Tuesday, 15 October 2013

Amie Siegel + Le Corbusier + Jeanneret

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.


Sunday, 13 October 2013

Thursday, 29 August 2013

Dionisio González + Le Corbusier

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.

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


Friday, 9 August 2013

Xavier Veilhan + Le Corbusier


Architectones, Unité dʼhabitation 
Cité Radieuse, MAMO Audi talents awards, Marseille
Solo Show
June 12 >  September 30, 2013.

Monday, 3 June 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.


Wednesday, 23 January 2013

Knut Henrik Henriksen + Le Corbusier

Scale of Proportions which makes the Bad Difficult and the Good Easy
Wooden beams, planks and styrofoam panels
Unique / KH/I 2006-001

via Standard Oslo

31.08.-01.10.2006 / Opening: Thursday 31.08.2006 / 19.00-21.00 /


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.

Monday, 21 January 2013

Rivkah Young + Neutelings Riedijk

via Rivkah Young

Xavier Delory + Le Corbusier

 Dom_ino 07
Dom_ino 03

via Xavier Delory

Karin Kneffel + Mies van der Rohe

Untitled series, 2009.
Inspired by the Krefeld villas by Ludwig Mies van der Rohe

Untitled series, 2012
inspired by the Four Seasons at the Seagram Building by Ludwig Mies van der Rohe and Philip Johnson.

via Karin Kneffel

Sunday, 20 January 2013

Kreider and O'Leary + Portman

LA Tapped
Performance, The Westin Bonaventure Hotel, Los Angeles, USA
April 2010

‘I am proposing the notion that we are here in the presence of something like a mutation in built space itself. My implication is that we ourselves, the human subjects who happen into this new space, have not kept pace with that evolution; there has been a mutation in the object unaccompanied as yet by any equivalent mutation in the subject. We do not yet possess the perceptual equipment to match this new hyperspace, as I will call it, in part because our perceptual habits were formed in that older kind of space I have called the space of high modernism. The newer architecture therefore ... stands as something like an imperative to grow new organs, to expand our sensorium and our body to some new, yet unimaginable, perhaps ultimately impossible, dimensions.’
Frederic Jameson, ‘Postmodernism, or the Cultural Logic of Late Capitalism’ (1984)

LA Tapped is a spatial enactment of the Westin Bonaventure Hotel in Los Angeles, CA, performing the building as per Frederic Jameson’s reading of it; that is, as model of postmodern architecture and allegory for the logic of late capital.  The performance entailed moving around the building and tap dancing a set sequence at various locations throughout the Bonaventure including elevators, walkways, hallways, shops, indoor track, outdoor pool and peripheral spaces.
The video work LA Tapped (or the story of a harmless little girl, who had been carried by a cyclone many miles from home; and she had never killed anything in all her life) documents this performance, while becoming a work in its own right. Coupling the footage of the performance LA Tapped at the Bonaventure with sound and image taken from John Pilger’s The War We Did Not See, the work aims to expose an enmeshment of the topologies and representations of our built environment not just with the logic of late capital, but also with the systematic violence that this logic both upholds and reinforces.
Stills from the video work were used in the book: Bonaventure : Hyperspace - Sensorium - Connectivity - War by Kreider + O’Leary (Unnameable Press, 2012).

via Kreider + O'Leary

Liz Glynn + Morris Hunt + Le Corbusier + Piano

Liz Glynn, On the Museum's Ruin (Morris Hunt - Corbusier - Piano) I & II, 2011, rubble from the demolition of the Fogg Museum, lightweight concrete aggregate and stainless steel LC2 chair frame, 30 x 26.5 x 28 inches each.

via Liz Glynn

Mary Ellen Carroll + Mies van der Rohe

act of god, 1999 - mary ellen carroll

using the glass house or the farnsworth house as an emblem of architecture that is subsumed by sculpture, the photographs that mies van der rohe took of the site have been encoded with the memoirs of edith farnsworth using the dataglyph technology of encryption at xerox parc. the plates have a color indicated in the title that would be the color printed from these four plates that are taken from the colors that are noted within the text. the use of the lithographic plates is to make visible the mechanical process within the invisible. the images are positioned on the plate in relation to the photographic perspective. memory and the landscape are used as framing devices for this project to transform the photographic image into pure data.

via Rolu