A visually immersive art and music festival exploring the boundaries of light, space and sound.
Installation opens November 22, 2016 to January 8, 2017
Illuminated from dusk to 11 pm
Discovery Green® captivates downtown visitors this winter with Firmament, a vibrant canopy of LED lights by acclaimed Burning Man artist Christopher Schardt. Firmament enlivens the Sarofim Picnic Lawn from November 22 through January 8, 2017!
Firmament is a 52-foot wide, canopy of 21,600 LED lights, suspended from a 42-foot high aluminum tower. The tower is elevated on six legs forming huge equilateral triangles with the ground. At its pinnacle, a 21” diameter LED ball serves as a beacon and will be visible from long distances.
Visitors can gather under the structure as the LED lights display celestial, playful, psychedelic and brightly abstract images. A continually changing musical element engages visitors’ senses creating an enveloping, comforting, communal environment below.
Discovery Green will seek input from Houston musicians and the community to determine musical selections, make sure to check back for the full line up!
The FotoFest 2016 Biennial, the Sixteenth International Biennial of Photography and Photo-related Arts, takes place March 12 – April 24, 2016, in Houston, Texas. The FotoFest Biennials draw over 250,000 visitors during the course of their six-week run. They attract visitors and participants from over 35 countries. They are one of the world’s longest-running, largest, and most respected international photographic art events.
Across the globe, millions of people are acting on the crises affecting the sustainability of life as we know it on this planet. As an estimated 400,000 people recently participated in international demonstrations concerning the issues of environmental change, thousands of others are responding, with small and large projects, to the challenges of protecting, preserving and developing the resources of the planet in sustainable ways.
CHANGING CIRCUMSTANCES will present artists, experts, scientists, writers, and policy makers looking at the inter-connected issues of climate change, population growth and migration, globalized use of natural resources, capital, and the impact of new technologies. The exhibitions and other programs will focus on the future of the Earth by examining challenges, and by proposing new ideas and solutions.
Shadow Monsters, an interactive installation by New York-based British artist Philip Worthington, invites Museum visitors to take part in a fully immersive art experience. Participants create their own shadow plays as their silhouettes are recast in fantastic forms.
Essentially a digital version of a traditional shadow-puppet theater, Shadow Monsters turns a childhood game of imagination into a reality. People’s hands become mouths with razor-sharp teeth; tongues, eyes, and fins appear from every appendage; and birds and dinosaurs squawk throughout the Museum’s vast Cullinan Hall—all thanks to vision-recognition software that augments visitors’ gestures with sound and animation.
They have a livestream running here:
Dynamic works from the Museum’s renowned collection of Latin American art focus on visual explorations of space and light in Cosmic Dialogues. This exhibition features nearly 50 significant sculptures and drawings created over the past 70 years, including immersive light installations, rarely seen works on paper, and masterpieces of Kinetic art.
Cosmic Dialogues: Selections from the Latin American Collection allows visitors to engage with Latin American artistic innovators in new and exciting ways. The presentation showcases Modern and Contemporary artists’ concern with the cosmos as a driving theme.
A highlight is the reinstallation of La ciudad hidroespacial (The Hydrospatial City) by Gyula Kosice (born 1924). An audience favorite at the MFAH in 2009, this immersive, room-sized display is Kosice’s utopian vision of space architecture. The Hydrospatial City epitomizes the Argentinean artist’s pioneering use of innovative materials such as Plexiglas and illustrates his fundamental preoccupations with water, space, and the human condition. At a time when few paid attention to the physical depletion of the planet, The Hydrospatial City—begun in 1946 and completed in 1972—was both a sounding alarm and a poetic manifesto for survival in space.
Kosice’s masterpiece is displayed in dialogue with a selection of light-based structures by other Argentinean artists active in the Kinetic art movement in Europe. Cosmic Dialogues also draws from the Museum’s extensive holdings of masterworks by German-born Venezuelan artist Gego (1912–1994). In the 1960s and 1970s, she developed a structural method for drawing in space with a series of flexible, hanging net sculptures made of stainless-steel wire. Her work contrasts with examples by contemporary artists, such as Argentina’s Gustavo Díaz (born 1969) and Mexico’s Pablo Vargas Lugo (born 1968), who are concerned with issues of light and space.
SENSOR is a new multi-media, interactive exhibition of works from an international mix of activists, philosophers, software engineers and artists. Their work brings the use of unmanned aerial vehicles, UAVs or “drones”, by the U.S., over the past thirteen years, to a tangible reality. The technology, implemented 8,000 miles away and officially unacknowledged by the CIA, is the future of warfare and military intelligence. Closer to home, drones patrol the southern border, and police forces look to adapt military surveillance technology in U.S. cities. This group of artists and engineers mine the issues and facts surrounding these controversial machines, their use here and overseas, and future implications.Curated by FotoFest Associate Curator Jennifer Ward.
In Terminal A at George Bush Intercontinental Airport (IAH) in Houston, Texas
“Higher Ground” is an interdisciplinary work consisting of video, sculpture and photography commissioned by the Houston Airport System and the City of Houston.
In the spirit of George Méliès landmark illusionistic film, “A Trip to the Moon,” the artists Hillerband+Magsamen with their children embark on an adventure to construct and fly a rocket ship to the moon by taking apart their Houston, Texas suburban home.
This quirky and seemingly impossible task created out of cut up couches, duct-tape, Amazon boxes and pots and pans turns out to be not only achievable, but also believable. As the artist and their children pull apart and rummage around their home to build a spaceship, this cinematic odyssey references both the creativity and futility of the “American” experience. From backyard wrestling to big box store escapism the work creates a Beckettian theme echoing phrase ‘can’t go on…must go on’.
High Definition Video with Sound, Duration: 10 min 30 sec. Loop, Aspect Ratio 16:9, 2 Ch Stereo, 2015
Waves, a suspended sculptural LED video installation in Houston, Texas, echoes the flow and constant current of people walking through the atrium. The video display content is the result of a public-participation performance, a signature method of the artist. Over one hundred workers and tenants of the building complex, as well as passersby, performed over a green-screen surface while being captured by Canogar’s over-head video camera. They were first asked to crawl, and then encouraged to be creative. They danced, ran and cartwheeled. The result is a dynamic video animation featuring the building’s residents and workers and the local Houston community in both realistic and abstract forms.
Waves is the first permanent piece of public art in the U.S. by Daniel Canogar. The installation is situated in the atrium of 2 Houston Center, an office building in downtown Houston.