Sunday, 19 October 2014
Installation view, Bernd Behr, Amoy Gardens, 2003/07, 35mm slide projection with audio, 34 slides, dimensions variable.
Amoy Gardens consists of a 35mm slide projection depicting 34 scenarios in and around the eponymous building in Hong Kong, a large-scale development including apartment blocks above a shopping mall. The complex became an epicentre of the region’s 2003 SARS crisis through a malfunction of its ventilation and plumbing systems, leading to a perpetual circulation of the virus throughout its interior. The timed, looped projection is accompanied by an audio recording of a young citizen of Hong Kong reading extracts from Exact Air, Le Corbusier’s treatise on hermetically sealed architecture (The Radiant City, 1933). Her struggle with and re-invention of the manifesto generates a new contingent space between crisis and proposal, event and narrative.
Still from Bernd Behr, House Without a Door, 2006, 16min 32 sec, High Definition video, colour, stereo.
In 1943 the US Army commissioned architect Erich Mendelsohn and RKO Radio Pictures to design and build a replica Berlin housing estate to test incendiary bombs for the Allied war effort. Borrowing its title from the lost proto-expressionist film The House without a Door (Dir. Stellan Rye, 1914), the work approaches the surviving structure through a series of documentary and constructed set pieces. These re-enact imagined screen tests or outtakes, tracing an oblique trajectory from 1920s German expressionist films such as Fritz Lang’s Dr. Mabuse (1922) and F.W. Murnau’s Faust (1926) via the film noir of 1940s émigré Hollywood to a contemporary housing development in a place called ‘Faust’ near the Utah test site. The film features a commissioned soundtrack by Marcus Fjellström reflecting the anachronistic timeline of the film.
Still from Bernd Behr, Weimar Villa (Unreconstructed), 2010, 9min 28sec, High Definition video, colour, stereo.
Chronicling part of a New Town development in China designed by Albert Speer Jr., Weimar Villa (Unreconstructed) ponders the 'ruin value' of white concrete housing shells set amidst mounds of dug-up earth that make up the new Bauhaus-themed gated community of 'Weimar Villa'. Inhabiting a perpetual moment in the cycle of construction and excavation, the video leaves the development to drift between an incomplete destination and an uncertain origin.
Supported by Arts Council England and Bloomberg Space
Formica, wood, latex paint
Exhibition view: Boredom Won’t Starve as Long as I Feed it, Museum Haus Esters, Krefeld, 2009
Steel, concrete, enamel spray paint
225 x 250 x 160 cm
Exhibition view: Boredom Won’t Starve as Long as I Feed it, Museum Haus Esters, Krefeld, 2009
Sunday, 31 August 2014
Installation at the Neutra VDL Studio and Residences, Los Angeles
Supported by a Graham Foundation Individual Grant
July 13 - September 7, 2013
Inverting Neutra is an installation by Bryony Roberts at Richard and Dion Neutra’s VDL Studio and Residences in Los Angeles that offers spatial inversion as a strategy for activating historic architecture. The VDL House is known for its close interlocking of interior and exterior space, in which void spaces penetrate the house from the street up to the roof terrace. The project inverts the spatial logic of the building by filling the void spaces with hanging blue cords, manifesting a latent spatial figure that weaves through the house. This inversion both celebrates and subverts the existing architecture, offering an alternative to the static preservation of modernism and a strategy for creating responsive form
Link to Video
Domus, Wallpaper Magazine
Neutra VDL House project page, Graham Foundation project page
Copyright Jaime Kowal Photography
Tuesday, 3 June 2014
Photo © Richard Barnes, 2014.
On view May 1 - November 30, 2014
Coinciding with the 65th anniversary of the Glass House and its 2014 tour season, the Glass House presents Fujiko Nakaya: Veil, the first site-specific artist project to engage the iconic Glass House itself, designed by Philip Johnson and completed in 1949.
Nakaya, a Japanese artist who has produced fog sculptures and environments internationally, will wrap the Glass House in a veil of dense mist that comes and goes. For approximately 10 to 15 minutes each hour, the Glass House will appear to vanish, only to return as the fog dissipates. Inside the structure, the sense of being outdoors will be temporarily suspended during the misty spells.
Veil will stage a potent dialogue with the Glass House, producing an opaque atmosphere to meet the building’s extreme transparency and temporal effects that complement its timelessness. According to Glass House Director Henry Urbach, “Johnson’s interest in the balance of opposites is evident throughout the Glass House campus. With Nakaya’s temporary installation, we carry this sensibility to its endpoint while allowing the unique magic of the Glass House — the dream of transparency, an architecture that vanishes — to return again and again as the fog rises and falls.”
The Glass House, situated on a promontory overlooking a valley, is subject to changing wind patterns, as well as variable temperature and humidity, that will continually influence the interchange between Veil and the building it shrouds. Fresh water, pumped at high pressure through 600 nozzles, will produce an immersive environment that reveals these dynamic conditions. According to Nakaya, “Fog responds constantly to its own surroundings, revealing and concealing the features of the environment. Fog makes visible things become invisible and invisible things — like wind — become visible.” The drama of Nakaya’s work rests in the continuous interplay between what is visible and what is not. Known coordinates vanish, only to be replaced by a miasma, rich in changing phenomenological effects, that evoke a sense of mystery, foreboding, and wonder.
This installation is part of a greater initiative to transform the Glass House campus into a center for contemporary art and ideas, in particular those that foster new interpretations of the historic site’s meanings. The exhibition will be accompanied by public programs at the Glass House and in New York City, soon to be announced.
Organized by Henry Urbach, Director and Chief Curator, and Irene Shum Allen, Curator and Collections Manager, Fujiko Nakaya: Veil is generously supported by National Endowment for the Arts, Robert Rauschenberg Foundation, The Japan Foundation, and Oldcastle BuildingEnvelope®. Additional support is provided by Mee Industries, Inc.
Sunday, 1 June 2014
Carpet: wool and banana, 400 x 300 cm
View of the exhibition “Perspectives”, Espace culturel Louis Vuitton, Paris
© Camille Henrot
Courtesy the artist and kamel mennour, Paris
This work is a carpet with patterns of Navajo appearance, containing the silhouettes of iconic monuments of modernist and contemporary architecture (Villa Savoye, Empire State Building, tours Petronas, Grande Arche de La Défense). The carpet, for Le Corbusier, is the most elementary form of architecture - the basis of nomadic settlement and a primordial form of mobile architecture.
Tuesday, 29 April 2014
Common Front / Frente Común, 2013
Polished stainless steel, notebooks with inserts of inkjet prints on paper from: "Latin American Architecture - since 1945", catalogue of the first exhibition of modern architecture in Latin America, curated by Henry-Russel Hitchcock, MoMA 1955.
Pages: 14-15, 42, 46-47, 76-77, 91, 104, 112-113, 124-125, 178-179, 182-183, 196-197;
Photos: Armando Salas Portugal, Mexico D.F; Rollie MacKenna, New York; Hugo Brehme, Mexico, D.F; C.U. Molina, Mexico, D.F; Guillermo Zamora, Mexico D.F. Elizabeth Timberman, Mexico, D.F; Foto Industrial, Bogotá; Perez Palacios Salinas.
Monochromes, after Joseph Albers color studies.
118 x 467,5 x 31 cm
Photographs: Miguel Ângelo Guerreiro
(Not) Reading Modern Latin American Architecture, 2013
Polished stainless steal and Books: "Modern Architects", first architectural exhibition curated by Henry-Russel Hitchcock and Philip Johnson, MoMA, 1932: Facsimile edition published for Lisbon Architecture Triennal, Babel, 2011; and "Latin American Architecture - since 1945", catalogue of the first exhibition of modern architecture in Latin America, curated by Henry-Russel Hitchcock, MoMA 1955
4,5 x 47,3 x 30,6 cm
Dust cover, 2013
Acrylic and dust cover from Book: "Latin American Architecture - since 1945", MoMA, 1955
21,5 x 24,5 x 27 c
After Barragán, House For Luis Barragán, Mexico, D.F, 2013
Acrylic and notebook with insert of inkjet print on paper from "Latin American Architecture - since 1945", MoMA 1955.
Page 184, photo by Armando Salas Portugal, Mexico, D.F.
250 x 30 x 42,5 c
Edition 3/5 + 1 A.P.
C-print from faded 1954 Kodachrome attributed to Paolo Gasparini, wall label with narrative text
Framed C-print: 120 x 120 cm. Installation dimensions variable
Friday, 17 January 2014
PAROLE ROSETTEExtremely confident in her mastery of style and taking obvious delight in her citations, in PAROLE ROSETTE, Katrina Daschner uses the performance by a well-rehearsed group of queer couples to stage a controlled game around/about social conventions and (sexual) self-determination, interwoven into an architecturally sublime setting (the Carlo Mollino´s Teatro Regio in Turin). This piece demonstrates, once more, her intricate knowledge--inspired by a combination of fine arts, photography and theater--of style, codes, staging and image conventions as well as of the elements that constitute "classical beauty." Here, she subverts her own so tantalizing abundance of images by cross-cutting them with detailed close-ups and performative interventions, by a storyline that is nearly militaristic in style, and a subtle, yet clear and queer diversity of the individual actors and actions.
AT / 2012
AT / 2012
Time and again, Katrina Daschner conceives of the stage or exhibition context as sexualized fields of play or performance where processes of desire and power as well as visual regimes are enacted and negotiated. Her films are performative spaces of experience. By connecting theatrical spaces and acts with cinematic elements, she deliberately works with variations of a seemingly familiar mise-en-scène, into which she inscribes subtexts using citations, stylistic set pieces and codes, thereby sounding out the possibilities of the media chosen and cunningly transgressing the limits of its conventions.
Translation: Erika Doucette
Posted by Fabrizio Gallanti at 15:37
Tuesday, 15 October 2013
2013, HD video
40 minutes, color/sound
Proof (Christie's 19 October, 2013)
2013, Ink jet print, lucite
25.5 x 18.5 in. / 65.8 x 47 cm.
A film work of cinematic scale, Provenance traces in reverse the global trade in furniture from the Indian city of Chandigarh. Conceived in the 1950s by architects Le Corbusier and Pierre Jeanneret, Chandigarh’s controversial modernist architecture includes original pieces of furniture—tables, chairs, settees, desks—created specifically for the building’s interiors. Recently these pieces have appeared at auction houses around the world, commanding record prices. Starting with the Chandigarh furniture in the present, the film begins in New York apartments, London townhouses, Belgian villas and Paris salons of avid collectors. From there, it moves backwards to the furniture’s sale at auction, preview exhibitions, and photography for auction catalogues, to restoration, cargo shipping containers, and Indian ports — ending finally in Chandigarh, a city in a state of entropy.
Juxtaposing contemplative tracking shots, precise framing, and recurrent tableaux the film enacts a subtly discursive cinematic space, peeling back time to make visible the furniture’s movement around the globe. This accumulative montage exposes the circuits of ownership and history that influence the furniture's fluctuating value.
Posted by Fabrizio Gallanti at 23:28