Saturday, 9 June 2012
Lara Almarcegui + Olbrich
Wednesday, 6 June 2012
Wael Shawky 'Al-Aqsa Park'
“Al-Aqsa Park” is an animated film installation where the Dome of the Rock, the symbolic referring to the al-Aqsa complex in Jerusalem, is displayed as a fairground carousel. Although the work brings an additional reflection on the intersection of the discourses of political systems and religiosity, a theme salient to Shawky’s rich career, the al-Aqsa Park installation is essentially centered on the idea of controlled entertainment that the experience of riding a carousel, as well as its spectacle, delivers. The carousel, conventionally the center-piece of a fair, circling at a speed to generate weightlessness and ‘freedom’, is actually a machine maneuvered by an operator, according to a tightly controlled schedule. (Source: Meeting Point 5)
Gerold Tagweker + Johnson
johnson.grid#2 - 2004/2007
b/w-print on dibond, behind brown colored glass; 190 x 115 cm
pennzoil - 2007
bronze and silver reflecting glass; 100 x 100 x 198 cm
bronze and silver reflecting glass; 100 x 100 x 198 cm
http://www.geroldtagwerker.comhttp://www.geroldtagwerker.com
Charlotte Moth + Chemetov
Charlotte Moth
Proximity - Proposition at Lavomatic, St Ouen, France, 2011
Model of Patinoire, St Ouen, Architect Paul Chemetov, 1975: bolsor wood, foam sheet
66cms width x 76cms length x 37cms height
unique
The English artist Charlotte Moth has decided to
make a model out of a very interesting and popular building in
Saint-Ouen, a covered ice-skating ring.
From the sixties on, the famous architect Paul Chemetov conceived and build many social and public buildings, among them this famous ice-skating ring, in 1975. This multifunctional building in the center of the suburbian town of Saint-Ouen, as much as beeing a leisure place, serves as a shelter, as much as a commercial center and a parking.
From the sixties on, the famous architect Paul Chemetov conceived and build many social and public buildings, among them this famous ice-skating ring, in 1975. This multifunctional building in the center of the suburbian town of Saint-Ouen, as much as beeing a leisure place, serves as a shelter, as much as a commercial center and a parking.
Strongly apparented to science-fiction novelist
Ballard and the aesthetic of Blade Runner, the building has is
fascinating for it’s structural method and anticipated many furtive
architecte of our time. The anachronism the building transmit has
therefore struck the imagination of the artist Charlotte Moth.
I discovered the Patinoire of St Ouen because I lived here between 2007 - 2010. I was always struck by this building, as it is so different to many of the other buildings that I have lived near, and seen on a daily basis. For Lavomatic, which is also the studio space of Seamus Farrell, I wanted to develop a work that related the physical proximity of the Patinoire to Lavomatic, (the Patinoire is situated at the end of the main road from which Rue Claude Monet stems).
Following a visit with Cécile Bourne-Farrell in June of this year, to the architectural office of Paul Chemetov who designed the Patinoire in 1975. I became more and more interested in the model of the Patinoire that I discovered through a series of photographs. The original model of the building was not to be found.
I decided that I would like to re-contstruct the model to the best of my abilities through looking at exsisting images of it. My model in this sense functions as a three dimensional drawing, a sculpture. Displayed in the window space of Lavomatic the sculpture will be simply lit.
Charlotte Moth and Cécile Bourne-Farrell would like to thank Monsieur Paul Chemetov and Agnès Chemetoff, Peter Fillingham, Rachel Daniels, Seamus Farrell, Mohssin Harraki, Ricardo Nicolau, (Fondation Serralves, Porto), Caroline Coll, Directrice du service culturel and les archives de Saint-Ouen.
I discovered the Patinoire of St Ouen because I lived here between 2007 - 2010. I was always struck by this building, as it is so different to many of the other buildings that I have lived near, and seen on a daily basis. For Lavomatic, which is also the studio space of Seamus Farrell, I wanted to develop a work that related the physical proximity of the Patinoire to Lavomatic, (the Patinoire is situated at the end of the main road from which Rue Claude Monet stems).
Following a visit with Cécile Bourne-Farrell in June of this year, to the architectural office of Paul Chemetov who designed the Patinoire in 1975. I became more and more interested in the model of the Patinoire that I discovered through a series of photographs. The original model of the building was not to be found.
I decided that I would like to re-contstruct the model to the best of my abilities through looking at exsisting images of it. My model in this sense functions as a three dimensional drawing, a sculpture. Displayed in the window space of Lavomatic the sculpture will be simply lit.
Charlotte Moth and Cécile Bourne-Farrell would like to thank Monsieur Paul Chemetov and Agnès Chemetoff, Peter Fillingham, Rachel Daniels, Seamus Farrell, Mohssin Harraki, Ricardo Nicolau, (Fondation Serralves, Porto), Caroline Coll, Directrice du service culturel and les archives de Saint-Ouen.
Louidgi Beltrame + Niemeyer + Le Corbusier
Louidgi Beltrame, Brasilia / Chandigarh, 2008, 27 minutes, courtesy Jousse Entreprise.)
http://www.jousse-entreprise.com/louidgi-beltrame
Mario Garcia Torres 'No sé si esa sea la causa / Je ne sais si c’en est la cause'
Mario Garcia Torres 'No sé si esa sea la causa / Je ne sais si c’en est la cause'
Described as a story of “deceptions and disappointments,” Mario García Torres' audio-visual installation describes the context in which The Grapetree Hotel was built in the 60s, on the island of St. Croix. It was at this hotel that the young French artist Daniel Buren produced a group of murals. Buren struggled to make these works and expressed his distaste for them, but later acknowledged their importance as his first in-situ works, a characteristic of his highly influential Conceptual Art practice. García Torres' project explores the inherent fictions, politics and creativity of history.
Mark Manders + Wright
Tuesday, 5 June 2012
Istvan Csákány + Breuer
Marcel BREUER MEMORIAL-ROOM
Winner of BREUER IN PÉCS / BACK and FORTH - public art competition in memory of Marcel Breuer
2010, public art project (has not been realized)
The Marcel Breuer Memorial-Room is the winner of a public art competition by the city of Pécs - the European Capital of Culture in 2010 - in memory of Marcel Breuer. Breuer was born in the city of Pécs, but emigrated at a young age, lived, worked and rose to fame as a "self-made man" at the Bauhaus school and later on in the USA. The Memorial-Room manifests the lack of Breuer's presence in Hungary. It also questions whether a city or a country is entitled to grace themselves with and hog credit for a man's fame, whose life and work is more or less independent from his birthplace and erect a memorial for them. The memorial room is the 1:1 concrete replica of a container, that might as well have been imported from across the Atlantic (just like Breuer's fame). It is designed as a compact, independent and self-sufficient module with solar panels and a sewage tank. The concrete (a material favoured by Breuer) is in case of the Memorial-Room a light-transmitting concrete, a contemporary invention by a young Hungarian engineer. The solar panels mounted on top of the container make the light-transmitting concrete module glow "from the inside" when it gets dark – a strong contrast to the usual Hungarian memorials of figural national heroes illuminated by floodlights pointing at them.
http://www.csakanyistvan.hu/
Saturday, 26 May 2012
Armando Andrade Tudela + Niemeyer
Espace Niemeyer (Filmstill), 2007
16 mm film, transferred to DVD, 10 minutes
Rossella Biscotti + Cosenza
The work consists of three performances realized in the city of Napoli and surroundings.
The first one is set in Pozzuoli, in the area of an industrial plant designed in the 1950s by the Neapolitan architect Luigi Cosenza on behalf of the idealist entrepreneur Adriano Olivetti (1901-1960). Olivetti project was founded on the desire to ensure workers’ ideal living and working conditions. His social idea was put in place starting from the factory as a working unit, but with the intention to implement it in each part of the living condition.
In my first performance a man runs across the ground of the industrial plant that is now occupied by various companies. The performance embodies a feeling of failure of the utopian project, but at the same time expresses an individual action that breaks the rules within a compound and raises questions.
http://www.rossellabiscotti.com/ctr/site/project.php?id=40
Thursday, 10 May 2012
Saturday, 17 March 2012
Nina Fischer and Maroan el Sani + Libera
Impero dei Segni
HD, colour, stereo, 2:50 min.
"In "Impero dei segni", we worked with a group of citizens of Rome, and developed in a kind of action-training an intervention at the Palazzo dei Congressi, the former symbol of imperial Rome, build by Libera for Mussolini in 1942. We confronted the participants with the fascist EUR architecture to stage a non verbal interaction with the architectual language of the building. The intervention results in a manifesto, to get involved in the process of re-claiming and re-shaping one's own city and environment"
http://www.fischerelsani.net
Thomas Florschuetz + Le Corbusier
o.T. (Ronchamp) 01, 2005
C-Print, Diasec
183 x 151 cm
o.T. (Ronchamp) 03, 2005
C-Print, Diasec
183 x 151 c
o.T. (Ronchamp) 02, 2005
C-Print, Diasec
183 x 151 cm
Andrea Pichl “ausschießlich oder”
wieder
2012
plywood, variable dimensions
2012
plywood, variable dimensions
2009
graphite on laid paper, 33 x 33 cm / 13 x 13 in
2012
sheetrock, 200 x 60 cm / 79 x 24 in
@ Krome Gallery, Berlin
Ascan Pinckernelle + Müller
Leverkusenstraße, 2009
90,5 x 160,3 cm (Laubenganghaus Heinrich Müller 1930/31 Hamburg-Bahrenfeld)
@ Galerie Gisela Capitain
Langlands and Bell, "Ivrea"
Ivrea
1991, Wood, glass, lacquer, 160 x 500 x 18cm
Ivrea is the name of the town near Turin in northern Italy where Olivetti based it's operations and provided for the needs of it's work force and their families, from 1907 until the close of it's operations at the end of the C20th.
Saturday, 10 March 2012
Thomas Struth + Addor
"Le Lignon (horizontal) Genf", 1989 © Thomas Struth; courtesy private collection Düsseldorf.
Candida Höfer + Lubetkin
"Zoologischer Garten London III 1992", 1992 © Candida Höfer, Köln VBK, Wien 2011; courtesy of the artist.
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