Wednesday, 20 September 2017

Marianne Mueller + Johnston Marklee

HOUSE IS A HOUSE IS A HOUSE IS A HOUSE IS A HOUSE is a book about the architecture and collaborations of Johnston Marklee Architects, based in Los Angeles. Conceived as an extended cover, the series of double pages by Marianne Mueller includes works of Johnston Marklee combined with architectural sights of the city and its surroundings. The series reflects historical influences and personal interests of the architects and the artist.

Monday, 11 September 2017

Candida Höfer + Herzog & de Meuron

Elbphilharmonie Hamburg Herzog & de Meuron Hamburg - 2016.

Friday, 8 September 2017

Walead Beshty + Le Corbusier

Still Life in the Observatory (Perspective / Composition Study after Le Corbusier, villa Savoye at Poissy, toit-jardin looking southwest, "gray hat, sunglasses and two indeterminate objects," 1931)

Santiago Cucullu + Wright

Love and Menace in the City, 2006, installation view Camden Arts Centre; courtesy of the artist and Perry Rubenstein Gallery.
Photo: Andy Keate

Yves Bélorgey + Brown

Alexandra Road, London NW8, 2006.

Olivier Dollinger + Le Corbusier

Space Off, 2002/2015
Impression sur papier transfert encadré 17x23 cm, bande sonore, 8mn, en boucle.

La bande sonore de « Space Off » à été réalisé à la Villa Savoye du Corbusier à Poissy pour l’exposition « Les heures Claires » en 2002. Cette bande sonore résulte d’enregistrements réalisés durant une nuit passée à la villa pour laquelle j’ai invité un médium à tenter de rentrer en contact avec les esprits ayant habité la maison et que ceux-ci lui décrivent les lieux dans lesquels ils se trouvaient à ce moment-là. Les différents moments de la séance de spiritisme ouvrent un contrepoint à l’architecture du Corbusier, propose d’explorer le versant irrationnel de son architecture ou sa part d’ombre. L’image qui accompagne la bande sonore est une photographie anonyme, glané au cours de mes recherches, présentant la Villa Savoye durant sa construction, en chantier.

Stéphanie Nava + Le Corbusier

L'hypothèse d'une certaine interprétation, 2001

Produced for the exhibition Utopies in Marseille, "L’hypothèse d’une certaine interprétation" refers to the Cité Radieuse, the Unité d’Habitation which Le Corbusier designed in 1945. As both a piece of furniture and a maquette, this piece portrays the building as it was constructed: the vases are arranged in the place of the modules (sports facilities, children’s playground, chimneys…) installed on the roof terrace. The “drawer” executes the primary idea of constructing the building as a bottle rack in which the housing modules are fitted. The work nevertheless goes beyond scaled-down reproduction by, for example, questioning the decorative development of a utopian architectural gesture, with the following question in the background: how, over time, do the aesthetic and the utilitarian, the utopian and the functional fit together? Over and above architectural “criticism”, this piece, in particular through the idea of the drawer, echoes the issue of the secret, which is recurrently developed in the artist’s work. Conversely, this piece can just as well be presented as a piece of furniture asserting its housing function: equipped with receptacles waiting to be filled (the vases), containing “portions of existence” within its drawers and shelves, the work forms an object crystallizing several ways of living in the world, both physically and mentally.

Thursday, 7 September 2017

Tercerunquinto "Gráfica reportes de condición"

Clarissa Tossin + Costa and Niemeyer

Study for a Landscape, Sicardi Gallery installation view
May 16 – June 29, 2013

In his 1984 book The Practice of Everyday Life, French philosopher and historian Michel de Certeau describes the relationships between a city and its inhabitants. The city, he writes, is generated and developed by corporations, institutions, and governments. And yet, despite its construction, the city is always in the process of being remade by the people who move through it. Describing the shortcuts
pedestrians take, de Certeau writes, “Their intertwined paths give their shape to spaces. They weave places together… It is true that the operations of walking on can be traced on city maps in such a way as to transcribe their paths (here well-trodden, there very faint) and their trajectories (going this way and not that). But these thick or thin curves only refer, like words, to the absence of what has passed by. Surveys of routes miss what was: the act itself of passing by.”1

In the exhibition Study for a Landscape, Clarissa Tossin takes that action of passing by, the physical inhabitation of a place during a limited span of time, as her subject. The series Brasília by Foot (2009-2013, above) includes a Google Earth satellite image of the city, showing the footpaths made by pedestrians across the iconic green space. Using the image as a kind of map, Tossin retraced certain of these paths. Her notations from this journey indicate the length of each walk, but in a purely subjective measurement: she counts the number of steps she takes across each pre-existing pathway and creates prints which indicate her walks, and are titled by the number of steps she takes: 2,943, 1,505, 485, 1,876, and 8,463. Through this gesture, Tossin draws the body into a dialogue with the practice of mapping—of the measured articulation of a place.

Brasília is an especially rich site for Tossin’s work. Designed from the ground up by architect Oscar Niemeyer and urban planner Lucio Costa, the city was built on a previously empty plateau as a beacon of modernist design for the automobile era. Here in her hometown, Tossin brings that modernist experiment in contact with the imperfections and particularities of the body. What does it mean to walk through a city that was designed with the automobile, rather than the pedestrian, in mind? Tossin prints these images on heavy vellum, using ink specially made from Brasília’s soil. With this material gesture, Tossin makes evident the indexical nature of the work. The maps made with soil places the artist, locating her action within its specific context, and reiterating the organic, happenstance nature of the footpaths carved into the city’s green space.

In Study for a Landscape (Brasília) and Study for a Landscape (Mars) (both 2012), Tossin takes satellite images of the two places and folds them into origami patterns. She folds Brasília into the shape of a car; Mars becomes the backdrop for a folded rocket. The resulting thin, white lines marking the images suggest urban plans poetically aligned with the machinery of human transportation. As in Brasília by Foot, Tossin makes visible the physical gesture of folding: these works similarly index the actions of the body as it bears upon the landscape. Here Tossin suggests that landscape is both a construct of the human imagination and a result of human actions.

Ladrão de Tênis (Sneaker Thief) (2009) indicates the important place of physical presence in Tossin’s work while it also highlights the themes of movement and walking that mark the exhibition as a whole. These plaster casts, made from the interior of used sneakers, capture the materiality of the shoes and their unique differences. The work’s title references a recent upsurge of violent crimes associated with sneaker theft in Brazil, and Tossin links these thefts to the increasing exploitation of desire for consumer goods in the country’s growing capitalist economy. She writes, “The mash-up of brands and bodies exposes the logic of the construction of the self in consumer culture.”

Throughout her body of work, Tossin makes multi-process projects. The objects shown in Study for a Landscape are evidence of an experience, even as they also exist as photographs, as documents, and as installation. They are multi-faceted in the ways they explore the frictions between landscape, the body, and urban space, and they bear complex and rewarding relationships to art historical and architectural precedents, such as land art, urban design, and conceptual practice. These objects are markers of the artist’s presence in a place and of her touch. Even if, as de Certeau argues, a city is built by corporations, governments, and institutions, Tossin’s approach to the landscape of Brasília re-makes and re-envisions that place. She invites the viewer to consider how one’s specific experiences in a place make it new, make it different.

1 Michel de Certeau, The Practice of Everyday Life (Berkeley: University of California Press, 1984): 97.

Beto Shwafaty "The Life of the Centers"

Inkjet print on cotton paper mounted on dibond/aluminum. Installation with 35 to 42 images (approx.), 35 x 42 cm (each), total measure: 9 meters linear. 2011-2013

The Life of the Centers is a photographic project that explores three regions of São Paulo, considered as core areas for different reasons and at different periods: the historic center, Avenida Paulista and Avenida Berrini. Guided by testimonies and reports of people who have spent much of their working lives in these areas, and researching iconographic material into several archives, the project brings together observations on the historical cycles and flows of progress that occurred in these places of the city over a period of almost 40 years. Facts and memories are combined with archival footage and accounts of real characters, resulting in a docu -fictional work. From these meetings, resulted narratives and interpretations of urban, architectural and political changes that touch not only on personal issues, but also of social and public nature. First developed in a book format (supported by the State Program of São Paulo Cultural Action – PROAC / SP , 2011 ), this is the first formalization of the project in its exhibition format (photographic wall installation).

Exhibited at:
Love and Hate to Lygia Clark. Zacheta National Gallery, Warsaw, 2013.
Art and Heritage, Paço Imperial/IPHAN, Rio de Janeiro, 2014 (acquisition)
Taipa Tapume, Leme gallery, São Paulo, 2014.

Shwafaty, Beto. The Life of the Centers, Olhares publishing house, São Paulo, 2013 / ISBN 978-85-62114-22-9.

Lays Myrrha + Niemeyer

Renata Lucas + Niemeyer

Barulho de Fundo

Surveillance cameras of the Sao Paulo Bienal's building. 
With the collaboration of Dionís Escorsa and Daniel Steegmann Mangrané.

Shown at:

2006 Bienal de Sao Paulo. Brazil

Eduardo Abaroa + Ramírez Vázquez

From the series Notes on the Total Destruction of the National Museum of Anthropology (2012-)

Monday, 31 July 2017

Alex Slade + Gehry

Pilar Quinteros + Plečnik

The famous slovene architect Jože Plečnik, who also was in charge of redesign today’s “Three Bridges” in Ljubljana, Slovenia, proposed in 1947 a design for a new Slovenian Parliament in Ljubljana during the second Yugoslavia. However, his design was rejected because of financial, logistic (it would have been necessary to demolish a lot of medieval buildings) and style matters. That is why another contest was released, this time with an open call, to find a final design and the winning project it’s today Slovenian Parliament. Despite of this, Plečnik’s design was recorded in many slovenian minds and today can be seen in 10 cent coin of Slovenia, even if the project never was developed.

My project consisted in reconstruct a model of Plečnik’s design in light materials (such as cardboard) and covered in water proof materials. The model was installed on a raft across the Ljubljana River. This way it wasn’t just the first time the building had a volumetric presence in the city, but it also “visited” different places without the possibility of been in one place for long, because there is no room for it in the urban design of the city. This project it’s about a building with no space to be that will move aimlessly across the waters of Ljubljana.

Renée Green + Schindler

“Begin Again, Begin Again”, 2015

Yuki Kimura "Katsura"

KATSURA” (2012), installation view at “Ocean of images: New Photography 2015″, Museum of Modern Art, New York, 2015-16 © the artist / Digital Image © 2015 The Museum of Modern Art, New York / Photographed by Thomas Griesel

Cesar Cornejo + Wright

Leyla Cárdenas + Dondel, Aubert, Viard, Dastugue


This site-specific intervention of Leyla Cárdenas has a ghost like presence, a presence that is seen as absence—which defines the nature and experience of a trace. The drawing of a building on a white wall has been meticulously removed by the artist until the floor was covered with layers of paint.*
The building resembles an old residential house; with the blinds down and no human sight. It looks deserted, it feels lonely. The white paint on the wall seems already cracked and in a natural process of decay.. Falling apart was unavoidable, a question of time. Still there is a certain crudeness in the artist’s intervention, as if her gesture has sped up the process, allowing us to witness this deterioration in fast-forward, taking us to the inherent destiny of a ruin. It’s the painful experience of a demolition. There is also a feeling of easiness in her intervention, not only induced by the precarious state of the wall, but also by the way she treats the materiality of the wall as a fabric, a piece of paper that is scratched and scraped again. This approach is present in other artist’s works, where residuals, fragments, discarded structures are used as material for sculptures and installations, yet the new context and re-use does not completely defuse their previous history.
We know it from Rauschenberg with his “Erased de Kooning Drawing” (1953), the question of destruction oscillates between addition and substraction. The strategy of removal is as much destructive as constructive. The act of erasure of an existing entity carries the potential of a new production. In Leyla Cárdenas site-specific intervention, it’s a reversed process. The act of removal resonates more to an archeological excavation and the work appears out of a discovery of something that already exists.
Cárdenas makes an act of deliberate disclosure: the peeled wall hides no secrets: it reveals a chaotic accumulation of traces and memories. The texture of the wall is its history, a history that is soon to be concealed by a fresh layer of paint. Artistic production meets exhibition-making. Think about how the preparations for an exhibition start and end the same: painting and cleaning the walls, removing carefully the previous traces and their related references and narratives, bringing the space back to a fictional white-impeccable status quo.

Palais de Tokyo-Paris
exhibition: Artesur-Collective Fictions