Pyongyangstudies II, 2007–2012
Wallpaper of photographs
Pyongyangstudies II documents those twenty-five plates exhibited at the state academy of architecture in Pyongyang that bring together countless icons of world architecture: from archaic druid stones (1000BC) to the Guggenheim Museum in New York (1943–59, Frank Lloyd Wright) to Kenzo Tange’s City Hall in Shinjuku/Tokyo (1991). The exhibition initiated by Kim Jong-il, the supreme leader of the People’s Republic of North Korea from 1994 to 2011, spotlights the principles of reconstruction of the North Korean capital in the wake of the Korean War. An illustration also photographed by Martin Eberle, in turn, visualises the underlying urban concept: a rationalist-modernist model of the city comprising a number of “landmarks” from a wide range of historical styles.
Let’s democratise democracy, since 2011
Installation with photographs, video, poster
Daniel Garcia Andújar carried out the action Democraticemos La Democracia (Let’s democratise democracy) in Barcelona in 2011. An aeroplane trailing a banner with the slogan in the title flew along the city’s coastline. The action was photographed from another aeroplane. Unlike from ground level, here the slogan does not appear against a blue sky, but against the skyline of Barcelona. When the Torre Agbar (Spain’s highest building, designed by Jean Nouvel) appears on the horizon together with the banner, this is a clear comment against trivialising the city with the notion of the Iconic City – and in favour of enhancing its function as a place where communities are articulated and constituted: let’s democratise democracy!
At the very moment in which the troubled piece of Parisian urban land is being dismantled again, artist Larissa Fassler tries to preserve the “complex
derelict knot of rail and Métro interchanges, subterranean retail chain
stores, tunnels, and passageways that make up Les Halles today”.
Through cheap cardboard paper the artist experiences the space of the
banal, of the eveyday, the shop, the mall, the passageways and the
Miniature fragments contrast, with their near-obsessive precision, the dysfunctional emptyness of derelict non-lieux.
“Al-Aqsa Park” is an animated film installation where the Dome of the Rock, the symbolic referring to the al-Aqsa complex in Jerusalem, is displayed as a fairground carousel. Although the work brings an additional reflection on the intersection of the discourses of political systems and religiosity, a theme salient to Shawky’s rich career, the al-Aqsa Park installation is essentially centered on the idea of controlled entertainment that the experience of riding a carousel, as well as its spectacle, delivers. The carousel, conventionally the center-piece of a fair, circling at a speed to generate weightlessness and ‘freedom’, is actually a machine maneuvered by an operator, according to a tightly controlled schedule. (Source: Meeting Point 5)
Charlotte Moth Proximity - Proposition at Lavomatic, St Ouen, France, 2011 Model of Patinoire, St Ouen, Architect Paul Chemetov, 1975: bolsor wood, foam sheet 66cms width x 76cms length x 37cms height unique
The English artist Charlotte Moth has decided to
make a model out of a very interesting and popular building in
Saint-Ouen, a covered ice-skating ring.
From the sixties on, the famous architect Paul Chemetov conceived and
build many social and public buildings, among them this famous
ice-skating ring, in 1975. This multifunctional building in the center
of the suburbian town of Saint-Ouen, as much as beeing a leisure place,
serves as a shelter, as much as a commercial center and a parking.
Strongly apparented to science-fiction novelist
Ballard and the aesthetic of Blade Runner, the building has is
fascinating for it’s structural method and anticipated many furtive
architecte of our time. The anachronism the building transmit has
therefore struck the imagination of the artist Charlotte Moth. I discovered the Patinoire of St Ouen because I lived here between
2007 - 2010. I was always struck by this building, as it is so
different to many of the other buildings that I have lived near, and
seen on a daily basis.
For Lavomatic, which is also the studio space of Seamus Farrell, I
wanted to develop a work that related the physical proximity of the
Patinoire to Lavomatic, (the Patinoire is situated at the end of the
main road from which Rue Claude Monet stems).
Following a visit with Cécile Bourne-Farrell in June of this year, to
the architectural office of Paul Chemetov who designed the Patinoire in
1975. I became more and more interested in the model of the Patinoire
that I discovered through a series of photographs. The original model of
the building was not to be found. I decided that I would like to re-contstruct the model to the
best of my abilities through looking at exsisting images of it. My model
in this sense functions as a three dimensional drawing, a sculpture.
Displayed in the window space of Lavomatic the sculpture will be simply
Charlotte Moth and Cécile Bourne-Farrell would like to thank
Monsieur Paul Chemetov and Agnès Chemetoff, Peter Fillingham, Rachel
Daniels, Seamus Farrell, Mohssin Harraki, Ricardo Nicolau, (Fondation Serralves,
Porto), Caroline Coll, Directrice du service culturel and les archives de Saint-Ouen.
Mario Garcia Torres 'No sé si esa sea la causa / Je ne sais si c’en est la cause'
Described as a story of “deceptions and disappointments,” Mario García
Torres' audio-visual installation describes the
context in which The Grapetree Hotel was built in the 60s, on the island
of St. Croix. It was at this hotel that the young French artist Daniel
Buren produced a group of murals. Buren struggled to make these works
and expressed his distaste for them, but later acknowledged their
importance as his first in-situ works, a characteristic of his highly
influential Conceptual Art practice. García Torres' project explores the
inherent fictions, politics and creativity of history.
Two Connected Houses is Mark Manders' proposition for the Guggenheim's exhibition Contemplating the Void .
In fact, this artist proposes to link a little house in the the void of
the Guggenheim, with another house on the other side of the street by a
tunnel excavated from New York's ground. "It will take four days to
construct the tunnel", he writes.
Marcel BREUER MEMORIAL-ROOM Winner of BREUER IN PÉCS / BACK and FORTH - public art competition in memory of Marcel Breuer
2010, public art project (has not been realized)
The Marcel Breuer Memorial-Room is the winner of a public art competition by the city of Pécs - the European Capital of Culture in 2010 - in memory of Marcel Breuer.
Breuer was born in the city of Pécs, but emigrated at a young age,
lived, worked and rose to fame as a "self-made man" at the Bauhaus
school and later on in the USA. The Memorial-Room manifests the lack of Breuer's
presence in Hungary. It also questions whether a city or a country is
entitled to grace themselves with and hog credit for a man's fame, whose
life and work is more or less independent from his birthplace and erect
a memorial for them.
The memorial room is the 1:1 concrete replica of a container, that might
as well have been imported from across the Atlantic (just like Breuer's
fame). It is designed as a compact, independent and self-sufficient
module with solar panels and a sewage tank. The concrete (a material
favoured by Breuer) is in case of the Memorial-Room a
light-transmitting concrete, a contemporary invention by a young
Hungarian engineer. The solar panels mounted on top of the container
make the light-transmitting concrete module glow "from the inside" when
it gets dark – a strong contrast to the usual Hungarian memorials of
figural national heroes illuminated by floodlights pointing at them.