Joana Vasconcelos’ ‘Plug-in’

Joana Vasconcelos’ ‘Plug-in’ Retrospective Buzzes with Three Decades of Energy and Power

 

︳Joana Vasconcelos’ ‘Plug-in’ Retrospective Buzzes with Three Decades of Energy and Power

 

Joana Vasconcelos’ ‘Plug-in’ Retrospective Buzzes with Three Decades of Energy and Power
“Drag Race” (2023).”

 

︳1. From a towering solitaire diamond ring made of wheels to a sprawling, embellished textile tree, Joana Vasconcelos (previously) is known for creating monumental sculptures and public artworks that reframe familiar objects and materials into striking installations. Plug-in, a new retrospective at MAAT—the Museum of Art, Architecture, and Technology—in Lisbon, explores nearly three decades of the Portuguese artist’s comprehensive oeuvre.light

 

Focusing on an undercurrent of electricity and power, Plug-in brings together new pieces in dialogue with earlier works. For example, two sculptures reimagine vintage cars: “Drag Race,” an ebulliently baroque Porsche, sports gilded woodwork that nods to track racing, self-expression, and pop-culture phenomena like RuPaul’s Drag Race. “War Games,” on the other hand, is encased in toy rifles in an antagonistic tug-o-war between play and violence. Red LED lights switch on and off continuously, and “the interior is filled with hundreds of stuffed toys that wiggle noisily, clamouring for attention and space,” says a statement.

 

Joana Vasconcelos’ ‘Plug-in’ Retrospective Buzzes with Three Decades of Energy and Power
“Valkyrie Octopus” (2015), installed at MGM

 

︳2. Vasconcelos often incorporates textiles into her works, working with beads, brocade, fringe, and a wide variety of fabrics. The lavish “Valkyrie Octopus,” part of the artist’s expansive Valkyries series, is shown for the first time in Europe since it was originally unveiled in Macau. Illuminated with tiny lights, the inflatable form coated in patterns looms across the entire width of the room. Plug-in invites visitors into a multi-sensory experience in which flashing lights and shiny surfaces question how we define luxury and power.

The exhibition continues in Lisbon through March 31, 2024.

 

Joana Vasconcelos’ ‘Plug-in’ Retrospective Buzzes with Three Decades of Energy and Power
“Solitaire” (2018).

 

Joana Vasconcelos’ ‘Plug-in’ Retrospective Buzzes with Three Decades of Energy and Power
“Árvore da Vida” (2023).

 

Joana Vasconcelos’ ‘Plug-in’ Retrospective Buzzes with Three Decades of Energy and Power
“Detail of “Árvore da Vida.”

 

Joana Vasconcelos’ ‘Plug-in’ Retrospective Buzzes with Three Decades of Energy and Power
Installation view of “Drag Race” (foreground) and “War Games.”

 

Joana Vasconcelos’ ‘Plug-in’ Retrospective Buzzes with Three Decades of Energy and Power
“Strangers in the Night” (2000).

 

Joana Vasconcelos’ ‘Plug-in’ Retrospective Buzzes with Three Decades of Energy and Power
“Strangers in the Night” (2000).

 

Joana Vasconcelos’ ‘Plug-in’ Retrospective Buzzes with Three Decades of Energy and Power
“I’ll Be Your Mirror” (2019).

 

 

Joana Vasconcelos’ ‘Plug-in’ Retrospective Buzzes with Three Decades of Energy and Power
“War Games” (2).

 

Joana Vasconcelos’ ‘Plug-in’ Retrospective Buzzes with Three Decades of Energy and Power

 

Om onvervangbaar te zijn, moet je altijd anders zijn.
Er zijn fascinerende beelden hier, en de fascinerende dag van samen!  xo
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Per essere insostituibili bisogna sempre essere diverso.
Ci sono immagini affascinanti qui, e l’affascinante giornata di insieme!  xo KanikaChic

subsurface architecture shaped by oil politics, energy extraction, and hidden infrastructure systems

挖掘地表的建築與石油政治

地下不是延伸,而是代價的沉積層;我們稱之為建設,其實只是將消耗藏進地層深處。   地下建築看似回應土地與氣候壓力,實則涉及能源、開採與基礎設施的長期運作。當空間轉入地層,其環境成本並未消失,而是被轉移並延後。     地下建築中的石油政治 地下建築不只是空間與技術問題,而是一種被能源系統深刻形塑的結構。當石油作為現代社會的核心資源,其開採、運輸與消費體系,逐漸滲透至地下空間之中,形成一種隱而不顯的政治結構。 Subsurface architecture is not merely a technical domain, but a spatial manifestation of oil-driven systems shaping contemporary society.

溫哥華海岸的巢穴(The Nest)度假勝地

The Nest 在溫哥華海岸重構建築與景觀關係

被常綠樹冠包覆,這座度假住宅既像樹屋也像瞭望台,重新定義棲居高度。     The Nest 如同一處隱於林間的世外棲居,遠離塵囂,被茂密的常綠樹冠環繞,俯瞰豪灣(Howe Sound)的壯麗景色。它既像一座小木屋,又像一間懸浮於林梢的樹屋,介於現實與超現實之間。這座位於溫哥華海岸的度假居所刻意模糊建築與自然的邊界,既是緊密相連的社區節點,也如同一座靜靜佇立於高處的瞭望台,承載關於庇護、觀看與共存的想像。 棲息在濟慈島高處的「巢穴」(The Nest),距離溫哥華僅一小段渡輪航程,卻又宛如世外桃源。這座由建築師達莉亞·謝娜設計的住宅,是一種 建築與景觀關係 的實驗,在茂密常綠樹冠之中模糊了棲居與自然的邊界。 濟慈島森林茂密,地勢崎嶇,是一處休閒度假勝地,島上散佈著夏季小屋,約有50名常住居民,是一個緊密聯繫的社區。該島位於島上最高點之一,其僻靜的地理位置、高聳的地形和令人嘆為觀止的全景景觀對項目的設計產生了深遠的影響,最終使這座房屋彷彿與周圍景觀融為一體,又如同一座瞭望台般矗立於高處。           從建築角度來看,這棟房屋的設計理念是兩個立方體的碰撞,其中一個旋轉45度形成銳利輪廓。西部紅雪鬆覆層將體塊整合為一體,使建築外皮成為一種 材料敘事,隨時間轉為銀灰色,進一步融入周圍森林景觀。 A similar relationship between architecture and

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