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Nathan Coley’s work develops out of an intense scrutiny of a specific building or situation. During the past year he has made a number of sculptures based on buildings which have dramatically changed in function or which embody a violent clash of interests – respectable homes to squat, garage to drug den. Dollhouse in scale, these subversive objects playfully defy categorisation. Are they sculptures or architectural models? Are they monuments to architectural developments or memorials to loss – symbols of reversed fortunes? I Don’t Have Another Land is the newest work in this vein, continuing Coley’s interest in oppositional change within the context of Manchester. The work is based on the old Marks & Spencer’s building destroyed as a result of the IRA bomb damage. In researching and re-presenting this lost building, Coley gives new consideration to a structure erased from urban memory by the rush of new plans. To reinforce the significance of the building, this scaled down version sports a blackened sheen and is accompanied by a phrase taken from an anonymous folk song. The result is a tense and mischievously evasive object, one that invites us to interpret its function, but ultimately dodges a single analysis.

From the exhibition catalogue ‘Fabrications’, Cube Gallery, Manchester 2002

May 6, 20121 note

#art #architecture #Manchester

Anne & Patrick Poirier

Dream City [2002]

May 4, 2012

#art #Architecture

Dan Graham

Pavilions at Lisson Gallery

Press Release

Lisson Gallery is pleased to announce a show of new pavilions and pavilion models by Dan Graham. One of the world’s most influential conceptual artists, Graham has been investigating the relationship between architectural environments and those who inhabit them since the late 1960s. His very personal and intuitive exploration of architectural space and perception has come to be defined by his pavilions.

Blurring the line between art and architecture, Graham’s pavilions comprise steel, mirror and glass structures that create diverse optical effects. Created as hybrids, they operate as quasi-functional spaces and art installations. Studies of space and light, they are situated in public spaces and are activated by the presence of the viewer.

Rigorously conceptual, uniquely beautiful and avowedly public, the pavilions exhibit a deliberate disorientation and playfulness that Graham encourages. After looking at office buildings in the 1980s he began using the same two-way mirror glass used in their construction to create the pavilions. A material that is both transparent and reflective it enabled Graham to deconstruct the surveillance aspect of the material, creating light-hearted situations out of potentially sinister ones; using humour to subvert corporate culture.

Viewers are involved in the voyeuristic act of seeing oneself reflected, while at the same time watching others. Whilst giving people a sense of themselves in space it can also result in loss of self as the viewer is momentarily unable to determine the difference between the physical reality and the reflection. The architecture of the pavilions results in a shift in perceptions; outside to the inside, focus and dissolution, the virtual and the real.

On the occasion of this exhibition, Lisson Gallery has published a catalogue of Dan Graham’s not yet realised pavilion drawings with an essay by Brian Hatton.

Apr 25, 2012

#art #Architecture #london #lisson gallery #dan graham

VIII

Lang Baumann

Technique:

wood, lacquer

dimensions:

310 height x 2.50 diameter

courtesy:

Galerie Loevenbruck Paris

Apr 25, 2012

#art #Architecture

VII

Hans Op De Beeck

A House by the Sea[2010]

(balsawood, mdf, plywood, styrofoam, polystyrene, paint, glue paste, furniture, light)

320 x 190 cm, 220 cm height

“The sculptural piece ‘A house by the sea’ was inspired by the isolated, detached family house as a cinematic archetype. In various film genres, the detached house plays the main character. It is the common thread through different story lines, the scene of a family drama or the silent witness of an ending family dynasty. The artist’s sculpted house mixes conventional, traditional architectural styles with early modernism, suggesting it could have been built in the 1920’s, somewhere in Western Europe. Examples of detached family houses both in European and American cinema, such as the now classic, threatening house in Alfred Hitchcock’s Psycho, or the almost surreal wooden house in The Sacrifice by Andrej Tarkovsky, at the end of the film in flames, also come to mind. Behind every facade of a house lies the story of one or several generations of inhabitants. The house is the setting of happiness, peace and banalities, but also of tragedy, turmoil and traumatic events”

literal example of the “fictional” within the architectural model/maquette as artwork

Apr 19, 2012

#Art #Architecture #cinematic #film

Georges Perec- Species of Spaces

Apr 19, 2012

Wesley Meuris

Cage for a Pigmy Hippo [2007]

420 x 600 x 1500 cm

wood tiles glass paint and lighting

Apr 10, 2012

#art #architecture

Pablo Valbuena

Augmented Sculpture Series

These series of works started in 2007 at Medialab-Prado. They are focused on the temporary quality of space.

Approaching sculpture as volume in continuous transformation rather than a static mass, these works bring cinematic qualities to three-dimensional sculpture-screens.

For this purpose two layers are overlapped. On the one hand the physical layer, which controls the real space and shapes the volumetric base that serves as support for the second level, a virtual projected layer that allows to control transformation and sequentiality.

Apr 9, 2012

#Art #Architecture

III