Discover the different sites and artworks on display. The sites are numbered in the order of their appearance along the tour. 

The Sites. 

#9

 

Helidon Gjerji

 

Strained Glass. 2013. 

Colorized plexiglass.

Location: Horace Mann, 1st floor.

 

The two glass windows represent existing windows in the Umayyad Mosque of Damascus. One of them is a faithful citation of the Damascus iconography. The other one has lost the black lead that connects the different shades of the window.
 
To rewind stained glass is an aesthetic way for Gjerji to decode the intercourse among cultures. The work responds to Dewey’s statement that people have a responsibility of “conserving, transmitting, rectifying and expanding the heritage of values”. The medium of glass that once contributed to the ascent of a society now illustrates the fragility of cultures in conflict. 

#10

 

Jorge Pardo

 

Untitled. 2013.

Installation. 8 Lamps, 1 Table, various objects.

Location: Horace Mann, 2st floor, balcony

 

The artist works at the intersection of art and design. While his artworks refine aesthetics, the artist is not just interested in the idea of high art, but also in daily life. He transposes objects and situations from everyday life to his art and thus creates a connection between the artwork and the public.
 
Nicolas Bourriaud, co-founder of the Palais de Tokyo in Paris, associates the artist with an aesthetic of the inter-human, the encounter, of proximity and interaction. The present piece reflects a dinner scenario in a poetic and playful way.

 

#11

 

Mary Ellen Carroll

 

Lies. 2012. 

Vinyl. 

Location: Horace Mann, 2nd floor.

 

Lies is an interactive piece that engages with its audience. Unfinished dialogues create awkward moments and suspense. Depicting interrupted sentences, the artist engenders a reflection about how to escape or resolve conflict. 

 

#12

 

Gina Ruggeri

 

Tunnel Cloud. 2012. 

Painting on Mylar.

Location: Horace Mann, between 3rd and 4th floor.

 

Gina Ruggieri’s trompe l’oeil painting creates an illusion of a passageway carved through the wall. A voluminous plume of smoke appears to enter our space, suggesting a source beyond our scope. Intruding our physical space and located in a porous zone between reality and illusion, the picture puts the definition of painting into question. The ambiguity of texture and material engages a three-dimensional experience that associates the piece with a sculpture. 

 

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