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Lumlux Art

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Art Stream

Twenty-Four Hours Inside Cinema

Animation

When Drawing Starts Moving

William Kentridge’s Shadow Procession turns simple silhouetted figures and objects into a moving procession. Some shapes transform almost absurdly: ordinary objects begin behaving like animals or vehicles. The means are deliberately visible and uncomplicated. That is what I like about it. Animation does not need realism to create life. Sometimes a cut-out shape moving across a wall can suggest more history, weight and emotion than a perfectly rendered digital figure.

‘Why Should I Hesitate: Putting drawings to work’ – Zeitz MOCAA hosts William Kentridge survey

#WilliamKentridge #Animation #ShadowArt #ContemporaryArt

Zeitz MOCAA 'Why Should I Hesitate: Putting drawings to work' - Zeitz MOCAA hosts William Kentridge survey - Zeitz MOCAA Cape Town, 25 August 2019: The largest ever survey exhibition by internationally acclaimed artist William Kentridge opens in Cape Town in August. This major exhibition will be hosted simultaneously in two parts by the Zeitz Museum of Contemporary Art Africa (Zeitz MOCAA), which will host his multi-media works; and at Norval Foundation, which will present […]
Contemporary Music

Electronic Music Without the Screen

Ryoji Ikeda is strongly associated with precise audiovisual work and data-driven visual environments, yet the Barbican’s 2026 Portrait weekend focused on music for acoustic ensembles across strings, percussion and voice. I like that shift. An artist closely identified with digital precision can move the same thinking into physical performers and acoustic space. Artistic identity becomes more interesting when the method survives after the familiar tools disappear.

https://www.barbican.org.uk/our-story/press-room/from-colombia-to-iceland-artisan-craft-to-unexpected-pop-ups-barbican-reveals

#RyojiIkeda #ExperimentalMusic #SoundArt #ContemporaryMusic

barbican.org.uk From Colombia to Iceland, artisan craft to unexpected pop-ups: Barbican reveals its Spring 2026 highlights | Barbican
Contemporary Art

When Everyday Objects Become a Cosmos

Sarah Sze builds installations from ordinary objects, images, videos and fragments that can shift in scale from something almost microscopic to something architectural. Her work makes me think about how easily attention moves between those extremes now. We zoom into a screen, step back into a room, then return to a tiny detail. Perhaps scale is no longer only a property of objects. It has become a habit of looking.

https://www.fondationcartier.com/en/collection/artists/sarah-sze

#SarahSze #InstallationArt #Sculpture #ContemporaryArt

Fondation Cartier Sarah Sze | Collection of the Fondation Cartier pour l'art contemporain — Fondation Cartier pour l’art contemporain Welcome to the new premises of the Fondation Cartier pour l’art contemporain at 2 Place du Palais-Royal, Paris.
Brazilian Art

The Image Cannot Hold Still

Lygia Clark’s Sundial can be folded into different configurations or flattened into a plane. Despite its geometric precision, there is no final position that reveals the “correct” sculpture. I like that instability. Museums usually train us to believe an artwork possesses a fixed form that must be protected. Clark instead makes change part of the object’s identity. The sculpture survives precisely because it refuses to remain the same.

https://www.moma.org/collection/works/91764

#LygiaClark #Sculpture #BrazilianArt #ParticipatoryArt

Computer Game After the

A Computer Game After the Game

Super Mario Clouds is more than nostalgia for an old Nintendo cartridge. Cory Arcangel exposes the hardware, altered cartridge, cables and projection instead of hiding the mechanism. That matters. Digital images often pretend they have no physical body, yet every cloud on a screen depends on machines, code and electricity. Showing the apparatus makes the apparently weightless image heavy again.

https://whitney.org/media/39041

#CoryArcangel #CreativeCoding #DigitalArt #GameCulture

Christian Marclay

Twenty-Four Hours Inside Cinema

Christian Marclay’s The Clock is built from film fragments showing clocks, watches and references to time, edited so the work follows the actual time of day for twenty-four hours. The clever mechanism is obvious. What interests me more is what happens to thousands of unrelated films when one rule connects them. Narrative disappears, but another structure appears. Editing can create relationships between images that were never meant to meet.

https://www.centrepompidou.fr/fileadmin/user_upload/Les_visites_du_Centre_Pompidou_-_Christian_Marclay_-_transcription_du_podcast.pdf

#ChristianMarclay #VideoArt #FilmArt #Editing

Experimental Music

Silencing Part of an Orchestra

Samson Young’s Muted Situation began with a deceptively simple idea: what happens if one layer of an event is deliberately removed from what we hear? In an orchestra, muting pitched sound can reveal breathing, movement and physical effort that music normally hides. I like the thought that silence does not necessarily mean absence. Sometimes removing the thing we expect to hear exposes an entirely different composition underneath it.

https://www.mplus.org.hk/en/magazine/samson-young-unheard-sounds/

#SamsonYoung #SoundArt #ExperimentalMusic #Listening

mplus.org.hk Samson Young: Unheard Sounds | M+ Museum Artist Samson Young explains the origins of his Muted Sounds series, in which musicians are instructed to perform without creating music
Documentary Photography

A Portrait Needs Its Surroundings

Gordon Parks argued that portrait photographers should leave the controlled studio and photograph people where they actually live and work. That sounds simple, but it changes what a portrait can contain. A room, workplace, gesture or background stops being decoration and becomes information about the person. Perhaps a face alone rarely tells us enough. Context can be part of the portrait rather than something to remove from it.

https://www.nga.gov/content/dam/ngaweb/press/exhibition/2024/5842/5842-walltext.pdf

#GordonParks #Photography #PortraitPhotography #DocumentaryPhotography

Chicago Art

The Garden That Wasn’t a Garden

Kerry James Marshall’s Many Mansions emerged partly from the contradiction he saw in Chicago public housing projects carrying names such as “Gardens.” The painting places an idealised landscape against the reality suggested by the housing blocks behind it. Names can be tiny pieces of architecture too. Call somewhere a garden and language begins constructing a place that may never actually exist.

https://www.artic.edu/files/aa3ebf14-5f78-489a-a75f-2613336d614d/TX-CR1103.pdf

#KerryJamesMarshall #Painting #ChicagoArt #ContemporaryArt

Contemporary Art

Hair Becomes a Line

Mona Hatoum made Composition with Circles using her own hair on handmade paper. At first the marks can simply look drawn. Knowing the material changes everything. The line once belonged to a body. Something normally cut away, swept up and discarded becomes evidence of physical presence. It is a remarkably small gesture, yet it makes the boundary between drawing and body difficult to locate.

https://shop.tate.org.uk/mona-hatoum-composition-with-circles-2016-framed/ed1029.html

#MonaHatoum #ContemporaryArt #Drawing #MaterialArt

Animation

Drawing That Remembers Erasure

William Kentridge repeatedly draws, erases and redraws charcoal images to make his animations. The previous state never vanishes completely. Smudges remain inside the next frame. That makes movement carry its own history. In a practice concerned with apartheid, colonialism and memory, the technique feels inseparable from the subject. The page remembers what has been removed, even when the image tries to move on.

William Kentridge

#WilliamKentridge #Drawing #Animation #SouthAfricanArt

Zeitz MOCAA William Kentridge - Zeitz MOCAA The major exhibition, Why Should I Hesitate: Putting Drawings to Work by William Kentridge opens at Zeitz MOCAA in August 2019.