Andro Wekua, Pink Wave Hunter, 2011
Installation view with Pink Wave Hunter Series, 2010/2011 and Sunset Painting, 2005/2011. Courtesy: the artist and Gladstone Gallery, New York/Brussels. Photo: Nils Klinger
Saturday, 9 April 2011
Andro Wekua, Pink Wave Hunter
Andro Wekua, Pink Wave Hunter, 2011
Installation view with Pink Wave Hunter Series, 2010/2011 and Sunset Painting, 2005/2011. Courtesy: the artist and Gladstone Gallery, New York/Brussels. Photo: Nils Klinger
Monday, 28 March 2011
Sunday, 27 February 2011
Tilman Wendland + Hansen / Le Corbusier / Niemeyer
Untitled, 2006
Cardboard, masonite, magazine copy,
varible dimensions
Courtesy of the artist & European Art Projects
Photos: Krzysztof Zieliński / European Art Projects
Tilman Wendland (*1969, lives in Berlin) creates from basic, light materials such as paper, cardboard and PVC ephemeral structures, which are integrated in existent architectural situations. They provide comments, criticisms or also caricatures. Normally, his works, which are seldom intended to last, are rendered completely in white. In spite of the strict reduction of colour and form they reveal themselves through a playful-ironic treatment of the subject.
For Ideal City - Invisible Cities Wendland developed a room installation, which enquired into the architectural and city planning shapes and elements of Le Corbusier, Oskar Hansen and Oscar Niemeyer. The ideal city concepts of the architects were condensed by Wendland into space-penetrating white cardboard shelves, sublime and also perishable
via Invisible Cities
Valeska Soares + Niemeyer
Titled Tonight (2002), the video was first installed in the very dance hall where the sequences had been filmed. The soundtrack is a remixed version of Burt Bacharach’s song The Look of Love (1967), altered by Belo Horizonte sound artists O Grivo. A first version of Folly has been shown at the 51st Venice Biennial in 2005.
Anthony Auerbach + Johnson
Saturday, 26 February 2011
Lucy Williams + Mies van der Rohe
Jim Isermann + Le Corbusier
Project Unité Firminy
1993
papier peint sérigraphié, linoléum coupé, coussins de mousse
dimensions variables
via Jim Isermann
AKassen + Mansilla / Tuñón
Window glass from the facade of the museum is installed in three sets of joined automatic slidingdoors. The piece functions as a kinetic sculpture activated by the movements of the audience and itself.
via AKassen
Christian Anderson + Mies van der Rohe
http://www.christianandersson.net/shows/from-lucy-with-love
Tuesday, 22 February 2011
Fiona Tan + SANAA
Cloud Island I, Project for the Venice Architecture Biennale, 2010
2 channel HD installationcolour, stereo
2 HD-cam safety masters, 2 HD projectors, 2 harddisc players, 2 stereo amplifiers, 4 stereo speakers, 1 double-sided white projection screen 2.0 x 1.12 m
Filmed on location on Inujima and Teshima, Japan
Commissioned by the Naoshima Fukutake Art Museum Foundation
Funded by Naoshima Fukutake Art Museum Foundation and Wako Works of Art, Tokyo
via Fiona Tan
Ed Ruscha + Armet & Davis
Ed Ruscha + Pereira
Los Angeles County Museum on Fire, 1968, oil on canvas 53 1/2 H x 133 1/2 W (inches)
Monday, 21 February 2011
Pierre Bismuth + Le Corbusier
Complexe des villas / Bâtiment Le Corbusier (élévation)
2010
Ink on polyacetate
28.35 x 20.47 inches
Pièce unique
Pierre BISMUTH performs the impossible synthesis between the two faces of Le Corbusier: from the villas blanches to housing projects, with a sense of humor and economy of means that are his trademark. He superposes, in a small scale model, section views and computer generated images (Complexes des villas / Bâtiment Le Corbusier, 2006-2010), several Villas Savoye, to create a building that the Swiss architect might not have rejected – let alone the destiny of neglected social housing and the carcass of torched cars in front.
2010
Ink on polyacetate
28.35 x 20.47 inches
Pièce unique
Pierre BISMUTH performs the impossible synthesis between the two faces of Le Corbusier: from the villas blanches to housing projects, with a sense of humor and economy of means that are his trademark. He superposes, in a small scale model, section views and computer generated images (Complexes des villas / Bâtiment Le Corbusier, 2006-2010), several Villas Savoye, to create a building that the Swiss architect might not have rejected – let alone the destiny of neglected social housing and the carcass of torched cars in front.
via Bugada Cargnel.
Xing Danwen + Holl
2004 - present
photography with digital manipulation
My interest for urban subject has been complated in my mind for years but the particular idea of this work was forged some time in 2004 while I traveled extensively in Europe. After being in so many cities in the world, I realized that globalization has made urban landscapes everywhere similar and blurred the boundaries between them. So often, "here" can be anywhere. With this work, I have brought my vision and perspective to these urban spaces.
The architectural structures that I photographed are all maquettes made to promote real-estate developments that are being planned in China today. Some of the buildings already exist, and others will soon begin construction. When you face these models showing such a variety of different spaces and think about the life-styles associated with them, you start to wonder: is this the picture of life today? Do we really live in this kind of space and environment?
Globalization is reshaping our urban environment and our vision of contemporary life - which celebrates the “new” constantly replacing the “old.” As personal living spaces expand with the growth of income, the cityscape becomes more dense, filled up with modern buildings and high-rise towers. People live in cubes that are squeezed next to one another, separated only by thin walls. This physical proximity, instead of leading to greater closeness and intimacy between people, can often create psychological distance and loneliness.
The sculptural form of these new residential buildings, the floor plan of the apartments, and the various interior designs are all related to the inhabitants and their “individual” taste and needs. The models of these new living spaces are perfect, clean and beautiful but they are also so empty and detached of human drama. When you take these models and begin to add real life - even a single drop of it - so much changes.
This entire body of work of "Urban Fiction" is playful and fictitious - wandering between reality and fantasy. All the figures in this series are acts of me, playing different characters. This creates another paradox: “I” am real but at the same time “I” am unreal. The figures act out totally imaginative roles and fanciful stories, staged within the maquettes, their plots invented by me and visualized for these spaces. For example, “I” am a white-collar office worker brought to despair by job pressures and spiritual emptiness. Sometimes “I” am a materialistic woman enjoying a life of pleasure and dissipation. Or “I” am a young girl who, in a moment of unrestrained rage, accidentally killed her lover. Together, the resulting pictures compose an episodes, serialized narrative structure for "Urban Fiction". As a whole, these images represent the state of urban life today.
In the period of my childhood in China, skyscrapers were unattainable concepts connected to the West, viewable only in films or magazines. Today I live in the pictures I make and I, along with my compatriots, can imagine our future by bending down to examine tiny models of buildings. This, perhaps, is another reality of the "fantasies" which govern our contemporary life.
The photographs are shot both digitally and on film and manipulated, creating many layers, utilizing computer program tools.
The medium is photographic C - print.
Large size: DIASEC (back-mounting on dibond, face-mounting with Plexi-glas, rectangle brace behind)
Small size: back-mounting on dibond and with frame around.
There are 2 sizes:
Large size: the height is fixed at 170cm, the width varies from 210-270 cm; Edition of 5.
Small Size: the height is fixed at 80cm, the width varies from 100-150 cm; Edition of 8.
via Xing Danwen
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