Helen Marten + Loos

Dust and Piranhas. 2011. Video (animation still). Courtesy the artist and Johann König, Berlin; Sadie Coles HQ, London; T293, Naples/Rome.

http://www.helenmarten.com/

Bryony Roberts + Neutra

INVERTING NEUTRA
Installation at the Neutra VDL Studio and Residences, Los Angeles
Supported by a Graham Foundation Individual Grant
July 13 - September 7, 2013
Inverting Neutra is an installation by Bryony Roberts at Richard and Dion Neutra’s VDL Studio and Residences in Los Angeles that offers spatial inversion as a strategy for activating historic architecture. The VDL House is known for its close interlocking of interior and exterior space, in which void spaces penetrate the house from the street up to the roof terrace. The project inverts the spatial logic of the building by filling the void spaces with hanging blue cords, manifesting a latent spatial figure that weaves through the house. This inversion both celebrates and subverts the existing architecture, offering an alternative to the static preservation of modernism and a strategy for creating responsive form

Link to Video
Press Links
Domus, Wallpaper Magazine

Project Links
Neutra VDL House project page, Graham Foundation project page

Copyright Jaime Kowal Photography

Fujiko Nakaya + Johnson

Photo © Richard Barnes, 2014.

On view May 1 - November 30, 2014

Coinciding with the 65th anniversary of the Glass House and its 2014 tour season, the Glass House presents Fujiko Nakaya: Veil, the first site-specific artist project to engage the iconic Glass House itself, designed by Philip Johnson and completed in 1949.

Nakaya, a Japanese artist who has produced fog sculptures and environments internationally, will wrap the Glass House in a veil of dense mist that comes and goes. For approximately 10 to 15 minutes each hour, the Glass House will appear to vanish, only to return as the fog dissipates. Inside the structure, the sense of being outdoors will be temporarily suspended during the misty spells.

Veil will stage a potent dialogue with the Glass House, producing an opaque atmosphere to meet the building’s extreme transparency and temporal effects that complement its timelessness. According to Glass House Director Henry Urbach, “Johnson’s interest in the balance of opposites is evident throughout the Glass House campus. With Nakaya’s temporary installation, we carry this sensibility to its endpoint while allowing the unique magic of the Glass House — the dream of transparency, an architecture that vanishes — to return again and again as the fog rises and falls.”

The Glass House, situated on a promontory overlooking a valley, is subject to changing wind patterns, as well as variable temperature and humidity, that will continually influence the interchange between Veil and the building it shrouds. Fresh water, pumped at high pressure through 600 nozzles, will produce an immersive environment that reveals these dynamic conditions. According to Nakaya, “Fog responds constantly to its own surroundings, revealing and concealing the features of the environment. Fog makes visible things become invisible and invisible things — like wind — become visible.” The drama of Nakaya’s work rests in the continuous interplay between what is visible and what is not. Known coordinates vanish, only to be replaced by a miasma, rich in changing phenomenological effects, that evoke a sense of mystery, foreboding, and wonder.

This installation is part of a greater initiative to transform the Glass House campus into a center for contemporary art and ideas, in particular those that foster new interpretations of the historic site’s meanings. The exhibition will be accompanied by public programs at the Glass House and in New York City, soon to be announced.

Organized by Henry Urbach, Director and Chief Curator, and Irene Shum Allen, Curator and Collections Manager, Fujiko Nakaya: Veil is generously supported by National Endowment for the Arts, Robert Rauschenberg Foundation, The Japan Foundation, and Oldcastle BuildingEnvelope®. Additional support is provided by Mee Industries, Inc.


http://theglasshouse.org/visit/exhibitions/fujikonakaya/

Camille Henrot + Le Corbusier

Architecture Mobile
Carpet: wool and banana, 400 x 300 cm
View of the exhibition “Perspectives”, Espace culturel Louis Vuitton, Paris
© Camille Henrot
Courtesy the artist and kamel mennour, Paris

This work is a carpet with patterns of Navajo appearance, containing the silhouettes of iconic monuments of modernist and contemporary architecture (Villa Savoye, Empire State Building, tours Petronas, Grande Arche de La Défense). The carpet, for Le Corbusier, is the most elementary form of architecture - the basis of nomadic settlement and a primordial form of mobile architecture.

http://www.camillehenrot.fr

Fernanda Fragateiro + Hitchcock

Common Front / Frente Común, 2013

Polished stainless steel, notebooks with inserts of inkjet prints on paper from: "Latin American Architecture - since 1945", catalogue of the first exhibition of modern architecture in Latin America, curated by Henry-Russel Hitchcock, MoMA 1955.

Pages: 14-15, 42, 46-47, 76-77, 91, 104, 112-113, 124-125, 178-179, 182-183, 196-197;
Photos: Armando Salas Portugal, Mexico D.F; Rollie MacKenna, New York; Hugo Brehme, Mexico, D.F; C.U. Molina, Mexico, D.F; Guillermo Zamora, Mexico D.F. Elizabeth Timberman, Mexico, D.F; Foto Industrial, Bogotá; Perez Palacios Salinas.
Monochromes, after Joseph Albers color studies.

118 x 467,5 x 31 cm


Photographs: Miguel Ângelo Guerreiro

http://www.fernandafragateiro.com/maco/common/index.htm

(Not) Reading Modern Latin American Architecture, 2013
Polished stainless steal and Books: "Modern Architects", first architectural exhibition curated by Henry-Russel Hitchcock and Philip Johnson, MoMA, 1932: Facsimile edition published for Lisbon Architecture Triennal, Babel, 2011; and "Latin American Architecture - since 1945", catalogue of the first exhibition of modern architecture in Latin America, curated by Henry-Russel Hitchcock, MoMA 1955
4,5 x 47,3 x 30,6 cm

Dust cover, 2013
Acrylic and dust cover from Book: "Latin American Architecture - since 1945", MoMA, 1955
21,5 x 24,5 x 27 c


http://www.fernandafragateiro.com/maco/others/index.htm

Fernanda Fragateiro + Barragán

After Barragán, House For Luis Barragán, Mexico, D.F, 2013

Acrylic and notebook with insert of inkjet print on paper from "Latin American Architecture - since 1945", MoMA 1955.
Page 184, photo by Armando Salas Portugal, Mexico, D.F.

250 x 30 x 42,5 c

http://www.fernandafragateiro.com/maco/after/index.htm

Alessandro Balteo Yazbeck and Media Farzin + Villanueva

Architect Carlos Raúl Villanueva in Collaboration with Alexander Calder. Aula Magna auditorium, Ciudad Universitaria de Caracas, 1954 (Detail) From the series 'Modern Entanglements, U.S. Interventions', 2006–2009, In collaboration with Paolo Gasparini and Media Farzin
Edition 3/5 + 1 A.P.
C-print from faded 1954 Kodachrome attributed to Paolo Gasparini, wall label with narrative text
Framed C-print: 120 x 120 cm. Installation dimensions variable

Haroon Mirza + Le Corbusier

The Light Hours

http://ashadedviewonfashion.com/blog/light-hours-haroon-mirza-villa-savoye-poissy-yvelines-france-april-3rd-29-june

Leonor Antunes + Bo Bardi

lina

2012

brass tubes and silver wire

196.75 x 78.75 inches

Felipe Arturo + Le Corbusier

Felipe Arturo
Casa Domino, 2010
Reinforced concrete
39.5 x 23.6 x 19.7 inches
Courtesy of the artist

http://vimeo.com/felipearturo

Mauro Restiffe + Costa + Niemeyer

Mauro Restiffe
Empossamento #8, 2003
Gelatin silver print
24 x 30 inches
Courtesy of Colección Patricia Phelps de Cisneros

Katrina Daschner + Mollino

 

PAROLE ROSETTE
AT / 2012
8 min.

Extremely confident in her mastery of style and taking obvious delight in her citations, in PAROLE ROSETTE, Katrina Daschner uses the performance by a well-rehearsed group of queer couples to stage a controlled game around/about social conventions and (sexual) self-determination, interwoven into an architecturally sublime setting (the Carlo Mollino´s Teatro Regio in Turin). This piece demonstrates, once more, her intricate knowledge--inspired by a combination of fine arts, photography and theater--of style, codes, staging and image conventions as well as of the elements that constitute "classical beauty." Here, she subverts her own so tantalizing abundance of images by cross-cutting them with detailed close-ups and performative interventions, by a storyline that is nearly militaristic in style, and a subtle, yet clear and queer diversity of the individual actors and actions.
Time and again, Katrina Daschner conceives of the stage or exhibition context as sexualized fields of play or performance where processes of desire and power as well as visual regimes are enacted and negotiated. Her films are performative spaces of experience. By connecting theatrical spaces and acts with cinematic elements, she deliberately works with variations of a seemingly familiar mise-en-scène, into which she inscribes subtexts using citations, stylistic set pieces and codes, thereby sounding out the possibilities of the media chosen and cunningly transgressing the limits of its conventions.
(Barbara Reumüller)
Translation: Erika Doucette

http://www.sixpackfilm.com/en/catalogue/show/2015

http://www.katrinadaschner.net

Amie Siegel + Le Corbusier + Jeanneret

Provenance
2013, HD video
40 minutes, color/sound

Proof (Christie's 19 October, 2013)
2013, Ink jet print, lucite
25.5 x 18.5 in. / 65.8 x 47 cm.

A film work of cinematic scale, Provenance traces in reverse the global trade in furniture from the Indian city of Chandigarh. Conceived in the 1950s by architects Le Corbusier and Pierre Jeanneret, Chandigarh’s controversial modernist architecture includes original pieces of furniture—tables, chairs, settees, desks—created specifically for the building’s interiors. Recently these pieces have appeared at auction houses around the world, commanding record prices. Starting with the Chandigarh furniture in the present, the film begins in New York apartments, London townhouses, Belgian villas and Paris salons of avid collectors. From there, it moves backwards to the furniture’s sale at auction, preview exhibitions, and photography for auction catalogues, to restoration, cargo shipping containers, and Indian ports — ending finally in Chandigarh, a city in a state of entropy.

Juxtaposing contemplative tracking shots, precise framing, and recurrent tableaux the film enacts a subtly discursive cinematic space, peeling back time to make visible the furniture’s movement around the globe. This accumulative montage exposes the circuits of ownership and history that influence the furniture's fluctuating value.

http://amiesiegel.net/project/provenance

Thomas Demand + Lautner

Thomas Demand, Wood 89, 2011, Pigment Print, 160 x 106.7 cm © Thomas Demand, VG Bild-Kunst, Bonn / DACS, London

http://www.nottinghamcontemporary.org/art/thomas-demand

http://www.theguardian.com/artanddesign/2012/jan/31/thomas-demand-model-studies-review?newsfeed=true

Dionisio González + Le Corbusier

http://www.dionisiogonzalez.es/2013_Lecorbusier.html

 

30/05/2013 to 13/07/2013

On 30 May Dionisio González will open his first exhibition at Ivorypress, entitled Le Corbusier: The Last Project. In this show, the renowned photographer reflects on utopia, survival and destruction through twenty unrealised projects by the architect Le Corbusier.
‘This exhibition intends to show a work of restitution of omitted vestiges’, explains González. It is therefore an archival task ‘based on processing the object so that it does not become corrupted by oblivion and may be interpreted through its scale and dimension’. The artist has selected buildings that were never erected, such as the Governor’s Palace, in Chandigarh, India; Villa Paul Prado in Buenos Aires, Argentina and the Museum of Unlimited Growth, in Algeria, to restitute them and, at the same time, to destruct them.
The photographer makes the unrealised projects of the master of modern architecture explode, following the idea of philosopher Heidegger that ‘every unbuilt project is a ruin’. The non-execution becomes here ‘a silent and silenced destruction, an explosion which, in this case, implodes’.
With this series, which will be open at Ivorypress until 13 July, the artist approaches the concept of space, ‘a nowhere-place that takes us to a state of utopia which, in itself, is characterised as being nowhere, no place’, González notes.
The show also includes various works from the series Dauphin Island, recently created by the artist and inspired by the island of the same name, in the state of Alabama (USA). ‘My interest in Dauphin Island comes from the study of aquatic architecture and palafittes that originated in the Neolithic Era’, explains González. An island in the Gulf of Mexico that has suffered numerous natural catastrophes and for which the artist has imagined ‘innovative projects that give shape to new habitable structures in the vacuums in the perception of spaces that had previously been devastated’.
​Dionisio González (Gijón, 1965) is senior lecturer at the Faculty of Fine Arts of the Universidad de Sevilla. Throughout his artistic career he has received numerous awards such as the Premio Pilar Juncosa y Sotheby’s from the Fundació Pilar y Joan Miró or the European Photography Arendt Award in 2013. His work has been exhibited in different institutions and museums such as the Museum of Contemporary Photography in Chicago, the Museo Nacional Centro de Arte Reina Sofía de Madrid (MNCARS), the Museu de Arte de São Paulo or the Toronto Museum of Contemporary Canadian Art. His work is represented in prominent collections such as the ING Art Collection in Amsterdam, the Centre National d'Art et de Culture Georges-Pompidou in Paris or the Margulies Collection at The Warehouse, in Miami.

 

 

http://www.ivorypress.com/content/dionisio-gonz%C3%A1lez-le-corbusier-last-project

Stephen Prina + Schindler

Installation view: Stephen Prina, As He Remembered It (detail), 2011, Los Angeles County Museum of Art, © Stephen Prina; courtesy Galerie Gisela Capitain, Cologne, and Petzel Gallery, New York, photo © 2013 Museum Associates/LACMA

http://lacma.wordpress.com/2013/04/04/think-pink/

Xavier Veilhan + Le Corbusier

http://www.veilhan.net/rubrique-2888/cible-2433.html

Architectones, Unité dʼhabitation 

Cité Radieuse, MAMO Audi talents awards, Marseille

Solo Show

June 12 >  September 30, 2013.

Camille Henrot + Friedman

 

A full documentation (with numerous photographs, some drawings, and the correspondence) on the collaborative project between Yona Friedman and Camille Henrot (a deconstruction of the space of the architect's appartemment, conceived as an abstract and symbolic space, by French artist).

Published on the occasion of the exhibition Le nouveau monde at Collections de Saint-Cyprien and musée des Beaux-arts de Bordeaux in 2007.

Architect and theoretician Yona Friedman, born 1923 in Budapest, lives and works in Paris.
Artist Camille Henrot, born 1978, lives and works in Paris.

http://www.lespressesdureel.com/EN/ouvrage.php?id=2177&menu=

Knut Henrik Henriksen + Le Corbusier

Scale of Proportions which makes the Bad Difficult and the Good Easy

2006

Wooden beams, planks and styrofoam panels

Unique / KH/I 2006-001

via Standard Oslo

KNUT HENRIK HENRIKSEN
“SCALE OF PROPORTIONS WHICH MAKES THE BAD DIFFICULT AND THE GOOD EASY”
31.08.-01.10.2006 / Opening: Thursday 31.08.2006 / 19.00-21.00 /

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STANDARD (OSLO) is pleased to announce its first solo exhibition with the Norwegian artist Knut Henrik Henriksen. Since graduating in 1997, Knut Henrik Henriksen’s sculptural works continuously challenge exhibition spaces in which they take place. They seem to be inserting elements of intimacy – and thus also doubt – into spaces that rather are defined by authoritarian or monumental qualities. His first exhibition at STANDARD (OSLO) makes no difference: the gallery is altered to serve as a vehicle for a discussion on the mathematically harmonious and universal standards.

The exhibition “Scale of Proportions Which Makes the Bad Difficult and the Good Easy” takes its starting point from a historical meeting; between the architect Le Corbusier and the physician and mathematician Albert Einstein in 1942. Le Corbusier took this opportunity to introduce Einstein to his work with the “Modulor” – an attempt at locating the Golden Section proportional to the height of a human. If such a system could be devised it would form an ideal basis for universal standardization. Using such a system of corresponding measurements Le Corbusier proposed that architects, engineers and designers would find it relatively simple to produce forms that were both commodious and mathematically harmonic. Einstein’s later response was that such a system would make “the bad difficult and the good easy”, but didn’t necessarily foresee how heroic ideas not automatically translates into heroic design.

Knut Henrik Henriksen’s works are equally driven by a search for mathematical harmony and potentially endless structures, while also remaining conscious how the introduction of universal standards seem to have fuelled the technical and economic rationalization of late Modernism. In the only work in the exhibition this discussion takes form of a deadpan analysis. Lowering the gallery ceiling to Le Corbusier’s idealized 2.26, the architect’s philanthropic ambition of placing man at the centre of building is tested out, but paradoxically done so in a building context that normally places objects at the centre. The anti-septic cleanliness of the gallery is amplified – offering the viewer little more than void and an experience of one’s own scale in relation to the space. The sculpture is rather defined as the space in between the two horizontal layers. Both miming and mocking the whiteness of the gallery space Henriksen is employing white square Styrofoam ceiling panels – bought from a DIY store in the working class area of Berlin. Henriksen keeps returning to these cheap standardized materials from DIY stores – inextricably connected to the tristesse of high-rise office buildings, but also to apartments and the numerous cafés in Henriksen’s home area of Kreuzberg and Neukölln in Berlin. His alterations of this material is kept at an absolute minimum in this work. Rather Henriksen has an interest in the material’s inherent and unadulterated qualities, citing the artist Carl Andre’s early wooden constructions and ‘scatter pieces’ as sources of inspiration.

Knut Henrik Henriksen (b. 1970, Oslo) lives and works in Berlin. His recent exhibitions include solo exhibitions at the galleries Elastic in Malmö and Hollybush Gardens in London, and "Longing balloons are floating around the world", Green Light Pavillion in Berlin. During the exhibition period his work can also be seen in exhibitions such as, "Try Again. Fail Again. Fail Better", Momentum 2006 in Moss, "Domino" at Air de Paris in Paris, and in "XXe Ateliers Internationaux Du Frac Des Pays De La Loire" at Le Frac des Pays de la Loire in Nantes. Henriksen is also commissioned to do a large-scale public sculpture for the new regional hospital AHUS outside of Oslo to be completed in 2007. The artist will be in Oslo during the mounting of the exhibition.

Rivkah Young + Neutelings Riedijk

via Rivkah Young

Xavier Delory + Le Corbusier

 Dom_ino 07

Dom_ino 03

via Xavier Delory