Artist Yayoi Kusamaconstructed a large domestic environment, painting every wall, chair, table, piano, and household decoration in a brilliant white, serving as a giant white canvas.
Over the course of two weeks, childrens were given thousands of colored dot stickers and were invited to collaborate in the transformation of the space, turning the house into a vibrantly mottled explosion of color.
LA MONNAIE DE PARIS AND ITS MISSION
La Monnaie de Paris has a public service mission: the striking common currencies on its production site in Pessac (Gironde), for French euros like other currencies in Europe and in the world.
Maintaining a high tradition in crafts related to metal, it has another mission edition commemorative art: collection of coins, medals, decorations, art castings and jewelry, made on its historic site the Quai Conti (Paris 6th).
HOTEL DES MONNAIES HISTORY
Hotel de la Monnaie de Paris was built during the reign of Louis XV, on the site of the Grand Hotel de Conti on the left bank of the Seine, the Paris Mint consists of a palace and a factory architect’s works Jacques Denis Antoine (1733-1801).
Splendid witness of neoclassical architecture, the main body of the Palace wife over a length of 117 meters line of Quai de Conti. It is flanked by two side wings on Conti Street and Guénégaud impasse. Dubbed a factory, the palace has a majestic reception room “Guillaume Dupré room”, the largest series of rooms in Paris overlooking the Seine and a staircase to the admirable proportions.
Finally the Monnaie de Paris has a small architectural gem: a mansion built by Jules Hardouin Mansart in 1669, also called “Wing Mansart.”
EXHIBITION CENTRE OF CONTEMPORARY ART
La Monnaie de Paris also supports contemporary artistic creation. It thus presents exhibitions of French and international contemporary artists (David LaChapelle, Daniel Buren, Julien Berthier, Willy Ronis, Jean Prouvé) and participates in recurring events that combine other cultural institutions (Photoquai and the Parcours des Mondes first arts).
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Dustin Yellin is as known for his image-rich sculptures as he is for his entrepreneurship, reflected in his contemporary art hub, Pioneer Works, Brooklyn, his magazine of artist interviews, Intercourse, and his work in his own studio and running a (now closed) commercial gallery.
His sculptures—from large- to small-scale—are composed of thickly layered glass panels, painted or collaged with a riot of images that coalesce into shape-shifting narrative scenes, human figures, or isolated natural forms.
Dustin Yellin was commissioned by the New York City Ballet to install a new series of his figurative collages. The artist refers to the sculptures as Psychogeographies because “they feel like maps of the psyche.”
Each large-scale sculpture is individually embellished with bizarre found objects—cut-up books, magazines and trash found on the street—which are then sealed within layers of glass. “Imagine if you were to make a drawing on a window,” said Yellin, explaining his process. “And then you were to take another window and glue it to that window… until you had a window sandwich. I make window sandwiches.”
The resulting forms resemble dancers striking various poses: their multi-dimensional bodies encapsulated in suspended animation.
Thomas Saraceno, a trained architect, borned in Argentina in 1973, living today in Germany, is endlessly fascinated by cities and structures — particularly ones that exist above ground and float in the air. Over the years, he’s translated the networks and geometries of social, political and natural environments into new habitable spaces and poetic experiences, such as the walkable Cloud City at The Metropolitan Museum of Art in New York.
In this documentary, we step into the creator’s fantastical “lighter-than-air” world of spider web sculptures and research into futuristic airborne cities.
Beyond the scientific and technological performance, elements of Thomas Saraceno installation are plastically sublime: Color echo, contrast materials, games perspectives. The whole is a breathtaking beauty. Let no one say that contemporary art is offered to insiders …