Thursday, 29 June 2017

Cheryl Sim + Fuller

Un jour, One Day, 2017 Film still. Courtesy of the artist © Cheryl Sim

Bas Princen + Breuer

Gallery Entrance, The Met (Marcel Breuer, Former Whitney Museum of American Art, New York, 1963–66), installation view, 2017. 2016. C-print. (Courtesy of the artist)

Nicole Wermers + Breuer

Infrastruktur 2015

Untitled Chair - AL-0        
Vintage fur, steel tubing, upholstery, silk and velvet
85 x 65 x 60 cm / 33.4 x 25.5 x 23.6 in

Wednesday, 28 June 2017

Peles Empire "Sculpture"

2017, Skulptur Projekte 2017
Dibond, ceramic tiles, galvanized steel, Jesmonite
755 × 622 × 638 cm
Car park of Oberverwaltungsgericht,
corner of Aegidiistrasse / Aegidiikirchplatz,
48143 Münster

Christian Odzuck + HPP Heinrich-Petschnigg & Partner.


2017, Skulptur Projekte 2017
Concrete, steel, wood, spolia

2300 × 1600 × 3600 cm
Andreas-Hofer-Straße 50
48145 Münster

Heinz Emigholz + Le Corbusier

Le Corbusier [IIIII] Asger Jorn [Relief]
Germany / Denmark 2015, 29 min

Le Corbusier [IIIII] Asger Jorn [Relief] contrasts the Villa Savoye, built by Le Corbusier in 1931, and Asger Jorn’s Grand Relief, which the Danish painter and sculptor produced in 1959 for the Århus Statsgymnasium. The film makes connections between what, according to the ideological stipulations of their creators, does not belong together.

“The film came about because I was intrigued by the premise of comparing two buildings that at first seem to have nothing to do with one another. A dialogue between thoroughly stylized clarity and declared wildness, both with ideologically trimmings. It was only by working on the film that I learned to appreciate the two works that had once left me indifferent: the delight of their creators in the productively implemented statement.”
Heinz Emigholz

Michel Aubry + Melnikov

Mise en musique du Pavillon de l’URSS de Melnikov 1925, 2013 Canne de Sardaigne, bois
© André Morin Courtesy de l’artiste et Galerie Eva Meyer

Michel Aubry, Mise en musique du kiosque de Melnikov, 1925-2009 Bois peint, tapis afghans Courtesy of the artist & Galerie Eva Meyer, Paris

James Angus + Costa and Niemeyer

Rio Phase Shift 2003, birch, mahogany, basswood, plywood, MDF

James Angus + Mies van der Rohe

Seagram Building 2000, spruce, MDF, Plexiglas

Rainer Oldendorf + CIAM 4

marco14 and CIAM4 / Shipwreck with Spectator, 2017, installation view, Polytechnion, Athens, documenta 14, photo: Angelos Giotopoulos

Dora Budor + archigram

The Forecast (New York Situation)

Tuesday, 27 June 2017

Clara Ianni + Costa and Niemeyer

Free Form
video installation
In 1959 Brazil´s capital city, Brasília, was being constructed, designed to be the symbol of modernization and development of the country. Despite its utopian horizons, a massacre happened during the construction of the city, in which the State police killed more than 100 workers after a strike. The video is composed by interviews made with Lucio Costa (the city’s urban planner) and Oscar Niemeyer (the city’s architect), in which both denied the acknowledgement of the massacre, and photos from the construction site, commission by the State, made by Marcel Gautherot. The video reflects on the conflict between institutionalized historical discourses and counter narratives, questioning (infra)structures of power such as History itself, architecture and aesthetic.
MOMA - NY Collection

Ovidiu Anton + Le Corbusier

18 Tabourets Cabanon LC14 01, 2014/15

wood, leftovers from displays at Secession Vienna
installation approx. 220 x 160 cm

Julie Langsam + Gropius

Gropius Landscape (Master's House Kandinsky / Klee), 2014.
Oil on canvas, 42 x 42 inches

Constantin Boym + Mies van der Rohe

Friedrichstrasse Skyscraper, Mies van der Rohe, 1921, signed prototype , 1994
Wood and model making materials
5 3/8 × 4 11/16 × 3 1/4 in
13.7 × 11.9 × 8.3 cm

Shelagh Keeley + Mies van der Rohe

Barcelona 5, 1986/2012
Archival Pigment Print
34 1/2 × 46 1/4 in
87.6 × 117.5 cm
Edition of 5 + 1AP

Heidi Wood + Le Corbusier

"You Win Some, You Lose Some, part of the series Serving Suggestion," 2001.
Courtesy of Galerie Anne Barrault

Felice Varini + Le Corbusier

Olaf Nicolai + Le Corbusier

Speculation About Two Unidentified Objects (Workshop), 2014

 International, 2003.

Michel Aubry + Le Corbusier

Dialogue Fictif n°3 Le Corbusier-Dürer, 2005
film de Michel Aubry et la galerie du cartable, vidéogrammes

Portrait de Le Corbusier, 2013
143 x 84 cm.
Tapis iranien avec partie retissée Laine, coton, points noués

Unité d’habitation Rezé, 2013
84 x 143 cm
Tapis afghan avec partie retissée Laine, points noués

James Angus + Le Corbusier

Dom-Ino Colour Separation 2002
acrylic, laminated ply
15.8 × 28.2 × 20.4cm

Dom-Ino Colour Separation is one of a series of sculptures by James Angus taking the form of an architectural model. It plays with the modernist architect Le Corbusier’s Maison Dom-Ino, a 1915 prototype for cheap, modular housing that could be constructed in a row, like dominoes. Angus has re-modelled this utopian vision of housing in planes of coloured Plexiglass that overhang each other, unlike the aligned edges of the house’s original design. Angus also introduces a colour separation between the misaligned levels, creating an effect akin to a newsprint error when the three colours separate and the image slips out of register. Through such spatial and chromatic disruptions, Angus invites viewers to see the world about them in new and imaginative ways.
Angus explores the tensions between the modelled idea and the built form and between the ‘colour-separated’ image and the object in this sculpture. His practice is one that questions traditional notions and forms of sculpture by playing with surface, scale and volume. His work ranges from the modest to the gigantic, revealing his ongoing interest in materials and processes. Inspired by aspects of design, architecture and nature, Angus often duplicates existing objects and then distorts them in some way: by exposing them to physical forces such as extreme speed, by turning them inside out, or, as we see in Dom-Ino Colour Separation, by a slight slippage which may be commonplace in a newspaper, but which deranges the clean lines and precision of modernist architecture.

Wednesday, 21 June 2017

Luisa Lambri + Breuer

Untitled (The Met Breuer, #06). 2016. Pigment print. (Courtesy of the artist and Luhring Augustine, New York)