Interdisciplinary artist Tobias Fike has collaborated on two exciting projects for the Biennial of the Americas. The Denver-based biennial is an international festival of art, culture, and ideas, that inspires critical thinking and promotes action, opened this week, with city-wide events, exhibitions, and programming featuring leading artists, architects, and thinkers.
Beach Ball Collision Test, documented above, is a collaboration between Fike and sculptor Matthew Harris, created for the group show, First Draft, which is part of the exhibition Draft Urbanism. For the performance and its accompanying single-channel video, Fike and Harris catapult beach balls toward each other, which hit with a resounding clap. The work explores the contrast between play and the absurd, with notions of masculinity, and the violence often associated with adversarial exercises.
Fike’s second project for the biennial is called, The Butterfly Effect: All the Days, All Our Actions. A collaboration with artist Alvin Gregorio, this commissioned project addresses the concept of the butterfly effect and the sometimes unintended consequences of our actions. Featuring a butterfly nesting area, and serving as a stage for performances throughout the duration of the biennial, the project reminds both speakers and audience members of the potential scope of impact, both good and bad, from small actions.
Please visit the Draft Urbanism page for more information about the arts programming of the biennial, and the Biennial of the Americas website for more information about this summerlong event.
We are pleased to announce Gregory Euclide’s participation in the Biennial of the Americas. The Nature of Things brings together the artworks and energies of twenty-four contemporary artists from North, South, and Central America. These artists and their works participate in exploring the four themes of the 2010 Biennial of the Americas: innovation, sustainability, community and the arts.
Because There’s a There, Here’s Just Fine
This work explores the relationship between idealized conceptions of nature and the constructed world we choose to live in.
According to the 2000 census about 80% of Americans live in urban areas. That number is predicted to rise when the results are tabulated for the 2010 census. With an increasing number of people living in urban areas many have been asking the question “what is our relationship to nature?” The rise of landscape painting in England during the 18th century corresponded with the enclosure of farms and development of large urban centers. The turning to nature was not specific to England, in fact it is seen in many locations where increased industrialization occurs. There is a repeated tendency to isolate and separate nature from the place where we exist.
Because There’s a There, Here’s Just Fine underscores the paradox of creating an identity surrounding Nature while living in densely populated urban areas. These urban areas are built on grid-like patterns, that leave little of the natural habitat (grasslands and prairies) and instead attempt to support that which was never found on the land like lush suburban lawns and golf courses.
Please visit the official website of the Biennial of the Americas for further information.
Please visit the David B. Smith Gallery flickr page to view additional installation photos.