Allan Sekula, Prayer for the Americans 3 (Disney Stockholders), 1997/2005, 16 medium format slides, 3 minutes. All Sekula images courtesy of the artist, Christopher Grimes Gallery, Santa Monica, and the Gallery at Redcat, Los Angeles.
Allan Sekula, Barceloneta Swimming , 2008, from Methane for All, 2008. Courtesy of the artist.
Allan Sekula, 'Fireworks' still from Gala , 2005. Courtesy of the artist.
Fernanda Fragateiro, MR10 Double Chair, after Mies van der Rohe and Lilly Reich (2009)
In MR10 Double Chair, after Mies van der Rohe and Lilly Reich (2009), Fragateiro reiterates Ludwig Mies van der Rohe’s canonical design of the same name: a web of German-made Gütermann silk thread, in shades of blue and grey, links two of Mies’ tubular steel frames, in turn are further linked by extra tubing. The work addresses the design collaborations of the two colleagues and lovers, which, though vaguely acknowledged, are not properly documented by design historians. Lilly Reich, a talented industrial embroiderer and textile designer, taught interior and furniture design at the Bauhaus, and yet remains a little-known contributor in the context of the male-dominated Bauhaus. Fragateiro’s re-evaluation of Reich’s legacy adopts her forbear’s simple, functional aesthetic, using, with a featherweight touch, threads that evoke the female realm to which Reich was repeatedly relegated
Between Visible and Invisible
Fiji Biennale Pavilions, 2003
Fiji Biennale Pavilions is an exhibition that proposes an imagined, fantastical relationship between the South Pacific's Fiji Islands and contemporary art. It presents a formal proposal for an international contemporary art biennale to be held in Fiji, a destination associated with holiday resorts, not high art. It questions the meaning of the cultural translation - as a biennale and a discussion about it.
'Within' the proposed Fiji Biennale Pavilions are exhibited A4-size written proposals from artists Björn Dahlem, Sam Durant, Claus Fötinger, Emil Goh, David Hatcher, Ani O'Neill, Meena Park, Peter Robinson, and Kathy Temin. This Biennale is to be housed in the pavilions that are reconstructions of famous exposition pavilions - those temporary structures that have a significant portion of the 20th century architecture. The pavilions take the form of nine 1:150 scale Plexiglass models, installed on a display table. They are selected from range of the national pavilions such as Le Corbusier and Pierre Jeanneret's L'Esprit Nouveau from the Exposition of Decorative Arts, Paris 1925; Marcel Breuer's Gane's Pavilion , Royal Show, Bristol 1936; and Oscar Niemeyer and Lucio Costa's Brazilian Pavilion , New York World's Fair 1939.
The final element of the exhibition is a sixteen panel map of Fiji islands. The map impresses the geography of Fiji on the viewer. Rather than a singular super-resort Fiji is revealed as an atomised archipelago.
PETER BEHRENS 1, 2 2000, C-Prints, 24 x 18 cm
