Iñigo Manglano-Ovalle, ‘Cloud Prototype No. 4’, 2006, Sculpture, Fiberglass and aluminium alloy foil, Galerie Thomas Schulte
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Cloud Prototype No. 4, 2006

Fiberglass and aluminium alloy foil
62 × 102 × 57 1/4 in
157.5 × 259.1 × 145.4 cm
Edition 5/5 + 2AP
.
Contact For Price
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Medium
Iñigo Manglano-Ovalle
Spanish-American, b. 1961
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Iñigo Manglano-Ovalle’s technologically sophisticated work explores ecosystems, and political issues such as immigration, class systems, and gun violence. He frequently examines weather systems, as in his “Cloud Prototype” series, which comprises giant fiberglass and titanium clouds based on numerical data from real-world thunderclouds. In a series of installation and video pieces, Manglano-Ovalle makes the iconic modernist architecture of Ludwig Mies van der Rohe the site for narratives and scenarios that act as social and political metaphors. In Le Baiser/The Kiss (1999), a short film set in Mies’s Farnsworth House, the artist appears as a laborer, washing the exterior windows of the house, while inside the house a woman stands at a DJ station spinning records, apparently oblivious to the worker’s presence. Manglano-Ovalle draws attention to social hierarchies, while also referencing the fraught relationship between the architect and Edith Farnsworth—the Chicago physician who commissioned the house.

Iñigo Manglano-Ovalle, ‘Cloud Prototype No. 4’, 2006, Sculpture, Fiberglass and aluminium alloy foil, Galerie Thomas Schulte
Save
Save
Share
Share
Medium
Iñigo Manglano-Ovalle
Spanish-American, b. 1961
Follow

Iñigo Manglano-Ovalle’s technologically sophisticated work explores ecosystems, and political issues such as immigration, class systems, and gun violence. He frequently examines weather systems, as in his “Cloud Prototype” series, which comprises giant fiberglass and titanium clouds based on numerical data from real-world thunderclouds. In a series of installation and video pieces, Manglano-Ovalle makes the iconic modernist architecture of Ludwig Mies van der Rohe the site for narratives and scenarios that act as social and political metaphors. In Le Baiser/The Kiss (1999), a short film set in Mies’s Farnsworth House, the artist appears as a laborer, washing the exterior windows of the house, while inside the house a woman stands at a DJ station spinning records, apparently oblivious to the worker’s presence. Manglano-Ovalle draws attention to social hierarchies, while also referencing the fraught relationship between the architect and Edith Farnsworth—the Chicago physician who commissioned the house.

Cloud Prototype No. 4, 2006

Fiberglass and aluminium alloy foil
62 × 102 × 57 1/4 in
157.5 × 259.1 × 145.4 cm
Edition 5/5 + 2AP
.
Contact For Price
Have a question? Visit our help center.
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