Tuesday, 21 June 2016
The Barragán Archives
The Barragán Archives is an extended, multimedia project examining of the legacy of Mexican architect and Pritzker Prize-winner Luis Barragán (1902–1988). Magid considers both Barragán's professional and personal archives, and how the intersections of his official and private selves reveal divergent and aligned interests, as well as those of the institutions that have become the archives' guardians.
Along with the vast majority of his architecture, Barragán's personal archive remains in Mexico while his professional archive, including the rights to the architect's name and work, were acquired in 1995 by Swiss furniture company Vitra, under the auspices of the newly founded Barragan Foundation. By developing long-term relationships with various personal, governmental, and corporate entities, Magid explores the intersection of the psychological with the judicial, national identity and repatriation, international property rights and copyright law, authorship and ownership.
The project is ongoing and results in a series of objects, installations and performances. Exhibitions of the project exist as opportunities to push the narrative forward, and reflects —within the work— the legal parameters of the country in which they are shown.
Lost Memories From These Days, 2006
video/ dvd One channel video and sound installation
Edition of 5
Scene for a New Heritage, 2004
Image courtesy Annet Gelink Gallery, Amsterdam
Croatian-artist David Maljkovic’s epic film series Scene for New Heritage Trilogy presents a futuristic world set in the year 2045. Shot over three years spanning 2004 - 2006, the first film focuses on a group of travellers visiting a memorial park, erected in Petrova Gora, Croatia, for victims of the Second World War under the Communist government of Yugoslavia. As they visit the monument, debate is sparked as to its long-forgotten meaning - it means nothing to them, just as their strange dialect is alien to us. The second film, set 20 years later, features a young boy approaching and looking out from the monument's tower to an empty snow-filled landscape, as if on some spiritual pilgrimage. The third and final film depicts young teenagers milling aimlessly around the central tower; talking, playing and walking around the derelict monument.
Amid the desolate landscape, this bastion to 20th Century history has become a folk tale for the visitors, its raw concrete structure an empty shell offering no indication of the brutality it represents. The film invites viewers to travel through time to discover the artist's vision of the future and look at how the meaning of history and monuments changes from one era to the next. The film’s powerful subject matter comes from the artist's own memories of obligatory visits under the Communist regime.
Stills from New University, 2010
16mm film, b/w, silent, 7:26 min.
16mm film, b/w, silent, 7:26 min.
two 16mm films and framed paper collages
During the early 1960’s a number of new universities were founded in England. Each of them set out to subject the traditional concepts of teaching and organisation – of the educational institution as a whole – to a severe amount of reformation and experiment. It was a shared believe at the time that the new ideas and programmes had to be embodied in an entirely new kind of campus architecture which should bring forth not only academically mature, but also socially better adjusted citizens and create a new sense of community.
Andreas Bunte’s b/w 16mm film „New University“, 2010, documents a key example of this type of Postwar University Architecture, the University of East Anglia, designed by Denys Lasdun. A series of static shots exposes empty walkways, staircases, lecture theatres, halls of residence, etc. The campus seems completely deserted, an impression that is increased by the aged concrete which is omnipresent in every part of the site. Bunte left his footage to be a mostly uncut document of his exploration of the campus.
The second 16mm film, „Normbewegungen“, 2010, stages a selection of simple body movements in front of a measuring grid as used in photogrammetry. The ususal purpose of this set-up is to measure the exact dimensions of space required for the execution of a particular movement. Here, a chart of movement measurements found in a publication on norms and regulations for university construction served Bunte as a storyboard for the postures in his film. The crude choreography of banal activities recalls ideas of staging the movements of everyday life as in Postmodern Dance.
In the collages the artist uses pages from architecture magazines and publications on construction engineering. Bold prints of text fragments, invented diagram drawings and simple colour fields made from filter foil are added to them. The paper works are presented in frames alluding to standardised clip frames one might find in students’ homes and function like externalised intertitles commenting on the film.
Wednesday, 1 June 2016
6 inkjets on paper, 2 audio recordings, 2 printed booklets, 1 display table, 2 pairs of headphones, 2 audio players
Each print: 92 x 62 cm
Each booklet: 27.9 x 21.6 cm
Art Gallery Pavilion Composition Audio Recording: 6 min 33 sec, Theatre Pavilion Composition Audio Recording: 4 min 14 sec
Rock Show: At the Intersection of Art + Music, AGNS (Halifax NS), Curated by David Diviney
Brutalist Song I (Confederation Centre of the Arts) attempts to reinterpret and convey the historically concrete and constructed austere physical records of the Confederation Centre of the Arts’ Theatre and Art Gallery Pavilions through the emotive and ephemeral medium of music and related art objects.
Co-composers: Ryan Veltmeyer & Thomas Hoy
Audio production: Joel Waddell