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

Veronika Kellndorfer + Bo Bardi








Veronika Kellndorfer
Tropical Modernism: Lina Bo Bardi, Christopher Grimes Gallery, 2016


 This body of work stems from Veronika Kellndorfer's 2015 solo exhibition at the Casa de Vidro in São Paulo, home of celebrated Italian-born Brazilian architect Lina Bo Bardi. During this time Kellndorfer also engaged with the architecture of Oscar Niemeyer and gardens of Roberto Burle Marx, finding their approach to Brazilian Modernism nascent to a new scope of reference.
For Tropical Modernism: Lina Bo Bardi, Kellndorfer continues working in the process she developed in the early 1990s of silk-screening photographic images to highly reflective glass panels, fusing image to form. In the main gallery, Kellndorfer will show works pairing details of Bo Bardi’s iconic SESC Pompéia in São Paulo with an individual plant species found in the Royal Botanic Garden in Rio de Janeiro, Brazil. Like Bo Bardi, whose architecture explored reciprocity between the human and the built, Kellndorfer examines the dialog between the playfully Brutalist and culturally dynamic SESC Pompéia and the global selection of various plant species flourishing in Brazil.  The South gallery will feature works referencing Bo Bardi’s architectural treasure: Tree House (Casa de Vidro) as well as two sculptures Casa de Vidro, Quadrado and Casa de Vidro, Triângulo.

http://www.cgrimes.com/exhibitions/veronika-kellndorfer

Sunday, 5 March 2017

Piotr Lakomy + Le Corbusier




http://www.thesundaypainter.co.uk/exhibition/piotr-lakomy-3

Some thirty inches from my nose
The frontier of my Person goes,
And all the untilled air between
Is private pagus or demesne.
Postscriptum from “Prologue: e Birth of Architecture” by W. H. Auden
Piotr Lakomy’s work engages with human scale, and its relationship to objects and architecture. Reflecting on our connections with our surroundings, his sculptures might be described as ruined monuments to these conflicting relationships. Whilst they are seemingly devoid of a human presence, there remains a subtle anthropometric quality to his compositions. In Room Temperature a nest made of aluminium mesh insulation coated with bees wax hangs from the ceiling. It once contained a human body lying on its side, with the head supported on an outstretched arm. The body leaves an empty space within the structure, as empty as the cells of aluminium grid of which the nest is made.
Flat aluminium honeycomb cores found hanging on the walls are made of ultra-modern material widely used in aerospace, construction, architectural, energy, marine and rail industries. Contrary to the rules of their industrial application they have been stretched on painting frames; instead of specialized tools a human hand has been used. Experimenting with carefully selected materials, developing their properties far beyond those planned by the producers, Lakomy adjusts the scale of objects, via stretching, compressing, melting, dissolving, applying layers of wax or isolating with foam, while deriving all measurements from Le Corbusier’s e Modulor. A juxtaposition between the natural and the man made can also be found in the smothering of high tech aluminium honeycomb with beeswax.
The landscape on the surface of these “paintings” is outlined by the arrangement of empty aluminium honeycomb cells. There is no privileged location from which to view them. The careful deformations and empty spaces are brought out by the viewer, getting close or moving away in different directions, working within the space around the object. Maps made of torn body bags work in a similar way. Their outline resembles a plan of an apartment, minus any detailing of the space or the use of individual rooms. The irregular surfaces of the body bags go beyond that at plan, while egg shells, once protective vessels Filled with the warmth of a living being, are bound with them permanently. This atmosphere of protection and encasement is furthered through obscuring the main source of natural light with Vaseline.
Lakomy has worked across all aspects of the gallery’s architecture; the pole and the nest define the axis of the building, while mesh “paintings” and maps, made from body bags, frame and cover the gallery walls, but also extend further. Each of the adjacent and surrounding buildings designed for any human activity, exists in a way indicated by the work presented here, as the absences within the show relate to the free spaces contained in any other populated place. The role of these works is to highlight the sense of absence, of which every cubic centimetre becomes animated by the body heat of each person present in the exhibition space.
Text by Kuba Bak


Tuesday, 28 February 2017

Matthew Zivich + Johnson


Matthew Zivich + Mies van der Rohe





Matthew Zivich, Untitled (860 Lake Shore Drive), 1989 (detail). Acrylic paint, HO scale models, wood and illustration board on foam core.

Wednesday, 15 February 2017

Saâdane Afif + Piano and Rogers



Anthologie de l’humour noir
 
Winner of the 2009 Prix Marcel Duchamp, Saâdane Afif takes over Espace 315, where an imposing coffin lies in state. With that black humour drawn from André Breton's famous anthology of the same name, Saâdane Afif invents an installation where the Centre Pompidou becomes a sarcophagus of utopias.
Curator : Mnam/Cci, Jean-Pierre Bordaz
 
 
https://www.centrepompidou.fr/cpv/resource/cn6o44/r5xpzz

Charlotte Moth + Parent and Pasmore









For Claude Parent and Victor Pasmore, 2016
double slideshow installation including 81 colour 35mm slides each
ed 5 + 1
http://www.marcellealix.com/expositions/presentation/63/lightly-in-the-world

Tuesday, 8 November 2016

Martin Boyce + Jacobsen

Suspended Fall
2005
Medium Powder coated steel, chain, wire and chair parts 
 
 
Suspended Fall 2005 is a hanging mobile with six balanced elements joined by lengths of wire and powder coated steel. Each of the elements consists    of a sawn section of vintage Jacobsen Series 7 chairs, which the artist bought in    Berlin. Hung freely in the gallery space, the individual elements of the work can move independently or as a whole when prompted by air    movement or direct contact. Designed by Arne Jacobsen (1902–1971) in 1957, the Series 7 chair was    styled for modern living. Although the ideology and ambition of Jacobsen’s    modernism have faded, the classic plywood moulded chair is still being    manufactured using the same methods and materials, and it has become one of    the most popular chairs of the late twentieth and early twenty-first century.    Suspended Fall makes reference to the art of Alexander    Calder (1898–1976) and his distinctive, colourful mobiles of the 1930s which in turn were    influenced by the abstract work of Piet Mondrian (1872–1944) and Joan Mir¿ (1893–1983). The work explores and reflects the cross-fertilisation of ideas and forms between art    and design during the period of early twentieth-century modernism. It is one of an ongoing series of mobiles that Boyce has been making since    2001. It has been exhibited in the following exhibitions: This Storm we call    Progress, Arnolfini, Bristol 2005; Material Intelligence, Kettles Yard,    Cambridge 2009; and The 4th Auckland Triennial, New Zealand 2010.
  
 Martin Boyce’s work explores the visual language of modernist architecture    and design. Drawing on its iconography and history of production, classic    pieces of furniture by Arne Jacobsen, Charles and Ray Eames, Jean Prouvé and    Charlotte Perriand, among others, have often been the focus of Boyce’s    attention. Boyce’s selected objects engage with the ethos of modernism:    democratic and mass-produced, they reflect an ambition for what can be    understood as a utopian vision – a re-imagining of society on egalitarian terms.    Boyce is also interested in how meanings change over time, in particular how    the significance of particular objects alters as society changes. Displaced from    their original ideals and context, Boyce’s objects take on an alternative life.
 
Further reading
Martin Boyce: For 1959 Capital Avenue, exhibition catalogue, Museum für    Moderne Kunst, Frankfurt 2002.
Martin Boyce Undead Dreams, exhibition catalogue, RomaRomaRoma, Rome    2003.
Martin Boyce, Zürich 2009

Clarrie Wallis
May 2010

http://www.tate.org.uk/art/artworks/boyce-suspended-fall-t13283

Jorge Pardo + Le Corbusier

‘Me and my mum’ (1991)
A refabrication of Le Corbusier’s classic chair and loveseat using industrial copper tubing, rather than the polished steel tubes that form the core of the original.

http://www.jorgepardosculpture.com/

Friday, 4 November 2016

Céline Condorelli + Bayer and Gray


After Image (Gray and Bayer)
(2015)



Materials: Powder-coated perforated aluminum, piano hinges, vinyl, paint
Dimensions: variable

Room dividers, screens and curtains separate space and articulate the multiple, and always changing relationships between inside and outside, day and night, public and private. They contain and protect, and yet also reveal, frame, overlay, juxtapose. The screens of both Herbert Bayer and Eileen Gray function as spatial devices that have almost sculptural presence, here merged and unfolded through form, colour, scale, and surface. The idea of background also has a history, and developed for instance regarding its colour, in relation to the changing notion of neutrality. Only about 150 years ago most museums in Europe would take part in heated arguments in conferences, and publish extensive treatises on how best to exhibit art, arguing on exactly the same issues, notions and requirements as they do today, but in parallel to completely different devices and operations, like curtains and wallpapers, ceiling roses and decorative friezes. Green was for a long time the accepted standard colour for museum walls, normalised as far as today’s white is, but it had also been at some point in time red, and yellow.

http://www.celinecondorelli.eu/selected-work/after-image-gray-and-bayer/

Céline Condorelli + Scarpa

Afterimage 3, 4 & 5
(2016)

Materials: screenprint on acrylic. Installation view, Kunsthalle Lissabon, Lisbon. Photograph by Bruno Lopes.

How Things Appear, after Carlo Scarpa (2016)

Materials: jotoba wood, painted steel, brass, acrylic.

These works are conceived as portals, boundaries or thresholds; acting simultaneously as obstacle and point of access. They present and problematise what can be perceived as very simple, or even banal spatial devices, which in fact establish binary systems of visibility operating through the logic of inclusion and exclusion, of hiding and revealing, of granting and refusing access, dividing space and time.

http://www.celinecondorelli.eu/selected-work/after-image/

Wednesday, 2 November 2016

Luis Jacob + Mies van der Rohe





Luis Jacob, Album XII, 2013-2014, image montage in plastic laminate, 148 panels (44.5 x 29 cm each). Courtesy of Birch Contemporary, Toronto, and Galerie Max Mayer, Düsseldorf.


Luis Jacob’s historical and urbanistic considerations are coupled with a philosophical and anthropological approach that characterizes his artistic, literary and curatorial practice. The bank of images found and then assembled by Jacob in Album XII (2013-14) highlights the subjective framework of the aesthetic experience, which is projected from the work of art into a broader perception, toward the gaze we cast on what we are made up of individually and collectively. Grouped together according to a principle of free correspondence, the images suggest analogies that are to be constructed, developed or completed by the viewer. Analogy is offered as form and content, both in the dialogue between the images and in the meeting of the perceiving subject and the perceived object.

https://galerie.uqam.ca/en/exhibitions/current.html

Graham Fagen + Mackintosh









Graham Fagen has been invited by The Glasgow School of Art Exhibitions Department to research Charles Rennie Mackintosh and to create a solo exhibition of new work to be featured as part of GENERATION.

This offers him the unique opportunity to examine the cultural forming aspects of Mackintosh and his peer group and to use his findings as a catalyst for the creation of a body of new artwork.
Looking at the common ground between his own practice and that of Charles Rennie Mackintosh Fagen will research the early, formative works, focusing on concepts of form and place. In particular he is interested in Mackintosh’s early plant drawings which were collated with the work of his peers to form a DIY publication called ‘The Magazine’. Works such as Tree of Influence or Cabbages in an Orchard, have text as part of the art work and together with the image, offer insight on the creative thought process, perception of place and meaning of form.
For this exhibition Fagen will present original works by Mackintosh and his peer group drawn from ‘The Magazine’, alongside the new pieces inspired by his own research.  A book work, influenced by the DIY concept of ‘The Magazine’, will also be produced.
 

http://generationartscotland.org/exhibition-archive/cabbages-in-an-orchard-the-formers-and-forms-of-charles-rennie-mackintosh-and-graham-fagen/


https://www.flickr.com/photos/glasgowschoolart/sets/72157645604072823/

https://vimeo.com/99917272