#installation-art

#installation-art

Topped with a roof shaped like a crabshell, Le Corbusier's Chapelle Notre-Dame-du-Haut is a sanctuary amid the French mountainside. The 1955 construction rests atop a hill in Ronchamp, standing unobstructed by the otherwise forested inclines. As the sun rises and falls, light filters in through the mélange of rectangular windows tinted to cast streams of color around the space. The stained glass apertures of Le Corbusier's modernist chapel are a clear reference point for Luftwerk's "Open Frame."

YOKOMAE et BOUAYAD announce their selected entry, among five others, inside the Louvre Abu Dhabi for the Richard Mille Art Prize.

Early this year, Spanish marine research organization Condrik Tenerife shared what may be the first recorded footage of a black seadevil anglerfish in daylight, near the ocean's surface. The toothy species, famous for its bioluminescent lure, typically spends its entire life navigating darkness thousands of feet below sea level-which lent this particular anglerfish's ascent a sort of heartwrenching magic, despite the fact that she likely made the trip due to stress or illness.

The tree in question can be found in the Shoreditch office of ad agency Mother. It's not one big tree, rather 70 individual trees entwined together and spiralling all the way up the building's staircase, decked out with light-up stars. It measures nearly 100ft (equivalent to the height of around seven double deckers), dwarfing Trafalgar Square's 66ft Norwegian spruce and the 67ft Eastern City Tree at Pan Pacific London.

Fixer Photographic Studio + 9 More SpecsLess Specs Fixer Photographic Studio Text description provided by the architects. In his Sailing Castle series, artist Cheng Tsung FENG reimagines the appearance of cities as if they were fleets of ships gathered at sea. Through large-scale installation art, he captures the silhouettes of surrounding buildings and transforms them into poetic impressions that weave together time, space, and memory. See allShow less

In the uncanny world of Yuichi Hirako, the relationship between humans, nature, and the built environment plays out in vibrant color and unique proportions. The Tokyo-based artist creates large-scale sculptures, paintings, and installations that explore coexistence, often through compositions that appear crowded with domestic objects, food, cats, and figures whose faces are obscured by cartoonish head coverings shaped like trees or antlers.

Artist Meriem Bennani transforms the familiar flip-flop into a vibrating instrument of collective rhythm with her large-scale installation Sole Crushing, on view at Lafayette Anticipations in Paris until February 8th, 2026. The project fills the foundation's entire vertical space with 201 flip-flops animated by a pneumatic system and synchronized to a musical composition created in collaboration with musician and producer Reda Senhaji (aka Cheb Runner).

A woman clutches a large red and white striped box of popcorn as she stares intensely at the cinema screen. Nearby a couple of men gaze in the same direction; one has his head slumped on the other's shoulder. Close behind, an older man with folded arms glares at them disapprovingly. This is Elmgreen & Dragset's installation, The Audience at Prada Mode, and the bodies are inanimate sculptures. They are rendered with such realism that

The duo describe their installation The Audience as "a meditation on spectatorship in the age of image overload and attention deficit". To this end, they have converted the former council chamber into an auditorium peopled with a smattering of eerily life-like mannequins who eat popcorn and gaze at a screen depicting a miasma of blurred images but with clearly audible sound.

The installation's design process began with a detailed study of the Hakka umbrella's structure, its ribs, proportions, and joint mechanisms. By deconstructing and reconfiguring these components, artist Cheng Tsung FENG developed a new system of interlaced umbrella frames that form a continuous overhead canopy. The result is a semi-enclosed environment defined by rhythm, repetition, and structural clarity. At the center of the installation lies a small pocket garden surrounded by circular wooden benches, establishing a connection between human activity and natural growth.

With its roots in the conceptual and immersive experiments of the Dadaists and Surrealists in the early 20th century, installation art emerged as its own genre in the late 1950s. The approach gained momentum during the next couple of decades, usually revolving around site-specific responses to interior spaces. Taking many forms, installations sometimes incorporate light, sound, projections, performances, and participatory or immersive elements.

Light, in Weinberger's hands, is not a passive glow but an active participant: the visitor is folded into her Caribbean memoryscape, their reflection colliding with fragments of childhood, architecture, and ritual. For the first time, the artist incorporates filmshot in Kingston, Jamaicathreading sound and color into the installation. One feels suspended between temporalities: past and future, memory and projection, self and shadow.

In the Cour Jardin of the Hôtel Plaza Athénée, , , Univers Uchronia has unveiled Daybed, a large-scale installation that reinterprets the garden through materiality, color, and form. The work, on view until 11th November, 2025, functions as both sculptural object and inhabitable space, establishing a dialogue between contemporary design and the historic setting of the Plaza Athénée. At the center of the project is a ceramic surface designed in collaboration with Dutch brand Palet. The installation is clad in Palet's glazed tiles, whose dimensions (149 x 149 mm) and color flexibility formed the basis for Uchronia's architectural composition.

Emerging from the artist's meditative practice of lake kayaking, these compositions channel the phenomenology of being adrift: the body poised between two planes - sky above, reflection below - while light and color collapse the distinction between horizon and self. For Walhimer, kayaking is not simply recreation but a way of seeing, a durational practice that turns sky and water into an expanded field of perception.

Berlin's avant-garde artistic scene is forever enriched by the mesmerising performance work, DUNST, crafted by the dynamic duo Marie Zechiel and Elodie Carstensen. The piece premiered at the esteemed LOST Art Festival 2025. This stunning piece transports us into a realm where body, space, and atmosphere converge in an unforgettable experience. Set against the backdrop of Guillaume Cousin's monumental smoke-ring installation within the industrial expanse of the Kolbenhutte, DUNST unfolds a tapestry of movement that captivates the senses.

Known for his ability to fuse Catholic iconography with Mexican folklore and contemporary visual culture, de Nieves uses this project to create a space for reflection, renewal, and collective connection. The exhibition marks the artist's first institutional solo presentation in New York City and is on view through December 14, making it one of the city's most striking cultural experiences this season.

Since 2003, Haroshi has engaged in creating artworks through a unique and self-taught method of utilizing parts from old skateboard decks. He continues to receive much acclaim and recognition as an artist who symbolizes the current street scene through various activities including his collaborations with the street brand HUF and the production of the trophies for BATB, one of the world's leading skateboarding competitions.

Inside the main hall of a former turbine factory in Hungary, Spanish artist has introduced MATRIZ, a large-scale installation composed of a three-dimensional grid of suspended black rectangular elements. The suspended sculpture organizes the void through a rigorous geometric structure. Floating corridors and vertical alignments emerge from the composition, defining pathways without enclosing them. By suspending the grid in equilibrium, SpY introduces a system that establishes order while remaining immaterial and functionless.

Inside its multi-story building, visitors encounter Max Siedentopf's More Is More, a surreal landscape of swelling plastic bags animated by a hyperreal elderly man; Sunshine, a monumental dachshund who drifts between fairytale scenes and futuristic transformations; and Nudake Teahouse, a kinetic, color-saturated lounge that transforms the ritual of tea into a sensory performance. Together with immersive brand spaces, from Gentle Monster's monumental mechanical forms to Tamburins' interactive perfume narratives, Haus Nowhere Seoul establishes a platform for exploration and discovery.

Undulating in a Utah Museum of Fine Arts gallery, thousands of glimmering casts seem to float throughout the space. For his large-scale installation "Stone on Boundary," Japanese artist Yasuaki Onishi has suspended 5,000 copper foils that he molded over river rocks in both Osaka and Salt Lake City. Begun in the artist's studio in Osaka-a city where Japanese copper has been refined for export for around two centuries-the installation then traveled to the museum, which sits less than an hour's drive from the world's largest operational open-pit copper mine.

The installation consists of four parallel metal cables stretched across the rooftop, anchored with counterweights. Suspended from these lines are twelve linen canvases measuring 2.5 × 1.5 meters each. The system establishes a balance between the rigidity of the steel structure and the lightness of the semi-transparent . As the canvases respond to wind and movement, the installation becomes dynamic, creating shifting spatial thresholds for visitors to move through.

Created by Timon Bohn, Garden of Forking Paths is an installation comprised of a matrix of custom printed circuit boards that make use of the physical connection between electrical resistance and heat.

The proposal would incorporate hundreds of Trump-related artifacts ranging from commercial products to political ephemera collected by the artist over several years. Serrano has indicated that this expanded version of The Game would also feature his 2022 film Insurrection, tailored to the U.S. Pavilion's Palladian structure, framing it as a 'seat of power.'

Rachel Hayes transforms architectural spaces and natural landscapes into shifting compositions of color and movement with large-scale textile-based installations that are site-specific and vibrant.

The Flower Room installation features a reflective structure made of aluminum barbecue trays, showcasing the beauty in discarded petals and floral remnants, shifting perceptions of floristry.

"Just as a play cannot exist without an audience, a landscape exists through the eyes of those who look at it. This signifies the dynamic interaction between observers and their surroundings."

Alayo Akinkugbe highlights Steve McQueen's installation, Bass, as an immersive experience that invites introspection through its interplay of light and sound.

Christian Marclay's 'Doors' transforms the mundane experience of walking through doorways into a breathtaking, immersive cinematic journey, bridging time and genre through film excerpts.