“2A+P/A Gianfranco Bombaci and Matteo Costanzo” at Galleria Antonia Jannone

2A+P/A is a Rome-based architectural practice founded by Gianfranco Bombaci and Matteo Costanzo. The studio develops architectural projects with particular focus on nature and the condition of contemporary cities.


Museo Archeologico di Cipro, Nicosia © 2A+P/A Gianfranco Bombaci e Matteo Costanzo


The duo have presented their projects and created site-specific installations at several international exhibitions, including the 14th, 13th and 11th Venice Architecture Biennale, the 5th Brasilia Biennial of Architecture and the 1st Orléans Biennale of Architecture. (more…)

BigMat International Architecture Award ’19: last week to submit your entry!

The deadline for entries to the BigMat International Architecture Award is next Thursday, May 16. The 4th edition of the biennial BigMat Architecture Award rewards quality architectural production in Europe with more than 70.000€, distributed in 1 Grand Prize, 6 National Prizes, 7 Prizes for Finalists and one Special Mention for Young Architects.


BigMat International Architecture Award ’17 Grand Prize, FRAC Grand Large by Lacaton & Vassal © Laurian Ghinitoiu


The prize is open to architects who work in one of the seven participating countries: Belgium, the Czech Republic, Slovakia, France, Italy, Portugal and Spain. Any architects whose professional address is in any of the seven participating countries and whose works have also been built in these territories can submit their works until the 16th of May 2019. To be eligible for the award, the project must have been built between 1 January 2015 and 1 January 2019 in any of the participating countries. Buildings that won or made the final in previous editions of this competition may not be entered again into this fourth edition.


“Mario Botta – Sacral Spaces” at Ringturm Exhibition Centre

Premiere at the Ringturm: as part of its Architektur im Ringturm series, Wiener Städtische Versicherungsverein is staging the first comprehensive exhibition focusing on Mario Botta to be held in the German-speaking countries.


San Giovanni Battista Church © Enrico Cano


Mario Botta was one of the key figures behind “new Ticino architecture” in the 1970s. It was in the canton of Ticino – Switzerland’s Mediterranean soul – that Botta made his first foray into ecclesiastical architecture, with the construction of a small chapel at the Bigorio Capuchin monastery. (more…)

“Atlas of Utopias” at Frac Centre-Val de Loire

Bringing together over 25 major artists and architects from the second half of the 20th century, the exhibition opens onto urban visions that examined the modern city with a particularly critical eye.


Flagrant Delit. 1975. Courtesy Architectural Association


In 1972, Italian art critic Germano Celant coined the term “radical architecture” to describe Superstudio and the Florentine scene. It spread quickly to apply to other European and American artists and architectures, who, like their Italian counterparts, opened up architecture to artistic and conceptual practices. (more…)

“BNTHMCRWL: Infrastructure, Public buildings and Workspace” at Jaroslav Fragner Gallery

For more than three decades, Benthem Crouwel Architects (BCA) has been creating innovative, flexible and effective designs that must also meet the stringent and complex requirements of end users. The studio’s field of operations covers (public) buildings, infrastructure projects and urban planning.


Rotterdam Central Station designed by Team CS © Jannes Linders


Whether renovating or modernising existing buildings, or designing entirely new structures, BCA enjoys a reputation of always seeking precise, unique, and effective solutions. (more…)

“Günter Haese. Sculptures” at Elvira González gallery

The gallery Elvira González presents a selection of sculptures by the German artist Günter Haese (Kiel 1924 – Düsseldorf 2016) made over four decades. This is the artist’s third exhibition in the gallery.


“Günter Haese. Sculptures” © Elvira González gallery


Trained as an artist at the School of Düsseldorf in the fifties (where he studied with Bruno Goller, Ewald Mataré and Joseph Beuys) Haese applied watch movements to explore the rules of balance through the control of movement and weight. His work materializes a constant attempt to reach the limit of the stable. This not only responds constructively to his deep interest in material balance, but was determined by his study of cybernetic theorems and cellular structures. Titles of his sculptures, such as Sinus (1987), Soma (2000), or Il Principe (1962), show us the influence that these scientific matters had at the time of conceiving his works.


Practical information

“Günter Haese. Sculptures”
10 April – 1 June, 2019
Elvira González gallery
Hermanos Álvarez Quintero street, 1, Madrid


Haese obsessively explored the beauty of forms in nature and the way they connect, creating a personal aesthetic universe that facilitated the path to their understanding. This deep curiosity allowed him to develop his artistic practice navigating between different fields of knowledge, looking from several angles instead of in one direction. In 1964 he studied at the Documenta in Kassel, being the first German artist to create, in this same year, an individual exhibition at the Museum of Modern Art in New York. In 1966 he represented Germany at the Venice Biennale.


“Günter Haese. Sculptures” © Elvira González gallery

“Günter Haese. Sculptures” © Elvira González gallery


Günter Haese (Kiel 1924 – Düsseldorf 2016) began to paint and draw from a very young age in a natural and self-taught way until he was 26 years old and enrolled in the Art Academy of Düsseldorf where he studied under the tutelage of Edwald Mataré and Bruno Goller, together with other artists such as Joseph Beuys, Erwin Heerich, or Georg Meistermann.


“Günter Haese. Sculptures” © Elvira González gallery

“Günter Haese. Sculptures” © Elvira González gallery


He quickly became part of the Master Class of Sculpture with the artist Edwald Mataré, who later assisted as an assistant in his work for the Cologne Cathedral. It was Mataré who took seriously his careful studies of nature, orienting him towards sculpture. Influenced by his master, Haese abandoned the engraving of crystal plate monotypes, in which he was already exploring reticular motifs, and found the materials for his new works while dismantling a broken watch.


“Günter Haese. Sculptures” © Elvira González gallery

“Günter Haese. Sculptures” © Elvira González gallery


From then on he used pliers, clamps and welders to build his works with brass meshes and copper wires. He thus evolved towards more stable figures made with chronometer pieces, and went on to design what he would later define as “freer rhythmic and scenic events”. In 1963 he sent the Junger Westen Prize his first series of sculptures, relatively simple compared to later ones. With surprising rapidity, he expands and defines in the following years his personal vocabulary with which he worked since then.


“Günter Haese. Sculptures” © Elvira González gallery


In 1964 he presented his first exhibition at the Ulmer Museum. It raised so much expectation that in the same year he held an individual exhibition at the MOMA, Museum of Modern Art in New York and was invited to participate in the Documenta III of the city of Kassel with artists such as Hans Arp, Francis Bacon, Max Bill, Constantin Brâncusi, Alexander Calder, Charles Eames, Wassily Kandinsky, Joan Miró, Piet Mondrian and Egon Schiele among others.


News source: Elvira González gallery
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