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XXIII

Sat, 22 Dec 2012 16:28:11 -0500

Jens Reinert

Zimmer mit Schrank (room with closet)

2002

Wood, lighting.
85 x 40 x 48 cm

XXII

Sat, 22 Dec 2012 16:17:00 -0500

Takahiro Iwasaki
Out of Disorder
(complex)
2008
45 x 112 x 162 cm

XXI

Thu, 28 Jun 2012 08:54:35 -0400

BABAK GOLKAR

Negotiating the Space for Possible Coexistences Series, 2010,

Persian carpet, wood, polystyrene, plexiglas, glass, paint,

95 x 155 x 116 cm

This series uses the pattern of nomadic Persian carpets as a partial blue print for a sculptural study. In each work the carpet’s pattern is raised to different heights using painted wood. The result is an installation that recalls high-rises built on the carpet’s nomadic foundation.

XX

Tue, 19 Jun 2012 09:41:50 -0400

Thomas Schütte. Love everything.

XIX

Mon, 11 Jun 2012 12:05:05 -0400

Kazimir Malevich

Architekton

1923

Plaster

85.3 x 56 x 52.5 cm.

XVIII

Mon, 11 Jun 2012 11:54:00 -0400

Ben Nicholson

circa 1936 (sculpture)

1936

Painted wood

228 x 305 x 241 mm

Collection

Tate

Acquisition

Purchased 1985

XVII

Fri, 08 Jun 2012 16:30:16 -0400

Joseph Beuys

Model for a felt environment

1964

Mixed media

Dimensionsdisplayed: 1840 x 1680 x 840 mm object (vitrine): 1840 x 1680 x 840 mm object (felt object): 630 x 700 x 220 mm

XVI

Fri, 25 May 2012 05:21:49 -0400

Diana Al-Hadid

All the Stops [2009]

XV

Thu, 24 May 2012 16:07:08 -0400

Ted Lott

XIV

Sat, 12 May 2012 07:32:05 -0400

Mona Hatoum

Bunker [2011]

XIII

Mon, 07 May 2012 14:02:28 -0400

Tom Sachs

XII

Sun, 06 May 2012 10:25:10 -0400

Nathan Coley

Details

Stained wood and mixed media
130cm x 160cm x 160cm

Photo Credit

G.ten

Installation

Commissioned as part of the exhibition ‘Fabrication’ at the Cube Gallery, Manchester

In The City

Natalie Rudd

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

XI

Fri, 04 May 2012 08:34:00 -0400

Anne & Patrick Poirier

Dream City [2002]

IX

Wed, 25 Apr 2012 17:25:13 -0400

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.

VIII

Wed, 25 Apr 2012 17:20:07 -0400

Lang Baumann

Technique:

wood, lacquer

dimensions:

310 height x 2.50 diameter

courtesy:

Galerie Loevenbruck Paris

VII

Thu, 19 Apr 2012 18:32:00 -0400

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

VI

Thu, 19 Apr 2012 16:49:06 -0400

Georges Perec- Species of Spaces

V

Tue, 10 Apr 2012 08:53:45 -0400

Wesley Meuris

Cage for a Pigmy Hippo [2007]

420 x 600 x 1500 cm

wood tiles glass paint and lighting

IV

Mon, 09 Apr 2012 19:09:19 -0400

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.

III

Sun, 08 Apr 2012 17:15:00 -0400

Renato Nicolodi

Omnes Eodem Cogimur (latin: we are all driven to the same end)

2010

Concrete, Noir de Mazy limestone & wood

62 x 55 x 144cm