“I asked architects to send me important images that show the basis of their work. Images that are in their head when they think. Images that show the origin of their architecture. In this book we find 44 individual “musées imaginaires”. The most unique architects living today each present up to ten images to explain the autobiographical roots of their oeuvre. The images are explanations, metaphors, foundations, memories and intentions. They are poetic and philosophical avowals. They reveal a personal perspective on thoughts. They show the roots of architecture and expectations concerning projects. Conscious and unconscious. The biographies are written by the architects themselves. The images are small, legible and interpretable as icons. As individual collections, they present a personal view of an individual world, while as a whole they provide a universal view of the perceptible origin of contemporary architecture.” The Images of Architects, edited by Valerio Olgiati.
With Architects David Adjaye; Manuel and Francisco Aires Mateus; Alejandro Aravena; Ben van Berkel; Mario Botta; Alberto Campo Baeza; Adam Caruso and Peter St John; David Chipperfield; Preston Scott Cohen; Hermann Czech; Roger Diener; Peter Eisenman; Sou Fujimoto; Antòn Garcìa-Abril; Go Hasegawa; Jacques Herzog and Pierre de Meuron; Steven Holl; Anne Holtrop; Junya Ishigami; Arata Isozaki; Toyo Ito; Bijoy Jain, Studio Mumbai; Momoyo Kaijima and Yoshiharu Tsukamoto, Atelier Bow-Wow; Christian Kerez; Hans Kollhoff; Winy Maas, MVRDV; Peter Märkli; Jürgen Mayer H.; Richard Meier; Glenn Murcutt; Ryue Nishizawa; Valerio Olgiati; John Pawson; Cecilia Puga; Smiljan Radic; Richard Rogers; Kazuyo Sejima; Jonathan Sergison and Stephen Bates; Miroslav Šik; Àlvaro Siza Vieira; Eduardo Souto de Moura; Robert Venturi and Denise Scott Brown; Peter Wilson, Bolles + Wilson; Peter Zumthor.
MacGuffin is a new and unusual design & crafts magazine. It features fabulous stories about the life of ordinary, often anonymously designed things. Each biannual edition takes an object and explores the manifold stories it generates. Like the MacGuffins in Hitchcock films, these things are not the main characters, but the plot devices that set the story in motion.
MacGuffin N° 1 is all about the amazing backstage stories that revolve around our beds: cookie-cut Airbnb bedrooms, customized Do-it-Yourself beds, neat nightingale nests, copulating skyscrapers, instable flowerbeds and deflated airbeds are investigated by writers, critics, designers, craftsmen and photographers like Sam Jacob, Chris Kabel, Noriko Kawakami, Arnoud Holleman, Steven Heller, Wouter Vanstiphout, Madelon Vriesendorp and Labadie/Van Tour.
© BBella Bas & Robin Lopvet for Cosmos Arles Books
Offprint London, May 22-25, Tate Modern (Turbine Hall), London
Multiple Art Days #1, May 22-24, Maison Rouge, Paris
MISS READ 2015, June 26-28, Akademie der Künste, Berlin
Cosmos Arles Books, July 6-11, Rencontres d’Arles, Arles
Exercises in seating is a project by Max Lamb. From April 12 to 19 in Milano, the exhibition of furnitures will illustrate Max Lamb’s continuous examination of his material landscape and manifold modes of production. The accompanying publication is published by Dent-de-Leone.
Marcel Broodthaers est un artiste polymorphe, poète, plasticien, réalisateur de films, photographe, qui a anticipé la réflexion sur les rapports entre l’œuvre d’art, le musée et le public.
Le Musée d’Art Moderne – Département des Aigles, à laquelle l’exposition à la Monnaie de Paris – du 18 avril au 5 juillet 2015 – est dédiée, s’inscrit dans le contexte de 1968 en Europe, marqué par la réflexion sur les changements de la société, de l’art et de ses institutions. Malgré lui, Marcel Broodthaers en devient l’un des acteurs majeurs. Il s’autoproclame “directeur” et “conservateur” du Musée d’Art Moderne – Département des Aigles, institution qui, durant quatre ans, entre 1968 et 1972, va interroger la valeur de l’œuvre d’art en soit et dans son contexte d’exposition. Un questionnement de la notion de musée et de son rôle que Broodthaers fait passer entre le ton de la fiction et de la réalité.
Four Eggs Theory is an exhibition – until May 10, Futura, Prague – and a book by Honza Zamojski. In an ideal world an ideal egg would be an ideally oval geometrical form with an ideally spherical yolk center surrounded by whites. After boiling our specimen and cutting it crossways, we would see a microscale model of the Earth’s orbit around the Sun. Both systems – the cosmic one and the human one – are closed and complementary, as the vitality of one of the parts depends on the other. Meanwhile, the space between the surface of the yolk and the shell, on a cosmic scale, is the sphere of influence between our planet its closest star. In the “Four Eggs Theory”1 the key element of illustrations is a synthetic image of half an egg – a closed system with a core and a surrounding atmosphere. This theory aims to describe an individual, though also, from a wider perspective, the cyclical and recurring process of the artistic creation of a Work. The Work is the key element of artistic Practice. At the same time, the theory described in the following text could be analyzed through an illustrating diagram. If we were to seek an analogy in our common knowledge, we ought to ask: Which came first, the chicken or the egg? …
©Hans Peter Feldmann, “Untitled”, 1976, 1976. Offset lithographie, coll. Frac Nord-Pas-de-Calais, vue d’exposition à la Villa du Parc, CAC Annemasse, photographie Aurélien Mole – Batia Suter, “Seat”, slideshow + chair, 2014, courtesy l’artiste, vue d’exposition à la Villa du Parc, CAC Annemasse, photographie Aurélien Mole.
The whole world, up to today explores, until May 30 at Villa du Parc, Annemasse, the use of the archive in contemporary art.
The constitution of archives and their presentation in museums began to appear in the art of the 1960s, taking the form of dispositifs (apparatuses) and installations, often on a monumental scale. Such works are based on the accumulation of homogenous documents whose singularity recedes behind the system in which they partake. Rather than highlighting novelty or the emancipatory virtues of the image – as in the case of collage before the war – the ambition of these works is, on the contrary, to reveal the unchanging features of our representations (stereotyped poses, banal motifs, etc.) and to emphasize their value as memorial and societal indicators…
With artworks by The Atlas Group, Bernd et Hilla Becher, Christian Boltanski, Frédéric Bruly Bouabré, Gérard Collin-Thiebault, Hanne Darboven, documentation céline duval, Hans Peter Feldmann, On Kawara, Christian Marclay, Batia Suter, Oriol Vilanova, Akram Zaatari. Curated by Garance Chabert & Aurélien Mole.
Romka is a collective photo album in which people from all over the world share the stories behind their most cherished photographs.
L’exposition Pliure est un essai sur le livre et “la somme infinie de ses possibles” (Blanchot). Elle donne à voir le potentiel du livre, en relation permanente avec le geste artistique, et de quelle façon l’art se transforme à l’épreuve du livre et le livre se transforme à l’épreuve de l’art. Dans l’exposition, le livre devient un laboratoire d’expériences esthétiques -et le canal même de ces expériences. Exposition ni rétrospective, ni historique, Pliure ne prétend pas embrasser tout un thème ou prouver une théorie mais essaie plutôt de montrer comment l’espace du livre provoque l’art.
Après le Prologue de l’exposition, les oeuvres contemporaines de l’exposition Pliure. Epilogue (La bibliothèque, l’univers), du 10 avril au 7 juin 2015 à l’École nationale supérieure des beaux-arts de Paris, s’allient notamment à une sélection d’oeuvres issues de la collection de l’école, et à un focus autour de l’éditeur Seth Siegelaub.
TELLS US WE’RE NOTHING. TELLS US WE’RE EVERYTHING. FLOWS IN BETWEEN is an exploration by design & art studio RO/LU and graphic designer Dante Carlos on themes about meditation, objects, and space. March 28 to April 26, 2015, The Center for Ongoing Research & Projects, Columbus.
“RO/LU: It seemed really easy to talk to you about the connections between spirituality and art. Sometimes it makes me uneasy to talk about this because spirituality has a lot of baggage as a term? Because it’s easily conflated with religion but, it doesn’t really have anything to do with that for me. There’s not a lot of separation between meditation and the work we do. They are different but, it’s nice to explore.
DANTE: The blurrier those distinctions are, the more interesting it becomes, but that’s the Gemini in me talking. But maybe we’re both comfortable and interested in talking about it because the projects we take on bleed into each other and the way we make work absorbs all the influence around us. Why should there be a distinction between something that is productive and something that is meditative or spiritual; or distinct from the rest of the universe rather than framing a part of it?” (…)
Inventory Press publishes books on topics in art, architecture, design, and music, with an emphasis on subcultures, minor histories, and the sociopolitical aspects of material culture.
Way Station extends the January 2015 exhibition by Shannon Harvey, Adam Michaels, and Levi Murphy at Grice Bench, Los Angeles. At once static and dynamic, the book presents a journey through a series of landscapes, juxtaposed with a steadily spinning furniture form—that of the primary exhibition component, a set of colorful benches featuring ergonomics designed to heighten and transform physical and mental awareness. The book provides a particularly associative experience for a reader seated on a Way Station bench, while maintaining interest far beyond this setting.
In The Canyon, Revise The Canon – Utopian Knowledge, Radical Pedagogy and Artist-run Community Art Space in Southern California – is the last book published by Shelter Press and edited by Géraldine Gourbe.
Before the onset of the social and cultural backlash that was brought on by the Reagan administration in the early eighties, Southern California was ripe territory for the genesis and development of emancipation movements for and by African Americans, Chicanos, pacifists, Marxists, feminists and homosexuals. Starting in the late sixties, these revolutionary waves particularly influenced practices such as performance art, video, installation and collaboration, which led to the construction of alternatives like artist-run spaces, non-profit spaces and artist-run community art spaces. In Santa Barbara, Los Angeles and San Diego, collaborative public action was constructed around utopian knowledge which was then redirected towards universities and art schools that favored the emergence of radical pedagogies. These other manners of experimental thinking, doing and teaching permitted artists to deconstruct certain canons that were inherited from European tradition and art history, and provoked a reexamination of “the American way of life”. In the Canyon, Revise the Canon.
Presentation by Géraldine Gourbe, April 2, 2015, 6:30pm, ICI Curatorial Hub, New York.
Bookspace: Collected Essays on Libraries focuses on the current development of library spaces as public institutions through the perspective of architects, writers, librarians, and readers. It addresses the architecture of modern public spaces, and the development of library collections in the age of digital information, in order to discuss the larger social context of libraries as institutions. It provides an insight into their management and how their functions are changing.
Nathalie Du Pasquier started drawing as soon as she met her husband George Sowden in 1979 in Milan. She was introduced to the world of design and shortly after, in 1981, became a founding member of the iconic postmodern design movement Memphis. From 1981 to 1987 she didn’t stop drawing. Every day she would draw a whole new modern world, from very small items like jewelry to entire cities. This world only existed in her head but would eventually be developed into real pieces for the Memphis exhibitions.
Don’t Take These Drawings Seriously is the first and definitive compilation of all the unpublished drawings from those years, which had been sitting in the drawers of Nathalie’s studio for over 30 years. Organized by the smallest objects to the biggest and divided into chapters, each with a text by Nathalie, it has been carefully edited and designed by Apartamento magazine’s co-founder Omar Sosa together with Nathalie Du Pasquier.
Don’t Take These Drawings Seriously is an excellent reference for future generations and a welcome document of an important period in modern design.
Spanning over fifty years, Ed Ruscha’s artistic production has been variously discussed under the rubrics of Pop Art and Conceptual Art. However, the remarkable diversity of Ruscha’s work eschews categoriza- tions whether historiographical or medium related. Ruscha’s example has been seminal not only in the field of painting, but also in printmaking, photography, graphic design, experimental filmmaking as well as architecture. It is this versatility and the interdisciplinary nature of Ruscha’s art that the International Symposium, March 11 & 12, 2015, at Centre Pompidou in Paris, intends to address.
With Ed Ruscha, Robert Dean (Studio Ruscha, Los Angeles), Lisa Turvey (Studio Ruscha, New York), Cécile Whiting (University of California, Irvine), Anne Mœglin-Delcroix (Université Paris 1 Panthéon-Sorbonne), Briony Fer (University College, London), Linda Norden (Malmö Art Academy, Lund University), Michel Gauthier (Centre Pompidou, Paris), Elizabeth A. Kessler (Stanford University, Palo Alto), Margit Rowell (art historian, Paris). The symposium is convened by Benoît Buquet (Université François Rabelais de Tours), Jean-Pierre Criqui (Centre Pompidou), and Larisa Dryansky (INHA/Université Paris-Sorbonne).
Stephan Keppel’s photographic work originates from marginal phenomena related to architecture, interiors and suburbs. He collects and arranges images and objects in order to engage them in a long-term relationship, resulting in a process which engages photography, reproduction and other supporting media. Entre Entree is a project about the Parisian suburbs and the city’s ring road, the Boulevard Périphérique, wherein Keppel conceives a fragmented and claustrophobic urban landscape, manifested through numerous black-and-white images of concrete facades, vegetation and the textures, shapes and materials that together form the entity of the city. Signing of the limited edition, March 5, 7pm, Le Bal, Paris.
Fantasies of the Library is a sequence of pages wherein the reader-as-exhibition-viewer learns—rather surprisingly, but with growing conviction— that the library is not only a curatorial space, but that its bibliological imaginary is also a fertile territory for the exploration of consequential paginated affairs.
Fantasies of the Library inaugurates the intercalations: paginated exhibition series conceived as a curatorial-editorial space enabling explorations of the book as a form of exhibition architecture in relation to other aesthetic practices in the Anthropocene.
Consisting of five pictures, the big format portfolio PASPIER N°1: «5 Ptohograhpies — 40 × 28 cm» presents the Ptohograhpies series Roches Mammifères — Dissimulaits, a naturalistic study of cheese in the process of molding.
From February 11 until May 2, 2015, Tensta konsthall, Stockholm, will show Frederick Kiesler: Visions at Work an exhibition of Frederick Kiesler’s genuinely transdisciplinary work. Frederick Kiesler (1890–1965) was an architect, artist, scenographer, pedagogue, theorist and – not least – a groundbreaking exhibition designer.
From the 1920′s constructivist-inspired theater exhibitions in Vienna and Paris and the early 1930′s acclaimed shop window presentations in New York City to the legendary scenography for Peggy Guggenheim’s Manhattan gallery Art of This Century (1942) and the collaboration with Marcel Duchamp, Kiesler paved the way for a dynamic view of the art experience.
Working with the monumental ‘The Shrine of the Book’ (1965) in Jerusalem, he extracted ideas and forms from his often reproduced ‘Endless House’, a visionary bio-morphic building where, to quote Kiesler himself, ‘all the ends meet’ . Underlying much of Kiesler’s work were his thoughts on the continual interaction between man and his natural and technological environments, as defined in the theory of correalism. Although Kiesler was a member of de Stijl, a close friend and collaborator of Duchamp, André Breton, Alfred H. Barr and several other key figures in the art of the 1900′s, as well as an influential teacher at Columbia University in New York, he is something of an unknown.
The exhibition will feature models and documentations of Kiesler’s designs for exhibitions, buildings, interiors, shop-windows, etc. from various periods. The exhibition will also include prototypes, including those of his Mobile Home Library and the mass-produced so-called correalist furniture, among others. The focus will be on Kiesler’s interest in the intersection between art and life and how this manifests in his works. The artist Céline Condorelli, who has a long-time interest in exhibition design and modes of presentation, will contribute to the project.
The exhibition Pliure. Prologue (La part du feu) (Fold. Prologue (The share of the fire)), January 30 to April 12, Fondation Calouste Gulbenkian, Paris, explores the significance of the book and “the infinite sum of its possibilities” (Blanchot). What can occur to a book when it is in permanent relation with an artistic gesture? How is art transformed in dialogue with a book and how is a book transformed by art? On these occasions, the book becomes a laboratory for aesthetic experiences, while leading towards such experiences by its very essence. This exhibition does not aim to be retrospective, historical, or to function as an anthology. Pliure does not claim to embrace an entire theme or to prove a definitive theory but it attempts to show how the realm of books has provoked art and continues to do so. The term “pliure” (fold) refers in part to an action (and even to a specific function in a former printing factory), but also to the trace left by this action and therefore to the fold or the crease this action imprints on the paper. As such, the fold synthesizes the act of doing and what has been done, it is at once a memory and the consequence of a gesture. With the fold, the book has two possibilities: it opens or it closes, reveals or hides. Thanks to the fold, something unexpected is the other side of the page and this is the characteristic mystery of the book.
The exhibition bring together approximately 40 works dating from the 16th to the 21st centuries: films, sculptures, installations, paintings and rare books, by Helena Almeida, Christian Boltanski, Lewis Carroll, Lourdes Castro, Geoffrey Chaucer, Rui Chafes, Claude Closky, d’Alembert, Raffaella della Olga, Diderot, Dürer, Marcel Duchamp, Olafur Eliasson, Hans-Peter Feldmann, Robert Filliou, Jean-Luc Godard, John Latham, Sol LeWitt, Richard Long, René de Lorraine, William Morris, Bruce Nauman, Alain Resnais, Ed Ruscha, Dayanita Singh, Michael Snow, François Truffaut, Maria Helena Vieira da Silva, Wolf Vostell, Lawrence Weiner and Francesca Woodman.
Pliure questions and enlarges our traditional perception of books and artworks, imbued with the strong belief that, as Mallarmé would say, “there is no explosion but a book.”
The ENSBA will receive the second part of this exhibition. Pliure. Epilogue (la bibliothèque, l’univers), 10 April to 7 June, 2015, Palais des Beaux Arts de Paris.