Monday, 20 December 2010
Social Housing is a sculpture by Hans Op de Beeck, it is a non-existent building with a clear reference to the Le Corbusier-style. He transferred a classic design to the modern times, the building is covered with satellite dishes. There is also a stadium and an observatory from the same series.
Saturday, 11 December 2010
The Danish artist Kasper Akhøj works with photographs, slide-projections and sculptural installations, gathering facts and testimonies in a way that resembles the methodology of a historian. With his work, he proposes a counterpoint to the established written history of modern design and architecture. Through an accumulation of collected narratives, historical layers, associations, digressions and formal play, Akhøj arrives at a reconfiguration of significant, but lesser-known architectural endeavours which have been sidelined by force of circumstance. The thoroughness of his working method provides a counterbalance to the general volatility that is more or less omnipresent today, in art as well as in life.
Over the course of the last four years, he has worked exhaustively on two projects. In Welcome (TO THE TEKNIVAL), a work in progress that was begun in 2008, he uses photography to examine as well as document the process of restoration taking place at E.1027, the seaside villa that Eileen Gray built at Roquebrune-Cap-Martin, France, between 1926 and 1929.
The project Abstracta (a work in progress since 2006) refers to the modular display system designed in the sixties by the architect Poul Cadovius. In this work, he follows the journey of a specific object across a surprising number of spaces and histories. In the earlier work Untitled (SCHINDLER/GRAY, 2006), he interrelates the histories of two early modern houses: Rudolph M. Schindler's Kings Road House in Hollywood (1921-1922), and once again, Eileen Gray's villa, E.1027, in Roquebrune–Cap-Martin. Over the presentation of a slide installation, a voiceover narrates the related paths that have contributed to a circular tale of love, murder and ruin that would not seem out of place in the pages of a tabloid newspaper.
Sunday, 28 November 2010
In MR10 Double Chair, after Mies van der Rohe and Lilly Reich (2009), Fragateiro reiterates Ludwig Mies van der Rohe’s canonical design of the same name: a web of German-made Gütermann silk thread, in shades of blue and grey, links two of Mies’ tubular steel frames, in turn are further linked by extra tubing. The work addresses the design collaborations of the two colleagues and lovers, which, though vaguely acknowledged, are not properly documented by design historians. Lilly Reich, a talented industrial embroiderer and textile designer, taught interior and furniture design at the Bauhaus, and yet remains a little-known contributor in the context of the male-dominated Bauhaus. Fragateiro’s re-evaluation of Reich’s legacy adopts her forbear’s simple, functional aesthetic, using, with a featherweight touch, threads that evoke the female realm to which Reich was repeatedly relegated
Friday, 22 October 2010
Wednesday, 20 October 2010
MIES CRUISING PAVILION MONTJUIC
An unauthorised exhibition at the Barcelona Pavilion by Pablo Leon de la Barra with Francesc Ruiz, Joan Morey, Pol Esteve & Marc Navarro, Paco y Manolo, Ricardo Fumanal and friends.
October 9, 2010, 1 PM
Mies Van der Rohe Pavilion, Montjuic, Barcelona
a project developed by invitation of Esther Planas and EME3 architecture festival
Monday, 4 October 2010
Sarah Morris Points on a Line 2010 35:44 min © Parallax
Thursday, 30 September 2010
Saturday, 28 August 2010
Friday, 23 July 2010
DISCO LE CORBUSIER
Cabaret Voltaire is pleased to present Disco Le Corbusier, a site specific project by Daniel González for the opening of Rizoma space in Bologna, during Arte Fiera 2010.
After the surprising discovery of sketches and drawings by renowned architect Le Corbusier in the cellars of Unité d’Habitation in Marseille, Argentinean artist Daniel González opens a new road into the typological research on this eminent Swiss architect.
The contents of these unearthed drawings show Le Corbusier’s startling and visionary intuition; a project that makes him the forerunner of the modern disco.
Like an archeologist of Le Corbusier’s memory, Daniel González creates the archetype of an architectural fable as a place to live magical experiences. For the opening of Rizoma space in the historical centre of Bologna, the artist creates works in Mylar and audio-rhythmical lights that blend architecture with the social needs of the average man, pushing the boundaries of Modernism to a territory of thoughts, emotions and lightness.
Daniel González (born in Argentina, 1963) lives and works in Berlin. "I mold reality to create magic. I transform it using its own rules, changing the world one sequin at a time." Daniel Gonzalez’s sequin banner-paintings and unique wearable pieces are presented in high-impact performances. They create delirious, sexy and energetic worlds: spaces of freedom where the existing conventions collapse. Daniel González had his first Italian solo show at Viafarini in 2006 and in 2008 he was invited to create a workshop-performance for Manifesta 7. Since 2007, he has worked with Italian artist Anna Galtarossa on public projects. They jointly presented "Chili Moon Town Tour" - a floating, traveling city, which opened on Lago Mayor of Bosque de Chapultepec in Mexico City – and "Homeless Rocket With Chandeliers" at Lambrate (Milan), a crane-installation in use in a building site for two years.
Cabaret Voltaire is a collaboration between Fabrizio Savigni and Marco Morandini. Cabaret Voltaire organizes and promotes art events on spaces that are coherent with his philosophy of experimentation and research on contemporary.
Rizoma is a multitasking space created by city-lab and ciclostile architecture office. It’s a container able to develop researches and projects about sustainable architectures, design and art. Rizoma has multiple points of entry, without well-defined exit and without internal hierarchies.
Rizoma is looking for new territories.
Thursday, 22 July 2010
Salubra #2, 2009
Acrylic on mahogany
Each panel: 69 x 61 cm
Courtesy of Jablonka Galerie, Berlin
These paintings were inspired by one of a series of colour sequences for painted wallpaper designed by the legendary modernist architect Le Corbusier, for the Swiss wallpaper company Salubra in 1931. Levine directly adopted Le Corbusier’s Salubra sequence number 2, as well as the pale blue background against which he set it. The original is in a display case nearby. Levine's panels were painted by a conservator. She sees no need for a direct connection between the artist and the work of art, and simply felt that the conservator would do a better job.
Fiji Biennale Pavilions, 2003
Fiji Biennale Pavilions is an exhibition that proposes an imagined, fantastical relationship between the South Pacific's Fiji Islands and contemporary art. It presents a formal proposal for an international contemporary art biennale to be held in Fiji, a destination associated with holiday resorts, not high art. It questions the meaning of the cultural translation - as a biennale and a discussion about it.
'Within' the proposed Fiji Biennale Pavilions are exhibited A4-size written proposals from artists Björn Dahlem, Sam Durant, Claus Fötinger, Emil Goh, David Hatcher, Ani O'Neill, Meena Park, Peter Robinson, and Kathy Temin. This Biennale is to be housed in the pavilions that are reconstructions of famous exposition pavilions - those temporary structures that have a significant portion of the 20th century architecture. The pavilions take the form of nine 1:150 scale Plexiglass models, installed on a display table. They are selected from range of the national pavilions such as Le Corbusier and Pierre Jeanneret's L'Esprit Nouveau from the Exposition of Decorative Arts, Paris 1925; Marcel Breuer's Gane's Pavilion , Royal Show, Bristol 1936; and Oscar Niemeyer and Lucio Costa's Brazilian Pavilion , New York World's Fair 1939.
The final element of the exhibition is a sixteen panel map of Fiji islands. The map impresses the geography of Fiji on the viewer. Rather than a singular super-resort Fiji is revealed as an atomised archipelago.
Wednesday, 21 July 2010
Thursday, 8 July 2010
Artist Felipe Dulzaides' installation explores the history of the unfinished National Art Schools in Havana, which were commissioned by Fidel Castro and Che Guevara in 1961 and designed by Ricardo Porro, Vittorio Garatti, and Roberto Gottardi. Together, the schools were conceived as an art center that would symbolize and give form to the socialist ideals ushered in by the Cuban Revolution, but construction was abruptly halted in 1965, leaving many buildings incomplete and relegating them to obscurity.
Now, the schools are widely acknowledged to be masterpieces of 20th-century architecture. In 1999, their future took a turn when the Cuban government decided to restore and complete the schools' unfinished buildings. The centerpiece of Utopía Posible focuses on Roberto Gottardi and his quest to finish the School of Dramatic Arts, a process that has taken more than 40 years and led him to develop four different schemes.
The exhibition also features two new video pieces: Next Time It Rains, about Garatti's School of Ballet, which was 90 percent complete in 1965 but never occupied and left to be overgrown by jungle; and Broken Glass, about Porro's School of Dance, the first building of the complex to be completed during initial construction. The School of Dance was modeled after the shape of a broken piece of glass, a metaphor for an emotional explosion and the sense of fragility that characterized the revolution in its earliest stages. Together, these works contribute another dimension to this unique story of intense creativity, experimental architecture, and politics. Felipe Dulzaides (Cuba, 1965) is a visual artist whose work spans photography, installation, performance, video, and public art. Dulzaides' work has been exhibited at the San Francisco Museum of Modern Art, Kunstraum Kreuzberg/Bethanien (Berlin), Redcat (Los Angeles), and Yerba Buena Center for the Arts (San Francisco), among other venues. He is the recipient of prestigious awards including, the Cintas Fellowship 2001, the Creative Work Fund 2004 - 2005 and the 2010 Rome Prize. Dulzaides studied drama at the Instituto Superior de Arte and holds a Master of Fine Arts in New Genres from San Francisco Art Institute. Utopía Posible was selected by Okwui Enwezor for the 7th Gwangju Biennale (2008) and featured in the 10th Havana Biennial (2009). The Graham Foundation presentation is the first in the United States, and features new work.