Wednesday, 20 September 2017

Marianne Mueller + Johnston Marklee




HOUSE IS A HOUSE IS A HOUSE IS A HOUSE IS A HOUSE is a book about the architecture and collaborations of Johnston Marklee Architects, based in Los Angeles. Conceived as an extended cover, the series of double pages by Marianne Mueller includes works of Johnston Marklee combined with architectural sights of the city and its surroundings. The series reflects historical influences and personal interests of the architects and the artist.

http://www.mariannemueller.com/1001086/house-is-a-house-is-a-house-is-a-house-is-a-house

Monday, 11 September 2017

Candida Höfer + Herzog & de Meuron


Elbphilharmonie Hamburg Herzog & de Meuron Hamburg - 2016.

Friday, 8 September 2017

Walead Beshty + Le Corbusier


Still Life in the Observatory (Perspective / Composition Study after Le Corbusier, villa Savoye at Poissy, toit-jardin looking southwest, "gray hat, sunglasses and two indeterminate objects," 1931)
2005.

Santiago Cucullu + Wright




Love and Menace in the City, 2006, installation view Camden Arts Centre; courtesy of the artist and Perry Rubenstein Gallery.
Photo: Andy Keate

Yves Bélorgey + Brown




Alexandra Road, London NW8, 2006.

Olivier Dollinger + Le Corbusier



Space Off, 2002/2015
Impression sur papier transfert encadré 17x23 cm, bande sonore, 8mn, en boucle.

La bande sonore de « Space Off » à été réalisé à la Villa Savoye du Corbusier à Poissy pour l’exposition « Les heures Claires » en 2002. Cette bande sonore résulte d’enregistrements réalisés durant une nuit passée à la villa pour laquelle j’ai invité un médium à tenter de rentrer en contact avec les esprits ayant habité la maison et que ceux-ci lui décrivent les lieux dans lesquels ils se trouvaient à ce moment-là. Les différents moments de la séance de spiritisme ouvrent un contrepoint à l’architecture du Corbusier, propose d’explorer le versant irrationnel de son architecture ou sa part d’ombre. L’image qui accompagne la bande sonore est une photographie anonyme, glané au cours de mes recherches, présentant la Villa Savoye durant sa construction, en chantier.

http://www.olivierdollinger.com/index.php?/projets/space-off---20022010/

Stéphanie Nava + Le Corbusier


L'hypothèse d'une certaine interprétation, 2001

Produced for the exhibition Utopies in Marseille, "L’hypothèse d’une certaine interprétation" refers to the Cité Radieuse, the Unité d’Habitation which Le Corbusier designed in 1945. As both a piece of furniture and a maquette, this piece portrays the building as it was constructed: the vases are arranged in the place of the modules (sports facilities, children’s playground, chimneys…) installed on the roof terrace. The “drawer” executes the primary idea of constructing the building as a bottle rack in which the housing modules are fitted. The work nevertheless goes beyond scaled-down reproduction by, for example, questioning the decorative development of a utopian architectural gesture, with the following question in the background: how, over time, do the aesthetic and the utilitarian, the utopian and the functional fit together? Over and above architectural “criticism”, this piece, in particular through the idea of the drawer, echoes the issue of the secret, which is recurrently developed in the artist’s work. Conversely, this piece can just as well be presented as a piece of furniture asserting its housing function: equipped with receptacles waiting to be filled (the vases), containing “portions of existence” within its drawers and shelves, the work forms an object crystallizing several ways of living in the world, both physically and mentally.

Thursday, 7 September 2017

Tercerunquinto "Gráfica reportes de condición"


Clarissa Tossin + Costa and Niemeyer







Study for a Landscape, Sicardi Gallery installation view
May 16 – June 29, 2013

In his 1984 book The Practice of Everyday Life, French philosopher and historian Michel de Certeau describes the relationships between a city and its inhabitants. The city, he writes, is generated and developed by corporations, institutions, and governments. And yet, despite its construction, the city is always in the process of being remade by the people who move through it. Describing the shortcuts
pedestrians take, de Certeau writes, “Their intertwined paths give their shape to spaces. They weave places together… It is true that the operations of walking on can be traced on city maps in such a way as to transcribe their paths (here well-trodden, there very faint) and their trajectories (going this way and not that). But these thick or thin curves only refer, like words, to the absence of what has passed by. Surveys of routes miss what was: the act itself of passing by.”1

In the exhibition Study for a Landscape, Clarissa Tossin takes that action of passing by, the physical inhabitation of a place during a limited span of time, as her subject. The series Brasília by Foot (2009-2013, above) includes a Google Earth satellite image of the city, showing the footpaths made by pedestrians across the iconic green space. Using the image as a kind of map, Tossin retraced certain of these paths. Her notations from this journey indicate the length of each walk, but in a purely subjective measurement: she counts the number of steps she takes across each pre-existing pathway and creates prints which indicate her walks, and are titled by the number of steps she takes: 2,943, 1,505, 485, 1,876, and 8,463. Through this gesture, Tossin draws the body into a dialogue with the practice of mapping—of the measured articulation of a place.

Brasília is an especially rich site for Tossin’s work. Designed from the ground up by architect Oscar Niemeyer and urban planner Lucio Costa, the city was built on a previously empty plateau as a beacon of modernist design for the automobile era. Here in her hometown, Tossin brings that modernist experiment in contact with the imperfections and particularities of the body. What does it mean to walk through a city that was designed with the automobile, rather than the pedestrian, in mind? Tossin prints these images on heavy vellum, using ink specially made from Brasília’s soil. With this material gesture, Tossin makes evident the indexical nature of the work. The maps made with soil places the artist, locating her action within its specific context, and reiterating the organic, happenstance nature of the footpaths carved into the city’s green space.

In Study for a Landscape (Brasília) and Study for a Landscape (Mars) (both 2012), Tossin takes satellite images of the two places and folds them into origami patterns. She folds Brasília into the shape of a car; Mars becomes the backdrop for a folded rocket. The resulting thin, white lines marking the images suggest urban plans poetically aligned with the machinery of human transportation. As in Brasília by Foot, Tossin makes visible the physical gesture of folding: these works similarly index the actions of the body as it bears upon the landscape. Here Tossin suggests that landscape is both a construct of the human imagination and a result of human actions.

Ladrão de Tênis (Sneaker Thief) (2009) indicates the important place of physical presence in Tossin’s work while it also highlights the themes of movement and walking that mark the exhibition as a whole. These plaster casts, made from the interior of used sneakers, capture the materiality of the shoes and their unique differences. The work’s title references a recent upsurge of violent crimes associated with sneaker theft in Brazil, and Tossin links these thefts to the increasing exploitation of desire for consumer goods in the country’s growing capitalist economy. She writes, “The mash-up of brands and bodies exposes the logic of the construction of the self in consumer culture.”

Throughout her body of work, Tossin makes multi-process projects. The objects shown in Study for a Landscape are evidence of an experience, even as they also exist as photographs, as documents, and as installation. They are multi-faceted in the ways they explore the frictions between landscape, the body, and urban space, and they bear complex and rewarding relationships to art historical and architectural precedents, such as land art, urban design, and conceptual practice. These objects are markers of the artist’s presence in a place and of her touch. Even if, as de Certeau argues, a city is built by corporations, governments, and institutions, Tossin’s approach to the landscape of Brasília re-makes and re-envisions that place. She invites the viewer to consider how one’s specific experiences in a place make it new, make it different.

1 Michel de Certeau, The Practice of Everyday Life (Berkeley: University of California Press, 1984): 97.

http://clarissatossin.net/Brasilia-by-foot

Beto Shwafaty "The Life of the Centers"










Inkjet print on cotton paper mounted on dibond/aluminum. Installation with 35 to 42 images (approx.), 35 x 42 cm (each), total measure: 9 meters linear. 2011-2013

The Life of the Centers is a photographic project that explores three regions of São Paulo, considered as core areas for different reasons and at different periods: the historic center, Avenida Paulista and Avenida Berrini. Guided by testimonies and reports of people who have spent much of their working lives in these areas, and researching iconographic material into several archives, the project brings together observations on the historical cycles and flows of progress that occurred in these places of the city over a period of almost 40 years. Facts and memories are combined with archival footage and accounts of real characters, resulting in a docu -fictional work. From these meetings, resulted narratives and interpretations of urban, architectural and political changes that touch not only on personal issues, but also of social and public nature. First developed in a book format (supported by the State Program of São Paulo Cultural Action – PROAC / SP , 2011 ), this is the first formalization of the project in its exhibition format (photographic wall installation).

Exhibited at:
Love and Hate to Lygia Clark. Zacheta National Gallery, Warsaw, 2013.
Art and Heritage, Paço Imperial/IPHAN, Rio de Janeiro, 2014 (acquisition)
Taipa Tapume, Leme gallery, São Paulo, 2014.

Bibliography:
Shwafaty, Beto. The Life of the Centers, Olhares publishing house, São Paulo, 2013 / ISBN 978-85-62114-22-9.

http://www.shwafaty.art.br/the-life-of-the-centers/

Lays Myrrha + Niemeyer


http://www.pivo.org.br/exposicoes/lais-myrrha-pivo-produz/

http://www.pivo.org.br/canal-pivo/video/projeto-gameleira-1971-lais-myrrha-pivo/

Renata Lucas + Niemeyer




Barulho de Fundo

Surveillance cameras of the Sao Paulo Bienal's building. 
With the collaboration of Dionís Escorsa and Daniel Steegmann Mangrané.

Shown at:

2006 Bienal de Sao Paulo. Brazil

Eduardo Abaroa + Ramírez Vázquez







From the series Notes on the Total Destruction of the National Museum of Anthropology (2012-)

http://exhibits.haverford.edu/arqueologias/eduardo-abaroa/