Lehmann Maupin is a relatively young gallery founded in 1996 by Rachel Lehmann and David Mopin. The gallery represents a wide and international range of creative practitioners and properties and has developed the ability to insert valuable art projects into new geographies. One of their latest endeavors was the highly esteemed work of sculptor Tom Friedman I’m looking up for Art Basel Hong Kong and for the rest of the world through the magic of AR. This is by no means out of their focus, and the towering figure has made its way across the oceans, as have phones everywhere. Discussing this, Shasha Titman, director of Lehmann Maupin, told STIR: “We recently launched CollectAR – a partnership between Laura Lehmann and hue.live – as a platform for displaying works of art in augmented reality. We thought that the unique script of Art Basel Hong Kong this year was a local fair and we realized that this was the perfect opportunity to bring Tom Friedman I’m looking up sculpture physically on the stand and to audiences around the world in augmented reality. ”
But the question remains, “Why Hong Kong?” the city itself is often a source of inspiration for the creative community there. I’m looking up was the perfect sculpture to engage with the verticality of Hong Kong’s cityscape. The density of skyscrapers is very unique to the city. We wondered how often the audience looked up to see the sky on a busy road like Queen’s Road? The work opens a new lens for experiencing the city. ” She elaborated on this in the press release of the song, mentioning: “The places of Tom Friedman’s AR activations in Hong Kong – from Times Square in Causeway Bay and Harbor City in Tsim Sha Tsui to Art Basel Hong Kong in the Convention and Exhibition Center, Wan Chai, reflects the dynamic spirit of Hong Kong and offers unparalleled connectivity and resonance with local and global visitors. Outperforming shopping malls, Hong Kong Times Square and Harbor City have long served as a significant venue for art and culture enthusiasts to experience a variety of engaging activities, while Hong Kong’s Art Basel has quickly become an annual cultural site in Asia Pacific. region. region since its launch in 2013. In addition to being at the crossroads of economic and cultural activities, the selected locations capture the juxtaposition of urban density and the surrounding natural landscape, which would improve our view and perception of urban spaces when activating Friedman’s I’m looking up in the form of AR. ”
hue.live, with which Laura Lehmann is partnering, is a name that those who are interested in augmented reality may be familiar with: they are building a truly universal augmented reality experience, across platforms. Reaching the artist, Friedman is an artist with a practice that oscillates between the playfully absurd and the highly conceptual. It forces us to rework the goals we assign to the secular: whether objects or as I’m looking up displays, even gestures. A native of St. Louis, Missouri, Friedman had a childhood filled with art. Recently, the artist has developed an impressive portfolio of large-scale sculptures and stand-alone outdoor installations. He told STIR: “I say I have never given up pastels since I was a child. I’ve always done things. “He says he has always been very curious about how things work and that he enjoys exploring himself and the world by manipulating materials.
“When I started making art, this research focused on questions about the purpose of art and what its potential might be. This made me think about art. Who is the author, why did they do this, what is this, how was it done, who is the person who looks at art and so on? I think of my artistic practice as orchestrating an experience. I do indoor art for galleries and outdoor work mostly for public spaces. My approach to working indoors is more subtle. Usually, people who see art in galleries or museums intend to see art, while people who come across an outdoor sculpture tend to see it in their daily lives. So my outdoor work is more immediate to engage the viewer in, ”Friedman continues to inform us.
The first I’m looking up a piece made by the artist was quite small, only 33 inches high. However, even then, he imagined that his work could be as fascinating as a very large sculpture one day. He explains, saying: “The story had to force the viewer to look up to see and experience his wholeness. Luis Grachos, who has just started working for Austin Contemporary, is interested in the idea. He wanted to restart the Austin Contemporary Open Air Sculpture Park. I thought the 33-inch sculpture should be 33 feet high. “The iteration of the artist’s work in Hong Kong is a little over 3 meters high, which was carefully decided: it rises above the person in front of it, yes, but that does not mean to intimidate: as Friedman explains: “It acts as a transition to heaven. The figure may be looking for something, seeing something, or being in a state of wonder. ”All this without feeling powerful.
Friedman is happy to be with Lehmann Maupin and says: “I started working with them last year and am currently doing my first exhibition with them in their new space in Seoul. It was really amazing to work with them. I contacted Lehmann Maupin through a friend who recommended them very highly, as what could be a great gallery for me, and I thought that my artwork would be well received in Asia. “One hopes there will be many more such proposals from Lehmann Maupin, and that Friedmann’s wonderfully simple yet thoroughly thorough work will receive even greater recognition.