Friday, 23 July 2010

Daniel González + Le Corbusier


Cabaret Voltaire is pleased to present Disco Le Corbusier, a site specific project by Daniel González for the opening of Rizoma space in Bologna, during Arte Fiera 2010.

After the surprising discovery of sketches and drawings by renowned architect Le Corbusier in the cellars of Unité d’Habitation in Marseille, Argentinean artist Daniel González opens a new road into the typological research on this eminent Swiss architect.

The contents of these unearthed drawings show Le Corbusier’s startling and visionary intuition; a project that makes him the forerunner of the modern disco.

Like an archeologist of Le Corbusier’s memory, Daniel González creates the archetype of an architectural fable as a place to live magical experiences. For the opening of Rizoma space in the historical centre of Bologna, the artist creates works in Mylar and audio-rhythmical lights that blend architecture with the social needs of the average man, pushing the boundaries of Modernism to a territory of thoughts, emotions and lightness.

Daniel González (born in Argentina, 1963) lives and works in Berlin. "I mold reality to create magic. I transform it using its own rules, changing the world one sequin at a time." Daniel Gonzalez’s sequin banner-paintings and unique wearable pieces are presented in high-impact performances. They create delirious, sexy and energetic worlds: spaces of freedom where the existing conventions collapse. Daniel González had his first Italian solo show at Viafarini in 2006 and in 2008 he was invited to create a workshop-performance for Manifesta 7. Since 2007, he has worked with Italian artist Anna Galtarossa on public projects. They jointly presented "Chili Moon Town Tour" - a floating, traveling city, which opened on Lago Mayor of Bosque de Chapultepec in Mexico City – and "Homeless Rocket With Chandeliers" at Lambrate (Milan), a crane-installation in use in a building site for two years.

Cabaret Voltaire is a collaboration between Fabrizio Savigni and Marco Morandini. Cabaret Voltaire organizes and promotes art events on spaces that are coherent with his philosophy of experimentation and research on contemporary.

Rizoma is a multitasking space created by city-lab and ciclostile architecture office. It’s a container able to develop researches and projects about sustainable architectures, design and art. Rizoma has multiple points of entry, without well-defined exit and without internal hierarchies.
Rizoma is looking for new territories.

Thursday, 22 July 2010

Tomoko Yoneda + Le Corbusier

Between Visible and Invisible
Le Corbusier's Glasses Viewing l'Habitation Moderne
2003, Gelatin Silver Print, 75 cm x 75 cm

Sherrie Levine + Le Corbusier

Salubra #2, 2009
Acrylic on mahogany
14 parts
Each panel: 69 x 61 cm
Courtesy of Jablonka Galerie, Berlin

These paintings were inspired by one of a series of colour sequences for painted wallpaper designed by the legendary modernist architect Le Corbusier, for the Swiss wallpaper company Salubra in 1931. Levine directly adopted Le Corbusier’s Salubra sequence number 2, as well as the pale blue background against which he set it. The original is in a display case nearby. Levine's panels were painted by a conservator. She sees no need for a direct connection between the artist and the work of art, and simply felt that the conservator would do a better job.

Alison Moffett + Le Corbusier

domino house, le corbusier
graphite and ink on paper, 23 x 21cm 2008

Alison Moffett + Pei

post-war housing, I.m. pei
graphite and ink on paper, 23 x 21cm 2008

Alison Moffett + Gropius

gropius house, walter gropius
graphite and ink on paper, 23 x 21cm 2008

Alison Moffett + Blake

pinwheel house, peter blake
graphite and ink on paper, 23 x 21cm 2008

Mladen Bizumic + Le Corbusier + Mies van der Rohe

Two for One—Le Corbusier #8 2007—2008 collage on paper
From the series "Le Corbusier vs Mies van der Rohe," 2007—2008

Mladen Bizunic , Fiji Biennale Pavilions

Fiji Biennale Pavilions, 2003

Fiji Biennale Pavilions is an exhibition that proposes an imagined, fantastical relationship between the South Pacific's Fiji Islands and contemporary art. It presents a formal proposal for an international contemporary art biennale to be held in Fiji, a destination associated with holiday resorts, not high art. It questions the meaning of the cultural translation - as a biennale and a discussion about it.

'Within' the proposed Fiji Biennale Pavilions are exhibited A4-size written proposals from artists Björn Dahlem, Sam Durant, Claus Fötinger, Emil Goh, David Hatcher, Ani O'Neill, Meena Park, Peter Robinson, and Kathy Temin. This Biennale is to be housed in the pavilions that are reconstructions of famous exposition pavilions - those temporary structures that have a significant portion of the 20th century architecture. The pavilions take the form of nine 1:150 scale Plexiglass models, installed on a display table. They are selected from range of the national pavilions such as Le Corbusier and Pierre Jeanneret's L'Esprit Nouveau from the Exposition of Decorative Arts, Paris 1925; Marcel Breuer's Gane's Pavilion , Royal Show, Bristol 1936; and Oscar Niemeyer and Lucio Costa's Brazilian Pavilion , New York World's Fair 1939.

The final element of the exhibition is a sixteen panel map of Fiji islands. The map impresses the geography of Fiji on the viewer. Rather than a singular super-resort Fiji is revealed as an atomised archipelago.

Danny Rolph + Le Corbusier

2008, Mixed Media on Triplewall, 100 x 100 cm

Gordon Cheung + Le Corbusier

Living Machine
Stock listings, Ink, acrylic gel and spray on sail cloth
59.5 x 85 inches / 153 x 218cm / 2009

Wednesday, 21 July 2010

Daniel Sinsel + Le Corbusier

Butzenbrille, 2007, cement fondu with metal and fibreglass, blown glass.
On display within "The Concrete Show", Galleria Fanco Noero, Torino.

Mader Stublic Wiermann + Bo Bardi

Folded space, Torre Pompéia, 2008.

Thursday, 8 July 2010

Felipe Dulzaides + Porro, Garatti, Gottardi

Utopía Posible

Artist Felipe Dulzaides' installation explores the history of the unfinished National Art Schools in Havana, which were commissioned by Fidel Castro and Che Guevara in 1961 and designed by Ricardo Porro, Vittorio Garatti, and Roberto Gottardi. Together, the schools were conceived as an art center that would symbolize and give form to the socialist ideals ushered in by the Cuban Revolution, but construction was abruptly halted in 1965, leaving many buildings incomplete and relegating them to obscurity.

Now, the schools are widely acknowledged to be masterpieces of 20th-century architecture. In 1999, their future took a turn when the Cuban government decided to restore and complete the schools' unfinished buildings. The centerpiece of Utopía Posible focuses on Roberto Gottardi and his quest to finish the School of Dramatic Arts, a process that has taken more than 40 years and led him to develop four different schemes.

The exhibition also features two new video pieces: Next Time It Rains, about Garatti's School of Ballet, which was 90 percent complete in 1965 but never occupied and left to be overgrown by jungle; and Broken Glass, about Porro's School of Dance, the first building of the complex to be completed during initial construction. The School of Dance was modeled after the shape of a broken piece of glass, a metaphor for an emotional explosion and the sense of fragility that characterized the revolution in its earliest stages. Together, these works contribute another dimension to this unique story of intense creativity, experimental architecture, and politics. Felipe Dulzaides (Cuba, 1965) is a visual artist whose work spans photography, installation, performance, video, and public art. Dulzaides' work has been exhibited at the San Francisco Museum of Modern Art, Kunstraum Kreuzberg/Bethanien (Berlin), Redcat (Los Angeles), and Yerba Buena Center for the Arts (San Francisco), among other venues. He is the recipient of prestigious awards including, the Cintas Fellowship 2001, the Creative Work Fund 2004 - 2005 and the 2010 Rome Prize. Dulzaides studied drama at the Instituto Superior de Arte and holds a Master of Fine Arts in New Genres from San Francisco Art Institute. Utopía Posible was selected by Okwui Enwezor for the 7th Gwangju Biennale (2008) and featured in the 10th Havana Biennial (2009). The Graham Foundation presentation is the first in the United States, and features new work.

Thursday, 1 July 2010

James Casebere + Horta

Spiral Staircase, 2003, c-print mounted to Plexi, 60 x 48 inches & 90 x 72 inches

Heidi Specker + Behrens

PETER BEHRENS 4, 5 2000, C-Prints, 24 x 18 cm

PETER BEHRENS 1, 2 2000, C-Prints, 24 x 18 cm

Heidi Specker + Mies van der Rohe

LANDHAUS LEMKE Objekt 2 + 3 2008, Handoffset, 60 x 40 cm

LANDHAUS LEMKE Raum 2 + 3 2008, Handoffset, 60 x 45 cm

LANDHAUS LEMKE Struktur 1 2008, Handoffset, 60 x 45 cm