to see work from Cleary Connolly and Ron Haselden.
Connolly presented ‘Change Your Stripes’, a light projection artwork, onto the Derry Credit Union building, which brings to mind both an abstract painting and a psychedelic zebra crossing from a Pink Floyd video, the stripes rippling across the wall, responding to the movements of those who look at it.
Some of the works opted to highlight the heritage of the city, such as ‘Shirts’ by H Sleiman & L Bond, which was displayed on the Fabric World Building. The work is com- prised of colourful neon outlines of shirts, a nod to Derry’s shirt-making tradition. The city was once the world leader in shirt pro- duction and it has been estimated that at one point in the city’s history the industry employed every woman in the city, the kind of charming fact that Derry’s recent history has eclipsed and the city and its visitors are currently being reacquainted with. Krzysztof Wodiczko’s ‘Public Projection Der- ry/Londonderry’ did tackle the city’s more recent past though. Wodiczko’s large scale projections are well known, his work in Derry was mobile and involved the projec- tion of the words of local residents affected
by the marginalization and division that still haunts the city. Projected from an ambu- lance, the location changing as the vehicle moved around town, the artwork is both a warning and a wish, a warning of how easy a return to the old ways would be, and a fervent wish for peace. Finally there was ‘A Stich in Time’ by Tim Etchells, a phrase re-produced in seemingly Soviet-era lettering on top of the Rose- mount Shirt Factory. Some nicknamed it ‘Derry’s version of the Hollywood sign’ and it is hoped that the installation will remain after the ‘Year of Culture’ is over, becoming a new Derry icon, a post-Troubles landmark, with no history to prompt further division. A 21st century unifier.
www.artichoke.uk
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48 |
Page 49 |
Page 50 |
Page 51 |
Page 52 |
Page 53 |
Page 54 |
Page 55 |
Page 56 |
Page 57 |
Page 58 |
Page 59 |
Page 60 |
Page 61 |
Page 62 |
Page 63 |
Page 64 |
Page 65 |
Page 66 |
Page 67 |
Page 68 |
Page 69 |
Page 70 |
Page 71 |
Page 72 |
Page 73 |
Page 74 |
Page 75 |
Page 76 |
Page 77 |
Page 78 |
Page 79 |
Page 80 |
Page 81 |
Page 82 |
Page 83 |
Page 84 |
Page 85 |
Page 86 |
Page 87 |
Page 88 |
Page 89 |
Page 90 |
Page 91 |
Page 92 |
Page 93 |
Page 94 |
Page 95 |
Page 96 |
Page 97 |
Page 98 |
Page 99 |
Page 100 |
Page 101 |
Page 102 |
Page 103 |
Page 104 |
Page 105 |
Page 106 |
Page 107 |
Page 108 |
Page 109 |
Page 110 |
Page 111 |
Page 112 |
Page 113 |
Page 114 |
Page 115 |
Page 116 |
Page 117 |
Page 118 |
Page 119 |
Page 120 |
Page 121 |
Page 122 |
Page 123 |
Page 124 |
Page 125 |
Page 126 |
Page 127 |
Page 128 |
Page 129 |
Page 130 |
Page 131 |
Page 132 |
Page 133 |
Page 134 |
Page 135 |
Page 136 |
Page 137 |
Page 138 |
Page 139 |
Page 140 |
Page 141 |
Page 142 |
Page 143 |
Page 144 |
Page 145 |
Page 146 |
Page 147 |
Page 148 |
Page 149 |
Page 150 |
Page 151 |
Page 152 |
Page 153 |
Page 154 |
Page 155 |
Page 156 |
Page 157 |
Page 158 |
Page 159 |
Page 160 |
Page 161 |
Page 162 |
Page 163 |
Page 164 |
Page 165 |
Page 166 |
Page 167 |
Page 168 |
Page 169 |
Page 170 |
Page 171 |
Page 172 |
Page 173 |
Page 174