Tuesday, 31 October 2017
Jimmy Robert, Imitation of Lives, 2017. Rehearsal view, Glass House, 2017. NIC Kay and Quenton Stuckey.
The work of Guadeloupe-born, Bucharest-based artist Jimmy Robert spans photography, film, video, sculpture, and performance, but collage is its mainstay. For his latest piece, titled Imitation of Lives, 2017, and staged at Philip Johnson’s Glass House in New Canaan, Connecticut, Robert mines the architect’s infamous life and historical influence to create an exquisite montage interspersed with divergent references and foreign objects, including music, mirrors, bits of poetry, and a marble trompe-l’oeil painting by Lucy McKenzie, among other things. The work is co-curated by Cole Akers and Charles Aubin as part of Performa 17 and will take place November 3–5, 2017.
Zip Zap Circus School (2000-2017) takes as its material two “unrealized” architectural projects: Pancho Guedes’ Zip Zap Circus School in Cape Town (1994) and Mies van der Rohe’s 1912 model for a portable at the Kröller Museum in Amsterdam. The bookends of early- and post-modernist architecture are combined into one work that documents, celebrates, and also critiques the notion of architecture as social reform (Zip Zap Circus School was designed to create educational opportunity and vocations for Cape Town youth). Implicit in the combination of references and the structure itself is portability, a concept I will come back to. But as with others of Ferreira’s architectural installations, their provisional status contains a conceptual slippage from “unfinished” into the weightier “unrealized”: prototypes stand in for historical contingency and the failures of modernism.
Saturday, 28 October 2017
Saturday, 14 October 2017
Wednesday, 4 October 2017
Quote from "La Poème de l'Angle Droit" by Le Corbusier, 1947-1953 translated by Kenneth Hylton in 1989
Soundtrack: "Adagio Hoek" by Jan Van Den Dobbelsteen, 2015
This fragment is part of the video project "Corner Sessions" (2015)
Monday, 25 September 2017
The Graham Foundation is pleased to present in the forest, a new commission by artist David Hartt. Borrowing its title from a chapter of Claude Lévi-Strauss’ 1955 memoir Tristes Tropiques, this multi-part installation continues Hartt’s investigation into the relationship between ideology, architecture, and the environment by revisiting architect Moshe Safdie’s unfinished 1968 Habitat Puerto Rico project.
Begun just one year after the resounding success of Safdie’s visionary design for Habitat 67 in Montreal—a model housing development created for the Expo 67 World’s Fair—Habitat Puerto Rico was one of several Habitat housing developments that the architect designed for New York, Israel, and Singapore, among other cities. In Puerto Rico, the experimental housing development was designed to provide 800 low-cost dwelling units for moderate-income families in a system of stacked prefabricated concrete modules cascading down an undeveloped hill in the densely populated Hato Rey neighborhood of San Juan. The project was originally intended to occupy the Bosque Urbano de San Patricio, the former site of U.S. Navy housing, and now an overgrown tropical forest used as an urban park. Consistent with Safdie’s approach to other Habitat developments, Habitat Puerto Rico was designed to provide inhabitants with a sense of community, privacy, and access to green space, where each unit had a private garden and views of the city.
When writing about the Puerto Rico project in Beyond Habitat (1970), Safdie titled the chapter “Breakthrough.” Following a number of false starts in other cities, Habitat Puerto Rico appeared to be the first viable project after the success of Habitat 67. However, a number of significant constraints shaped and the project. First, the size and flat, hexagonal form of the individual modules were necessary to make the concrete units transportable by highway or barge because it was not possible to build a factory in close proximity to the original site, as had been done in Montreal. Second, the economy of the project was dictated by a federal housing subsidy the developers used to finance the development. Unfortunately, despite the developments and innovations achieved in Habitat Puerto Rico, political and economic forces stopped the project early in its construction.
Nearly fifty years after it was initiated, Hartt returns to the sites of Habitat Puerto Rico: the original wooded hillside of the Bosque Urbano de San Patricio; the alternate site for the project at Berwyn Farm in the Carolina municipality, just east of San Juan (where construction started after the original site was deemed untenable); and a number of remote sites around the island where modules have been abandoned or repurposed. Central to the exhibition is a meditative film that captures the remains of Safdie’s project. Featuring long takes of the weathered modules surrounded by the encroaching jungle, and environmental recordings layered with a composition by electronic musician Karl Fousek, Hartt’s piece offers a study of this unrealized experimental project—and the optimism from which it was conceived— recontextualized within the political and economic struggles of contemporary Puerto Rico.
in the forest will occupy the first and second floors of the Graham Foundation galleries and its outdoor courtyard. Through film, photographs, sculpture, tropical plants, ambient sound, and hexagonal ceramic objects that serve as both planters and seats, Hartt crafts an environment for contemplation of the Habitat project.
David Hartt (b. 1967, Montréal) lives and works in Philadelphia where he is Assistant Professor in the Department of Fine Arts at the University of Pennsylvania. Recent solo exhibitions have been held at The Art Institute of Chicago; LAXART, Los Angeles; and Or Gallery, Vancouver. Additionally, his work has been included in several group exhibitions including Ocean of Images: New Photography 2015 at The Museum of Modern Art, America Is Hard to See at the Whitney Museum of American Art, and Shine a light/Surgir de l’ombre: Canadian Biennial at the National Gallery of Canada. His work is in the public collections of The Museum of Modern Art, New York; Whitney Museum of American Art, New York; The Studio Museum in Harlem, New York; The Art Institute of Chicago; Museum of Contemporary Art, Chicago; The Museum of Contemporary Photography, Chicago; Henry Art Gallery, Seattle; The National Gallery of Canada, Ottawa; and The Stedelijk Museum, Amsterdam. Hartt is the recipient of a 2015 Foundation for Contemporary Art Grant. In 2012 he was named a United States Artists Cruz Fellow and in 2011 he received a Louis Comfort Tiffany Foundation Award. Hartt is represented by Corbett vs. Dempsey, Chicago; David Nolan Gallery, New York; and Galerie Thomas Schulte, Berlin.
David Hartt: in the forest is commissioned by the Graham Foundation for Advanced Studies in the Fine Arts.
Additional support is provided by Oakville Galleries, Ontario, where the exhibition will travel in the fall of 2018.
Wednesday, 20 September 2017
HOUSE IS A HOUSE IS A HOUSE IS A HOUSE IS A HOUSE is a book about the architecture and collaborations of Johnston Marklee Architects, based in Los Angeles. Conceived as an extended cover, the series of double pages by Marianne Mueller includes works of Johnston Marklee combined with architectural sights of the city and its surroundings. The series reflects historical influences and personal interests of the architects and the artist.