Following on from this, I ask what frames of reference-beyond painting-she draws upon for this focus on the body. It’s not just a dead material, it’s being activated by the people who use it and who look at it,” Grosse observes. “I think that every art work is completely transformed by being looked at. The immediate feedback of human interaction within these installations is key, as viewers navigate on their own terms. It was an experience that stayed with me long after I had returned home, as if I had made a trip not just to Venice but to the moon. Moving through it, I felt as if I had arrived at a scene of mystical destruction, where rainbow rubble clustered, and walls appeared to emit a saturated glow. This unfamiliar environment was fully evident at the 56th Venice Biennale in 2015, where she coated giant sheets and piles of dirt with her layers of paint-always in unmixed colours. For Grosse, “leaving the canvas was an activity of revolution”, and by scaling up she invites viewers to inhabit an alternative, uncanny world that subverts expectation and makes the ordinary appear alien. Walking into the exhibition in real life, the illusion and the reality are both evident, as if you’ve been let loose amidst a psychedelic stage set. It both emphasises and veils the surrounding architecture, and is suggestive from certain angles of the type of rolled Colorama paper favoured by photographic and video studios, where perspective expands within the frame to a seemingly infinite vista. In her show at Gagosian, Prototypes of Imagination, a draped, rainbow-painted cloth dominates the imposing central space, stretching across more than twenty metres. Acrylic on canvas, 240 x 161 cm Top: Portrait by Benjamin McMahon Then I realized, ‘Oh, the wall is also a part of it.’ I found out about it very early.” Above: Untitled, 2018. “I had one piece of paper, then I glued four together so I had a larger field, and I would put it on a wall. “I think I always had a very natural feeling that I could expand the image… even as a child I did,” she remembers, talking about the impulse behind her huge-scale works. Grosse creates complete environments in which viewers can lose themselves, where there is no defined beginning and end observation becomes immersion. Set against the bleak beach landscape, it erupted like an outsized raspberry ripple dessert, surreal, seductive and hyper-saturated. The previous year at Rockaway Beach, New York, she turned her attention to a hut destroyed by Hurricane Sandy-at the invitation of MoMA PS1-coating it in great swirls of pink, red and white. But the overall budget, including the cost of building and renovating venues, is about 8 billion euros ($8.2 billion) and has already gone up from its original estimate, in part because of high inflation.At the South London Gallery in 2017 she engulfed the Victorian architecture of the exhibition space in riotous colour, which popped defiantly against the stark white of carefully stencilled areas left untouched. More than 70% of the proposed venues in the Paris bid were existing facilities, with a further 25% being temporary structures. With the IOC hugely sensitive about cost overruns and potential white-elephant venues, Paris bid leaders insisted during their campaign for hosting rights that their project was in line with IOC recommendations encouraging the use of existing facilities and infrastructure to save money. Brisbane was picked two years ago as the 2032 Summer Games host after being pre-selected by the IOC to get exclusive negotiating rights. Paris was awarded its Olympics six years ago - and at the same time the IOC also rewarded its only remaining bid rival, Los Angeles, with the 2028 Summer Games.Īvoiding a contested vote removed the scope for vote-trading and bribery in a process that has since changed again to effectively shut down public campaigning.
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