• Charles Thurston Thompson, Autoportrait, 1853 (via orphanwork)

  • Johan Laure, Breath Box,  La Grande-Motte, France, 2014

  • John McCracken, Infinite / Electron / Star / Dimension, 2010

  • Luciano Fabro, Stage Production (Cube of Mirrors), 1967-75 (via grupaok)

    (Source: arteconciudad.blogspot.com)

  • Jaume Plensa, Europa, 2000

  • Dan Graham, Two-Way Mirror Cylinder Inside Cube and a Video Salon, New York City, NY, 1981-91

  • First there are the utopias… They are sites that have a general relation of direct or inverted analogy with the real space of society.… There are also, probably in every culture, in every civilization, real places - places that do exist and that are formed in the very founding of society - which are something like counter-sites, a kind of effectively enacted utopia in which the real sites, all the other real sites that can be found within the culture, are simultaneously represented, contested, and inverted… I shall call them, by way of contrast to utopias, heterotopias. I believe that between utopias and these quite other sites, these heterotopias, there might be a sort of mixed, joint experience, which would be the mirror. The mirror is, after all, a utopia, since it is a placeless place. In the mirror, I see myself there where I am not, in an unreal, virtual space… such is the utopia of the mirror. But it is also a heterotopia in so far as the mirror does exist in reality, where it exerts a sort of counteraction on the position that I occupy. From the standpoint of the mirror I discover my absence from the place where I am since I see myself over there.

    —  Michel FoucaultOf Other Spaces (Heterotopias), 1967 (via fourmonths)

    (Source: four-months)

  • Arnaud LapierreRing Mirror at the Place Vendome, Paris, France, 2011 (via archdaily)

    (via landscapearchitecture)

  • Humbert Camerlo, Peter Rice, and Nicolas Prouve, Theatre de la pleine Lune, France, 1987-92 (via notech)

    The principle concept behind this poetic project involves capturing full moonlight in an array of mirrors and reflecting it onto a stage for a nighttime performance. Conceived by Humbert Camerlo but never fully executed by engineers Peter Rice and then Nicolas Prouve, this project requires an amphitheatrical site, engaging the history of performance as well as a low-tech solution for a high-tech problem. Further proof engineers can be just as creative as architects, given the correlation of interest, challenge and budget.

  • Trix and Robert Haussmann, Lehrstueck, 1978

  • Trix and Robert Haussmann, “Mirror Installation” at Kunsthalle Fri Art, Fribourg, Switzerland, 2014

    (Source: ummhello)

  • Know then that I was urged,
    (For other impulse let it pass) was driven,
    To seek for sympathy, because I saw
    In you a mirror of my youthful self.

    —  William Wordsworth, The Borderers, 1795-7

  • Oftener, heavily,
    When love-lorn hours had left me less a child,
    I sat contemplating the figures wild
    Of o’er-head clouds melting the mirror through.

    —  John Keats, Endymion, 1818

  • Can those eyes,
    Beaming with mildest radiance on my heart
    To purify its purity, e’er bend
    To soothe its vice or consecrate its fears?
    Never, thou second Self! Is confidence
    So vain in virtue that I learn to doubt
    The mirror even of Truth?

    —  Percy Bysshe Shelley, To Harriet, c. 1811

  • River, that rollest by the ancient walls,
    Where dwells the lady of my love, when she
    Walks by thy brink, and there perchance recalls
    A faint and fleeting memory of me;

    What if thy deep and ample stream should be
    A mirror of my heart, where she may read
    The thousand thoughts I now betray to thee,
    Wild as thy wave, and headlong as thy speed!

    What do I say -a mirror of my heart?
    Are not thy waters sweeping, dark, and strong?
    Such as my feelings were and are, thou art;
    And such as thou art were my passions long.

    Time may have somewhat tamed them, -not for ever;
    Thou overflow’st thy banks, and not for aye
    The bosom overboils, congenial river!
    Thy floods subside, and mine have sunk away.


    But left long wrecks behind, and now again,
    Born in our old unchanged career, we move;
    Thou tendest wildly onwards to the main,
    And I -to loving one I should not love.

    The current I behold will sweep beneath
    Her native walls and murmur at her feet;
    Her eyes will look on thee, when she shall breathe
    The twilight air, unharmed by summer’s heat.

    She will look on thee, -I have looked on thee,
    Full of that thought; and, from that moment, ne’er
    Thy waters could I dream of, name, or see,
    Without the inseparable sigh for her!

    Her bright eyes will be imaged in thy stream, -
    Yes! they will meet the wave I gaze on now:
    Mine cannot witness, even in a dream,
    That happy wave repass me in its flow!

    The wave that bears my tears returns no more:
    Will she return by whom that wave shall sweep?
    Both tread thy banks, both wander on thy shore,
    I by thy source, she by the dark-blue deep.

    But that which keepeth us apart is not
    Distance, nor depth of wave, nor space of earth,
    But the distraction of a various lot,
    As various as the climates of our birth.

    A stranger loves the lady of the land,
    Born far beyond the mountains, but his blood
    Is all meridian, as if never fanned
    By the black wind that chills the polar flood.

    My blood is all meridian; were it not,
    I had not left my clime, nor should I be,
    In spite of tortures, ne’er to be forgot,
    A slave again of love, -at least of thee.

    'Tis vain to struggle -let me perish young -
    Live as I lived, and love as I have loved;
    To dust if I return, from dust I sprung,
    And then, at least, my heart can ne’er be moved.

    —  Lord ByronStanzas to the Po, 1824