ARCHITECTURE OMI

OMI INTERNATIONAL ARTS CENTER

GHENT/HUDSON VALLEY

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Alex Schweder + Ward Shelley, ReActor, 2016, Wood and concrete, 16’x44’x8′

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Ariane Lourie Harrison & Seth Harrison, Harrison Atelier, Species Niches

Brooklyn-based design firm, Harrison Atelier, created a pavilion that is an undulating canopy of networked spaces sited at the edge of the forest and field in Architecture Omi’s rolling landscape. The pavilion’s design draws inspiration from the structural logic of the “reciprocal frame:” no single hierarchy governs the network of the one thousand, local-sourced oak structural members; rather, the geometries of the design are interdependent and interwoven.

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Guy Goldstein: Time Signatures, 2014

Tel Aviv-based visual artist and musician Guy Goldstein’s project, Time Signatures, began with Goldstein’s fascination with weathervanes, a vernacular architecture element foreign to Israel yet native to the Hudson River Valley. Goldstein is interested in their simple practicality, the stories they tell, kitsch design, and relationship to Robert Venturi and Denise Scott Brown’s canonical architecture text, Learning From Las Vegas (only relatively recently translated into Hebrew). Time Signatures will include a series of large-scale sculptures referencing weathervanes but with a dramatic change from traditional scale and iconography.

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Alexandre Arrechea, Helmsley, 2013, steel, 14 3/4 x 14 ½ x 2 5/8 feet

Helmsley by Alexandre Arrechea comes from “No Limits”, a public art exhibition. The series of steel sculptures were on view in Summer 2013 along the Park Avenue Median in New York City. Arrechea playfully reinterprets buildings that defined the city and Park Avenue and each piece in that exhibition was based loosely on a New York architectural landmark: in this case, the Helmsley Building on Park Avenue and East 45th Street.

The 15-foot sculpture pays homage to the 35-story building but is equally recognizable as a snake eating its own tail. The Cuban artist has spoken of the Ouroboros myth: “It’s like a city that devours itself. That has always been my first vision of New York.”

“It’s kind of creating my vision of a parallel city by bending the rules,” Mr. Arrechea said. “These buildings are a like new calligraphy that creates a link between architecture and the human condition, and the idea of failure and success. I wanted to make the statement that we have the ability to transform our surroundings.”

Alexandre Arrechea graduated from the Instituto Superior de Arte (ISA) in Havana in 1994 and was a founding member of the collective Los Carpinteros (1994-2003).

Helmsley by Alexandre Arrechea appears courtesy of Magnan Metz.

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Alice Aycock: A Simple Network of Underground Wells and Tunnels, 2012, concrete
block, wood, earth, approx. 28’ wide x 50’ long x 9’ deep.

A reconstruction of an iconic piece, Alice Aycock (b. 1946) describes the work as “a subterranean network of passages set up for the purpose of operating below the surface of the earth.” creating an all-encompassing experience of transitioning from darkness to light. Her work, like much of what is frequently grouped under the term “earthworks,” is a hybrid of sculpture, architecture, and landscape.

 

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Yoandy Rizo Fiallo, Nest: Points of View, 2012

Yoandy Rizo Fiallo is an architect at O+ Studio in Havana, Cuba. In 2012, he was a recipient of a pilot grant for emerging Cuban designers, developed by the Vermont Studio Center, in partnership with Architecture Omi, the JM Kaplan Fund, and the Shelley and Donald Rubin Foundation. Fiallo participated in a 6-week residency program at the Vermont Studio Center, which culminated in the exhibition Skyline Adrift: Cuban Art and Architecture at Architecture Omi. Skyline Adrift featured the work of Fiallo, fellow grant-recipient Yilena Feitó, and two Cuban émigré artists Armando Mariño Calzado and Alexandre Arrechea.

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Oliver Kruse & Students at Peter Behrens School of Architecture, Interfere(nce), 2012

A project by Oliver Kruse (b. 1965) in collaboration with students and staff at Peter Behrens School of Architecture (Düsseldorf University of Applied Art and Sciences), Interfere inaugurates Architecture Omi’s commitment to furthering pedagogical opportunities for critical and applied art/architectural practices.

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Brian Brush, Omi Rock Pavilion, 2013

Omi Rock Pavilion is a large faceted structure situated on a hilltop overlooking stunning views of the Catskills which operates at the intersection of art and architecture, tying in the experience of viewing the landscape with being of the landscape. Omi Rock Pavilion is by Brian Brush, Adjunct Assistant Professor at Columbia University GSAPP and founding partner of noted design firm E/B Office. His work focuses on the intersection of architecture and art, specifically through the manifestation of information in form, space, and material.

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Bus Shelter XI (Heidegger), 2011, Aluminum, plexiglass, wood, enamel, fluorescent light, Duratrans

Dennis Adams, Bus Shelter XI (Heidegger), 2011

Dennis Adams is an American sculptor and conceptual artist internationally recognized for his public projects and museum installations surrounding the relationship of art and the urban environment. Through use of photography, cinema, public space, and architecture, Adam’s work explores historical and political undercurrents while addressing the process of collective amnesia. Adam’s work has been the subject of over 50 one-person exhibitions in museums and public spaces throughout North America and Europe.

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Jackie Ferrara: Ribbed Dome (rebuilt), 1997

The Fields Sculpture Park is proud to present the restored sculpture by Jackie Ferrara, “Ribbed Dome, 1997“, initially installed at The Fields in 2000.

Since the 1980s, Jackie Ferrara’s work has evolved from architectural table-top constructions of interlocking lengths of wood towards public art projects referencing pyramids, courtyards, arenas, theaters, archways, loggias, wall and floor sections, passageways, pool houses and towers. Interested in mathematical systems, she uses incremental progressions to create structures. Repeated permutations of surface openings made slits of light, causing dramatic contrasts of light and shadow.

Ferrara describes her process as “creating places”. Her sources lie in architecture and landscape architecture, in graphics and design, in mathematics, cinema and theater. She looks for connections: spatial, visual, historical, environmental, and architectural while believing in a dramatic potential of the site which invites participation, a reason to stop, investigate, and absorb.

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www.artomi.org

Also visit: http://aaqeastend.com/contents/omi-international-arts-center-the-fields/

Residency Programs Offered at OMI International Arts Center

Omi International Arts Center has four distinct residency programs. Through a competitive jury process, residents are chosen, invited to attend at no cost to themsleves, except travel. Abundant, catered meals and comfortable, beautiul lodgings are provided in a scenic location in Columbia County, New York. Omi is two hours north of New York City by train.

Art Omi International Artists Residency invites thirty artists from around the world every July for a  four week residency. Writers Omi at Ledig House sponsors forty writers and translators from around the world for up to two months each year. Music Omi brings together twelve to fifteenmusician-composers from around the world in August for three weeks. Dance Omi International Dance Collective brings together ten dancersfrom around the world for three weeks in late August.

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Photographs copyright Jeff Heatley, except photographs of Aycock, which were supplied courtesy of OMI International Arts Center.

Copy/captions courtesy of OMI International Arts Center.

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