• Daniel Buren, “Travaux in situ" from Defini Fini Infini at the MaMo Art Center, Marseille, France, 2014

    (Source: ummhello)

  • Constantin BrancusiPortrait of Eileen Lane, c. 1922

  • 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