Babylôn Vanta is a wall sculpture by Johannes Holt Iversen from 2026 of the Babylôn-series, where the raw, angular geometry of modern warfare meets the enigmatic depth of retroreflective black polyester. The wooden form, draped in a light-absorbing, mirror-like material, evokes the stealth and precision of contemporary military technology-drones and fighter jets. All designed to move unseen, strike silently, and reshape the battlefield from a distance. The sculpture’s sharp, fragmented edges mirror the clean, almost clinical lines of modern armaments, while its dark, reflective surface suggests the hidden layers of power and control that define today’s conflicts.

The sculpture’s retroreflective black polyester is more than an aesthetic choice. It absorbs and distorts light, much like the way modern warfare operates in the shadows, hidden from public view yet shaping the world in profound ways with its stealth aesthetics.

With its angular, almost architectural form, references the geometric precision of military design, from the sleek frames of drones to the algorithmic logic of hybrid attacks. These are the new languages of power, ones that don’t rely on brute force alone but on invisibility, speed, and the ability to disrupt from afar.

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Chauvet 1.4.20 Stux-Reaper VII (2024) 🔮🧬

Via annikanuttallgallery

#art #finearts #contemporaryart #jholtiversen #johannesholtiversen #copenhagen #paris #brussels #cyprus #contemporarysculpture
Johannes Holt Iversen (b.1989) is a Danish painter and sculptor currently located in
Amsterdam, Netherlands. He is an apprentice of Danish painter and sculptor Erik Rytter
(former assistant of Poul Gernes). Holt Iverson focuses on exploring the tension between
artificial and organic material and life forms and works with both traditional art forms and
cutting-edge technology including AI, to imbue his viewers with an existential awareness of the
hyper-slick representation of reality that surrounds them. His works can be abstract at times,
but are always related to the real-world counterpart, often appearing from the use of high-tech
materials; used in other industries such as retroreflection technology from the aviation
industry, functional aesthetics from industrial plastic construction and chrome pigments from
the car manufacturing industry. Iversen draws on inspirations in various fields; whether it be
historical elements, like the early depictions from the Lascaux caves or other inspirations that
comes from the fields of sociology, psychology, scientific methodologies and pop culture; all
with a common denominator in using, dissecting and understanding symbols, relics and human
selfrepresentation; such as the anthropromorphic qualities certain objects contains.

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Gulnur Mukazhanova, “Postnomadic reality, 5”, 2014, mixed media, felt, glue, 100 × 100 × 15 cm ★ Qazaqstan/Germany ★ https://gulnurmukazhanova.com/Post-Nomadic-Realities #GulnurMukazhanova #contemporaryart #abstractart #fiberart #contemporarysculpture #felt #feltinart #mixedmedia #postnomadic #circles #сircularsculptures #UgoRondinone #ArtwinGallery #Qazaqstaniartists #Kazakhstaniartists #2010s

Не очень понятно, как всё это выглядит в реальности (слишком большие размеры).

не стало Мелвина Эдвардса (1937–2026)

Melvin Edwards, installation from the exhibition “Some Bright Morning”, 2024 ⦾ https://artviewer.org/melvin-edwards-at-fridericianum-kassel/ #MelvinEdwards #MelEdwards #installationart #contemporarysculpture #corpses #BLT

James Webb, “This is where I leave you”, 2020, a mid-20th century, ornamental, porcelain statue of Ānanda is encased in a vitrine made of fluted glass ★ S. Africa ★ https://www.oneart.org/galleries/james-webb-where-i-leave-you-and-other-works-2020 #JamesWebb #JamesWebbtoo #contemporaryart #contemporarysculpture #flutedglass #opart #Ānanda #Ananda #buddhism #2020s