Brion Gysin, Le dernier musée, 1977, 1982Agrandissement, planche contact, épreuve sur papier Kodak 54 x 49,6 cm 59,8 x 49,8 cm, © Galerie de France
Friday, 11 February 2011
Jeff Carter + Gropius
Untitled #3 (Chicago Tribune Tower) 2010Modified IKEA products (laminated MDF, fiberboard, paper, aluminum), video monitor, electric stepper motor, microcontroller, electronics, video loop
96” H x 32” W x 62” D
via Jeff Carter (several more Gropius / Ikea morphings)
David Diao + Johnson
David Diao‘Sitting In the Glass House 2’, 2005
Acrylic and oil on canvas
101 x 152 x 4 cm
Unique
David Diao
‘The Rug, It Shrank!’, 2004-5
Acrylic and oil on canvas
2 separate panels; 1 at 183 x 122 x 4 cm
1 at 183 x 152 x 4 cm
Unique
via Tanya Leighton Gallery
Pedro Barateiro + Vilanova Artigas
Pedro Barateiro, Today our eyes are closed, 2010.
All images are courtesy of Kunsthalle Lissabon, Lisboa
Thursday, 10 February 2011
Wednesday, 9 February 2011
Matthias Meyer + Libera
Matthias Meyer (D), Ghost, 2004, filmstill, 8’00”, courtesy Galerie Eva Winkler, Frankfurt a.
via de Singel
Cyprien Gaillard "Geographical Analogies"
Geographical Analogies (vue d'exposition)Installation at the MMK Zollamt, "Cyprien Gaillard", Frankfurt am Main (septembre 4 - octobre 24, 2010)
Geographical Analogies # 5 (Beauval, La Pierre Colinet, Meaux)
2006
25.59 x 18.9 x 3.94 inches
Pièce unique
Gaillard's archeological approach toward nature and architecture can be noted in his 'Geographical Analogies'. In these wooden boxes, he has carefully arranged nine polaroids taken in various locations. The juxtapositions draw analogies, for instance, between natural sites in Mexico and housing projects in the Bronx, be it for their visual correspondences or their geological placement, highlighting in each photo the same sense of fragility.
via Bugada et Cargnel
John Baldessari + Mies van der Rohe
JOHN BALDESSARI
BRICK BLDG, LG WINDOWS W/
XLENT VIEWS, PARTIALLY FURN-
ISHED, RENOWNED ARCHITECT. MUSEUM HAUS LANGE
1 March - 1 June 2009
Extended until 19 July 2009 “Brick building, large windows with excellent views, partially furnished, renowned architect.” All that is missing from this small ad is the price or rent and of course a box number. The author is obviously making a joke, as what is offered here: is an outstanding piece of Mod-ern European architecture namely Haus Lange in Krefeld. The “renowned architect” is of course no less than Ludwig Mies van der Rohe, who designed the house in the late 1920s, along with the neighbouring Haus Esters. The fact that the son of the man who commis-sioned the building put the property at the disposal of the city of Krefeld as early as 1955 to house contemporary art exhibitions admittedly only makes this offer more highly charged. Even the title of John Baldessari's Krefeld exhibition gives us a successful taste of his ironic and ambiguous humour. But light-hearted interventions of this kind are not entirely unexpected from John Baldessari, the son of a European immigrant family born in National City, California in 1931, and who now lives in Santa Monica. On the contrary, it is one of Baldessari's great achievements to have developed conceptual art from its early days in the first half of the 1960s from an ironic and entirely witty distance, and to have linked it with enormous intellectual, pictorial or linguistic precision. One recurring theme in Baldessari's work arises from the question of what happens if clearly separate, different realities, images or words collide. His study of the relationship between word and image represents a key starting point here, from the 1960s onwards. Baldessari's artistic subversion forges ahead in the form of omission, wiping out, overlapping and collisions. He withdraws their original meaning from motifs by overpainting them with significant colours at critical points, while at the same time revealing hidden contexts. On several occasions in the last few years, Baldessari has taken to installing works in specific locations in such a way that they relate to the actual space. This has included the installation Adam and Eve (With Ear and Nose) plus Serpent at the Portikus, Frankfurt, and the installation at the Bonner Kunstverein (both 2007) on the occasion of his double exhibition Music in Bonn. Baldessari structured his Krefeld exhibition essentially as a work relating to the location or the architecture. The artist calls his concept for Haus Lange “contra-Mies”. Point of departure for him was the physical structure of the brick building. On the one hand he has focused on what for Mies was the source of a confrontation with his client: Mies vainly attempted to increase the extent of the building's outside glazing in order to increase the desired permeability between inside and out. However, the artist has used the former Bauhaus master's own idea quite pointedly against him: he has completely obscured the windows with pictures of bricks. At the same time though, he has intriguingly restored the connection between inside and outside by likewise covering the interior walls with brick wallpaper - in an extension of Mies's ideas that takes them to their logical and absurd extreme! To top it all, the artist has placed photographs of Californian land- and seascapes on the inside of the windows: as simulacra of the Miesian view through the window, these scenes bring about a complete dislocation of the building inside while at the same time simulating a link between the Lower Rhine and the artist's home in California. Anti-Miesian furnishings in the form of an Ear-Couch, decorated with two vases shaped like noses (Nose Sconces), are complemented on the outside by a winking win-dow eye: ironic apercus that are further crowning points of this intervention. Baldessari's room installation comes from a long tradition of architectural interventions in Museum Haus Lange, going back to the late 1960s. Artists including Christo, Daniel Buren, Michael Asher, Claes Oldenburg, Iñigo Manglano-Ovalle, Shiro Matsui, Kiki Smith and many others accepted the challenge of entering into a dialogue with this special place for art, architecture and history. During the exhibition period, a monographic catalogue will appear featuring comprehen-sive documentation of the intervention.
via Kunstmuseum Krefeld
Anri Sala + Fuller
Answer Me (2008) was shot in the abandoned Buckminster Fuller dome of an eavesdropping station built in Berlin, in the mid 50s as part of the global Echelon intelligence-gathering network of NSA for long-range surveillance during the cold war. It stands atop the Teufelsberg hill made from the rubble of postwar Berlin, under which another building designed by Albert Speer is buried.
Based on a dialogue from a note that Michelangelo Antonioni wrote on the breakdown of a couple, where he wanted "to shoot not their conversation but their silences, their silent words. Silence as a negative dimension of speech," Answer Me becomes, under the exceptional acoustics of the geodesic dome, a loud stillness of silencing decibels. The drama comes under the influence of the building, the architectural maelstrom whirls the narrative.
As a woman tries to end a relationship, her companion refuses to listen and plays the drums fiercely, blocking her voice from reaching him. At times her voice is heard, at times only her lips seen phrasing it, her voice silenced by his drumming. Next to her, the skin of a vacant drum vibrates and responds to the frequencies of the drumming. Amplified by the dome, those frequencies create not only an audible but also a visible echo by causing the drumsticks to bounce.
In the exhibition, a snare drum with a built-in speaker plays to the film's soundtrack that has been remixed in inaudible frequencies, emphasizing this moment of delay and amplification. The drumsticks respond to these frequencies and play to the film. The audible echo in the original context becomes a visual reverberation in the show.
The opening will feature a drum performance responding to the snare drum installation, further echoing the resonations from the film.
The second work on view, Who is afraid of red, yellow and green (2008) features Berlin traffic lights at night inhabited by spiders spinning their webs undisturbed by the interruptions of colour. Anri Sala was born 1974 in Albania and lives in Berlin.
Image:
ANRI SALA, Answer Me, 2008
HD Video, stereo sound, 4'50''. Edition of 6
© Anri Sala. Courtesy Johnen Galerie Berlin
JOHNEN GALERIE BERLIN
Schillingstr. 31
10179 Berlin
Germany
+49 30 27 58 30 30
Tuesday, 1 February 2011
Arni Haraldsson + Goldfinger
Arni Haraldsson: The Goldfinger Project
The Goldfinger Project explored social utopian ideology through the photography of Brutalist architecture.
The project documents both fictional and factual narratives across a wide range of media from one of Brutalism’s key exponents and a leading figure of the Modern Movement; Ernö Goldfinger.
Contemporary scholar and artist, Arni Haraldsson has compiled key moments from Goldfinger’s lifetime and documented his legacy to architecture within the urban landscape. Haraldsson examines the accomplishments of Goldfinger through the presentation of photography, film footage, historical documentation, popular cultural memorabilia, sound and resourced information. The display includes material from such diverse sources as BBC newsreels of the Ronan Point tower collapse, the Barbican, Trellick Tower t-shirts, popular music songs, advertising campaigns, interviews with residents and James Bond movies.The Goldfinger Project’ is Arni Haraldsson’s most recent investigation into the architecture produced during the High Modernist era of architectural history. This ongoing project of taking photographs and collecting material explores architecture as a record of social and cultural change. His work has taken him around the globe to numerous exciting locations from Rix Reinecke’s landmark Ocean Towers in Vancouver, Libera’s isolated Villa Malaparte on Capri to Le Corbusier’s Modernist city vision of Chandigarh in India.
Arni Haraldsson is a Vancouver-based artist and an Associate Professor of Photography at Emily Carr Institute in Vancouver. His practice documents aging examples of High Modernist architecture with the intention of examining historical changes in architecture, urban planning, and societal values. Arni Haraldsson’s work will be exhibited in EAST International 2007 and throughout the course of the exhibition will also be present at 2 Willow Road in Hampstead, London.
2 Willow Road is the home of Ernö Goldfinger and was designed by the architect himself. Located in Hampstead the building is open to the public and presents a complete Modern Movement home. For more information on 2 Willow road visit the National Trust Website
The Goldfinger Project is showing at SPACE alongside The Clearances by Shary Boyle
Both exhibitions are supported by the Canada Council for the Arts.
via Space
Friday, 28 January 2011
Saâdane Afif + Piano
View of Saâdane Afif: Anthologie de l’humour noir (Anthology of Black Humor), 2010, Centre Pompidou, Paris. Photo: Florian Kleinefenn.
Kudjoe Affutu in front of his workshop, Awutu, Ghana, July 8, 2010. Photo: Regula Tschumi.
via Artforum
Eamon O’Kane + Mies van der Rohe
Black Farnsworth House, oil on canvas, 100 x 100 cm, 2010. Courtesy of Eamon O’Kane and RARE Gallery, New York
Via Domus
www.eamonokane.com
Eamon O'Kane + Eames & Le Corbusier
Eames Le Corbusier remix, acrylic on canvas, 200 x 310cm, 2008. Image courtesy Eamon O’Kane and RARE Gallery, New York
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