Thursday, 29 June 2017

Cheryl Sim + Fuller

Un jour, One Day, 2017 Film still. Courtesy of the artist © Cheryl Sim

http://macm.org/en/exhibitions/in-search-of-expo-67/

Bas Princen + Breuer

Gallery Entrance, The Met (Marcel Breuer, Former Whitney Museum of American Art, New York, 1963–66), installation view, 2017. 2016. C-print. (Courtesy of the artist)

http://www.metmuseum.org/press/exhibitions/2016/breuer-revisited

Nicole Wermers + Breuer




Infrastruktur 2015

Untitled Chair - AL-0        
2015
Vintage fur, steel tubing, upholstery, silk and velvet
85 x 65 x 60 cm / 33.4 x 25.5 x 23.6 in




http://www.heraldst.com/infrastruktur/

Wednesday, 28 June 2017

Peles Empire "Sculpture"

Sculpture
2017, Skulptur Projekte 2017
Material
Dibond, ceramic tiles, galvanized steel, Jesmonite
Dimensions
755 × 622 × 638 cm
Location
Car park of Oberverwaltungsgericht,
corner of Aegidiistrasse / Aegidiikirchplatz,
48143 Münster

https://www.skulptur-projekte.de/#/En/Projects/2017/835

Christian Odzuck + HPP Heinrich-Petschnigg & Partner.


 


OFF OFD
2017, Skulptur Projekte 2017
Material
Concrete, steel, wood, spolia
 

Dimensions
2300 × 1600 × 3600 cm
 
Location
Andreas-Hofer-Straße 50
48145 Münster
 

Heinz Emigholz + Le Corbusier


Le Corbusier [IIIII] Asger Jorn [Relief]
Germany / Denmark 2015, 29 min

Le Corbusier [IIIII] Asger Jorn [Relief] contrasts the Villa Savoye, built by Le Corbusier in 1931, and Asger Jorn’s Grand Relief, which the Danish painter and sculptor produced in 1959 for the Århus Statsgymnasium. The film makes connections between what, according to the ideological stipulations of their creators, does not belong together.

“The film came about because I was intrigued by the premise of comparing two buildings that at first seem to have nothing to do with one another. A dialogue between thoroughly stylized clarity and declared wildness, both with ideologically trimmings. It was only by working on the film that I learned to appreciate the two works that had once left me indifferent: the delight of their creators in the productively implemented statement.”
Heinz Emigholz

Michel Aubry + Melnikov





Mise en musique du Pavillon de l’URSS de Melnikov 1925, 2013 Canne de Sardaigne, bois
© André Morin Courtesy de l’artiste et Galerie Eva Meyer




Michel Aubry, Mise en musique du kiosque de Melnikov, 1925-2009 Bois peint, tapis afghans Courtesy of the artist & Galerie Eva Meyer, Paris

James Angus + Costa and Niemeyer


Rio Phase Shift 2003, birch, mahogany, basswood, plywood, MDF

James Angus + Mies van der Rohe


Seagram Building 2000, spruce, MDF, Plexiglas

Rainer Oldendorf + CIAM 4

marco14 and CIAM4 / Shipwreck with Spectator, 2017, installation view, Polytechnion, Athens, documenta 14, photo: Angelos Giotopoulos

http://www.documenta14.de/en/artists/13701/rainer-oldendorf

Dora Budor + archigram



The Forecast (New York Situation)
http://art.thehighline.org/project/mutations/

Tuesday, 27 June 2017

Clara Ianni + Costa and Niemeyer

Free Form
video installation
7’14’’
2013
In 1959 Brazil´s capital city, Brasília, was being constructed, designed to be the symbol of modernization and development of the country. Despite its utopian horizons, a massacre happened during the construction of the city, in which the State police killed more than 100 workers after a strike. The video is composed by interviews made with Lucio Costa (the city’s urban planner) and Oscar Niemeyer (the city’s architect), in which both denied the acknowledgement of the massacre, and photos from the construction site, commission by the State, made by Marcel Gautherot. The video reflects on the conflict between institutionalized historical discourses and counter narratives, questioning (infra)structures of power such as History itself, architecture and aesthetic.
MOMA - NY Collection

http://www.claraianni.com/

Ovidiu Anton + Le Corbusier


18 Tabourets Cabanon LC14 01, 2014/15

wood, leftovers from displays at Secession Vienna
installation approx. 220 x 160 cm

Julie Langsam + Gropius


Gropius Landscape (Master's House Kandinsky / Klee), 2014.
Oil on canvas, 42 x 42 inches

http://julielangsam.com/

Constantin Boym + Mies van der Rohe

Friedrichstrasse Skyscraper, Mies van der Rohe, 1921, signed prototype , 1994
Wood and model making materials
5 3/8 × 4 11/16 × 3 1/4 in
13.7 × 11.9 × 8.3 cm

Shelagh Keeley + Mies van der Rohe






Barcelona 5, 1986/2012
Archival Pigment Print
34 1/2 × 46 1/4 in
87.6 × 117.5 cm
Edition of 5 + 1AP

http://www.circuitgallery.com/exhibitions/keeley-barcelona-pavilion/

Heidi Wood + Le Corbusier

"You Win Some, You Lose Some, part of the series Serving Suggestion," 2001.
Courtesy of Galerie Anne Barrault

Felice Varini + Le Corbusier






https://mamo.fr/expositions/a-ciel-ouvert-felice-varini/

Olaf Nicolai + Le Corbusier






Speculation About Two Unidentified Objects (Workshop), 2014

http://lafayetteanticipation.squarespace.com/olafnicolai/

https://www.artsy.net/artwork/olaf-nicolai-speculation-about-two-unidentified-objects-workshop-3

https://vimeo.com/102010985

 International, 2003.

Michel Aubry + Le Corbusier


Dialogue Fictif n°3 Le Corbusier-Dürer, 2005
film de Michel Aubry et la galerie du cartable, vidéogrammes


Portrait de Le Corbusier, 2013
143 x 84 cm.
Tapis iranien avec partie retissée Laine, coton, points noués


Unité d’habitation Rezé, 2013
84 x 143 cm
Tapis afghan avec partie retissée Laine, points noués

James Angus + Le Corbusier



Dom-Ino Colour Separation 2002
acrylic, laminated ply
15.8 × 28.2 × 20.4cm

Dom-Ino Colour Separation is one of a series of sculptures by James Angus taking the form of an architectural model. It plays with the modernist architect Le Corbusier’s Maison Dom-Ino, a 1915 prototype for cheap, modular housing that could be constructed in a row, like dominoes. Angus has re-modelled this utopian vision of housing in planes of coloured Plexiglass that overhang each other, unlike the aligned edges of the house’s original design. Angus also introduces a colour separation between the misaligned levels, creating an effect akin to a newsprint error when the three colours separate and the image slips out of register. Through such spatial and chromatic disruptions, Angus invites viewers to see the world about them in new and imaginative ways.
Angus explores the tensions between the modelled idea and the built form and between the ‘colour-separated’ image and the object in this sculpture. His practice is one that questions traditional notions and forms of sculpture by playing with surface, scale and volume. His work ranges from the modest to the gigantic, revealing his ongoing interest in materials and processes. Inspired by aspects of design, architecture and nature, Angus often duplicates existing objects and then distorts them in some way: by exposing them to physical forces such as extreme speed, by turning them inside out, or, as we see in Dom-Ino Colour Separation, by a slight slippage which may be commonplace in a newspaper, but which deranges the clean lines and precision of modernist architecture.

https://www.mca.com.au/collection/work/2008.40/

Wednesday, 21 June 2017

Luisa Lambri + Breuer


Untitled (The Met Breuer, #06). 2016. Pigment print. (Courtesy of the artist and Luhring Augustine, New York)

http://www.metmuseum.org/press/exhibitions/2016/breuer-revisited

Monday, 3 April 2017

Ian Wallace + Gehry


Construction Site LA I, 2003
Photolaminate and acrylic on canvas
72 x 72 inches (183 x 183 cm)
Construction Site LA III, 2003
Photolaminate with acrylic on canvas
72 x 72 inches (183 x 183 cm)


Sunday, 2 April 2017

Saloua Raouda Choucair + Le Corbusier

STRUCTURE WITH ONE THOUSAND PIECES, 1966–68, wood, 147 × 36 × 36 cm. Copyright Saloua Raouda Choucair Foundation, Beirut. Courtesy Agial Art Gallery, Beirut.

Tuesday, 7 March 2017

Veronika Kellndorfer + Schindler




Lovell Beach House, Akademie der Künste, Berlin 2010

Silkscreen on glass, 293 x 402 cm
The eye looks out through the picture window of the Lovell family’s beach house: sand, a basketball court, the sea. The parapet of a gallery continuing outside protrudes into the right-hand third of the window, as if penetrating the glass.
In the foreground the bourgeois interior, in the middle ground the windowpane, in the background sand and sea. A closer look reveals people sitting under sunshades, a couple rolling out a beach mat, sailboats, a wooden lifeguard tower, a beach tent.
The horizon line is blurred in the hazy afternoon light. It is unclear where the sea becomes the sky. The atmosphere and subject matter of the work recall Un dimanche après-midi à l’Île de la Grande Jatte, by the French painter Georges Seurat.
The silkscreen grid of tiny dots burned into the glass is a further reference to Seurat’s pointillism.

Veronika Kellndorfer + Mazzoni






Angiolo Mazzoni built the post office in the Roman district of Ostia in 1934—an architectural document of interwar modernism with references to late expressionism and the ideas of the Futurists, with their belief in progress.
The building itself has a complex spatial sequence of ribbon windows and corridors, with views in and out onto other interiors or the surrounding vegetation.
I took up this theme of visual layers and superimpositions in the multipart installation Dream switch. During my stay in Rome in 2005 I was particularly interested in modernist functional architecture—post offices, the 1960s Olympic buildings—and the relationship between stadiums, ancient temples, and housing complexes.
The architectural details serve as the foil for a conceptual examination of the construction of space—a theme that is constitutive of both architecture and painting, from which I originally come.

http://kellndorfer.com/dreamswitch2.html