‘Le Corbusier: 5 architectures’, photographs by Guido Guidi for Einaudi

June 11, 2017

The work of Guido Guidi is well aware of the deep interpretative value of the act of observation. In his photographs we are taken into Le Corbusier’s work like never before: through detailed and partial views the photographer draws on the architect’s lesser known work.

 

Guido Guidi. Le Corbusier 5 architetture © Guido Guidi / Einaudi

Guido Guidi. Le Corbusier 5 architetture © Guido Guidi / Einaudi

 

The art gallery Unosunove in Rome presents Italian photogrpaher Guido Guidi‘s latest work, a collaboration with editors Einaudi in their series ‘I millenni‘, with texts from ‘Le Corbusier. Scritti‘ by Rosa Tamborrino.

The exhibition comprises Guidi‘s photographs on 5 works by the Swiss architect, paying attention to the details of each place, the materials combined during the construction, the colors of the spaces, together with the notes glued on the walls or on the textile containers… a perfect and necessary addition to the architect’s words and texts. The exhibition will be open until June 24. (more…)

“Entropy and Urban Space” the first major retrospective of Gabriele Basilico in Spain

June 6, 2017

The exhibition comprises 185 photographs, including his famous series “Milano, ritratti di fabriche”, as well as broad selection of over 70 books published by Basilico over the years and four videos on various aspects of his work, offering a general view of his entire photographic career.

 

Dunkerque, 1984 © Archivio Gabriele Basilico di Giovanna Calvenzi

Dunkerque, 1984 © Archivio Gabriele Basilico di Giovanna Calvenzi

 

Museo ICO presents “Gabriele Basilico. Entropy and Urban Space“,the first comprehensive retrospective of this Italian photographer in Spain. The exhibition of Basilico, known as The photographer of the city, explores his stylistic and conceptual evolution throughout his career, from the romantic view of his early days in search of visual order amid the apparent chaos of the postmodern metropolis.

A total of 185 photographs, a selection of over 70 books published by the Milanese photographer over the years and four videos offer us a view of his work throughout his photographic career. The show is part of the Official Section of PHotoEspaña 2017 and may be visited until 10 September. (more…)

“CO.” architectural communication congress exhibition in Madrid

May 25, 2017

The exhibition features the work of young architect collectives whose approach to design is related to the different, alternative ways of architectural communication: social mediation, down-up processes, interdisciplinarity, networking…

 

CO. exhibition display © COCA Architectural Communication Congress

CO. exhibition display © COCA Architectural Communication Congress

 

The gallery space beneath the Spanish Ministry is hosting an architectural exhibition on the occasion of the 1st Architectural Communication Congress organized by MaCa and the Technical University of Madrid. The exhibition, which features work by architects and designers present during the Congress’ activities and lectures but also works by other so-called architectural collectives, focuses on a new form of architectural practice whose approach to architecture is strongly related to social mediation, alternative work platforms and citizens’ associations. (more…)

“Grenzen / Borders” European Architectural Photography Prize 2017 at DAM

May 10, 2017

The European Architectural Photography Prize architekturbild is awarded every two years, and 2017 marks the 12th time since 1995. As always, photographers from all over the world were invited to submit in a series of four photographs their very personal interpretation of a specific topic.

 

Andreas Gehrke: ARRIVAL \ 1 © Photo: Andreas Gehrke \ architekturbild

Andreas Gehrke: ARRIVAL \ 1 © Photo: Andreas Gehrke \ architekturbild

 

With “Grenzen / Borders” we all immediately recall images from the summer of 2015 of the flow of refugees in front of hastily erected barbed-wire borders. And in Germany we inevitably think of the lethal border that until 1989 cut through the country. As the 2017 competition brief states, borders are physically present and clearly legible or subtly noticeable, are perceived as protection or deterrent. The works submitted take this up and in extremely different ways tell of enclosure and exclusion.


 

Practical information

“Grenzen / Borders” European Architectural Photography Prize 2017
May 6 – August 6, 2017
Deutsches Architekturmuseum (DAM)
Schaumainkai 43, Frankfurt am Main
Germany

 


With its specific provisions, the competition aimed from the outset to promote an artistic, photographic exploration of the built environment. A series of four images enables stories to be told; the specific topic gives direction, but also always allows great leeway. What started out as an initiative of db deutsche bauzeitung has since 2003 been continued, with a great deal of voluntary work, by architekturbild e.v., which back then had recently been founded.

 

Andreas Gehrke: ARRIVAL \ 3 © Photo: Andreas Gehrke \ architekturbild

Andreas Gehrke: ARRIVAL \ 3 © Photo: Andreas Gehrke \ architekturbild

Andreas Gehrke: ARRIVAL \ 4 © Photo: Andreas Gehrke \ architekturbild

Andreas Gehrke: ARRIVAL \ 4 © Photo: Andreas Gehrke \ architekturbild

 

The association is responsible for the competition, the touring exhibition, and the catalog. 2008 saw the beginning of the partnership with Deutsches Architekturmuseum (DAM), which subsequently took over the initial presentation of the prize-winning competition entries and became the venue for the award ceremony. The cooperation agreement with Deutsches Architekturmuseum (DAM) also included the handing over of the competition archive, which is now part of the Frankfurt institute’s collection. In 2016 the Bundesstiftung Baukultur became the third partner.

 

Andreas Gehrke: ARRIVAL \ 2 © Photo: Andreas Gehrke \ architekturbild

Andreas Gehrke: ARRIVAL \ 2 © Photo: Andreas Gehrke \ architekturbild

 

To date the vast majority of entries come from German-speaking countries, where the competition originated. Photographers from ten countries including Japan, Canada, and the USA took part in the 2017 competition. 133 series of images were submitted. This was less than in previous years, but the quality was consistently high.

 

Matthias Jung: REVIER \ 1 © Photo: Matthias Jung \ architekturbild

Matthias Jung: REVIER \ 1 © Photo: Matthias Jung \ architekturbild

Matthias Jung: REVIER \ 2 © Photo: Matthias Jung \ architekturbild

Matthias Jung: REVIER \ 2 © Photo: Matthias Jung \ architekturbild

 

Ultimately, 28 series were honored. In 2017 the jury, as always made up of members from a wide range of professions and nations, was chaired by Celina Lunsford, Artistic Director of Fotografie Forum Frankfurt. Alongside the photographic quality it particularly took into consideration the serial link between the images submitted as well as creativity with regard to the handling of the topic, whether it was interpreted in an experimental, narrative, documentary, strict, or surprising manner.

 

Matthias Jung: REVIER \ 3 © Photo: Matthias Jung \ architekturbild

Matthias Jung: REVIER \ 3 © Photo: Matthias Jung \ architekturbild

Matthias Jung: REVIER \ 4 © Photo: Matthias Jung \ architekturbild

Matthias Jung: REVIER \ 4 © Photo: Matthias Jung \ architekturbild

 

1st prize went to the Berlin photographer Andreas Gehrke. His series entitled “Arrival” won the jury over with its unusual visualization of one of the major problems of our time. By taking a close look at the accommodation allocated to refugees, he succeeds in revealing the alienation of the people and the impact of exclusion and homelessness.

 

Daniel Poller: STONE RECORD \ 1 © Photo: Daniel Poller \ architekturbild

Daniel Poller: STONE RECORD \ 1 © Photo: Daniel Poller \ architekturbild

Daniel Poller: STONE RECORD \ 2 © Photo: Daniel Poller \ architekturbild

Daniel Poller: STONE RECORD \ 2 © Photo: Daniel Poller \ architekturbild

 

Three 2nd prizes were awarded in 2017. The series “Revier” by Matthias Jung shows us boarded-up façades, which to the viewer look almost surreal. Exclusion, here too; there is no way back for the former inhabitants. The deserted ghost town will soon succumb to surface mining. In his work entitled “Stone Record”, Daniel Poller documents conversion, demolition, and new builds in a totally different way.

 

Daniel Poller: STONE RECORD \ 3 © Photo: Daniel Poller \ architekturbild

Daniel Poller: STONE RECORD \ 3 © Photo: Daniel Poller \ architekturbild

Daniel Poller: STONE RECORD \ 4 © Photo: Daniel Poller \ architekturbild

Daniel Poller: STONE RECORD \ 4 © Photo: Daniel Poller \ architekturbild

 

Contemporary structures are encroaching on historical architecture such that only façades remain. What is old becomes a decorative backdrop for a city that can do little to counter the laws of the real-estate market. Die im Dunklen is the title Wilhelm Schünemann gave his entry.

 

Wilhelm Schünemann: DIE IM DUNKELN \ 1 © Photo: Wilhelm Schünemann \ architekturbild

Wilhelm Schünemann: DIE IM DUNKELN \ 1 © Photo: Wilhelm Schünemann \ architekturbild

Wilhelm Schünemann: DIE IM DUNKELN \ 1 © Photo: Wilhelm Schünemann \ architekturbild

Wilhelm Schünemann: DIE IM DUNKELN \ 1 © Photo: Wilhelm Schünemann \ architekturbild

 

Reflective windows and curtains prevent a view inside the offices of corporations that have opened close to the Bundestag, the German parliament, where they quietly go about their lobbying. Alexander Beck, Martin Dziuba, Philippe Grollier, Wolfram Janzer, and Sally-AnnNorman were also honored.

 

Wilhelm Schünemann: DIE IM DUNKELN \ 1 © Photo: Wilhelm Schünemann \ architekturbild

Wilhelm Schünemann: DIE IM DUNKELN \ 1 © Photo: Wilhelm Schünemann \ architekturbild

Wilhelm Schünemann: DIE IM DUNKELN \ 1 © Photo: Wilhelm Schünemann \ architekturbild

Wilhelm Schünemann: DIE IM DUNKELN \ 1 © Photo: Wilhelm Schünemann \ architekturbild


 

News source and text: DAM
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“Jan Kempenaers” photography exhibition at Breese Little’s space in London

April 29, 2017

Jan Kempenaers’ third solo exhibition with Breese Little features the debut presentation of a new, unseen body of work. An essay by writer and curator Brian Dillon and two specially commissioned limited editions will accompany the exhibition, with further details to be announced. 

 

Jan Kempenaers, Untitled, 2016 © Jan Kempenaers

Jan Kempenaers, Untitled, 2016 © Jan Kempenaers

 

The new photographic series is the subject of Composite (2016), Jan Kempeaners’ fifth collaboration with Roma Publications launched at the New York Art Book Fair, September 2016. Kempenaers’ previous artist books with Roma Publications include I’m not tailgating, I’m drafting (2013), Dun Briste, Downpatrick Head (2012), Picturesque (2012) and Spomenik (2010). (more…)

“The Riverbed” exhibition by Ben Murphy at Architectural Association London

April 1, 2017

These photographs, made during extended trips over a ten-year period, show how international neo-nomadic countercultures are represented, reinforced and maintained through the customised trucks, vans, coaches and self-made dwellings they inhabit.

 

"The Riverbed" © Ben Murphy

“The Riverbed” © Ben Murphy

 

In a mountainous area of southeast Spain individuals live out their versions of paradise. Those who reject and subvert the conventions of a structured democratic society from Europe, North and South America, Japan and Australasia gravitate here, imprinting on the land, local culture and atmosphere through the environments they stage and occupy. (more…)

“Stages, banks, hangars” Frankfurt Projects by Otto Apel\ABB at DAM

March 27, 2017

Deutsches Architekturmuseum in Frankfurt am Main (DAM) is devoting an exhibition to the architectural office ABB, founded in 1961 by Otto Apel, Hansgeorg Beckert and Gilbert Becker: “Stages, Banks, Aircraft Games – Frankfurter Projekte by Otto Apel / ABB Architects”.

 

ABB, Lufthansa-Wartungshalle V, Frankfurt am Main \ 1972 Foto: Ulfert Beckert

ABB, Lufthansa-Wartungshalle V, Frankfurt am Main \ 1972 Foto: Ulfert Beckert

 

Frankfurt’s buildings from the 1950s to the 1970s are shown in more than 500 historical photographs of the photographer Ulfert Beckert, brother of the architect Hannsgeorg Beckert, supplemented by new photographs by the artist Eike Laeuen. (more…)

Bauhaus‐Archiv / Museum für Gestaltung presents “Bauhaus in Motion”

March 7, 2017

The range of exhibited pieces encompasses works from classes at the Bauhaus – such as motion studies from the preliminary course – as well as paintings, photographs, architectural drafts, furniture, ceramics, metalwork and works on paper.

 

T. Lux Feininger, Physical Education at the Bauhaus: women’s gymnastic exercises on the roof of the Bauhaus, 1930 Bauhaus-Archiv Berlin Copyright: Estate of T. Lux Feininger

T. Lux Feininger, Physical Education at the Bauhaus: women’s gymnastic exercises on the roof of the Bauhaus, 1930 Bauhaus-Archiv Berlin Copyright: Estate of T. Lux Feininger

 

From 1 March 2017 to 8 January 2018 the BauhausAArchiv / Museum für Gestaltung is showing “Bauhaus in Motion”. This special exhibition presents the connection between the Bauhaus and movement on various levels: the theme of motion can be found in works by famous Bauhaus teachers, such as Walter Gropius, Wassily Kandinsky, Paul Klee, Oskar Schlemmer and László Moholy-Nagy, as well as in numerous student works. (more…)

“Modelling for the camera. Photography of architectural models in Spain, 1925–1970″ at ICO Madrid

February 23, 2017

Through this exhibition, Museo ICO focuses on, for the very first time in Spain, the role of models and the photography thereof in the creation of the image of architectural modernity in Spain.

 

Sede de los Laboratorios JORBA, Madrid, 1965. Miguel Fisac Serna. Fotografía © C. Jiménez. Imagen cortesía de La Fábrica

Sede de los Laboratorios JORBA, Madrid, 1965. Miguel Fisac Serna. Fotografía © C. Jiménez. Imagen cortesía de La Fábrica

 

The exhibition features 138 photographs, 14 albums and contact sheets, 20 magazines, 13 models and one projection, for the large part, all specimens are originals that reflect on modern architecture. The photographs were taken by around 35 photographers over more than four decades. Francesc Català-Roca, Kindel, Pando, Luis Lladó, Oriol Maspons-Julio Ubiña, Francisco Gómez, are just a few of the photographers on show at this exhibition.

Their cameras captured the models used for the most noteworthy architectural projects in modern history, and other less known projects, undertaken by the best Spanish architects of the mid- 20th century, such as Josep Lluís Sert, Miguel Fisac, José Antonio Coderch, Francisco de Asís Cabrero, Javier Carvajal, Alejandro de la Sota and Fernando Higueras. 
(more…)

Lyonel Feininger retrospective at Fundación Juan March

February 16, 2017

The exhibition offers a complete survey of the career of this German-American artist, Bauhaus teacher and key figure in the context of the artistic avant-gardes.

 

Feininger, Lyonel (1951) Lunar Web  © Fundación Juan March

Feininger, Lyonel (1951) Lunar Web © Fundación Juan March

 

From February 17, the Fundación Juan March presents a retrospective on Lyonel Feininger, the German-American artist from the early twentieth century, in its gallery space in Madrid. The exhibition, named Lyonel Feininger (1871-1956), continues the Juan March’s long-established strategy of presenting insufficiently explored artists, periods and aspects of modern culture, can be described as a “concentrated retrospective” of the artist’s work.


 

Practical information 

“Lyonel Feininger (1871 – 1956)”
February 17 – May 28, 2017
Fundación Juan March. Sede Madrid
Calle de Castelló, 77 Madrid
Spain

 


Nearly 400 works from public and private collections in Europe and the United States will be used to construct a survey of Feininger’s artistic activities, articulated around the different media in which he worked (drawing, graphic work, painting, photography and toy-making) and the principal themes within his oeuvre: caricature and satirical drawings; key places that inspired him, including Paris, Deep, Halle, Gelmeroda and Manhattan; and his recurring interest in bridges, towers, sea views and urban life.

 

Andreas feininger, Gelmeroda VIII, 1921. Whitney Museum of American Art, Nueva York. © Whitney Museum, N.Y.

Andreas feininger, Gelmeroda VIII, 1921. Whitney Museum of American Art, Nueva York. © Whitney Museum, N.Y.

 

The catalogue that accompanies the exhibition will be the first monograph on Feininger in Spanish, with essays and texts by some of the most reputed experts on his work, including Wolfgang Büche, Ulrich Luckhardt, Maurizio Scudiero, Heinz Widauer, Peter Selz, Achim Moeller, Danilo Curti-Feininger, Martin Faass and Sebastian Ehlert. To complement the catalogue there will also be a semi-facsimile complementary publication La ciudad en los confines del mundo [City at the Edge of the World], originally published in 1965 in English and German, with texts by the painter T. Lux Feininger and photographs by Andreas Feininger, two of the artist’s three sons.

 

Andreas Feininger, Nude Study [solarized], 1941  ©  2017 Estate of Andreas Feininger

Andreas Feininger, Nude Study [solarized], 1941 © 2017 Estate of Andreas Feininger

ABOUT LYONEL FEININGER

Feininger was born in New York but his parents, both musicians of German origin, sent him to Hamburg at the age of sixteen to complete his musical training. This dual German-American background would leave a permanent mark on his life and work.

In Germany, Feininger decided to give up music in order to devote himself to his true passion: drawing and illustration. After attending drawing classes at the Algemeine Gewerbeschule [Public School of Arts and Crafts] in Hamburg he focused on the emerging field of comics, in which he would be a pioneering figure. Feininger’s comic strips were soon published, albeit sporadically, in American and German magazines. He became fully established when he signed contracts with the German magazine Ulk in 1895, Lustige Blätter[Funny Pages] the following year, and The Chicago Sunday Tribune in 1906. For the latter Feininger created The Kin-der-Kids and Wee Willie Winkie’s World, his most famous comic strips.
Cover from The Chicago Sunday Tribune with a satyrical image of Lyonel Feininger, 29 de abril de 1906. Colección Achim Moeller, Nueva York

Cover from The Chicago Sunday Tribune with a satyrical image of Lyonel Feininger, 29 de abril de 1906. Colección Achim Moeller, Nueva York

Having made his name as an illustrator, Feininger moved forward creatively with the aim of finding a means of expression that would allow him to fully express his abilities. In a natural, progressive manner he began to move away from comics in favour of painting.

While his earliest works maintain links with comic design, depicting street scenes and exaggerated characters, between 1906 and 1908 and following a period in Paris, he began to make use of a more abstract line, almost completely abandoning figures and adopting a language based on straight lines and fragmented planes of colour.

 

Andreas Feininger (1946) self-portrait  © LIFE

Andreas Feininger (1946) self-portrait © LIFE

Andreas Feininger (1955) The Photojournalist © MoMa /  2017 Estate of Andreas Feininger

Andreas Feininger (1955) The Photojournalist © MoMa / 2017 Estate of Andreas Feininger

 

In 1919 Walter Gropius invited Feininger to join the Bauhaus and direct the printmaking studio, where he taught until the school was closed down by the Nazis in 1932. This experience led him to fully develop his use of the technique of woodcut, allowing him to develop the interaction of spatial planes in his paintings. Following the rise to power of the Nazi regime Feininger’s work was classed as “degenerate”. In 1937 he decided to return to the United States where he spent the rest of his life.

 

News source and text: Fundación Juan March
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