Sunday, 16 September 2018

Dan Hu + Rudolph

Lais Myrrha + Niemeyer

Lais Myrrha, Estudo de Caso (2018). Photo: Hili Perlson.

Livia Corona Benjamin + Ramírez Vázquez


Installation view. Pacha, Llaqta, Wasichay: Indigenous Space, Modern Architecture, New Art. Whitney Museum, NY, NY.
 Livia Corona Benjamin (b. 1975), Infinite Rewrite LII, 2016. Analog photogram on chromogenic paper with aluminum mount on stacked acrylic base, 10 7/16 × 8 3/8 × 1 7/16 in. (26.5 × 21.3 × 3.6 cm). Collection of the artist. Image courtesy the artist

Livia Corona Benjamin (b. 1975), Mazatlpilli, 2018. Pigment inkjet print with turquoise, jade, coral, onyx, obsidian, tiger’s eye, and animal bone, 40 × 30 in. Collection of the artist. Image courtesy the artist

Clarissa Tossin + Lloyd Wright

Clarissa Tossin (b. 1973), still from Ch’u Mayaa, 2017. Video, color, sound, 17:57 min. Originally commissioned and produced by the City of Los Angeles Department of Cultural Affairs for the exhibition Condemned to Be Modern at the Los Angeles Municipal Art Gallery as part of the Getty’s Pacific Standard Time: LA/LA initiative. Choreographer/performer: Crystal Sepúlveda, cinematographer: Jeremy Glaholt. Image courtesy the artist

Asmund Havsteen-Mikkelse + Le Corbusier

Flooded Modernity

Friday, 1 June 2018

Jasmina Cibic + Richter

The first act of Jasmina Cibic’s new project “Nada” fans out from a biographical thread of architect and artist Vjenceslav Richter whose archive is part of the Museum of Contemporary Art Zagreb’s collection.
As an architect, Richter was one of the key figures in charge of the artistic and visual representation of the Yugoslav pavilions at world expositions. He designed national pavilions for two world exhibitions in which Yugoslavia participated after the World War II. He was also the co-designer of the Zagorje villa in Zagreb, which was built for the former Yugoslav president Tito and is now the official residence of the Croatian President.
Cibic translates Richter’s architecture into a character within a rhizomatic narrative about the methodologies of the construction of Yugoslav identity and its relation to the idea of aesthetics as the gatekeeper of the presentation of a political system to the international community of spectators, headed by diplomacy and leading politicians. Heavily leaning on the ideaof the pleasure principle, Cibic focuses on the concurrent and parallel positions of female presence surrounding the architect, who had been chosen to invent an adequate frame to present the State’s spectacle. These female figures were primarily the State itself – his client, his wife Nada – an actress who followed him throughout his world travels, and his three anti-gravitational sculptures of the same name created as a response to the censorship of his core artistic thought, which was, according to archival sources, imposed on him by the leading state ideologue Edvard Kardelj.
The central element of project Nada is Richter’s first, but unrealized design for the Yugoslav Pavilion at the 1958 EXPO in Brussels. Cibic appropriates and recreates the pavilion as a sculpture, whichin turnfunctions as the skeleton of her new short film, around which the exhibition is centered.
In the single channel video installation, violinist Dejana Sekulić continually tunes the architecture according to the Miraculous Mandarin, a musical composition for ballet by Béla Bartók which was chosen to represent Yugoslavia at the most important dates of the pavilion – its National Days – whose role was to maximise the attention and the number of visitors. The fact that the Yugoslav state chose the Bartók ballet as its representative moment is in itself intriguing since the ballet had been repeatedly banned by numerous political systems due to its explicit subject matter – the conflict between a prostitute and her pimp and clients.
Alongside the single channel video installation, which will be shown in Richter Collection, Jasmina Cibic’s installation also presents a series of collages. They take the form of a study for costume design and scenography for the second act of Nada, which will present a recreation of the original 1958 Mandarin ballet performance in the Yugoslav Pavilion at the Brussels EXPO. The series presents portraits of a dancer wearing recreated costumes whilst re-enacting poses drawn from art-historical representations of various female Nation State allegories. Through these allegorical representations , the work alludes to the psychological mechanisms that power structures utilize throughout their conception and maintenance of their spectacle.

Monday, 28 May 2018

Do Ho Suh + The Smithsons

Pavilion of Applied Arts

La Biennale di Venezia with
Victoria and Albert Museum

Robin Hood Gardens: A Ruin in Reverse
Dr Christopher Turner and Dr Olivia Horsfall Turner
Project Manager:
Alexandra Willett
Esme Hawes
Exhibition Designers:
the design kollektiv
Installation of Robin Hood Gardens Fragment:
muf architecture/art
Film/Animation Installation:
Do Ho Suh
Realised by: La Biennale di Venezia
Venue: Sale d’Armi A, Arsenale

For the third year of the V&A’s collaboration with La Biennale di Venezia, we are transporting to Venice for the 16th International Architecture Exhibition a section of Robin Hood Gardens, the housing estate in East London by Alison and Peter Smithson completed in 1972.
The building is, controversially, being demolished to make way for a £300m redevelopment scheme and the V&A has salvaged a large fragment of this internationally recognised example of New Brutalism. It will take its place alongside other large-scale architectural elements in the V&A collection, including the sixteenth-century façade of Sir Paul Pindar's house in Bishopsgate, demolished in 1890, and the eighteenth-century music room rescued from the 1938 demolition of Norfolk House in St James’s Square.
In Venice, the pre-cast concrete elements of Robin Hood Gardens will be reconstructed on a scaffold, designed by ARUP – who engineered the original building – with muf architecture/art – who first proposed the Museum’s acquisition of the fragment – that will allow visitors to walk along a ‘street in the sky’.
The V&A has also commissioned a new work by Korean artist Do Ho Suh, whose practice centres on capturing memories and questioning the meaning of home. His monumental film/animation installation provides an exploration of Robin Hood Gardens under demolition less than fifty years after the Smithson's utopian vision was completed. Using the latest technology in 3D scanning and photogrammetry and projected on a 13m-wide screen, the camera moves along the walkways and appears to cut through the building, depicting and revealing individual lives through domestic interiors within the modular plan. Do Ho Suh’s installation will respond to the indistinct boundaries between psychic interior and objective exterior, reflecting on these homes and their function within a physical structure that is about to disappear.
The estate is just one of scores of post-war housing projects that are currently earmarked for redevelopment. Critics argue that regeneration is destroying existing communities and doing nothing to ease the housing crisis that is gripping metropolitan centres. Defenders point to the provision of affordable housing within these schemes and to the improvement of living conditions. The V&A actively encourages public debate around questions of architecture and urbanism; at the 16th International Architecture Exhibition of La Biennale di Venezia we will use the lessons of Robin Hood Gardens to ask the urgent questions that face us all about the future of social housing.
Tristram Hunt, Director of the Victoria and Albert Museum, London

Tuesday, 3 April 2018

Domènec + Sert and Torres Clavé and Subirana

Conversation Piece: Casa Bloc


Wooden model and three Formica chairs. Wood table, glass, digital print.

A production of ADN, as part of the solo exhibition “Dom Kommuna. Domestic Architectural Manuals for Coexistence”. ADN Platform, Sant Cugat, Barcelona.

Dom Kommuna. Domestic Architectural Manuals for Coexistence.
Domènec has worked repeatedly on the architectural paradigms of Modernity. He offers a critical view on the symbolic constructions of Alvar Aalto, Mies van der Rohe or le Corbusier, with the aim of identifying architecture as the “political unconscious” of modernity. As Walter Benjamin grasped, the architects’ projects constituted the best embodiment of the powerless Modernity’s dream to accomplish emancipatory and welfare promises.

Social housing is the place where the contradictions between ideological programs and political realities are most reflected.

Domènec’s proposal for ADN platform gathers a collection of works that revolve around this topic. The central piece is a new production on Casa Bloc, a workers’ housing complex constructed between 1933 and 1939 in Sant Andreu, Barcelona. Two other related pieces complete the display: Domestic (2000), about Le Corbusier’s Unité d’Habitation, and Conversation Piece: Narkomfin (2013).

The proposal studies these three fundamental common housing projects, as well as their political contexts and their dystopian drifts.

Friday, 30 March 2018

Thursday, 29 March 2018

Simon Boudvin + Mies van der Rohe

HEM (Seagram Building - NY), 2008,
profilé en H du poteau du Seagram Building de New York réalisé avec une matière composite,
moyenne des matériaux constituant l’immeuble, (béton, acier, bronze, plâtre, bois, travertin, verre),
vue de l’exposition Faire et défaire, c’est toujours travailler, commissariat de Matthieu Clainchard, Galerie West, Den Haag, 2008.

Vue de l'exposition Chantier, commissariat de Mathieu Mercier, à la galerie Jean Brolly, Paris, 2010.
au mur : Ananias LÉKI LAGO, « Shebeen », Alan CHARLTON, « 4 different grey ».

Isaac Julien + Bo Bardi

Lina Bo Bardi’s Footsteps (Stones Against Diamonds), 2015
Endura Ultra photograph, diptych
180 × 480cm
Edition of 6 + 1 A/P

Bo Bardi’s Cave (Stones Against Diamonds), 2015
Duratrans in lightbox
123 × 303 × 5cm
Edition of 4 + 1 A/P

Wednesday, 14 March 2018

Ala Younis + Chadirji, Le Corbusier

Ala Younis, Plan for Feminist Greater Baghdad exhibition installation view, 2018. Photo Tim Bowditch. Courtesy Delfina Foundation and Art Jameel