Tuesday, 3 April 2018

Domènec + Sert and Torres Clavé and Subirana

Conversation Piece: Casa Bloc


Wooden model and three Formica chairs. Wood table, glass, digital print.

A production of ADN, as part of the solo exhibition “Dom Kommuna. Domestic Architectural Manuals for Coexistence”. ADN Platform, Sant Cugat, Barcelona.

Dom Kommuna. Domestic Architectural Manuals for Coexistence.
Domènec has worked repeatedly on the architectural paradigms of Modernity. He offers a critical view on the symbolic constructions of Alvar Aalto, Mies van der Rohe or le Corbusier, with the aim of identifying architecture as the “political unconscious” of modernity. As Walter Benjamin grasped, the architects’ projects constituted the best embodiment of the powerless Modernity’s dream to accomplish emancipatory and welfare promises.

Social housing is the place where the contradictions between ideological programs and political realities are most reflected.

Domènec’s proposal for ADN platform gathers a collection of works that revolve around this topic. The central piece is a new production on Casa Bloc, a workers’ housing complex constructed between 1933 and 1939 in Sant Andreu, Barcelona. Two other related pieces complete the display: Domestic (2000), about Le Corbusier’s Unité d’Habitation, and Conversation Piece: Narkomfin (2013).

The proposal studies these three fundamental common housing projects, as well as their political contexts and their dystopian drifts.


Friday, 30 March 2018

Thursday, 29 March 2018

Simon Boudvin + Mies van der Rohe

HEM (Seagram Building - NY), 2008,
profilé en H du poteau du Seagram Building de New York réalisé avec une matière composite,
moyenne des matériaux constituant l’immeuble, (béton, acier, bronze, plâtre, bois, travertin, verre),
vue de l’exposition Faire et défaire, c’est toujours travailler, commissariat de Matthieu Clainchard, Galerie West, Den Haag, 2008.

Vue de l'exposition Chantier, commissariat de Mathieu Mercier, à la galerie Jean Brolly, Paris, 2010.
au mur : Ananias LÉKI LAGO, « Shebeen », Alan CHARLTON, « 4 different grey ».


Isaac Julien + Bo Bardi

Lina Bo Bardi’s Footsteps (Stones Against Diamonds), 2015
Endura Ultra photograph, diptych
180 × 480cm
Edition of 6 + 1 A/P

Bo Bardi’s Cave (Stones Against Diamonds), 2015
Duratrans in lightbox
123 × 303 × 5cm
Edition of 4 + 1 A/P

Wednesday, 14 March 2018

Ala Younis + Le Corbusier

Ala Younis, Plan for Feminist Greater Baghdad exhibition installation view, 2018. Photo Tim Bowditch. Courtesy Delfina Foundation and Art Jameel


Tuesday, 31 October 2017

David Helbich + SANAA


Jimmy Robert + Johnson

Jimmy Robert, Imitation of Lives, 2017. Rehearsal view, Glass House, 2017. NIC Kay and Quenton Stuckey.

The work of Guadeloupe-born, Bucharest-based artist Jimmy Robert spans photography, film, video, sculpture, and performance, but collage is its mainstay. For his latest piece, titled Imitation of Lives, 2017, and staged at Philip Johnson’s Glass House in New Canaan, Connecticut, Robert mines the architect’s infamous life and historical influence to create an exquisite montage interspersed with divergent references and foreign objects, including music, mirrors, bits of poetry, and a marble trompe-l’oeil painting by Lucy McKenzie, among other things. The work is co-curated by Cole Akers and Charles Aubin as part of Performa 17 and will take place November 3–5, 2017.


Angela Ferreira + Mies van der Rohe and Guedes

Zip Zap Circus School (2000-2017) takes as its material two “unrealized” architectural projects: Pancho Guedes’ Zip Zap Circus School in Cape Town (1994) and Mies van der Rohe’s 1912 model for a portable at the Kröller Museum in Amsterdam. The bookends of early- and post-modernist architecture are combined into one work that documents, celebrates, and also critiques the notion of architecture as social reform (Zip Zap Circus School was designed to create educational opportunity and vocations for Cape Town youth). Implicit in the combination of references and the structure itself is portability, a concept I will come back to. But as with others of Ferreira’s architectural installations, their provisional status contains a conceptual slippage from “unfinished” into the weightier “unrealized”: prototypes stand in for historical contingency and the failures of modernism.