Tacita Dean, Palast

Tacita Dean, Palast, 2004, film with sound, 10 minutes, 30 seconds.

Tacita Dean, Fernsheturm

Tacita Dean, Fernsehturm, 2001, 16MM color anamorphic film, optical sound, 44 minutes.

Simon Starling On Mollino

“Four Thousand Seven Hundred and Forty Five (Motion Control / Mollino),” 2007 Colour 35mm film loop with sound, 35mm projector, loop machineDuration: 3 minutes.

Simon Starling on Schmiderer

Inverted Retrograde Theme, USA (House For A Songbird), 1:5 scale models of No. 2 and No. 4 Calle Victoria, Ville Contessa, Bayamón, Puerto Rico designed in 1964 by Simon Schmiderer for the International Basic Economy Housing Corporation, USA, installed up-side down to act as cages for song birds” 2002.

Wood, iron, mohogany & birds133 x 122 x 140” and tree trunks.

Goshka Macuga, "Architectural visions of early fancy in the gay morning of youth, and Dreams in the evening of life by JM Gandy, 1820"

After 'Architectural visions of early fancy in the gay morning of youth, and Dreams in the evening of life by JM Gandy, 1820', 2003 mixed media installation view The Straight or Crooked Way, Royal College of Arts, London, 2003.

Goshka Macuga on Lilly Reich and Ludwig Mies van der Rohe

Haus der Frau I, 2008.

Haus der Frau II, 2008. Glass, steel 120 x 700 x 100 cm installation view, Turner Prize 2008, Tate Britain.

"Deutsches Volk - deutsche Arbeit", 2008. Glass, wood, steel 170 x 450 x 300 cm installation view, Turner Prize 2008, Tate Britain.

Goshka Macuga was one of the 4 nominees for the Turner Prize 2008. She presented these 3 installations called “Haus der Frau 1″, “Haus der Frau 2″ and “Deutsches Volk - deutsche Arbeit”, beside other work. They are based on the collaboration between Mies van der Rohe and Lilly Reich during the 20ies and 30ies. “Haus de Frau 1″ & “Haus der Frau 2″ are actually displays to present textiles, just like Mies van der Rohe & Lilly Reich did. “Deutsches Volk - deutsche Arbeit” was actually designed by Mies van der Rohe & Lilly Reich for an exhibition to promote German glass.

Haus der Frau II, 2008. Glass, steel, fabrics designed by Eva Berendes, Bernd Ribbeck, Klaus Weber 120 x 700 x 100 cm installation view of the 5th Berlin Biennial for Contemporary Art at Neue Nationalgalerie.

Mark Lewis, "North Circular"

North Circular (2000)
Single screen projection, 4 minutes, 35mm CinemaScope transferred to HD.

Video here.

Mark Lewis, 122 Leadenhall Street

122 Leadenhall Street (2007)
Single screen projection, 4 minutes 14 seconds, 35mm transferred to HD video.
Video here.

Mark Lewis, "Isosceles"

Isosceles (2007)
Single screen projection, 3 minutes 20 seconds, 35mm transferred to HD video.

Video here.

Mark Lewis, "Bricklayer Arms"

Bricklayers Arms (2008)
Single screen projection, 4 minutes and 36 seconds, 4K transferred to HD video

Video here.

Cyprien Gaillard on Mihajlo Mitrović

Cyprien Gaillard, Desniansky Raion , 2007, video still, 30:00 min video.

Florian Pumhösl on Warchavchik

Programm 2006. 16mm colour film installation with optical sound, 7' 49". Courtesy of the Galerie Daniel Buchholz, Cologne.

In his film installation "Programm" (Program, 2006), Florian Pumhösl engages with a specific site and its filmic representation; Pumhösl, however, attempts to unravel the particular historical moment to which a modernist building, the Casa Modernista, is owed and to “attain” an image saturated with meaning, “to reconstruct it, to contextualize and to preserve it” (Pumhösl). In this work, created in 2006 for the Bienal de São Paulo and on view in Austria for the first time, the artist moreover examines the current repositioning of non-western avant-gardes.

Le Corbusier in Singspiel by Ulla von Brandenburg

Ulla von Brandenburg, Singspiel, 2009. Films super 16 transfered on 16mm. 14’45.
Production : Frac Ile-de-France. Courtesy galerie art : concept (Paris), Pilar Corrias Ltd gallery (London), Produzentengalerie (Hamburg).

Italo Zuffi on Palladio

Export 2008

The text, in Italian is taken from galleria monotono website.
Erased Palladio

Italo Zuffi

23 novembre 2008 – 25 gennaio 2009

Inaugurazione sabato 22 novembre ore 18.30.
La mostra sarà visitabile dalle ore 16.00 alle ore 22.00.
Orari di apertura: lunedì - venerdì, 09.00 > 18.00, sabato e domenica su appuntamento.

Con la mostra Erased Palladio (“Palladio raso al suolo”, “Palladio cancellato”) Italo Zuffi inaugura la stagione espositiva di Monotono. Nell’anno in cui si celebra il V centenario della nascita di Andrea Palladio, l’artista si sofferma sul concetto di “esportabilità” di uno stile e delle sue successive alterazioni alla ricerca di una perenne adattabilità, sfiorando appena il racconto di un’architettura intesa come luogo di proiezione di un potere o della sua evoluzione in anfratto confortevole e multifunzionale.

Artista versatile e da sempre interessato a frequentare diversi linguaggi (dalla scultura, al video, alla fotografia, alla performance), Zuffi si avvicina all’opera del Palladio nel 1999 attraverso alcune ricognizioni nei siti delle ville dell’architetto, in seguito alle quali realizzerà la prima serie dei “Profilati”, grandi oggetti geometrici, in legno dipinto, ispirati appunto alle piante di edifici palladiani.
Con il progetto Erased Palladio, Zuffi vuole dar vita ad una mostra frutto di diverse ricerche e suggestioni, non ultima la verifica di quell’azione palladiana di “domesticamento” nei confronti del linguaggio architettonico classico. Obiettivo primario dell’artista sarà inoltre quello di rendere concreta una riflessione su alcune ipotesi legate alla fruizione dell’architettura, da lui essenzialmente “percepita e rappresentata come rifugio e come speranza da cui proiettarsi verso l’esterno, stazione temporanea, sito di partenza e di ritorno per continue razzie nello spazio aperto”; nonché luogo di “ostentazione di trofei raccolti nel corso dei vari tentativi di fare esperienza del mondo”.

Il nucleo principale della mostra, che si sviluppa su una superficie espositiva distribuita su tre livelli, è costituito da un’inedita serie di opere, in parte realizzate grazie alla collaborazione di maestranze ed artigiani locali. Tra queste sono da segnalare: la riproduzione in scala 1:1 della base di una colonna palladiana (da Villa Sarego, nel veronese), a cui è stata applicata un’alterazione; un’opera scultorea a parete, realizzata in metallo palladio; e, ancora, una nuova versione dell’opera “Manager a passeggio”, nata dalla mappatura di superfici architettoniche di alcuni edifici vicentini. In parallelo, l’artista espone alcuni lavori che, elaborati nel corso della ricerca svolta negli anni precedenti e incentrati su temi architettonici, vengono riproposti nel dialogo con le opere più recenti e riletti in un nuovo contesto espositivo.

I partner tecnici che hanno reso possibile la realizzazione della mostra sono:Gioielleria Soprana, Grassi Pietre Srl, Lanifico Bonotto, Oreficeria Salin.

Chris Burden on Hood

What My Dad Gave Me by Chris Burden is the latest project from the Public Art Fund and Tishman-Speyer, one of the owners of Rockefeller Center.

It's a 65-foot tall model of a skyscraper built out of around one million custom-made, nickel-plated steel beams that replicate the pieces in A.C. Gilbert's original 1913 Erector Set. No. 1

It took Burden's lackeys almost a year to construct [in sections] at the artist's Topanga Canyon studio. Then it was test-assembled, dismantled, flown out of the canyon by helicopter, and shipped to Manhattan for re-assembly.

Burden has been working in the medium of Erector Set replica parts for nearly ten years. In the NY Times article previewing What My Dad Gave Me, the artist makes much of the significance ot using actual toys:

Article from the New York Times.

Iñaki Bonillas on Mies van der Rohe

More info here.

Jérôme Schlomoff on Mies van der Rohe

Stenope d'architecture. Pavillon Mies van der Rohe, Barcelone, 1996.

Callum Morton on Le Corbusier

Callum Morton, Monument # 2 – Carpark, 2006. Image courtesy the artist and Anna Schwartz Gallery

Callum Morton on Murcutt

Glennville Souvenirs, Mt Irvine, NSW, 2001 digital print
59 × 84cm
Edition of 30; (105 x 155 cm) edition of 5

Callum Morton on Mies van der Rohe

Farnshaven, Illinois, 2001 digital print
59 × 84cm
Edition of 30; (105 x 155 cm) edition of 5

Callum Morton on Rietveld

Toys ‘R’ Us, Utrecht, 2001 digital print
59 × 84cm
Edition of 30; (105 x 155 cm) edition of 5

Callum Morton on Niemeyer

Callum Morton
Estrada Das Liberdade, Rio de Janeiro, 2001

digital print
54 × 150cm
Edition of 30

Callum Morton on Mies van der Rohe

International Style (time lapse sequence), 1999 Acrylic, automotive paint, vinyl, lights, sound
240 × 80 × 50cm
(Installation)

Callum Morton on Adrian

Mac Attack, Wahroonga, NSW, 2001 digital print
59 × 84cm
Edition of 30; (105 x 155 cm) edition of 5

Callum Morton on Loos

Continental Girls, Paris, 2001 digital print
59 × 84cm
Edition of 30; (105 x 155 cm) edition of 5

Callum Morton on the Eames

Casa Spizzico, Capri, 2001 digital print
59 × 84cm
Edition of 30; (105 x 155 cm) edition of 5

Callum Morton on Adalberto Libera

Casa Spizzico, Capri, 2001 digital print
59 × 84cm
Edition of 30; (105 x 155 cm) edition of 5

Callum Morton on Moshe Safdie

Habitat

Callum Morton's Habitat is a 1:50 scale architectural model of Safdie's 'Habitat', to which lights and sound have been added to suggest a day in the life of the housing complex. As the sun rises we see and hear the day begin, and we imagine the lives of the people within the building. Conversations and activity continue for 28 minutes (one fiftieth of a day) and then the lights dim as a simulated nighttime commences. The cycle continues in perpetuity, and whilst the viewer is free to leave this room, the inhabitants of the building are trapped. Thus Safdie's dream of community living is juxtaposed with a sham reality. Building dwellers are locked in a diminutive scale and accelerated time frame, bound to do the same things day-in, day-out, all caught in a cycle of unending routine.

A brochure of the project can be dowloaded here.

Dominique Gonzalez-Foerster on Barragan

Exoplanet

Various coloured plastic ball, one mirrored glass ball located on the roof.

Iñaki Bonillas on Barragan

"Photo (Barragan House)"
2003
21 x 21 cm
Photo mounted on aluminium, Ed. /5

Niklas Goldbach on Dondel, Aubert, Viard and Dastugue

DAWN
Video Loop, 1:12 min, HD Video, silent, 2008

DAWN was filmed in the abandoned basement floor of the Palais de Tokyo in Paris. Originally designed by Dondel, Aubert, Viard and Dastugue, the Palais was completed for the International Exhibition of 1937. Though the palace's 30s classicism exterior remained intact, the interior has undergone a succession of alterations. This had advanced to a point at which the building had been made structurally unsafe, and the interior come to resemble a ruin. In 2001 the Palais got partly reconstructed: the architects Lacaton & Vassal generated 8000 square metres for a contemporary art gallery space, a bookshop and a restaurant.
The video shows around 60 people lying motionless on sleeping bags in the still unrenovated basement floor of the Palais de Tokyo while a disco ball is slowly rotating.

Niklas Goldbach on MVRDV

GAN EDEN
Video, 10:00 min, DV PAL, Stereo, 2006

Video excerpt here

With: Niklas Goldbach, Viktor Neumann
Camera, Editing, Postproduction: Niklas Goldbach
Assistance: Viktor Neumann
Foley Artist: Martin Langenbach
Sound Design by Christian Obermaier
Sound Mix by Poleposition D.C.

The second in a series of videos about utopia in urban culture, GAN EDEN was filmed in 2005 in the pavilion of the Netherlands, built by MVRDV for the World EXPO 2000 in Hanover, Germany.
Meant as both a critique of consumer society and as an example of environmentally-sustainable architecture, the Dutch entry for the World’s Fair was an exploration of the idea of limited space, engaged with the question of whether increasing population density can co-exist with an increase in the quality of life, and what role nature will play in that dynamic. Abandoned at the end of the World EXPO, the pavilion has already fallen into disrepair.
The video shows two men engaged in an ambiguous movement, both walking and cruising, through the space of this contemporary ruin.
The Biblical word gan (as in GAN EDEN) means walled garden.

Dominique Gonzalez-Foerster on Niemeyer

Double Terrain de Jeu (Pavillon-Marquise) [Double playground (pavilion-marquise)], 2006, Site specific environment with plywood columns made for the 27th São Paulo Biennial, 2006

Pablo Bronstein Drawings

Design for Monument after Paulus Decker
2005
ink on paper
35x20cm
Stage Design in the Style of Francisco Bibiena
2005
ink on paper
20x30cm
Large Centralized Pavillion in the Style of Filippo Juvarra
2005
Ink & pencil on paper
32x25.2cm
Two Architectural Studies in the Style of Jean Jacques Lequeu
2005
Ink on paper
32x48cm

Monument In The Style Of Michael Graves On The Debris Of The Bastille
2006
Ink & gouache on paper in artist's frame
22 x 31 cm

Andrea Fraser on F.L. Wright

Little Frank and His Carp
2001
Video, colour, sound
Durée : 6'

Passing for a journalist for an international biennale, giving a lecture-cum-striptease caricaturing the obsequious collector-artist relationship to patrons, or, disguised as a museum docent, take the public of a museum off on a subversive tour, Andrea Fraser is constantly challenging the position of the artist within the institutional, economic and marketing field of art. Beyond their direct inscription in this specific reality, these reactive mini-scenarios, which she plays herself, nevertheless inject a structural critique into the wider political and social issues. In the short video-performance Little Frank and His Carp (2001), filmed with a hidden camera, the artist plays a visitor to the Guggenheim Bilbao, reacting naively and emotionally to the refined celebratory injunctions of the suave voice of an audio-guide praising the merits of Franck Gehry’s architecture. This is one way of indicating the institutional art space as a consumer venue, but also as a power place seeking to create and guide our emotions towards the utmost vulgarity. Exaggeratedly subjected to a cultural order of things (fetischization of the container rather than the content, the display case more than the object, the museum over the works) which ultimately controls both bodies and imaginations, the artist goes as far as rubbing up erotically against one of the pillars of the building. These unverifiable physical symptoms are due to an invisible parasitic contamination by propagandist rhetoric associating contemporary architecture with a sacred kind of fascination; (sex) tourism in Art-land. Working, as so often, on the professional language and rhetoric of her own circle, using this simple gesture, Fraser denounces through her deeds a direct transposition of marketing and advertising semantics to the art sector, a priori the space of intelligence and knowledge supposedly escaping from the coarse formalism of the market. Here, as in most of her other work, Fraser’s strength and effectiveness lie in using only unmanipulated real speech, with an injunctive logic taken to absurd lengths; the institutional readymade. Resolutely and simply engaged, with feigned ingenuity and enlightening idiocy, this in-situationist intervention questions that fundamental political opposition between celebration and critique (as discussed, for example, by the philosopher Luc Boltanski), now disputed by a consensual postmodernity, more and more readily confusing art and culture.

^{Guillaume Désanges}

Wolf Vostell on Mies van der Rohe

Michael Asher, Moca Chicago, 1979

For this installation, Asher proposed that the two horizontal rows of aluminum panels on either side of and on the same level as the Bergman Gallery windows should be removed from the facade and placed on an interior wall of the gallery for the duration of the exhibition.