This project was first developed during a residency at La Ene, in Buenos Aires.
It consists on a video installation showing a fragment of a Soviet musical movie, Cheryomushki (1963), where two young couples sing and dance in front and around an imaginary housing project. The video is shown inverted on a vintage TV which is placed on top of a mirror platform on the floor.
The starting point of the installation is a plan developed by Le Corbusier for Buenos Aires throughout the 30’s, and especially an idea that haunted him since his first glance of Buenos Aires in 1929: To move the business center from the old city to the middle of the river. This “cité des affaires” with rational, clean, magnificent structures build upon a concrete platform was a space where the city would open “in full light, in full freedom, in full joy” and where you could see the “arrival of the transatlantic liners and airplanes” . It was the arrival of a European modernity to a city and a continent with the possibility to build a new world, planed and rational. When the plan for Buenos Aires was developed and finally published in the 1940’s modernity had to be built from scratch. An economically flourishing Latin America could be the right place to start doing so.
Wednesday, 18 May 2016
Heidrun Holzfeind + Mies van der Rohe
Colonnade Park / Mies in Newark, revisited
series of 11 images, C-prints, 40x60 cm, 2010
The series of photographs shows exterior and interior views as well as the surroundings of the Colonnade and Pavilion Apartment buildings in Newark, New Jersey, which were designed by Mies van der Rohe in the late 1950ies.
The construction of the luxurious three modern glass and steel towers for middle class families and professionals and the Columbus Homes, eight high rise brick buildings for low-income families, was part of Newark‘s Urban Renewal Plan. The soon infamous Columbus Homes (like most other high rise public housing projects in Newark) were blasted in the 1990ies and a few years later replaced by Wyona Lipman Gardens, townhouses for yet again low-income families. Mies's apartment buildings, never landmarked, are now among the few high rise apartment buildings in the city.
The discoloring and staining of the images which occured accidentally during the slide processing, most likely due to bad chemicals adds to the question of timeliness of the design and concept of the architecture.
In conjunction with the video Colonnade Park, Holzfeind produced photographs documenting the site. During the photo-development process, the lab's error became Holzfeind's boon; the prints were delivered streaked and speckled with purplish-blue (sometimes pink) chemical solution. In the resulting images, a whimsical layer is superimposed between the negative (Holzfeind's composition) and that which it indexes (a corridor, a view from the window, a cathedral in the distance). Between the Colonnade and Pavilion Apartments and these photographs, the spills and splotches displace both the Mies buildings and their 2010 imaging into a hazy third temporality. (Niko Vicario)
http://www.heidrunholzfeind.com/mies.html
Heidrun Holzfeind + Schwadron
Strictly Private, 2012
The group of works focuses on the Viennese architect Ernst Schwadron (Vienna 1896 - New York 1979). He was the eldest son of the cofounder of "Brüder Schwadron", a well-known Jewish ceramics and tile company. The company's offices and showroom used to be BAWAG Contemporary's exhibition spaces in 2012. (An original tiled ceiling remains until today). Five floors above the gallery rooms, in the same building on Franz Josefs Kai 3, used to be Ernst Schwadron's own penthouse apartment.
Ernst Schwadron worked as an architect and interior designer in the late 1920's and 1930's in Vienna, mostly for a wealthy Jewish clientele. In 1938 he fled the Nazis and emigrated to New York where he ran his own design business, Ernst Schwadron Inc., on Madison Avenue for 30 years. In the late 1940's he built a house for himselfand his second wife in upstate New York which he called "Dream Lake." He died in New York in 1979 at the age of 82, pretty much forgotten in the architectural world.
The works interweave different places and points in time between 1930 and today, fathom the boundaries between history and identity, personal fate and today’s political narratives, reality and fiction. The interior of the gallery becomes a container for various photographs and artifacts that quote interiors of Schwadron.
Interiors are the focus of this new work, which picks up the trail of the Austrian architect Ernst Schwadron who was forced to emigrate to the United States in 1938. Presenting photographs of various interiors of homes he designed in Vienna and New York, Holzfeind documents a history full of gaps and question marks and, casting a glance at Schwadron’s personal taste and significant traits, sketches a social portrait of one of the forgotten protagonists of Viennese modernism. (Christine Kintisch)
http://www.heidrunholzfeind.com/schwadron.html
Heidrun Holzfeind + Schindler
configurations (headstand / tree pose / L shaped handstand / hero pose / plow pose / bow pose / cobra pose / squat / handstand)
series of 9 C-prints, 20x30 cm, 2014
In "configurations", a series of self-portraits in yoga poses, Holzfeind inscribes her body into the interior architecture of the Mackey Apartments in Los Angeles. Built in 1939 by Rudolph Schindler for Pearl Mackey as rental units, they now house the artist residents of the MAK-Schindler residency program by the MAK Center Los Angeles.
In homage to artist Valie Export's series "Körperkonfigurationen" (Body Configurations), Holzfeind uses the body as a kind of measuring device to consider the relationship between the user and architectural space. A humorous response to the pressure to be productive during an artist residency in a modernist apartment which is also regularly shown to architectural tourists; the apartment becomes the studio, the daily routine is extended into a meditation on the Californian body culture and Schindler's spacial concepts.
http://www.heidrunholzfeind.com/photo.html
Tuesday, 17 May 2016
Heidrun Holzfeind at the Vienna Werkbundsiedlung
forms in relation to life / the Vienna Werkbundsiedlung
HD Video, 60 min, 2014
http://www.heidrunholzfeind.com/forms.html
HD Video, 60 min, 2014
http://www.heidrunholzfeind.com/forms.html
In his text Harmony in the art of building published in the exhibition catalog Die Internationale Werkbundsiedlung Wien 1932
Oskar Strnad speaks of “the harmony between nature and geometric forms
which have become meaning.” Referencing this and other ideals of
involved architects, the film looks at how the ideas of the model houses
are “lived“ today, 80 years after their completion.
32 Austrian and international architects, among them Josef Hoffmann, Adolf Loos, Oswald Haerdtl, André Lurçat, Richard Neutra, Ernst Plischke, Gerrit Rietveld, Oskar Strnad and Margarethe Schütte-Lihotzky were invited by Josef Frank to build one and two family homes with gardens for this model housing estate in Vienna‘s 13th district. The aim was to create comfortable and cost-efficient housing within minimal space, as an alternative to the superblock structures the city built at the time. After the exhibition, only a few of the houses were sold. The majority of the houses was eventually rented through the “Wiener Wohnen” (affordable housing) program by the city of Vienna.
This basic idea: to maximize the utilization of minimal resources ... to create space for real life. (Walter Sobotka)
I tried to capture the search for this “real life“ in images, visiting residents in their houses and gardens over the period of one year. The inhabitants recount personal stories and anecdotes, and reflect on the social fabric within the estate.
32 Austrian and international architects, among them Josef Hoffmann, Adolf Loos, Oswald Haerdtl, André Lurçat, Richard Neutra, Ernst Plischke, Gerrit Rietveld, Oskar Strnad and Margarethe Schütte-Lihotzky were invited by Josef Frank to build one and two family homes with gardens for this model housing estate in Vienna‘s 13th district. The aim was to create comfortable and cost-efficient housing within minimal space, as an alternative to the superblock structures the city built at the time. After the exhibition, only a few of the houses were sold. The majority of the houses was eventually rented through the “Wiener Wohnen” (affordable housing) program by the city of Vienna.
This basic idea: to maximize the utilization of minimal resources ... to create space for real life. (Walter Sobotka)
I tried to capture the search for this “real life“ in images, visiting residents in their houses and gardens over the period of one year. The inhabitants recount personal stories and anecdotes, and reflect on the social fabric within the estate.
The film looks at what ideas were
fulfilled and which ones failed, how the residents have adapted the
houses to their own needs, how they deal with the minimal living space,
the restrictions imposed by landmark regulations or the frequent
tourist visits. A loose collection of the various characters, stories
and lifes taking place in the estate.
People will live there and have
visitors, small friendships and big enmities will please and hurt. The
exhibition will turn into a residential estate, once and until the
connection between house and happiness, of home and experience happens.
Once not only the kids brought in by the new owners but the newborns
will cry there, once the dead are taken away. Once people will live
there.
(Johannes Ilg: Die Werkbund-Siedlung, in: Wiener Allgemeine Zeitung, July 29, 1932, page 6).
with: Elisabeth Gaisser, Angelika Grasmuck, Raimund Heinz, Margot & Anatol Hruby, Ivana, Fabian & Vanessa Jäger, Susanne Kompast, Elfriede Mislik, Helga Mislik, Brigitte Perner, Walter Raschbach
kids: Pablo Brudermann, Maja Dertschei, Kuba Holzfeind, Lino, Luca & Vita Horak, Ferun & Miex Mayer, Rosali Michalka, Miles Mungin
concept/camera/editing: Heidrun Holzfeind; additional camera (costume parade): Ruth Kaaserer
with: Elisabeth Gaisser, Angelika Grasmuck, Raimund Heinz, Margot & Anatol Hruby, Ivana, Fabian & Vanessa Jäger, Susanne Kompast, Elfriede Mislik, Helga Mislik, Brigitte Perner, Walter Raschbach
kids: Pablo Brudermann, Maja Dertschei, Kuba Holzfeind, Lino, Luca & Vita Horak, Ferun & Miex Mayer, Rosali Michalka, Miles Mungin
concept/camera/editing: Heidrun Holzfeind; additional camera (costume parade): Ruth Kaaserer
Aurélien Froment + Soleri
Aurélien Froment
De l'Ombre des idées (21-11), 2014
Framed archival inkjet print on baryta paper
82 x 65,8 x 3 cm
ed 3 + 2
Tom Burr + Le Corbusier
Tom Burr, “The Storage Project,” 1993 Installation view, Unite D’Habitation Le Corbusier, Firminy, France, 1993
Erika Hock + Loos
Erika Hock “The Seamstress, Her Mistress, the Mason and the Thief” installation views at Tenderpixel, London, 2014.
Courtesy: Tenderpixel, London. Photo: Original&theCopy.
http://www.tenderpixel.com/Djabbari-Hock
Erika Hock’s practice is characterized by the fluid crossover in between sculptural and architectural elements, as well as a recent extended interest in tapestries and furniture that investigate meeting points between history, society and culture. Invested in discussions surrounding functionality and aesthetics, interior design and the perception of the body to the built environment, formed specifically for this exhibition Hock has centered her research upon the anecdotes surrounding Adolf Loos’s design for Josephine Baker’s house. Josephine Baker’s body as well as the building designed for her has become the subject of various studies, particularly in terms of understanding them as a surface for projecting modernist ideas at the convergence of art and architecture; theatricality and voyeurism. Hock’s playful panels of black and white felt reimagine the architectural body to the detail of the peeping widows as eyes, while evoke a playful theme of jazz. Treating the subject more generously, much like Sonia Delaunay’s and other early 20th century avant-garde artists’ textiles, they don’t describe a scene, a space or a character, but become it. Existing in between sculpture, wall based work and architecture, the tapestries explore the body’s relation to objects’ shape, form and scale through active presence and participation in the space.
Amie Siegel + Le Corbusier
Amie Siegel, Double Negative (detail), 2015. Two synchronized 16mm film projections, black & white / silent. Courtesy the artist and Simon Preston Gallery, New York.
http://www.villastuck.de/ausstellungen/2016/ricochet_10/index.htm
The Museum Villa Stuck is pleased to present Amie Siegel: Double Negative, the first large-scale exhibition of American artist Amie Siegel, establishing correspondences between seven of the artist’s works spanning a decade (2005–15) and including a newly commissioned film installation that gives the exhibition its title.
Known for her layered, meticulously constructed works that trace and perform the undercurrents of systems of value, image-making and methods of observation, Siegel’s work moves between film, video, photography, performance and installation. The artist’s particular attention to the past, and the unfolding of time, provides the starting point for the exhibition’s structure: a series of “ritornellos,” reflexive passages of repetition and difference—Siegel, to quote Deleuze, “makes, remakes and unmakes” her works “along a moving horizon from an always decentred centre, from an always displaced periphery which repeats and differentiates them.”
The new commission Double Negative (2015) proposes ruptures between original and remake, artefact and copy, collection and preservation. Two 16mm films simultaneously project images of Le Corbusier’s iconic white Villa Savoye outside Paris, and its doppelgänger, a black copy located in Canberra, Australia. Each film has been printed on 16mm stock as a negative image, or polarity print, thus reversing light and dark. The Antipodean black Villa Savoye is, in fact, an ethnographic institute, dedicated now to the digital duplication of its extensive collections of anthropological films, photographs, slides and sound recordings, as Siegel reveals in a high definition colour video. The work enacts the infinite loop of recorded artefacts—the urgency to document and record “vanishing” rituals and cultural practices becomes instead the contemporary archival impulse to copy vanishing media formats to digital. These concatenated elements extend the artist’s engagement with architecture as a foil, enacting and revealing across constellation-like works, layered sociological and aesthetic concerns.
Shezad Dawood + Le Corbusier
Cities of the Future
September 24 - October 20, 2010
http://www.gallerychemould.com/exhibitions/shezad-show-2010/
After partition Nehru invited Le Corbusier to design the Chandigarh Parliament.While one can look at this as the intervention of European Modernism in India, if one looks at the bigger picture there is an obvious thread of mystic geometry originating in the Indian Subcontinent that could be said to pervade and inform European Modernism.
Thus, hermetic forms such as the spiral and atomic structures, developed in tantra, can be said to play a major part in the evolution and thinking of the early Modernists, influenced as they were by theosophy and Rosiecrucianism.
These systems of thought in turn were heavily influenced by early Indian philosophy and played their part in the independence movement in India.
It is this full circle of ideas and forms that this exhibition looks to explore.
Using a combination of pieces on vintage textile and neon wall sculptures, the works in the show map out a trajectory between formal abstraction, architecture and sacred geometry.
Through looking at a circulation of forms between Le Corbusier's designs for Chandigarh, tantric symbols- and the utopian narratives that could be said to both contain and be contained by them- what the show points to are alternative currents towards a mystical mapping of the city of the future.
R.B. Kitaj + Le Corbusier
R.B. Kitaj, The Red Banquet, 1960
Oil on canvas, 122 × 122 cm
© R.B. Kitaj Estate/Walker Art Gallery, National Museums Liverpool
This surreal painting was inspired by the historic dinner in London to which the American consul invited a dozen of exiled revolutionaries in 1854. Kitaj puts the wild men - the anarchists Michail Bakunin (1814-1876) and Alexander Herzen (1812-1870) - into an elegant and modern architectural setting.
The painting "The Red Banquet" is exemplary of the artist's way of thinking and working. Kitaj combined motifs from different sources in such an unconnected and unexpected manner that the painting seems to be composed of mental leaps. Kitaj became familiar with this principle from the work of the surrealists, the American poets Ezra Pound (1885-1972) and T. S. Eliot (1888-1965), and Walter Benjamin, who he had discovered early on as a great "fragmentist."
While studying in Oxford in the 1960s, he first encountered the iconography of the Warburg Institute in London through Professor Edgar Wind. The icons hearken back to Aby Warburg (1866-1929), who published a remarkable inventory of pictures in his "Mnemosyne Atlas". Warburg's thesis that magic and logic share a common origin coincided well with Kitaj's thinking.
"The Red Banquet" is one of the first London pictures in which Kitaj inserted handwritten commentary as a collage form. In the commentary, Kitaj quotes from a publication on the historical banquet and explains the composition of the painting as well as the different sources of the collaged pictures:
"In February 1854, Mr. Saunders, the American Consul, gave a banquet to a dozen of the principal foreign refugees in London. Among the guests were Alexander Herzen, Garibaldi, Mazzini, Orsini, Kossuth, Ledru-Rollin, Worcell, and other refugee leaders. The party was completed by the American Ambassador James Buchanan, a future President of the United States.
Herzen is apostrophised on the left in this picture with the image of Michael Bakunin planted in his midsection.... (Bakunin was not present but arrived in London late in 1861.)
This 'Red Banquet' is described by E. H. Carr in his book The Romantic Exiles (Penguin, 1949). The scene has been set in a house based on a photo of Le Corbusier's house at Garches, near St. Cloud, 1927-28."
Friday, 4 March 2016
Terence Gower + Sert
This Mexico City exhibition is the second presentation of the full installation of Baghdad Case Study, originally commissioned by and conceived for Haus der Kulturen der Welt in Berlin. The installation uses the US embassy complex in Baghdad, designed by Jose Luis Sert and completed in 1960, as a platform to investigate the diplomatic devolution between the US and Iraq. As pointed out by Adam Kleinman in his Art Agenda article, the project has a particular meaning to Mexico, itself the target of past US interventions. The installation was modified slightly, all documentation now presented on a single table, plus the addition of a number of ink studies for Baghdad Screen, as well a new political chronology of twentieth century Iraq.
Documentation: Installation views, drawing details (ink on velum with collage)
Baghdad Case Study
(LABOR) Terence Gower, 2014 Cedar-veneer plywood, steel, paper, acrylic, digital prints, drawings on velum 6 x 18 metres overall
http://www.terencegower.com/baghdad-case-study-labor/
Exhibited at LABOR, Mexico City
Press Release: Baghdad Case Study
Link: Terence Gower’s Baghdad Case Study in Art Agenda
Related Project: Baghdad Screen
Sunday, 6 September 2015
Lucy McKenzie + Loos
"Loos House", 2013
Installation view, ‘Lucy McKenzie: Something They Have to Live With’, Stedelijk Museum, Amsterdam, 2013. Photograph: Gert Jan van Rooij. Courtesy the artist; Galerie Buchholz, Cologne/ Berlin; Cabinet, London; and Galerie Micheline Szwajcer, Antwerp
Nadia Kaabi-Linke + Le Corbusier
Modulor I
Installation made of brass // part of In confinement my desolate mind desires, Art | Basel Hong Kong 2014
The modulor is an anthropocentric scale invented by the Swiss born French architect and designer Le Corbusier. Its metric system is based on human measurements, Fibonacci numbers and the golden ratio. Le Corbusier himself described it as a “range of harmonious measurements to suit the human scale, universally applicable to architecture and to mechanical things.” The “harmonious measurements” were the overall height of 7.4 ft that should correspond to an adult with raised arms. The church of St. Marie de la Tourette was designed according to the modulor scale and equipped with 100 cells for monks with a height of 7.4 ft and a room width of 6 ft.
The only problem with human measurements is that there is not one global average scale. Even Le Corbusier had to realize that his initial French modulor of 5.7 ft needed to be adapted to 6 ft, because “in English detective novels, the good-looking men, such as policemen, are always six feet tall!” Thus, it was a fictional man who inspired the harmonious scale.
I got interested in the question how tall the people in the world really are. By this reason my attention was drawn to prison cells. These cells are highly rationalized spaces where no inch is wasted. I started a research and found out that the average prison cell in Germany should have a ground floor of 80 square foot, whereas the average cell in Russia has 27 square foot. Although Russia is a much larger country than Germany the people in Russia seem to be so much smaller. I got interested in getting more and more data from prison cells in different countries all over the world to compare the size of human beings. The work “Modulor” is a reconstruction of these data in order to create a visual grid that could be considered an empirical base for the global average human ratio.
Ângela Ferreira + Siza
Ângela Ferreira 'Revolutionary Traces', installation view at Stroom Den Haag, 2014
photo: Hein van Liempd, courtesy Stroom Den Haag
http://www.stroom.nl/activiteiten/tentoonstelling.php?t_id=4294200
Thursday, 30 April 2015
Asmund Havsteen-Mikkelsen + Grüntuch
Saturating Space
2014
186x140cm
Oil on canvas
Grüntuch Ernst Architects
Distanz
Dialogues
Simplicity and Innovative Ingenuity in Today’s Building
Editors: Ilka and Andreas Ruby
What is space? How can we experience it with the senses,
how understand and rethink its urban and cultural dimensions? These
questions stand at the beginning of the work of Grüntuch Ernst
architects. They meet the complex requirements of building today by
going back to traditional simplicity while producing innovative and
ingenious technical solutions—and yet they return, time and again, to
the central question of space. The new monograph offers a review of
Grüntuch Ernst’s award-winning projects from the past ten years as well
as more recent works and successful competition entries such as the
German School in Madrid and the conversion of the former Jewish Girls’
School in Berlin into a venue for art and culture. Instead of
traditional project descriptions, the book contains personal
conversations in which the two architects reflect on the motivations
that drive their projects and trace their evolution.
An exceptional approach to the architecture of the office appears in pictures created by the painter Asmund Havsteen-Mikkelsen and the photographer Heji Shin, who have used the means of their art to engage with Grüntuch Ernst’s designs.
http://www.gruentuchernst.de
http://shop.gestalten.com/gruentuch-ernst-english.html
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