tag:blogger.com,1999:blog-43183043694889611062024-03-13T08:51:49.654+01:00FramingArKArtists framing architecture(s).
A non-edited and not yet organized archive of artists' works, which include signature architectures.Fabrizio Gallantihttp://www.blogger.com/profile/00061214424361452351noreply@blogger.comBlogger578125tag:blogger.com,1999:blog-4318304369488961106.post-23209570041143151182023-09-18T15:36:00.002+02:002023-09-18T15:36:11.434+02:00Rachel Rose + Johnson<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAGLV9wmnNLgDpr7gkT5_HJTD2jWxsDxDtQV2sGwrt3o8MWEqjKWVX4tRrmHOytSNvKz3aI3gWbfgOK1ETPps9-1MDxfl40JQWudAtQarAJvIi6StTlEfgHi6nirP4DCDa7I3VnMDwqowgB5Y519OI-c-tzc5HpXehKZibzMJaY2wfOvVa9J45qROp3Ffh/s3558/Capture%20d%E2%80%99e%CC%81cran%202023-09-18%20a%CC%80%2015.35.26.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1992" data-original-width="3558" height="262" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAGLV9wmnNLgDpr7gkT5_HJTD2jWxsDxDtQV2sGwrt3o8MWEqjKWVX4tRrmHOytSNvKz3aI3gWbfgOK1ETPps9-1MDxfl40JQWudAtQarAJvIi6StTlEfgHi6nirP4DCDa7I3VnMDwqowgB5Y519OI-c-tzc5HpXehKZibzMJaY2wfOvVa9J45qROp3Ffh/w469-h262/Capture%20d%E2%80%99e%CC%81cran%202023-09-18%20a%CC%80%2015.35.26.png" width="469" /></a></div><br />Rachel Rose, A Minute Ago, 2014.<p></p><p><a href="https://www.tate.org.uk/art/artworks/rose-a-minute-ago-t15720">https://www.tate.org.uk/art/artworks/rose-a-minute-ago-t15720</a></p><p><a href="https://vimeo.com/141589264">https://vimeo.com/141589264</a></p>Fabrizio Gallantihttp://www.blogger.com/profile/00061214424361452351noreply@blogger.com0tag:blogger.com,1999:blog-4318304369488961106.post-26146195541760177802023-09-18T15:11:00.002+02:002023-09-18T15:23:45.876+02:00Catherine Opie + Lautner<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjy_fHdu__Y5CPiGFleUmCi-GmToNDqjYQYCJV861auFtMJCMFKTVPMZPeXzLLEAHRMFuS0y7Zwag9DaWzPMwISV_M0YTK7Gsxcr_VD00BgPuBEZYuW2k2uwthDRRiqLBKky19TilamwzLO0VNIVn7xA_5JoAZsbKqnGgpWYhsrHO3nPGevypyXaZ1J0WOe/s3500/c749bfef00a382738825975739ee7d4fec-the-modernist-sheats-goldstein-3.webp" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3500" data-original-width="2333" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjy_fHdu__Y5CPiGFleUmCi-GmToNDqjYQYCJV861auFtMJCMFKTVPMZPeXzLLEAHRMFuS0y7Zwag9DaWzPMwISV_M0YTK7Gsxcr_VD00BgPuBEZYuW2k2uwthDRRiqLBKky19TilamwzLO0VNIVn7xA_5JoAZsbKqnGgpWYhsrHO3nPGevypyXaZ1J0WOe/s320/c749bfef00a382738825975739ee7d4fec-the-modernist-sheats-goldstein-3.webp" width="213" /></a></div><p><br /></p>Catherine Opie, The Modernist, 2017.<div><br /></div><div><a href="https://www.lehmannmaupin.com/exhibitions/catherine-opie5">https://www.lehmannmaupin.com/exhibitions/catherine-opie5</a><div><br />"The Modernist presents a dystopic view of Los Angeles, a city that has figured prominently in Opie’s work over the years. The film is in conversation with Chris Marker’s radical 1962 photo-roman, La Jetée, which utilizes still photography to tell a story of longing, time travel, and the terror of nuclear apocalypse. Opie’s film continues this dialogue, employing similar formal and narrative structures to a different end. Focusing on contemporary issues like natural disasters, the breakdown of the American political system, global tragedies, and the Los Angeles housing crisis, the film stars Stosh, a.k.a. Pig Pen, a close friend of Opie’s who has appeared in many of her photographs, as a struggling artist who is obsessed with landmark midcentury modern architecture.<br /><br />Composed of over 800 black and white still images, the 22 minute film unfolds with swift pacing. Each still captures the subject and his world from multiple angles and vantage points, creating a lyrical cinematic effect. Throughout the film, the protagonist clips newspaper headlines and product advertisements and assembles them together to construct an elaborate collage that echoes his psychological state. The multilayered collage illustrates his frustrations and desires and provides a visible catalyst for the destruction that is to come. Over the course of the film his inability to obtain these desires and dreams drives him to commit acts of arson, methodically setting fire to iconic buildings throughout the city. Yet the film’s oneiric quality forces the viewer to question whether what transpires is an act of destruction or a dream.</div></div>Fabrizio Gallantihttp://www.blogger.com/profile/00061214424361452351noreply@blogger.com0tag:blogger.com,1999:blog-4318304369488961106.post-28917826936014575872023-09-18T15:06:00.003+02:002023-09-18T15:12:44.232+02:00Paul Thek + Tatlin<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBbA5Cx50XARpbY1z4oUt38zlxxhrJ0UXgYcV8WuRRmntUrqYi6zAuLZTpkIoMIcxAcLdhdKwK70Yziykpxth_LUcIY6b3dj7sXDOqyLbL23rc9iH-COW_0pLnnpcqg2V1I54pzpls7y8WEkbgN1ffE_CZ5D9LEy2TooVBn4sVL0QLY_ig7IW8b2wAwejv/s620/1977_Thek_uncle-toms-cabin-and-the-Tower-of-Babel_inst-at-ICA-philly.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="620" data-original-width="425" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBbA5Cx50XARpbY1z4oUt38zlxxhrJ0UXgYcV8WuRRmntUrqYi6zAuLZTpkIoMIcxAcLdhdKwK70Yziykpxth_LUcIY6b3dj7sXDOqyLbL23rc9iH-COW_0pLnnpcqg2V1I54pzpls7y8WEkbgN1ffE_CZ5D9LEy2TooVBn4sVL0QLY_ig7IW8b2wAwejv/s320/1977_Thek_uncle-toms-cabin-and-the-Tower-of-Babel_inst-at-ICA-philly.jpg" width="219" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9lBkpmgPBMDeedXkiR5Cj8F9hl6RIun1tMkvmD7Lw5GtAIMH2wpzGyXY7m-IVrEVnhUHCigoizT8omA3fIhEXWFQ-IWoEvGqmRyMnlokONptVnZwYxiWtkr32g9BBT97zzj8oR49utqnCHuNfcDktVvE5-uXPdr53UVKL_RrFXQYtdeHY2gXquldSWlL4/s946/1977_inst-of-uncle-toms-cabin_ICA-philly.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="636" data-original-width="946" height="215" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9lBkpmgPBMDeedXkiR5Cj8F9hl6RIun1tMkvmD7Lw5GtAIMH2wpzGyXY7m-IVrEVnhUHCigoizT8omA3fIhEXWFQ-IWoEvGqmRyMnlokONptVnZwYxiWtkr32g9BBT97zzj8oR49utqnCHuNfcDktVvE5-uXPdr53UVKL_RrFXQYtdeHY2gXquldSWlL4/s320/1977_inst-of-uncle-toms-cabin_ICA-philly.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both;">Paul Thek, Uncle Tom’s Cabin with Tower of Babel, 1976."</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">A two-storey version Tatlin's Monument houses a sculpture of a wooden shack (the eponymous Uncle Tom's Cabin), inside of which is a bathtub, a globe, and a stuffed red bird. But as the title indicates, the reference is as much to<span style="text-align: left;"> The Tower of Babel (1679), an etching by Conraet Decker that appears as an illustration in Athanasius Kircher’s Turris Babel. Since Thek’s work is often concerned with the spiritual, this aggregate reference seems to be in keeping with other religious structures deployed in his installations (such as the pyramid, ark, and tomb), where it equally appears atop a bed of rippled sand punctuated with candles."</span></div><br />Installation views above from ICA Philadelphia, 1977.Fabrizio Gallantihttp://www.blogger.com/profile/00061214424361452351noreply@blogger.com0tag:blogger.com,1999:blog-4318304369488961106.post-64999873188107522662023-09-18T14:24:00.001+02:002023-09-18T14:24:03.931+02:00Alvaro Urbano + Gray<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCzYSOmGY8BhdnfVdYlxxeOkuTjcwNCnf4Ek3XYRw93B6UaXSqEm01N2aRJ1uweeVoSfbsEM1vyyUqZQtUQ_6cuVb7puN7VOoj8DsOouwW660if3sr4Cqx3IKwT5GuanJtEOXE4t_xsKpPSy6YQscnQjbpGZ--M0OoTwpqeVdWnOgoxS-gnK6kO2QLASY0/s2000/TRAVESIA-CUATRO_EXPO_ALVARO-URBANO_07_SEPTIEMBRE_2021_G1A4530-HDR.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1333" data-original-width="2000" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCzYSOmGY8BhdnfVdYlxxeOkuTjcwNCnf4Ek3XYRw93B6UaXSqEm01N2aRJ1uweeVoSfbsEM1vyyUqZQtUQ_6cuVb7puN7VOoj8DsOouwW660if3sr4Cqx3IKwT5GuanJtEOXE4t_xsKpPSy6YQscnQjbpGZ--M0OoTwpqeVdWnOgoxS-gnK6kO2QLASY0/s320/TRAVESIA-CUATRO_EXPO_ALVARO-URBANO_07_SEPTIEMBRE_2021_G1A4530-HDR.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeNarwje5Kx2qXsDZT1DIcKdFstr8N6XUBQY29la741GsAWGMT00oJEOqzurG7CESrOXs4BFq0ZsivT3CDEj0FjDanWPG9o3YA1SXylKGAZmzgBQ4_SyGK1yR9Z1m5bKZ8Y6f6YhQDb7VX8UOeKgRbLI1nAT23Y45Nxct1MM-z4pLHGMKjk678CVHUyWsq/s2000/TRAVESIA-CUATRO_EXPO_ALVARO-URBANO_07_SEPTIEMBRE_2021_G1A4470-HDR.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2000" data-original-width="1333" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeNarwje5Kx2qXsDZT1DIcKdFstr8N6XUBQY29la741GsAWGMT00oJEOqzurG7CESrOXs4BFq0ZsivT3CDEj0FjDanWPG9o3YA1SXylKGAZmzgBQ4_SyGK1yR9Z1m5bKZ8Y6f6YhQDb7VX8UOeKgRbLI1nAT23Y45Nxct1MM-z4pLHGMKjk678CVHUyWsq/s320/TRAVESIA-CUATRO_EXPO_ALVARO-URBANO_07_SEPTIEMBRE_2021_G1A4470-HDR.jpg" width="213" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGnvi9r6sULXU5MuIwy4P8GwZY19aeI6iGr9N4k2XrAnG2JEtOixnbP0OGsWLEBY_EM9DQFgICv3jNQwkK0b22L8atpQrnk3wiN9-wx9iWeWokBxMzh34gxOPOrDfYLLgWGzDeinrrNm4GpsZgdGnfKMy3jz-PhCCHllZPp1oZo8Bi4BztcQ1bM7jTiFFH/s2000/TRAVESIA-CUATRO_EXPO_ALVARO-URBANO_07_SEPTIEMBRE_2021_G1A4444-HDR.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2000" data-original-width="1333" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGnvi9r6sULXU5MuIwy4P8GwZY19aeI6iGr9N4k2XrAnG2JEtOixnbP0OGsWLEBY_EM9DQFgICv3jNQwkK0b22L8atpQrnk3wiN9-wx9iWeWokBxMzh34gxOPOrDfYLLgWGzDeinrrNm4GpsZgdGnfKMy3jz-PhCCHllZPp1oZo8Bi4BztcQ1bM7jTiFFH/s320/TRAVESIA-CUATRO_EXPO_ALVARO-URBANO_07_SEPTIEMBRE_2021_G1A4444-HDR.jpg" width="213" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkE9HnAUGgztl7cwGZ3dVXwjljg-E8GkzyW1EtoED2fGKG4vEt-xEgqHMr7PX2i-ndRxvI_xiond4flCBYdMiSlG__7CoV5QRkydvCB1gBnPHgQPPisiVP_p8XWv29pBQlbAmmM8K-KlnfV6M269E6-5E-tv4iSP-B8FkJ8_QfWxkvjiNVQzWOfm-s00yA/s2000/TRAVESIA-CUATRO_EXPO_ALVARO-URBANO_07_SEPTIEMBRE_2021_G1A4426-HDR.jpg" imageanchor="1" style="margin-left: 1em; 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text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhn6dDErQhzGpAgNBTAGW9qqRqboWYE49h4euhkb4LtyGr9HhIBVjkuYeTLFX-4To3VBFH2YX4JqUpGicngdtfk5fPi_4RaZ-taOwTSHiWuqGMbNR7cspavDWGKuovaNhvMQUFd9hFqRqB6Jx1YO0KndCm-roWLKqyXiyfZV9oLiOX1I_JrAwUgXPEhydu_/s2000/TRAVESIA-CUATRO_EXPO_ALVARO-URBANO_07_SEPTIEMBRE_2021_G1A4358-HDR.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2000" data-original-width="1333" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhn6dDErQhzGpAgNBTAGW9qqRqboWYE49h4euhkb4LtyGr9HhIBVjkuYeTLFX-4To3VBFH2YX4JqUpGicngdtfk5fPi_4RaZ-taOwTSHiWuqGMbNR7cspavDWGKuovaNhvMQUFd9hFqRqB6Jx1YO0KndCm-roWLKqyXiyfZV9oLiOX1I_JrAwUgXPEhydu_/s320/TRAVESIA-CUATRO_EXPO_ALVARO-URBANO_07_SEPTIEMBRE_2021_G1A4358-HDR.jpg" width="213" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhq7fvz7IxGtlrZNnGj0XZhc8dRTHWr4ey0t3FBHWeaUoZNMEFL4JE5gqlPbWMlmHGC8z_piJVkcNRuw5z1v1frVcENplfUAdTP3WJLYGL4LBpftyOZFyKbfzQvEC7rlSMsv7-su3xUYe3qXzGHiXP-Pf2M3mEcy4ZK2CteS4oYehsO7ukpwVilOk-MS6Yl/s2000/TRAVESIA-CUATRO_EXPO_ALVARO-URBANO_07_SEPTIEMBRE_2021_G1A4328-HDR.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2000" data-original-width="1333" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhq7fvz7IxGtlrZNnGj0XZhc8dRTHWr4ey0t3FBHWeaUoZNMEFL4JE5gqlPbWMlmHGC8z_piJVkcNRuw5z1v1frVcENplfUAdTP3WJLYGL4LBpftyOZFyKbfzQvEC7rlSMsv7-su3xUYe3qXzGHiXP-Pf2M3mEcy4ZK2CteS4oYehsO7ukpwVilOk-MS6Yl/s320/TRAVESIA-CUATRO_EXPO_ALVARO-URBANO_07_SEPTIEMBRE_2021_G1A4328-HDR.jpg" width="213" /></a></div><p><br /></p>Alvaro Urbano, “L’Invitation au voyage”, Travesía Cuatro, Madrid 2019.<p></p><p><a href="https://travesiacuatro.com/eng/exposicion/linvitation-au-voyage-2/">https://travesiacuatro.com/eng/exposicion/linvitation-au-voyage-2/</a></p>Fabrizio Gallantihttp://www.blogger.com/profile/00061214424361452351noreply@blogger.com0tag:blogger.com,1999:blog-4318304369488961106.post-55918288072765257422023-09-18T14:14:00.002+02:002023-09-18T14:14:32.879+02:00Lucia Koch + Bo Bardi<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRg6UtBUq-iPSuTxBORjllTndt22hvrf4TmIFLUiScybpAmy8SJF6F5kRbfYF_xUhfNWI4X6oBZdCW7iINQ76ElIlpd5dwCkdZgEDcDNzEAbe6bSG5XTLiSEtbM_aJdru5BI051OD25w4gkh6iHaEtIvaHQuL8-UX8MPxfDoqOArucEhNU9bZvnGGnhvrn/s1920/1_18A8107.jpg.webp" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1280" data-original-width="1920" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRg6UtBUq-iPSuTxBORjllTndt22hvrf4TmIFLUiScybpAmy8SJF6F5kRbfYF_xUhfNWI4X6oBZdCW7iINQ76ElIlpd5dwCkdZgEDcDNzEAbe6bSG5XTLiSEtbM_aJdru5BI051OD25w4gkh6iHaEtIvaHQuL8-UX8MPxfDoqOArucEhNU9bZvnGGnhvrn/s320/1_18A8107.jpg.webp" width="320" /></a></div><br /><p></p><p>Lucia Koch, Casa de Vento, 2019.</p><p><a href="https://www.luciakoch.com/en/portfolio-item/casa-de-vento-2/">https://www.luciakoch.com/en/portfolio-item/casa-de-vento-2/</a></p>"Intervention with printed fabrics on the façade of Lina Bo Bardi’s Casa de Vidro, at the invitation of the Lina Bo and Pietro Maria Bardi Institute. The project transformed the view of the house – architectural object covered by the intervention – and also affected the experience in the interior space, with its atmosphere transformed by the fabric filters. Exposed to sun and rain, the curtains moved with the wind and at each moment responded with different effects."Fabrizio Gallantihttp://www.blogger.com/profile/00061214424361452351noreply@blogger.com0tag:blogger.com,1999:blog-4318304369488961106.post-15560132669749264482023-09-18T14:08:00.005+02:002023-09-18T14:08:24.099+02:00Guillermo Pérez Villalta + Neutra<p> </p><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsHHFaNR6S2TujQdo6kcFFs5VP0jACU8UA0ow5YbSlF1LgrMCKiBCtxbEYKCdsR9WJkvFkaZC8dEQNDS7L74UADEwnt5HYi-fc7hPLWT6e6Y1PnZt_9l3HOa30uGbPCV70N4OKrkJuxbvwyMBrW-GhDmh8dDwx_V-YK7gdKRAzvYDLxjL9L5BJMQUo79Jm/s1554/Capture%20d%E2%80%99e%CC%81cran%202023-09-18%20a%CC%80%2014.06.31.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1554" data-original-width="1140" height="415" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsHHFaNR6S2TujQdo6kcFFs5VP0jACU8UA0ow5YbSlF1LgrMCKiBCtxbEYKCdsR9WJkvFkaZC8dEQNDS7L74UADEwnt5HYi-fc7hPLWT6e6Y1PnZt_9l3HOa30uGbPCV70N4OKrkJuxbvwyMBrW-GhDmh8dDwx_V-YK7gdKRAzvYDLxjL9L5BJMQUo79Jm/w305-h415/Capture%20d%E2%80%99e%CC%81cran%202023-09-18%20a%CC%80%2014.06.31.png" width="305" /></a></div><div><br /></div>Guillermo Pérez Villalta, Neutra confort (Invención n.° 46), 1999.<br /><div><br /></div><div><a href="https://www.museoreinasofia.es/coleccion/obra/neutra-confort-invencion-ndeg-46">https://www.museoreinasofia.es/coleccion/obra/neutra-confort-invencion-ndeg-46</a></div>Fabrizio Gallantihttp://www.blogger.com/profile/00061214424361452351noreply@blogger.com0tag:blogger.com,1999:blog-4318304369488961106.post-84608138813115002132023-09-18T14:03:00.004+02:002023-09-18T14:03:58.676+02:00Nairy Baghramian + Mollino<p><a href="https://performa19.org/tickets/entre-deux-actes-menage-a-quatre"> </a></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpQeIcGryavjMytstGhUcuQaUlzFEYnk2duynh8m47Mud_yot1kq-C7V8TYpJXIMWMKsh-rHoh5AbYV5Ub036Bu6HTZutuR54u37MMBGRIV8rVwDi0aV2c3IXjr-Wlf1XApLy9lYIE2qJVvwm8hU_ZlNlLm72kGliWpZtl9aD9b4ZI0KBCMgsEOfQdNRKn/s1000/191105_Performia19_LORES_070.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="667" data-original-width="1000" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpQeIcGryavjMytstGhUcuQaUlzFEYnk2duynh8m47Mud_yot1kq-C7V8TYpJXIMWMKsh-rHoh5AbYV5Ub036Bu6HTZutuR54u37MMBGRIV8rVwDi0aV2c3IXjr-Wlf1XApLy9lYIE2qJVvwm8hU_ZlNlLm72kGliWpZtl9aD9b4ZI0KBCMgsEOfQdNRKn/s320/191105_Performia19_LORES_070.jpg" width="320" /></a></div><br />https://performa19.org/tickets/entre-deux-actes-menage-a-quatre<p></p>Fabrizio Gallantihttp://www.blogger.com/profile/00061214424361452351noreply@blogger.com0tag:blogger.com,1999:blog-4318304369488961106.post-23566145321038066822023-09-18T13:45:00.008+02:002023-09-18T13:46:34.889+02:00Irina Lotarevich + Le Corbusier<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIGZHYtsRLkc1Xx18z2U9pNun-Jv2pR3g6fF0n07FvV6jBjKz4kMN95Rt2IDXW_zrhD8U-w52KGjOY2JawkXbtec25RQMVRFmcN0-0934twB47AF5UKt2R2acPT7oUcY1bAzKPheTRI4qTpbWIFpi3DuLDqlf0lf--FBc2NGcYxeTkPTz3rUJ2e9-ZmeeD/s1024/16-Irina-Lotarevich-Housing-Anxiety-7-2023-detail-1024x683.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="683" data-original-width="1024" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIGZHYtsRLkc1Xx18z2U9pNun-Jv2pR3g6fF0n07FvV6jBjKz4kMN95Rt2IDXW_zrhD8U-w52KGjOY2JawkXbtec25RQMVRFmcN0-0934twB47AF5UKt2R2acPT7oUcY1bAzKPheTRI4qTpbWIFpi3DuLDqlf0lf--FBc2NGcYxeTkPTz3rUJ2e9-ZmeeD/s320/16-Irina-Lotarevich-Housing-Anxiety-7-2023-detail-1024x683.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJ2Ws3Vw76eYaa3su2iHmtK2WdFupFpLJgNKSVvLPsWqwoBIvnmYL0e0h9qjarV8bAzjM78gvSeVhKfXuGdmTdt0Pp26jr0S8PVnTSpsuaSrR9tYRfLUqBbwvKCiVntq5JMb9U5YPJh9umYSP-qcQRYHSqyq9F-sQt3EzwpEmROv1neKLeIv1ZwMaYYQ-H/s2000/15-Irina-Lotarevich-Housing-Anxiety-7-2023-steel-aluminum-cast-aluminum-cast-tin-chains-165-x-129-x-205-cm.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2000" data-original-width="1334" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJ2Ws3Vw76eYaa3su2iHmtK2WdFupFpLJgNKSVvLPsWqwoBIvnmYL0e0h9qjarV8bAzjM78gvSeVhKfXuGdmTdt0Pp26jr0S8PVnTSpsuaSrR9tYRfLUqBbwvKCiVntq5JMb9U5YPJh9umYSP-qcQRYHSqyq9F-sQt3EzwpEmROv1neKLeIv1ZwMaYYQ-H/s320/15-Irina-Lotarevich-Housing-Anxiety-7-2023-steel-aluminum-cast-aluminum-cast-tin-chains-165-x-129-x-205-cm.jpg" width="213" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p></p><p></p><div class="separator" style="clear: both;"><br />Irina Lotarevich, Modern Anxiety, 2023<br /><br /></div><div class="separator" style="clear: both;"><a href="https://www.sophietappeiner.com/exhibition/irina-lotarevich-modular-woman/">https://www.sophietappeiner.com/exhibition/irina-lotarevich-modular-woman/</a></div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">"<span style="font-family: stgcirchext, Helvetica, Arial, Verdana, sans-serif; font-size: 16px;">The</span><span style="font-family: stgcirchext, Helvetica, Arial, Verdana, sans-serif; font-size: 16px;"> </span><i class="" style="box-sizing: inherit; font-family: stgcirchext, Helvetica, Arial, Verdana, sans-serif; font-size: 16px;">Sichtlagerkasten</i><span style="font-family: stgcirchext, Helvetica, Arial, Verdana, sans-serif; font-size: 16px;"> </span><span style="font-family: stgcirchext, Helvetica, Arial, Verdana, sans-serif; font-size: 16px;">is a semi-open front storage container that can be stacked to provide maximum efficiency and easy accessibility when organising contents of various kinds.</span><span style="font-family: stgcirchext, Helvetica, Arial, Verdana, sans-serif; font-size: 16px;"> </span><i class="" style="box-sizing: inherit; font-family: stgcirchext, Helvetica, Arial, Verdana, sans-serif; font-size: 16px;">Sicht</i><span style="font-family: stgcirchext, Helvetica, Arial, Verdana, sans-serif; font-size: 16px;"> </span><span style="font-family: stgcirchext, Helvetica, Arial, Verdana, sans-serif; font-size: 16px;">is the German word for sight, visibility, a prospect.</span><span style="font-family: stgcirchext, Helvetica, Arial, Verdana, sans-serif; font-size: 16px;"> </span><i class="" style="box-sizing: inherit; font-family: stgcirchext, Helvetica, Arial, Verdana, sans-serif; font-size: 16px;">Lager </i><span style="font-family: stgcirchext, Helvetica, Arial, Verdana, sans-serif; font-size: 16px;">the word for store, stock, but also the camp. A</span><span style="font-family: stgcirchext, Helvetica, Arial, Verdana, sans-serif; font-size: 16px;"> </span><i class="" style="box-sizing: inherit; font-family: stgcirchext, Helvetica, Arial, Verdana, sans-serif; font-size: 16px;">Kasten</i><span style="font-family: stgcirchext, Helvetica, Arial, Verdana, sans-serif; font-size: 16px;"> </span><span style="font-family: stgcirchext, Helvetica, Arial, Verdana, sans-serif; font-size: 16px;">is a box, though it is also a showcase. As an elemental form that gives shape to a number of works in the exhibition, the proliferating</span><span style="font-family: stgcirchext, Helvetica, Arial, Verdana, sans-serif; font-size: 16px;"> </span><i class="" style="box-sizing: inherit; font-family: stgcirchext, Helvetica, Arial, Verdana, sans-serif; font-size: 16px;">Sichtlagerkästen</i><span style="font-family: stgcirchext, Helvetica, Arial, Verdana, sans-serif; font-size: 16px;"> </span><span style="font-family: stgcirchext, Helvetica, Arial, Verdana, sans-serif; font-size: 16px;">demonstrate the ways in which processes of configuration and constellation can generate difference through repetition. As a conceptual container, however, the</span><span style="font-family: stgcirchext, Helvetica, Arial, Verdana, sans-serif; font-size: 16px;"> </span><i class="" style="box-sizing: inherit; font-family: stgcirchext, Helvetica, Arial, Verdana, sans-serif; font-size: 16px;">Sichtlagerkasten</i><span style="font-family: stgcirchext, Helvetica, Arial, Verdana, sans-serif; font-size: 16px;"> </span><span style="font-family: stgcirchext, Helvetica, Arial, Verdana, sans-serif; font-size: 16px;">performs less as binary code than as social encryption. Condensed into its relatively simple form are multiple metaphors and interpretative possibilities: for the body, the mind, a social body, and the interactions facilitated or precluded between all of these.</span></div><div class="" style="box-sizing: inherit; font-family: stgcirchext, Helvetica, Arial, Verdana, sans-serif; font-size: 16px;"></div><p style="box-sizing: inherit; clear: right; font-family: stgcirchext, Helvetica, Arial, Verdana, sans-serif; font-size: 14px; hyphens: auto; line-height: 22px; margin: 0px; padding: 0px; text-align: justify; text-indent: 50px;"> </p><div class="" style="box-sizing: inherit; font-family: stgcirchext, Helvetica, Arial, Verdana, sans-serif; font-size: 16px;">The standardness of the <i class="" style="box-sizing: inherit;">Sichtlagerkasten,</i> as it is employed by Irina Lotarevich to compose her works’ different forms, engenders a modular system. With this, Lotarevich re-en-genders the architectural monolith that is Le Corbusier’s <i class="" style="box-sizing: inherit;">Unité d’habitation</i>, designed according to an anthropomorphic scale of proportions known as the Modulor. Originally based on the average French man’s height at the time (1.75cm), the Modulor grew to 1.83cm in 1946: the six-foot stature embodied by English detectives in novels. This masculine ideal is troubled by the work’s title – <i class="" style="box-sizing: inherit;">Housing Anxiety 7 </i>–<i class="" style="box-sizing: inherit;"> </i>which stirs the purely rational individual<i class="" style="box-sizing: inherit;"> </i>to consider more carefully the precarity of housing and the housing of instability. Or, to put it another way: to really feel the shortcomings of a standard universal. Or in other words entirely: to inhabit the space of the Modular Woman.</div><div class="" style="box-sizing: inherit; font-family: stgcirchext, Helvetica, Arial, Verdana, sans-serif; font-size: 16px;"></div><p style="box-sizing: inherit; clear: right; font-family: stgcirchext, Helvetica, Arial, Verdana, sans-serif; font-size: 14px; hyphens: auto; line-height: 22px; margin: 0px; padding: 0px; text-align: justify; text-indent: 50px;"> </p><div class="" style="box-sizing: inherit; font-family: stgcirchext, Helvetica, Arial, Verdana, sans-serif; font-size: 16px;">The Modular Woman would be neither a prescriptive nor a descriptive argument about any particular notion of the woman but perhaps only a transitory self-portrait in an array of different metals, using different techniques, referring to different situations and modes of self-regard. Lotarevich draws from aspects of her working life to create works that reflect the conditions of their production. For <i class="" style="box-sizing: inherit;">Overtime and Pedagogy</i>, for example, she collects shavings from the bandsaw in the university metal workshop where she works, presenting them in frames assembled on a curved mount, where each individual frame accounts for a week of teaching. When filed together, the frames materialise time, accumulating into something more than just debris: an archive of multiple dimensions, depending on one’s viewpoint. <i class="" style="box-sizing: inherit;">Steel Price Index</i> reproduces the table of contents in the Posamentir catalogue on a piece of steel the length of the artist’s height. In this tumultuous geopolitical moment, the indexical work that this proxy catalogue can perform becomes contingent upon the artist’s relative position in time and space, as she acquires her materials in a highly volatile market.</div><div class="" style="box-sizing: inherit; font-family: stgcirchext, Helvetica, Arial, Verdana, sans-serif; font-size: 16px;"></div><p style="box-sizing: inherit; clear: right; font-family: stgcirchext, Helvetica, Arial, Verdana, sans-serif; font-size: 14px; hyphens: auto; line-height: 22px; margin: 0px; padding: 0px; text-align: justify; text-indent: 50px;"> </p><div class="" style="box-sizing: inherit; font-family: stgcirchext, Helvetica, Arial, Verdana, sans-serif; font-size: 16px;">The relativity of the artist’s position is parsed across the works in the exhibition through shifts in scale and perspective. The large-scale sculptural installation <i class="" style="box-sizing: inherit;">Modular Body (container ship cross-section) </i>is still a miniaturised, cropped representation of the container ship. Its containers are also <i class="" style="box-sizing: inherit;">Sichtlagerkästen</i>, stacked with reference to the precise calculations with which actual container ships are organised in order to maximise the potential cargo. Meanwhile, <i class="" style="box-sizing: inherit;">The social box, complex, constructed, hardware and software, often closed, sometimes open, constant and variable</i> fixes the <i class="" style="box-sizing: inherit;">Sichtlagerkasten</i> form into an oblique, two-dimensional image, cast as flat, silver charms. The chains connecting these to a central ring are variable lengths and adaptable to different situations, like a site-responsive schematic drawing. The title is taken from Michel Serres’ 2008 book, <i class="" style="box-sizing: inherit;">The Five Senses</i>, a work of active striving against the Cartesian dualism that makes universal standards like the Modulor so seductive for their seeming viability across different applications, from science and technology, to architecture, to sociology and psychology, and beyond.</div><div class="" style="box-sizing: inherit; font-family: stgcirchext, Helvetica, Arial, Verdana, sans-serif; font-size: 16px;"></div><p style="box-sizing: inherit; clear: right; font-family: stgcirchext, Helvetica, Arial, Verdana, sans-serif; font-size: 14px; hyphens: auto; line-height: 22px; margin: 0px; padding: 0px; text-align: justify; text-indent: 50px;"> </p><div class="" style="box-sizing: inherit; font-family: stgcirchext, Helvetica, Arial, Verdana, sans-serif; font-size: 16px;">All the while, a particular figure within the exhibition, also reproduced mechanically by way of casting, challenges the anthropocentric viewpoint from which scalability and organisation becomes a solely human concern. The small, tin- and silver-cast pigeons perched on <i class="" style="box-sizing: inherit;">Housing Anxiety 7 </i>and the smaller wall sculpture <i class="" style="box-sizing: inherit;">Unit</i> respectively introduce to the exhibition the fact of cohabitation in matters of life, living and the production of space. Lotarevich refers to the pigeon figures as though they were semiotic devices, included here to strengthen the allusion to a residential situation. Moreover, as creatures renowned for their homing abilities, their innate sense of orientation and their resilience, pigeons interpolate human environments to act as reminders of their permeability and sympoietic latencies. Not unlike the Modular Woman, the pigeon overflows the contained unit, inhabiting the interstices and making connections between diverse spaces and contexts, thus turning islands into archipelagos and units into dwellings."</div><p></p>Fabrizio Gallantihttp://www.blogger.com/profile/00061214424361452351noreply@blogger.com0tag:blogger.com,1999:blog-4318304369488961106.post-43402446777740783092023-09-18T13:38:00.005+02:002023-09-18T13:38:56.267+02:00Oscar Abraham Pabón + Mies van der Rohe<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjm7uXBJnddnlNLlZL1hXYV7pkfaCmDogrvzrZIjyqSMvDDHYDPOusos4SKpx3zJxan1iBa1EbMnRNOAf_LE70nYJ3EI8Wu2Uf1sf4TWXH5oyPe-mKV-0UrEKCUvsxHX-w41FsJh5BvjU1WnEDNkrQdphZBiKPNcp09cbqTZHBf2acZLx993Z_Z2vv-2AH/s2048/380258487_701573202013140_7002314743521872979_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="2048" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjm7uXBJnddnlNLlZL1hXYV7pkfaCmDogrvzrZIjyqSMvDDHYDPOusos4SKpx3zJxan1iBa1EbMnRNOAf_LE70nYJ3EI8Wu2Uf1sf4TWXH5oyPe-mKV-0UrEKCUvsxHX-w41FsJh5BvjU1WnEDNkrQdphZBiKPNcp09cbqTZHBf2acZLx993Z_Z2vv-2AH/s320/380258487_701573202013140_7002314743521872979_n.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQrwwIQJIsx_UR4vq2mzFWwiIkpEZDqYt-tfatqDQIMOImAhWZ9qZ0a_eaiIl-kyb-lahtriJRxfii4byNDBGmWSpgJIrEMfmTt2TTGP2nPI3DgXYfoxs2MNFT8Ga7cGElOVxmRlPX2umRfkvTqdw-WTElHL8o-VEFh0bA15CZaxRXvipIdQy5nb1u5pSe/s2048/379972363_701573158679811_7670184673443664863_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1361" data-original-width="2048" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQrwwIQJIsx_UR4vq2mzFWwiIkpEZDqYt-tfatqDQIMOImAhWZ9qZ0a_eaiIl-kyb-lahtriJRxfii4byNDBGmWSpgJIrEMfmTt2TTGP2nPI3DgXYfoxs2MNFT8Ga7cGElOVxmRlPX2umRfkvTqdw-WTElHL8o-VEFh0bA15CZaxRXvipIdQy5nb1u5pSe/s320/379972363_701573158679811_7670184673443664863_n.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwPWzVY0Ie_XvZb31uvOniztQkvGkHFWLHjyvxFENePKIrhBvIeT3FXM2slRkkf4xBwhZuodUBU39hv8YBvjn2W-QcvEjhy41BPZkASBskOCIYhUfy6FGqSxDMWRaOiWwS3rtJ5JZpJKfcg6TzTLZjyVRyLpUtoxIGe_rK-cq6Wy3D2g2BoVPVlsuxWEG3/s2048/379466539_701573178679809_3029900417096115906_n.jpg" imageanchor="1" style="margin-left: 1em; 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text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: left;">Oscar Abraham Pabón, Psicoarquitectura, Barcelona 2023.</div><div class="separator" style="clear: both; text-align: left;"><a href="goog_1391379417"><br /></a></div><div class="separator" style="clear: both; text-align: left;"><a href="https://miesbcn.com/es/calendario/psicoarquitectura-oscar-abraham-pabon-l-lntervencio-artistica-barcelona-gallery-weekend/">https://miesbcn.com/es/calendario/psicoarquitectura-oscar-abraham-pabon-l-lntervencio-artistica-barcelona-gallery-weekend/</a></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><a href="https://www.oscarabrahampabon.com/">https://www.oscarabrahampabon.com/</a></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><br /></div><br /><p></p>Fabrizio Gallantihttp://www.blogger.com/profile/00061214424361452351noreply@blogger.com0tag:blogger.com,1999:blog-4318304369488961106.post-62275808257022277092023-08-14T17:28:00.003+02:002023-09-18T13:47:08.394+02:00Assaf Evron + Mies van der Rohe 2<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxpJyh3dTaYYZRmdSmiVWeXm9MMbI71m5Aptq_fqPZrvjigDRxZk-lRRXccqfIxKa0JQ74X-5Lx7gVOL-snMYU_I4eB1G8UO8iSJ56yasI82CEFjJT3b00jw0FaHeMFpiU9AryKpspqzJZCpG6L7vC-EZE1IOKT2X5umnsJamO1kxT4jeYVCpRTXsMxHZs/s1799/900.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1199" data-original-width="1799" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxpJyh3dTaYYZRmdSmiVWeXm9MMbI71m5Aptq_fqPZrvjigDRxZk-lRRXccqfIxKa0JQ74X-5Lx7gVOL-snMYU_I4eB1G8UO8iSJ56yasI82CEFjJT3b00jw0FaHeMFpiU9AryKpspqzJZCpG6L7vC-EZE1IOKT2X5umnsJamO1kxT4jeYVCpRTXsMxHZs/s320/900.jpg" width="320" /></a></div><p><br /></p><a href="https://www.assafevron.com/collages-for-the-esplanade-apartments">https://www.assafevron.com/collages-for-the-esplanade-apartments</a><p></p>Fabrizio Gallantihttp://www.blogger.com/profile/00061214424361452351noreply@blogger.com0tag:blogger.com,1999:blog-4318304369488961106.post-33586813754802120792023-08-14T17:27:00.002+02:002023-09-18T13:47:23.109+02:00Assaf Evron + Mies van der Rohe 1<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcJhdOcW71gI5960MYk-0kW9mcJj6U5e5TqcOY7LUTEmdsvs2CX8atiS2piQFIqSCCXEiyUc-URzgX-fEFkFSVQQ-a4vrnexW9-vYN35AVuRPZ-Dpkv1JC1lMOI13i1RcWgkfCcfbhwj8k3qNNq6wdAujrmrYXKLxi15L4AkWmJT9YVWe0yQQknLy4BUR1/s1499/Crown+A.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="999" data-original-width="1499" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcJhdOcW71gI5960MYk-0kW9mcJj6U5e5TqcOY7LUTEmdsvs2CX8atiS2piQFIqSCCXEiyUc-URzgX-fEFkFSVQQ-a4vrnexW9-vYN35AVuRPZ-Dpkv1JC1lMOI13i1RcWgkfCcfbhwj8k3qNNq6wdAujrmrYXKLxi15L4AkWmJT9YVWe0yQQknLy4BUR1/s320/Crown+A.jpg" width="320" /></a></div><br /><p></p><p><a href="https://www.assafevron.com/collage-for-s-r-crown-hall">https://www.assafevron.com/collage-for-s-r-crown-hall</a></p>Fabrizio Gallantihttp://www.blogger.com/profile/00061214424361452351noreply@blogger.com0tag:blogger.com,1999:blog-4318304369488961106.post-69020167879263122902022-02-17T20:27:00.002+01:002022-02-17T20:27:11.472+01:00Christopher Williams + Niemeyer<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgVYEOCAYMEtcAJC4upBDY02SnG7Sqktg4iMB3yb9xJykllkRn-OjGbGUtSnn3Okr1fTIMH5sz8tA_rKZ0FxFvsKk6If3hGqqx7OALF0hDbdxFwRltydS7f3iCt5Q-WPdeCEaBh-DdGW4gieP5RMUpaJr0bqw_7tVwAasmIQdaUH54F-ZTYmJIdelT-bQ=s593" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="593" data-original-width="464" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEgVYEOCAYMEtcAJC4upBDY02SnG7Sqktg4iMB3yb9xJykllkRn-OjGbGUtSnn3Okr1fTIMH5sz8tA_rKZ0FxFvsKk6If3hGqqx7OALF0hDbdxFwRltydS7f3iCt5Q-WPdeCEaBh-DdGW4gieP5RMUpaJr0bqw_7tVwAasmIQdaUH54F-ZTYmJIdelT-bQ=s320" width="250" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="text-align: start;"><br /></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="text-align: start;">Christopher Williams</span></div><div class="separator" style="clear: both; text-align: justify;"><span style="text-align: start;">Super Quadra Sul 308 - Bloco 'D' - Asa Sul (south wing) - 70.355 - BRASILIA-DF - Lucio Costa, Oscar Niemeyer, 1960 - January 31, 1997 (No.1 - 2)</span></div><br />Fabrizio Gallantihttp://www.blogger.com/profile/00061214424361452351noreply@blogger.com0tag:blogger.com,1999:blog-4318304369488961106.post-69489867021992660742021-08-03T17:48:00.001+02:002021-08-03T17:48:26.040+02:00Cayetano Ferrer + Pereira<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNC4mdDJklOsSA3uZ_9jtRIS6UyxiUeIxlvUHau5oDvnSNm9wvw6j0WqLWINWeMrtNh6WS5P4dGqJYCMpu0xF7ehPHZrpoqbtK7pTKfx1hEwgj_x6J1cRhclKdvWw8v29aYUOe-KtLChzb/s840/cf.webp" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="560" data-original-width="840" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNC4mdDJklOsSA3uZ_9jtRIS6UyxiUeIxlvUHau5oDvnSNm9wvw6j0WqLWINWeMrtNh6WS5P4dGqJYCMpu0xF7ehPHZrpoqbtK7pTKfx1hEwgj_x6J1cRhclKdvWw8v29aYUOe-KtLChzb/s320/cf.webp" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2tS29Xra3X3zdL5w6W8-gYkjOd0Hyva-t3_pL4_mEUZag8tHECL8Wx_hYL2ANSzrycaQ8gudjESqK_qN-PgFWvIyH9Pp19U_UoajiYenglfjblkMYA7LfhyphenhyphenywJrtxAAuzzqQheIf4WTRh/s840/fg3.webp" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="560" data-original-width="840" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2tS29Xra3X3zdL5w6W8-gYkjOd0Hyva-t3_pL4_mEUZag8tHECL8Wx_hYL2ANSzrycaQ8gudjESqK_qN-PgFWvIyH9Pp19U_UoajiYenglfjblkMYA7LfhyphenhyphenywJrtxAAuzzqQheIf4WTRh/s320/fg3.webp" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjL5jU2k4ssSUL6qPDZYkmvFhLhnvvz6S3MSqXFg9rGYsDxpSoAoeAHVeKK2QNtnp9a-AB9rAWqpxQONNSOi6z7x_2X14M3IFnrusj8EcH0WqZPYRrEiwGQOYC9XBsjbY3XPiYKlO1v4fMg/s840/fg4.webp" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="560" data-original-width="840" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjL5jU2k4ssSUL6qPDZYkmvFhLhnvvz6S3MSqXFg9rGYsDxpSoAoeAHVeKK2QNtnp9a-AB9rAWqpxQONNSOi6z7x_2X14M3IFnrusj8EcH0WqZPYRrEiwGQOYC9XBsjbY3XPiYKlO1v4fMg/s320/fg4.webp" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9-TkFeEDZBX3nXYl9ucW5ZVDQGKzs-3J_OOLtoaJQoqfbYL4YOAIh4pRf_0KAeBlTS_P4Pl2SBiJwNwaaF7CnVfmh42TFWD30_VRsKRvQFgws_7VfIafwW3VjNadiI8vymp_iNDGyNLxT/s840/fge%25CC%2581.webp" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="551" data-original-width="840" height="210" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9-TkFeEDZBX3nXYl9ucW5ZVDQGKzs-3J_OOLtoaJQoqfbYL4YOAIh4pRf_0KAeBlTS_P4Pl2SBiJwNwaaF7CnVfmh42TFWD30_VRsKRvQFgws_7VfIafwW3VjNadiI8vymp_iNDGyNLxT/s320/fge%25CC%2581.webp" width="320" /></a></div><br />Extraction<p></p><p>https://www.archpaper.com/2021/08/cayetano-ferrer-extraction-repurpose-pieces-of-lacma/</p><p>https://cayetanoferrer.net/</p>Fabrizio Gallantihttp://www.blogger.com/profile/00061214424361452351noreply@blogger.com0tag:blogger.com,1999:blog-4318304369488961106.post-48426800055062313972021-07-14T09:37:00.003+02:002021-07-14T09:37:27.946+02:00Marcius Galan + Bo Bardi<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJ5FBH4_jxCmxQ3-LBqZ19v0XmkG7EiiEDH1jvccp5rM4uFrgSTJDEPI8qCmtMJ8OkZV74uD8cw9bc7vA137ZF7BEgr95-GjDnPwXfuJ7qQlsuniL7rivbXSPbyjLOXQWYhImPlnp_Ebda/s1024/217627025_1704216716446361_2973070346125856019_n.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="1024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJ5FBH4_jxCmxQ3-LBqZ19v0XmkG7EiiEDH1jvccp5rM4uFrgSTJDEPI8qCmtMJ8OkZV74uD8cw9bc7vA137ZF7BEgr95-GjDnPwXfuJ7qQlsuniL7rivbXSPbyjLOXQWYhImPlnp_Ebda/s320/217627025_1704216716446361_2973070346125856019_n.jpeg" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxIljiFU_F1E_V8jilmPVeKznElvrmP7wCP8SVF33jsVZe_1wukkd_13NC6MsTGi5s1wPAcCl3Q22ieu10IppHZQyVrGYy8BUbCFOrdFQ-7HP-NzV0Ai1o9VYkiQ0i6Fnhvnqi1z1AAY4J/s1024/216914261_1704216719779694_6595098764227566940_n.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="1024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxIljiFU_F1E_V8jilmPVeKznElvrmP7wCP8SVF33jsVZe_1wukkd_13NC6MsTGi5s1wPAcCl3Q22ieu10IppHZQyVrGYy8BUbCFOrdFQ-7HP-NzV0Ai1o9VYkiQ0i6Fnhvnqi1z1AAY4J/s320/216914261_1704216719779694_6595098764227566940_n.jpeg" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgo0nWSXzUshr712l6fzSyADNUVnyKv2ZQpdmmGfvSk0294-AO3EOXrrbsek5XXbYv76ln7_hzsFJ3DcQSJQsL7JitU4r8_oCAkB3S57aLL4Cg8Z-qtzhTHYTf_aPDB8nk91iHumgWP9Kme/s1024/213625726_1704216703113029_2803670840547240864_n.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="1024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgo0nWSXzUshr712l6fzSyADNUVnyKv2ZQpdmmGfvSk0294-AO3EOXrrbsek5XXbYv76ln7_hzsFJ3DcQSJQsL7JitU4r8_oCAkB3S57aLL4Cg8Z-qtzhTHYTf_aPDB8nk91iHumgWP9Kme/s320/213625726_1704216703113029_2803670840547240864_n.jpeg" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjGvtJWRdhOJLKD_PvS7y6WretI1d4pPxbWf-fkeDimGkqBXtu7ktWb_WxoGxY6Ly4HPa78y1XzCb3GqW1o9ES7XbbRCuIOkjAmE4pAMquMktGTJN6erIbILWNDcii1XlSyL3O7w1Psi_j/s1023/213624081_1704216709779695_7619057945199398824_n.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1023" data-original-width="1023" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjGvtJWRdhOJLKD_PvS7y6WretI1d4pPxbWf-fkeDimGkqBXtu7ktWb_WxoGxY6Ly4HPa78y1XzCb3GqW1o9ES7XbbRCuIOkjAmE4pAMquMktGTJN6erIbILWNDcii1XlSyL3O7w1Psi_j/s320/213624081_1704216709779695_7619057945199398824_n.jpeg" /></a></div><span style="background-color: white; color: #050505; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 15px; white-space: pre-wrap;">Marcius Galan, ‘Coluna (para Lina)’, 2021, acervo @masp, doação do artista, 2021.</span><p></p>Fabrizio Gallantihttp://www.blogger.com/profile/00061214424361452351noreply@blogger.com0tag:blogger.com,1999:blog-4318304369488961106.post-15709460958818280772020-10-24T17:20:00.002+02:002020-10-24T17:20:53.703+02:00Shannon Bool + Le Corbusier<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPcABLG46hA_lRVZCkjBazrd8SHgd5G-C01BRYkpe7Fxp-HbwL6gIHgGbiTU5kvUWgRzQx4LccfNDzp7R0HMpXCNhpZ5w-EbMgm8SkZq0liUEcNM5CQHYeDOrtWGhICcXR859hewNyMmdy/s1024/Oued-Ouchaia-crop-1024x648.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="648" data-original-width="1024" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPcABLG46hA_lRVZCkjBazrd8SHgd5G-C01BRYkpe7Fxp-HbwL6gIHgGbiTU5kvUWgRzQx4LccfNDzp7R0HMpXCNhpZ5w-EbMgm8SkZq0liUEcNM5CQHYeDOrtWGhICcXR859hewNyMmdy/s320/Oued-Ouchaia-crop-1024x648.jpg" width="320" /></a></div><br /><small class="caption">Shannon Bool, <i>Oued Ouchaia</i>, 2018. Jacquard tapestry, embroidery,
209 x 325 cm.</small><p></p><p><small class="caption">https://canadianart.ca/reviews/shannon-bool-2/</small></p><p><small class="caption">https://www.frieze.com/article/not-so-modern-suppressed-misogyny-modernist-architecture </small> <br /></p>Fabrizio Gallantihttp://www.blogger.com/profile/00061214424361452351noreply@blogger.com0tag:blogger.com,1999:blog-4318304369488961106.post-81471223166199340962020-10-24T17:17:00.005+02:002020-10-24T17:17:52.808+02:00Shannon Bool + Loos<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8Mc2EVCHeDoaKpkHqVjzjqpeSPZw8_nzRHasiCgTqdVlMin75Lq1ueteQ49j3WBdroFwqEJMfUWdGtyx17HVtM9IWcSx8MYTDt6ZkkzPNWzZYUrcsNdDGMK2_qnyME8Iu-G8yYaMbqBzU/s1440/56_Bool-Villa-Muller-Sampler-2019-1440x961.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="961" data-original-width="1440" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8Mc2EVCHeDoaKpkHqVjzjqpeSPZw8_nzRHasiCgTqdVlMin75Lq1ueteQ49j3WBdroFwqEJMfUWdGtyx17HVtM9IWcSx8MYTDt6ZkkzPNWzZYUrcsNdDGMK2_qnyME8Iu-G8yYaMbqBzU/s320/56_Bool-Villa-Muller-Sampler-2019-1440x961.jpg" width="320" /></a></div>Shannon Bool, <em>Villa Muller Sampler</em>, 2019, silkscreen, cotton
embroidery on hand dyed silk. Courtesy of Daniel Faria Gallery, Toronto,
and Gallery Kadel Willborn, Düsseldorf<p></p>Fabrizio Gallantihttp://www.blogger.com/profile/00061214424361452351noreply@blogger.com0tag:blogger.com,1999:blog-4318304369488961106.post-27397099428391457842020-10-24T17:16:00.002+02:002020-10-24T17:16:18.408+02:00Shannon Bool + Mies van der Rohe<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQnNiPrAp5PL_fqofOBryVVQqYoXae1ylFsn-qazGUYA4TqN3i7XF7wR2XAu9Qx56fiyadnABspVnpsxkPb72sdRlBl3F-uysnhSxztAjq9nJiDJEewzTdPpTEkqLkjnnE3EO2alZvLFho/s1440/The-Weather-2019-1440x1057.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1057" data-original-width="1440" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQnNiPrAp5PL_fqofOBryVVQqYoXae1ylFsn-qazGUYA4TqN3i7XF7wR2XAu9Qx56fiyadnABspVnpsxkPb72sdRlBl3F-uysnhSxztAjq9nJiDJEewzTdPpTEkqLkjnnE3EO2alZvLFho/s320/The-Weather-2019-1440x1057.jpg" width="320" /></a></div><br /><p>Shannon Bool, <em>The Weather</em>, 2018, jacquard tapestry, embroidery. Courtesy of Daniel Faria Gallery, Toronto, and Gallery Kadel Willborn, Düsseldorf</p>Fabrizio Gallantihttp://www.blogger.com/profile/00061214424361452351noreply@blogger.com0tag:blogger.com,1999:blog-4318304369488961106.post-9904609930433934612020-10-24T00:27:00.003+02:002020-10-24T00:27:21.832+02:00Dennis Adams + Mies van der Rohe<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhU7GuIhJ1OpV7Bx_GnKOuHc0iZvHDDwForoVCUgfybqOWb3A8F_03QtkZ_brShXnhT5uSBbm2ajDdY1AbgmVnu7x8BrcmI9mR1uSmet7oOOTzZSbIahtX735aDnrupki_kg_tgdS-XS4P8/s640/119164210_192583315568379_4119564842887404576_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="640" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhU7GuIhJ1OpV7Bx_GnKOuHc0iZvHDDwForoVCUgfybqOWb3A8F_03QtkZ_brShXnhT5uSBbm2ajDdY1AbgmVnu7x8BrcmI9mR1uSmet7oOOTzZSbIahtX735aDnrupki_kg_tgdS-XS4P8/s320/119164210_192583315568379_4119564842887404576_n.jpg" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVGs7m94H7q2FxbQgw8NfT3SNH1GDbuK4H4YdWtAdOVMvbKqpg_Cse5TH6IfOljfb9pTE3kpPOBm6-M8wBOUDS04Y_OGqyFU8LcSYxKAkUVReqadYLErymQfxq0fsfz6EZYWC3viY4mzIR/s876/tumblr_21817d80460754e4f835efaa317bd7ad_5fae66b3_1280.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="876" data-original-width="701" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVGs7m94H7q2FxbQgw8NfT3SNH1GDbuK4H4YdWtAdOVMvbKqpg_Cse5TH6IfOljfb9pTE3kpPOBm6-M8wBOUDS04Y_OGqyFU8LcSYxKAkUVReqadYLErymQfxq0fsfz6EZYWC3viY4mzIR/s320/tumblr_21817d80460754e4f835efaa317bd7ad_5fae66b3_1280.jpg" /></a></div><br /><p><strong>Freeload. Dennis Adams</strong></p>
<p>Freeload is an installation created exclusively for the Mies van der
Rohe Pavilion on the occasion of the 75th anniversary of its
construction. Dennis Adams has produced a portable replica of one of the
eight mirrored cruciform columns that support the Pavilion. By
installing a miniature video camera in each of its ends, the artist has
transformed the column into a bidirectional camera designed to record
forward and rear shots of a procession through La Mina, a social housing
project on the outskirts of Barcelona. The route of the procession was
determined by the Plataforma d’Entitats i Veïns de La Mina, a group of
community representatives, and the column was carried on the shoulders
of two members from the Club de Lluita Olímpica La Mina; the local
wrestling club. The procession began at the boundary between the Forum
and La Mina and continued through the neighbourhood, terminating at the
Rambla Camarón, the symbolic center of the community. Returned to the
Pavilion and installed in front of the small pool under the silent watch
of Georg Kolbe’s sculpture, the column/camera is supported horizontally
on two video monitors that display the recorded footage of its journey.</p><p>Adams selected La Mina for its location within Sant Adrià de Besòs,
the town where the workers lived that constructed the International
Exposition of 1929, including Mies’ original Pavilion. For the artist,
both the Pavilion and La Mina are architectural icons that bracket the
history of Modernism, framing both its utopian promise and social
reality.</p>
<p>Since the late 1970s, Dennis Adams’ works have framed Blindzones,
within public space and architecture. In relation to Freeload, Adams
explains, “By exempting Mies’ column from its function as a vertical
support, I envisioned the release of all that compression as a kind of
extension. Turned horizontally, it becomes a sight line free to probe
the physical and symbolic limits of the Pavilion.”</p><p> </p><p>https://roulottemagazine.com/2011/04/freeload-dennis-adams/ <br /></p><p> </p>Fabrizio Gallantihttp://www.blogger.com/profile/00061214424361452351noreply@blogger.com0tag:blogger.com,1999:blog-4318304369488961106.post-77028486674439330362020-10-24T00:19:00.002+02:002020-10-24T00:19:29.365+02:00Isaac Julien + Bo Bardi<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8AES8xkkt_5qlqAvYqHmyGSn7z7XbiCPRKqPRvjQZAcRbv3gG0BPyKE9J3wVSxYCxsTyP_ZMGvYTJU8iZJGlH3Nrt_A2DvhA1pJA2oOOvdYqitjDbBLXvzc5pl5OhJOFXxZnMyrgN7cR4/s2000/2019_isaac-julien_vmg-wharf-road-ground-floor_1.webp" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1499" data-original-width="2000" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8AES8xkkt_5qlqAvYqHmyGSn7z7XbiCPRKqPRvjQZAcRbv3gG0BPyKE9J3wVSxYCxsTyP_ZMGvYTJU8iZJGlH3Nrt_A2DvhA1pJA2oOOvdYqitjDbBLXvzc5pl5OhJOFXxZnMyrgN7cR4/s320/2019_isaac-julien_vmg-wharf-road-ground-floor_1.webp" width="320" /></a></div><br /><div class="separator" style="clear: both; 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text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiipGA9ge7y_FEIM4g4egdeG2wYfLqPmcEJOcIaT2yciUE0d4Ltjfh4mJ5wSMT4ByezZwol_-XaFn8cZ7G4FTy4u8KnijAMMatRXIEdjbrHnNYvsESThE7AWeVPHnPU08lUYiGiRx7ExaIE/s1211/lina6.webp" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="903" data-original-width="1211" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiipGA9ge7y_FEIM4g4egdeG2wYfLqPmcEJOcIaT2yciUE0d4Ltjfh4mJ5wSMT4ByezZwol_-XaFn8cZ7G4FTy4u8KnijAMMatRXIEdjbrHnNYvsESThE7AWeVPHnPU08lUYiGiRx7ExaIE/s320/lina6.webp" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwWLjIeusymIJN7tV2famLPvqKBGoUIy0wtcFKIMQpyKJmyt7W6FkrzWCyJu-JEPcMSrvCcwQtbeV-LRLhIgzFeGVoPiemMEw6NmNlDpYhDIxghddkfOQg_Uoj76-mi0C9y_4oD6d-uzNa/s2000/lina8.webp" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1498" data-original-width="2000" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwWLjIeusymIJN7tV2famLPvqKBGoUIy0wtcFKIMQpyKJmyt7W6FkrzWCyJu-JEPcMSrvCcwQtbeV-LRLhIgzFeGVoPiemMEw6NmNlDpYhDIxghddkfOQg_Uoj76-mi0C9y_4oD6d-uzNa/s320/lina8.webp" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqs-p0VVE3XqfMN6YHjaga07gGYLG1X5N6NUe5u0DrQHXGaBhyjzftjx5s6o3TOZRydlRdQ3l03rxdobaDXcc03YyFgynaEv1QTR_qIcbGitx7xWrvtRonXQAX7zqEpo5YWq9qx5Miz4T2/s2000/wallpaper_b0002324-1_v1_240x180.webp" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1498" data-original-width="2000" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqs-p0VVE3XqfMN6YHjaga07gGYLG1X5N6NUe5u0DrQHXGaBhyjzftjx5s6o3TOZRydlRdQ3l03rxdobaDXcc03YyFgynaEv1QTR_qIcbGitx7xWrvtRonXQAX7zqEpo5YWq9qx5Miz4T2/s320/wallpaper_b0002324-1_v1_240x180.webp" width="320" /></a></div><br />A Marvellous Entanglement (2019) <p><span> </span><span>The multiple screen installation and photographic series </span><i>A Marvellous Entanglement</i><span> (2019)
traverses a collection of Lina Bo Bardi’s most iconic buildings,
offering a meditation on the work and legacy of the visionary modernist
architect and designer (1914–1992).</span>
</p>
<div class="description-wrapper truncated-text" style="max-height: none;">
<div class="description">
<p class="pressreleasestyle">‘Linear
time is a western invention; time is not linear, it is a marvellous
entanglement where, at any moment, points can be chosen and solutions
invented, without beginning or end.’ – Lina Bo Bardi</p>
<p class="pressreleasestyle">Focusing on Bo Bardi’s public projects
instead of private edifices, the piece emphasizes her social, political
and cultural views, alongside her philosophical reflections formulated
in articles and letters, such as the passage above, which is central to
the film.
</p><p> Having filmed on location in São Paulo Museum of Art (MASP), Sesc
Pompeia and in the Teatro Oficina, Julien proposes an open-ended
reflection on Bo Bardi’s ideas. These three buildings, widely regarded
as landmarks of Brazilian modernism, stand as representative of her
ground-breaking vision. Travelling further north, the work also
encounters Bo Bardi’s buildings in Salvador: the Museum of Modern Art;
the Coaty Restaurant and the Gregório de Mattos theatre. Starring
Academy Award-nominee Fernanda Montenegro and her daughter,
Cannes-laureate actor Fernanda Torres, <i>A Marvellous Entanglement</i> portrays Bo Bardi at different stages of her life, as the actresses interpret excerpts from the architect’s writings.
</p><p>A central figure of Latin American modernist architecture, Bo Bardi
devoted her working life to promoting the social and cultural potential
of art, architecture and design. Exploring these themes, <i>A Marvellous Entanglement </i>uses
the iconic staircase that she designed for the Museum of Modern Art,
Bahia, as the stage upon which Julien orchestrates an original work by
choreographer Zebrinha, performed by the Balé Folclórico de Bahia. The
Coaty, a modern ruin perched on the Ladeira de Misericórdia in Salvador,
accommodates in turn a series of performances by Brazilian art
collective Araká. In close collaboration with Julien, the collective
performs in situ happenings reflecting upon the significance of Bo
Bardi’s seldom-accessed masterpiece for a young contemporary audience.
Another leading name of Brazilian arts, the actor, director, playwright
and co-founder of São Paulo’s Teatro Oficina, José Celso Martinez Corrêa
(AKA Zé Celso) worked in close collaboration with Bo Bardi and is also a
key presence in the film, which includes score created by the
German-Spanish composer Maria de Alvear.Following the conceptual thread which Julien established in his earlier artistic investigations around portrait-making such as <i>Ten Thousand Waves</i> (2010), or the more recent<i> Lessons of the Hour: Frederick Douglass</i> (2019), <i>Lina Bo Bardi – A Marvellous Entanglement</i>
looks at historical reparation through visual poetry, moved by the
breadth and power of Bo Bardi’s work, and a profound belief that her
legacy has yet to be fully acknowledged.</p><p>https://www.isaacjulien.com/projects/39</p></div></div>Fabrizio Gallantihttp://www.blogger.com/profile/00061214424361452351noreply@blogger.com0tag:blogger.com,1999:blog-4318304369488961106.post-33792834333237496932020-10-23T01:04:00.004+02:002020-10-23T16:04:25.649+02:00Kapwani Kiwanga + Schmieden, Boethke<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRvz_kZboTqeKsKJcFpiYn1mOhVecmFWVrEA1W5rQIhOisjf0ciWsYxeaGPhcrtpwNIrIwFw4vOWHHhPA8u05Yy1kl5b0YEu_TzwGD61oUtcXbdrvwOcksW8A_K6dKWECWCBNVNkwlG65y/s1920/Kapwani-exhibition-banner2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="1920" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRvz_kZboTqeKsKJcFpiYn1mOhVecmFWVrEA1W5rQIhOisjf0ciWsYxeaGPhcrtpwNIrIwFw4vOWHHhPA8u05Yy1kl5b0YEu_TzwGD61oUtcXbdrvwOcksW8A_K6dKWECWCBNVNkwlG65y/s320/Kapwani-exhibition-banner2.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhId0C9zVQz6AoJpwPvDfp0EvNJCXXj9Yeb9k5TpJTseqW4fb6ROHiPNL87dSLzNzBt2FuZBguexC_Zsfr5IVhRgeaDdGFZ0iJLc8LdrmyqkY-ksySuYQTb5LjwsQSvtIQ6gmE7CwTuesCJ/s1920/Kapwani-exhibition-banner3.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="1920" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhId0C9zVQz6AoJpwPvDfp0EvNJCXXj9Yeb9k5TpJTseqW4fb6ROHiPNL87dSLzNzBt2FuZBguexC_Zsfr5IVhRgeaDdGFZ0iJLc8LdrmyqkY-ksySuYQTb5LjwsQSvtIQ6gmE7CwTuesCJ/s320/Kapwani-exhibition-banner3.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbdpLkijHRbhr_myp8NJGVZtFxX0_Wx1ZUejxuE7DXrEwDrurMj009YBpaVxxccQOkmVT2SxTO0E20IGEO7jPxZfkiYpjuLYCoPnhGvc-TTzVBqwKe3gU375VevyzaeZS922HHB43CTpNe/s1920/Kapwani-exhibition-banner.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="1920" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbdpLkijHRbhr_myp8NJGVZtFxX0_Wx1ZUejxuE7DXrEwDrurMj009YBpaVxxccQOkmVT2SxTO0E20IGEO7jPxZfkiYpjuLYCoPnhGvc-TTzVBqwKe3gU375VevyzaeZS922HHB43CTpNe/s320/Kapwani-exhibition-banner.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibWAYFrpznunfYlZWg-ykTANtATLqinhrNWJkRT0cIohMcqlqAYub0mieKShetKsGI6xG-ip6wsA_xFmfMDOfu4jvLVb9aO5WPkAi3Zb5UimMfRokLw2RjwkTNJuHzt7hIKoRZmnwWibQN/s1920/Kapwani_pink_exhibition-banner.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="1920" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibWAYFrpznunfYlZWg-ykTANtATLqinhrNWJkRT0cIohMcqlqAYub0mieKShetKsGI6xG-ip6wsA_xFmfMDOfu4jvLVb9aO5WPkAi3Zb5UimMfRokLw2RjwkTNJuHzt7hIKoRZmnwWibQN/s320/Kapwani_pink_exhibition-banner.jpg" width="320" /></a></div><p><br />Kapwani Kiwanga: A wall is just a wall (and nothing more at all) <br />28 January - 14 May 2017</p><p>https://thepowerplant.org/Exhibitions/2017/Winter-2017/Kapwani-Kiwanga--Solo-exhibition.aspx <br /> </p><p></p><p>As we go about our daily lives, we enter into and are confronted by spaces designed to shape and regulate our behaviour. In A wall is just a wall (and nothing more at all), Kapwani Kiwanga explores disciplinary architecture by isolating structural traits and intended psychological effects of different built environments, such as prisons, hospitals, and mental health facilities. The exhibition title is drawn from the poem “Affirmation” by Assata Shakur, a civil rights revolutionary and former member of the Black Liberation Army, which calls for resistance against structures of inequity and the modes of segregation that exist all around us. The works in this exhibition highlight the potential for built environments to predict and affect human behaviour in the subtlest and most forceful of ways. <br /><br />Two-toned paintings on panels of drywall reproduce institutional wall treatments which were based on the research of German architects Heino Schmieden and Julius Boethke, who, at the 5th International Congress on Tuberculosis (1905), proposed that oil-based paint should be applied to hospital walls at a height of 1.60m from the ground, in order to facilitate their cleansing and to improve hygiene conditions. Kiwanga’s dichromatic choice of colour here, and throughout the exhibition, reflects her ongoing research on this and similar 19th and 20th century social hygiene movements and hospital reforms, as well as the work of highly influential colour theorist Faber Birren, whose research on the behavioural effects of colour was applied broadly across commercial and institutional environments. <br /><br />In 1978, Dr. Alexander Schauss discovered that exposure to the colour Baker-Miller Pink had the purported effect of reducing aggressive behavior in test subjects by lowering their heart rate, pulse, and respiration. The colour was first used for wall paint in some prison cells at the Naval Correctional Center in Seattle with the intention of calming violent inmates. In 1979, the study was replicated at the Santa Clara County Jail in San Jose; however, after inmates were placed in the painted holding cell for several hours, they had begun to scratch the paint off their walls with their fingernails. Baker-Miller Pink soon appeared in a variety of other contexts, including in locker rooms designated for visiting teams, psychiatric facilities, and public housing wards. <br /><br />Recently, fluorescent blue lights have been installed in public spaces with the goal of reducing the visibility of veins, thereby discouraging intravenous drug use. Though the intention of such design decisions may be to reform or to protect, the actual outcomes can be ambiguous or even harmful. Kiwanga exposes this ambiguity by foregrounding the formal building blocks of these mechanisms, and in so doing subjects them to our scrutiny. The immersive installation pink-blue features a space split between Baker-Miller Pink paint and blue fluorescent lighting. Through confrontation with the raw materials of these disciplinary strategies, Kiwanga invites us to think about their social implications: do blue-lit bathrooms actually prevent drug use, or do these spaces simply discourage safe injection practices? And so, the question remains: do architectural attempts to control bodies and their behaviour work to counter the problems they aim to prevent, or do they merely force their relocation? <br /><br />Used for discrete observation in interrogation rooms, and also found in office buildings to protect workers from the gaze of street-level passersby, one-way mirrors facilitate shifting modes of control based on one’s positionality. The window-based unidirectional gaze also appears in the architectural feature of the jalousie, a window treatment comprised of angled slats. Both of these technologies allow one to see out while remaining unseen, reflecting the dynamics of control and surveillance of disciplinary architecture. <br /><br />A series of abstract prints on fabric are draped over rebar grids, another commonly used construction material. These images are based on desire paths – informal or spontaneous pathways shaped by individuals through the landscape (usually the shortest route from one point to another) – found in aerial images of historically significant sites across Calgary. These unsanctioned routes evoke the ways in which people bypass existing structures, carving out alternative routes within circumscribed spaces. Such small gestures of resistance remind us, as does the next line in Assata Shakur’s poem, that a wall “can be broken down.” <br /><br />— Nabila Abdel Nabi, Assistant Curator, The Power Plant. <br /><br />The exhibition Kapwani Kiwanga, A wall is just a wall (and nothing more at all) is organized and circulated by The Power Plant Contemporary Art Gallery, Toronto. The exhibition is curated by Nabila Abdel Nabi, Assistant Curator, The Power Plant. It was sponsored by TD Bank Group. <br /><br />Support for the development and production of new works for the exhibition provided by Esker Foundation.</p>Fabrizio Gallantihttp://www.blogger.com/profile/00061214424361452351noreply@blogger.com0tag:blogger.com,1999:blog-4318304369488961106.post-16837397505512990272019-11-12T15:55:00.000+01:002019-11-12T15:56:18.405+01:00Leonor Antunes + Albers, Ponti<div class="separator" style="clear: both; text-align: center;">
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“the last days in Galliate” is the first major exhibition in Italy of
the work of Leonor Antunes, conceived as a complex site-specific
installation that fills the 1,400 square meters of the space known as
the Shed in Pirelli HangarBicocca: the works, many of which are new
productions, converse with the context structural elements and natural
lighting, thus merging in a single narrative.<br />
Milan and its rich Modernist tradition, in particular the work of
architects Franca Helg (1920-1989) and Franco Albini (1905-1977), are
the source of great inspiration for this artist, who weaves these tales
with the cultural heritage of companies as Pirelli and Olivetti and the
projects realized with the manufacturing house Vittorio Bonacina—today
known as Bonacina1889—active in the production of furniture and other
items made with rattan and rattan-core. The Shed is transformed by an
intervention that covers the floor with a linoleum intarsia, inspired by
a design by artist Anni Albers (1899-1994), whose colours hark back to
the iconic floor designed by the architect and designer Gio Ponti
(1891-1979), realized in 1960 for the Pirelli skyscraper in Milan.<br />
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https://pirellihangarbicocca.org/en/exhibition/leonor-antunes/ <br />
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http://moussemagazine.it/leonor-antunes-last-days-galliate-pirelli-hangarbicocca-milan-2018-2019/Fabrizio Gallantihttp://www.blogger.com/profile/00061214424361452351noreply@blogger.com0tag:blogger.com,1999:blog-4318304369488961106.post-69219274303125289502019-11-12T15:31:00.005+01:002019-11-12T15:31:56.825+01:00Manthia Diawara + Prouvé<br />
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Manthia Diawara <br />Maison Tropicale <br /><br />4 February — 29 March 2009 <br /> <br /><br />Between 1949 and 1951, Jean Prouvé, one of the greatest designers of the 20th century, was commissioned to produce three prototype prefabricated tropical houses, intended to address the shortage of housing in the French colonies of West Africa. Les Maisons Tropicales were fat-packed and being lightweight, components could be carried by just two men. <br /><br />Mali-born filmmaker Manthia Diawara, Professor of Comparative Literature and Film at New York University and Director of the Institute of African-American Affairs, brings to life the hidden stories of these buildings. Acting as a complement to Ângela Ferreira’s project on Les Maison Tropicales, shown at the 52nd Venice Biennale in 2007, Diawara’s film takes us to the houses’ original sites in the Republic of Congo and Niger. Only these prototypes exist. <br /><br />Their remarkable history saw them removed from their African homes, dilapidated and bullet-ridden, only to be returned to France, restored and sold on for millions; a far cry from their original utopian function and social context. <br /><br />Through interviews with Ferreira, government officials and former owners of the properties, Diawara examines notions of cultural patrimony and illuminates issues surrounding African identity, art within the context of post- colonial debate and the legacy of modernism. <br /> <br /><br />https://www.ikon-gallery.org/event/maison-tropicale/ <br />Fabrizio Gallantihttp://www.blogger.com/profile/00061214424361452351noreply@blogger.com0tag:blogger.com,1999:blog-4318304369488961106.post-16863075615510119252019-11-12T15:24:00.001+01:002019-11-12T15:24:34.270+01:00Leonor Antunes + Albini, Helg, Masieri, Scarpa, Trincanato.<div class="separator" style="clear: both; text-align: center;">
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<strong>a seam, a surface, a hinge or a knot</strong>. Engaging the
histories of art, architecture, and design, Leonor Antunes reflects on
the functions of everyday objects, contemplating their potential to be
materialised as abstract sculptures. <em>a seam, a surface, a hinge or a knot</em>
continues Antunes’ interest in the work of important figures in the
Venetian context, such as Carlo Scarpa, Savina Masieri and Egle
Trincanato. Antunes is interested in how craftsmanship traditions from
various cultures intersect within this history. Elements of the
exhibition are fabricated with Falegnameria Augusto Capovilla, one of
the still-active Venetian carpentries that worked closely with Scarpa.
The exhibition engages the history of Masieri’s commissioning of Frank
Lloyd Wright and Scarpa, and the designs of Trincanato, the author of a
study on popular Venetian architecture.<br />
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https://www.dgartes.gov.pt/pt/node/2179 Fabrizio Gallantihttp://www.blogger.com/profile/00061214424361452351noreply@blogger.com0tag:blogger.com,1999:blog-4318304369488961106.post-87035814066557544232019-03-25T15:12:00.002+01:002019-03-25T15:13:43.596+01:00Gerold Tagwerker + Johnson<div class="separator" style="clear: both; text-align: center;">
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<span class="lb-caption" style="display: inline;">johnson.twins - 2009
Stahl lackiert, 2 Teile mit je 248 x 80 x 80 cm; gesamt 248 x 80 x ca.
360 cm (steel painted; two pieces, each 248 x 80 x 80 cm; complete 248 x
80 x ca. 360 cm</span><br />
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<span class="lb-caption" style="display: inline;"><a href="http://www.geroldtagwerker.com/" target="_blank">http://www.geroldtagwerker.com </a></span>Fabrizio Gallantihttp://www.blogger.com/profile/00061214424361452351noreply@blogger.com0tag:blogger.com,1999:blog-4318304369488961106.post-79085831545661911772018-09-16T19:13:00.003+02:002018-09-16T19:13:47.581+02:00Dan Hu + Rudolph<div class="separator" style="clear: both; text-align: center;">
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https://www.dezeen.com/2015/08/06/dan-huh-visual-artist-recreates-paul-rudolph-milam-residence-house-florida-renderings/Fabrizio Gallantihttp://www.blogger.com/profile/00061214424361452351noreply@blogger.com0