“Inside Outside / Petra Blaisse. A Retrospective” at ETH Zurich

October 13, 2018

In October 2018, gta exhibitions, ETH Zurich is opening the first comprehensive retrospective of the Amsterdam based studio Inside Outside / Petra Blaisse in Switzerland, which – since its foundation in 1991 – has realized world-wide projects in the field of exhibition architecture, interior design and landscape architecture.

 

"Inside Outside / Petra Blaisse. A Retrospective" at ETH Zurich © ETH Zurich

“Inside Outside / Petra Blaisse. A Retrospective” at ETH Zurich © ETH Zurich

 

As the name implies, the variable relationship between inside and outside is a central issue in the design practice of the studio, which combines knowledge and craftsmanship from several fields in an interdisciplinary way. Since its beginnings, Inside ­Outside / Petra Blaisse has been closely collaborating with the Office for Metropolitan Architecture (OMA) as well as with many ­other architects, curators and craftsmen; by designing textiles, entire interiors up to large landscapes. (more…)

“Den-City Urban Landscape” Sergei Tchoban at Galleria Antonia Jannone

October 11, 2018

What is the future of a densely populated city? How can an urban landscape change the way we perceive architecture and its artistic language? The Den-City Urban Landscape exhibition looks at the urban scene and its density, represented by combining history and modernity, architectural visions and scenarios for a possible near future.

 

Sergei_Tchoban,_Two_worlds_III,_stage_design,_St._Peterburg,_2013,_acquerelli_e_matita_su_carta,_cm_49x70_771_550_80

Sergei Tchoban, Two worlds III, stage design, St. Peterburg, 2013

 

The architectural drawings, the “whims”, the happy fantasies of Sergei Tchoban, portray urban landscapes in which Piranesi meets suspended architectures overlaid as stylistic and temporal additions to historical city settings. The connections, the counterpoints, the layering of languages and volumes are what characterise the series of urban visions on show. Tchoban’s attitude shows his awareness of the need for comparison with the constructed past that every new piece of architecture must necessarily consider.  (more…)

“Encuentros con Oíza” exhibition at Superior Technical School of Architecture of Madrid

October 11, 2018

On the occasion of the centenary of the birth of the architect Francisco Javier Sáenz de Oíza, the ETSAM Library has organized a small exhibition that shows the impact of his first works on international literature, and a selection of publications most significant about the author; and on the other hand documentation of his academic life as a student, teacher and director of the School.

 

Castellana 81 © Jesús Arenas

Castellana 81 © Jesús Arenas

 

It also shows a series of writings compiled by Professor Aurora Fernández, of 28 architects who have somehow had a “meeting” with Oíza, and who help to understand the many facets of his personality. Francisco Javier Sáenz de Oíza, architect and essential teacher of twentieth-century Spanish architecture. (more…)

“Victor Papanek. The Politics of Design” at Vitra Design Museum Gallery

October 9, 2018

Papanek was one of the twentieth century’s most influential pioneers of a socially and ecologically oriented approach to design beginning in the 1960s. His key work, »Design for the Real World« (1971), remains the most widely read book about design ever published.

 

Victor J. Papanek »Tetrakaidecahedral«, 1973-1975 (movable playground structure, designed with a student, parents, teachers and children) © University of Applied Arts Vienna, Victor J. Papanek Foundation

Victor J. Papanek »Tetrakaidecahedral«, 1973-1975 (movable playground structure, designed with a student, parents, teachers and children) © University of Applied Arts Vienna, Victor J. Papanek Foundation

 

With the exhibition »Victor Papanek: The Politics of Design«, running from 29 September 2018 to 10 March 2019, the Vitra Design Museum will present the first large retrospective focussing on the designer, author, and activist Victor J. Papanek (1923–1998).  In it, Papanek makes a plea for inclusion, social justice, and sustainability – themes of greater relevance for today’s design than ever before. The exhibition includes high-value exhibits such as drawings, objects, films, manuscripts, and prints, some of which have never before been presented. These are complemented by works of Papanek’s contemporaries from the 1960s to 1980s, including George Nelson, Richard Buckminster Fuller, Marshall McLuhan, or the radical design initiative »Global Tools«. Contemporary works from the areas of critical and social design provide insight into Papanek’s lasting impact.


 

Practical Information

“Victor Papanek. The Politics of Design”
September 29, 2018 – October 3, 2019
Vitra Design Museum Gallery
Charles-Eames-Straße 2,  Weil am Rhein
Germany

 


Faced with Nazi persecution in Austria, Papanek escaped to the United States in 1939. After pursuing a career as an industrial designer, during the 1960s he developed a critique of consumerism that would make him well known around the world. This position is also reflected in his designs, which he often developed together with his students or collaborators, including televisions and radios for African countries, electric vehicles, as well as the »Fingermajig«, an object designed to stimulate the sense of touch (1965–1970), and the »Living Cubes« series (1973), user-assembled furniture that could be modified to meet different needs.

 

Victor J. Papanek in Buffalo, NY, April 1959 © Donation from Nicolette Papanek, courtesy Victor J. Papanek Foundation

Victor J. Papanek in Buffalo, NY, April 1959 © Donation from Nicolette Papanek, courtesy Victor J. Papanek Foundation

Victor J. Papanek »The Minimal Design Team«, section from Big Character Poster No. 1: Work Chart for Designers, 1973, drafted in 1969 © University of Applied Arts Vienna, Victor J. Papanek Foundation

Victor J. Papanek »The Minimal Design Team«, section from Big Character Poster No. 1: Work Chart for Designers, 1973, drafted in 1969 © University of Applied Arts Vienna, Victor J. Papanek Foundation

 

Papanek’s true impact, however, is to be found in his work as an author and arbiter of a new and critical understanding of design. He lectured in universities around the world, inspiring generations of students, and tirelessly promoted a wider social debate about design. For example, beginning in 1961 he moderated a television series about design that was broadcast throughout the USA. Alongside his »Design for the Real World«, which has been translated into over twenty languages, additional books such as »How Things Don’t Work« (1977) or »Design for Human Scale« (1983) cemented his reputation as a pioneer of alternative design. In them he used pointed language and humour to criticize a blind belief in consumerism and adapt the ideas of the generation of 1968 to address practical issues of everyday life for a great number of people.

 

Victor J. Papanek »We Are All Handicapped«, section from Big Character Poster No. 1: Work Chart for Designers, 1973, drafted in 1969 © University of Applied Arts Vienna, Victor J. Papanek Foundation

Victor J. Papanek »We Are All Handicapped«, section from Big Character Poster No. 1: Work Chart for Designers, 1973, drafted in 1969 © University of Applied Arts Vienna, Victor J. Papanek Foundation

Victor J. Papanek filming the WNED-TV Channel 17 programme Design Dimensions in Buffalo, NY, 1961 – 1963 © WNED-TV, courtesy Victor J. Papanek Foundation

Victor J. Papanek filming the WNED-TV Channel 17 programme Design Dimensions in Buffalo, NY, 1961 – 1963 © WNED-TV, courtesy Victor J. Papanek Foundation

 

»Victor Papanek: The Politics of Design« is organized into four sections offering an in-depth look at Papanek’s life and work. The exhibition begins with an introductory, large-format media installation presenting the designer’s ideas in a contemporary context and follows with a biographical overview tracing Papanek’s life from his escape from Europe to his international success. For the first time, organizers were able to draw upon materials of the Papanek estate held by the Papanek Foundation at the University of Applied Arts Vienna, which includes a number of documents that have never been exhibited, including notebooks, letters, furniture, pieces from Papanek’s collection of ethnological objects, as well as over thousands slides that the designer used for his lectures.

 

Victor J. Papanek »Gallery of Living Arts, Corona Del Mar, CA, Entrance Lobby«, design for exhibition space, 1949 – 1952 © University of Applied Arts Vienna, Victor J. Papanek Foundation

Victor J. Papanek »Gallery of Living Arts, Corona Del Mar, CA, Entrance Lobby«, design for exhibition space, 1949 – 1952 © University of Applied Arts Vienna, Victor J. Papanek Foundation

Victor J. Papanek »Samisen« dining chairs, 1960 – 1970 © University of Applied Arts Vienna, Victor J. Papanek Foundation

Victor J. Papanek »Samisen« dining chairs, 1960 – 1970 © University of Applied Arts Vienna, Victor J. Papanek Foundation

 

Two other sections focus on the main themes of Papanek’s work, including his fundamental criticism of consumerism and his engagement with social minorities, his commitment to the needs of what was then known as the »Third World«, ecology, sustainability, and »making« culture – creation and production using one’s own resources – which had its origins in the 1960s do-it-yourself movement. Visitors can also view a wealth of designs by Papanek, his students, and other collaborators, including those by the Danish designer Susanne Koefoed, who as a student of Papanek developed the first International Symbol of Access in 1968.

 

Richard Buckminster Fuller »Tensegrity Sphere«, at Expo 67 in Montreal, Canada, 1967 © The Estate of R. Buckminster Fuller; courtesy Science Photo Library, photo: Hans Namuth

Richard Buckminster Fuller »Tensegrity Sphere«, at Expo 67 in Montreal, Canada, 1967 © The Estate of R. Buckminster Fuller; courtesy Science Photo Library, photo: Hans Namuth

 

The exhibition is supplemented with around twenty carefully selected contemporary works that transport Papanek’s ideas into the twenty-first century by designers including Catherine Sarah Young, Forensic Architecture, Jim Chuchu, Tomás Saraceno, Gabriel Ann Maher, or the Brazilian collective Flui Coletivo and Questtonó. They, too, deal with complex themes such as global climate change, fluid gender identities, consumer behaviour, or the economic realities of migration, meaning they reflect the continuing resonance of the questions Papanek was already addressing in the 1960s. At the same time, they break out of the white, Western, and male-dominated world to which Papanek was bound despite all his efforts to the contrary.

 

James Herold and John Truan »Artificial Burrs«, 1968 (coated with plant seeds and a growth boosting solution, designed under direction of Victor J. Papanek to reverse erosion cycles in arid regions) © University of Applied Arts Vienna, Victor J. Papanek Foundation

James Herold and John Truan »Artificial Burrs«, 1968 (coated with plant seeds and a growth boosting solution, designed under direction of Victor J. Papanek to reverse erosion cycles in arid regions) © University of Applied Arts Vienna, Victor J. Papanek Foundation

Victor J. Papanek and James Hennessy »Lean-To Chair«, pictured on manuscript page of Nomadic Furniture 2, 1974 © James Hennessy and University of Applied Arts Vienna, Victor J. Papanek Foundation

Victor J. Papanek and James Hennessy »Lean-To Chair«, pictured on manuscript page of Nomadic Furniture 2, 1974 © James Hennessy and University of Applied Arts Vienna, Victor J. Papanek Foundation

 

»Victor Papanek: The Politics of Design« is thus both a retrospective as well as a themed exhibition. By focusing on Papanek the person, we can better understand a larger theme, namely the significance of design as a political tool. After all, what was revolutionary for Papanek’s time is now generally accepted: design is not only about giving form to something; it is a tool for political transformation that must consider social and ethical points of view. This is reflected by the fact that today’s debates over themes such as social design and design thinking draw upon Papanek’s ideas as a matter of course. The exhibition seeks to rediscover Papanek as a pioneer of these debates – and as one of design’s greatest forward thinkers – for the twenty-first century. At the same time, it examines how Papanek’s socially engaged design is changing our world today – as well as how it can make the world a better one.

 

"Victor Papanek. The Politics of Design" © Vitra Design Museum, Foto: Norbert Miguletz

“Victor Papanek. The Politics of Design” © Vitra Design Museum, Foto: Norbert Miguletz

"Victor Papanek. The Politics of Design" © Vitra Design Museum, Foto: Norbert Miguletz

“Victor Papanek. The Politics of Design” © Vitra Design Museum, Foto: Norbert Miguletz

"Victor Papanek. The Politics of Design" © Vitra Design Museum, Foto: Norbert Miguletz

“Victor Papanek. The Politics of Design” © Vitra Design Museum, Foto: Norbert Miguletz

"Victor Papanek. The Politics of Design" © Vitra Design Museum, Foto: Norbert Miguletz

“Victor Papanek. The Politics of Design” © Vitra Design Museum, Foto: Norbert Miguletz

"Victor Papanek. The Politics of Design" © Vitra Design Museum, Foto: Norbert Miguletz

“Victor Papanek. The Politics of Design” © Vitra Design Museum, Foto: Norbert Miguletz

"Victor Papanek. The Politics of Design" © Vitra Design Museum, Foto: Norbert Miguletz

“Victor Papanek. The Politics of Design” © Vitra Design Museum, Foto: Norbert Miguletz

"Victor Papanek. The Politics of Design" © Vitra Design Museum, Foto: Norbert Miguletz

“Victor Papanek. The Politics of Design” © Vitra Design Museum, Foto: Norbert Miguletz

"Victor Papanek. The Politics of Design" © Vitra Design Museum, Foto: Norbert Miguletz

“Victor Papanek. The Politics of Design” © Vitra Design Museum, Foto: Norbert Miguletz

"Victor Papanek. The Politics of Design" © Vitra Design Museum, Foto: Norbert Miguletz

“Victor Papanek. The Politics of Design” © Vitra Design Museum, Foto: Norbert Miguletz

"Victor Papanek. The Politics of Design" © Vitra Design Museum, Foto: Norbert Miguletz

“Victor Papanek. The Politics of Design” © Vitra Design Museum, Foto: Norbert Miguletz

"Victor Papanek. The Politics of Design" © Vitra Design Museum, Foto: Norbert Miguletz

“Victor Papanek. The Politics of Design” © Vitra Design Museum,Foto: Norbert Miguletz


 

News source: Vitra Design Museum
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“Lina Bo Bardi: tupí or not tupí. Brasil, 1946-1992″ at Juan March Foundation

October 8, 2018

This exhibition is the first to be held in Spain on the fascinating figure of Lina Bo Bardi (Rome, 1914 – São Paulo, 1992). Trained as an architect in Italy in the 1930s, she moved to Brazil in 1946 with her husband, the critic and art collector Pietro Maria Bardi, as part of the massive wave of post-war emigration from Europe.

 

"Lina Bo Bardi: tupí or not tupí. Brasil, 1946-1992" © Lina Bo Bardi

“Lina Bo Bardi: tupí or not tupí. Brasil, 1946-1992″ © Lina Bo Bardi

 

Bo Bardi was soon captivated by her adopted country and through her multi-faceted, dynamic approach – as an architect, museographer, designer, writer, cultural activist and creator of exhibitions – she participated in the renewal of the arts in Brazil, working at the very heart of the complex relations between modernity and tradition, avant-garde creation and popular customs, the individuality of the modern artist and the collective work of the community. (more…)

“Europe’s best Buildings” exhibition at Architekturzentrum Wien

October 7, 2018

Every two years the exhibition ‘Europe’s Best Buildings’ puts the focus on exceptional building projects in Europe, becoming a crowd-puller in recent years. The exhibition is based on The European Union Prize for Contemporary Architecture.

 

Lundgaard & Tranberg Architects: Kannikegården, Ribe, DK  Image: Anders Sune Berg

Lundgaard & Tranberg Architects: Kannikegården, Ribe, DK Image: Anders Sune Berg

 

What are the best European buildings? For the first time the most prestigious European architecture prize is awarded to two housing developments. Having been awarded to predominantly sensational cultural buildings in previous competitions, this time the prize goes to two pioneering projects in the field of housing. The main prizewinning project, De Flat Kleiburg by NL architects and XVW Architectuur, involves the participative renovation and upgrade of a prefab development from the 1960s. One topic that is highly relevant here in Austria, where we are confronted with many major housing developments by postwar modern architects that are ageing and urgently need social, functional and technical renovation. The Emerging Architect Special Mention goes to a social housing complex by the offices of MSA and V+ in Brussels.


 

Practical Information

“Europe’s best Buildings”
August 23  – October 22, 2018
Architekturzentrum Wien
Museumsplatz 1, Vienna
Austria

 


Both prizewinning projects provide new reactions to the lifestyle changes of the 21st century. “The shift towards social housing, but with a concentration on converting and extending the existing substance, is a clear sign of a reorientation in architecture towards equitable building and the economic use of resources”, says Angelika Fitz, Director of the Az W. On show in the exhibition are a total of 40 buildings from the sectors of housing, culture, education, industry and infrastructure. They were all selected by a high-calibre jury from 355 projects, from 36 European countries. “The exhibition uses models, videos, original drawings and 1:1 structural elements to clearly convey the high quality of the projects”, explains curator Ivan Blasi of the Mies van der Rohe Foundation. In addition, at the Az W the 18 Austrian nominated projects are on display. The accompanying catalogue presents all of the nominated projects.

 

NL Architects, XVW architectuur: deFlat Kleiburg, Amsterdam, NL Image: Marcel van der Burg

NL Architects, XVW architectuur: deFlat Kleiburg, Amsterdam, NL Image: Marcel van der Burg

NL Architects, XVW architectuur: deFlat Kleiburg, Amsterdam, NL Image: Marcel van der Burg

NL Architects, XVW architectuur: deFlat Kleiburg, Amsterdam, NL Image: Marcel van der Burg

 

HOUSING WINS

In the main prizewinning project De Flat, the 400 metre long Kleiburg block estate containing 500 homes in the Amsterdam district of Bijlmermeer was given a second life. The De Flat consortium founded for the project saved the late-1960s building from demolition. While NL Architects and XVW Architectuur restored the communal spaces and made a number of essential interventions, the business concept envisaged prospective occupants’ renovating their apartments by themselves. The Emerging Architect Award goes to an apartment building with 5 social homes for low-income families with many children. With this project the team of architects MSA and V + have successfully achieved both an identity for the district as well as spatial generosity with an exemplary apartment building. Resourceful responses to the economic and structural restrictions have created homes with a great deal of freedom of movement and a superb view of the surrounding landscape.

 

MSA, V+: NAVEZ - 5 Social units, Brussels, BE  Image: Serge Brison

MSA, V+: NAVEZ – 5 Social units, Brussels, BE Image: Serge Brison

MSA, V+: NAVEZ - 5 Social units, Brussels, BE  Image: Serge Brison

MSA, V+: NAVEZ – 5 Social units, Brussels, BE Image: Serge Brison

 

 

PIONEERING EUROPEAN ARCHITECTURE

Among the other finalists presented extensively in the exhibition are the projects Kannikegården by Lundgaard & Tranberg Architects, which fits uniquely into the ensemble of the medieval main square in Ribe, Denmark; the Rivesaltes Memorial Museum in France by Rudy Ricciotti, which is buried in the earth with calm and determination, the power of the architecture lending expression to the history of Concentration Camp Joffre; Ely Court, another housing development project from London, by Alison Brooks Architects, and the Katyn Museum in Warsaw by BBGK Architekci, Jerzy Kalina and Maksa, which engages impressively with the history and with the location.

 

Memorial du camp de Rivesaltes © M.-Hedelin-Region-Languedoc-Roussillon

Memorial du camp de Rivesaltes © M.-Hedelin-Region-Languedoc-Roussillon

Rudy Ricciotti: Rivesaltes Memorial Museum, Rivesaltes, FR  Image: Kevin Dolmaire

Rudy Ricciotti: Rivesaltes Memorial Museum, Rivesaltes, FR
Image: Kevin Dolmaire

 

The remaining shortlisted projects also represent an impressive cross-section of the development of European architecture. The examples range from cultural buildings, like the extension of the Museo de las Colecciones Reales in Madrid by Mansilla + Tuñón Arquitectos, via educational buildings, like the Inchicore Model School in Dublin by Donaghy + Dimond, infrastructure projects, like the Landmark by Monadnock with a café and visitor centre for the city of Nieuw-Bergan in the Netherlands, to commercial and office buildings, like the Timmerhuis by O.M.A. in Rotterdam.

 

Lundgaard & Tranberg Architects: Kannikegården, Ribe, DK  Image: Anders Sune Berg

Lundgaard & Tranberg Architects: Kannikegården, Ribe, DK
Image: Anders Sune Berg

BBGK Architekci, Jerzy Kalina, Maksa: Katyn Museum, Warsaw, PL  Image: Juliusz Sokołowski

BBGK Architekci, Jerzy Kalina, Maksa: Katyn Museum, Warsaw, PL
Image: Juliusz Sokołowski

 

MIES VAN DER ROHE AWARD

The key aim of the Mies van der Rohe Awards is to provide recognition and show appreciation for exceptional achievements in the field of architecture within Europe. Projects are awarded prizes whose innovative character serves as orientation, even as manifestos, for the development of contemporary architecture. Prize money totalling 80,000 EUR (Winner: 60,000 EUR, Emerging Architect Award: 20,000 EUR) is awarded for exceptional achievements in conceptual, technical and structural terms.

 

BBGK Architekci, Jerzy Kalina, Maksa: Katyn Museum, Warsaw, PL  Image: Juliusz Sokołowski

BBGK Architekci, Jerzy Kalina, Maksa: Katyn Museum, Warsaw, PL Image: Juliusz Sokołowski

 

The Emerging Architect Award is intended to promote the profession itself and as encouragement for architects at the outset of their careers. From 355 nominated projects, from 36 European countries, a total of 40 projects were selected for the exhibition by an international jury — Stephen Bates, Gonçalo Byrne, Peter Cachola Schmal, Pelin Dervis, Dominique Jakob, Juulia Kauste and Malgorzata Omilanowska. The exhibition includes the 5 finalists and the two winning projects from the housing sector.

 

Alison Brooks Architects: Ely Court, London, UK,  Image: Paul Riddle

Alison Brooks Architects: Ely Court, London, UK, Image: Paul Riddle

Architekturzentrum Wien: Europas beste Bauten. Mies van der Rohe Award 2017 (23.08. –  22.10.2018, Eröffnung) https://www.azw.at/de/termin/europas-beste-bauten | Foto: eSeL

Architekturzentrum Wien: Europas beste Bauten. Mies van der Rohe Award 2017  Foto: eSeL

 

An accompanying catalogue presents all of the nominated projects, and is available throughout the exhibition.


 

News source: Architekturzentrum Wien
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Manifesta 12 “The Planetary Garden: Cultivating Coexistence” in Palermo

September 24, 2018

The Planetary Garden: Cultivating Coexistence hosts three main sections: Garden of Flows, Out of Control Room and City on Stage. It takes place in the magnificent Botanical Garden and numerous other historical, sacred, modern and previously abandoned locations in the city center and beyond. It re-occupies the Teatro Garibaldi as the heart and central meeting place of Manifesta 12.

 

Manifesta 12. Palermo © OMA

Manifesta 12. Palermo © OMA

 

Manifesta 12 Palermo explores coexistence in a world moved by invisible networks, transnational private interests, algorithmic intelligence, environmental crisis and ever-increasing inequalities. It looks at this world through the unique lens of Palermo – a city at the crossroads of three continents in the heart of the Mediterranean. Closely collaborating with Palermitan partners, Manifesta 12 co-inhabits Palermo, as an ideal place to investigate the challenges of our time, and to experiment with traces of possible futures. (more…)

Olivier Mosset, “Untitled” at MAMO Centre d’art de la Cité Radieuse

September 22, 2018

To celebrate the fifth anniversary of its opening in 2013, MAMO (Marseille Modulor) hosts an exhibition by Olivier Mosset. Mosset is the sixth artist invited to MAMO (Marseille Modular) since the inaugural exhibition in 2013 by Xavier Veilhan and subsequent shows by Daniel Buren, Dan Graham, Felice Varini and Jean Pierre Raynaud.

 

Olivier Mosset at MAMO Marseille © MAMO

Olivier Mosset at MAMO Marseille © MAMO

 

Mosset’s exhibition offers the sixth unique point of view on the rooftop of La Cité Radieuse – Le Corbusier’s modernist residential housing design project, which includes 337 duplex apartments, a restaurant, bookshop, grocer, hotel and school all connected by interior streets. The rooftop of La Cité Radieuse was converted into the arts center and exhibition space by designer Ora Ito in 2013. (more…)

“Dario Passi. Forma Urbis” at MAXXI Rome

September 22, 2018

An homage to the recently deceased architect and artist, made through the presentation of architectural drawings in which the unique use of the medium of painting is the instrument through which constructed reality is investigated and revealed.

 

"Dario Passi. Forma Urbis" © Dario Passi

“Dario Passi. Forma Urbis” © Dario Passi

 

Some of the emblematic works that sanctified Dario Passi’s abandonment of architecture in favour of painting will be shown. At the entrance to the Architecture Archives Centre are two large oil canvas paintings, recently acquired, that represent a kind of cultural legacy of Dario Passi, whose activity over time passed from architectural practice, always carried out through high quality graphic representations, to tout-court artistic creation. (more…)

“Primož Bizjak” exhibition at _2B SPACE TO BE Madrid

September 21, 2018

_2B space to be presents an exhibition by the Slovenian photographer Primož Bizjak, curated by María Milán, as part of the Hybrid Festival 2018 and the XV Madrid Architecture Week. The exhibition includes a selection of large format photographs of abandoned spaces.

 

Forte Treporti n˚4 © Primož Bizjak

Forte Treporti n˚4 © Primož Bizjak

 

The main subjects of my incursions are places that have lost their original function or had it temporarily suspended – places where there’s a strong feeling they’re being ‘reclaimed’ by society. With a head-on approach I try to show the subject as it is, as an important document that talks about the past and present whilst submerged in an undefined time. It’s no longer about a ‘moment’, but a temporary space able to capture the unsettling, sublime dimension as a result of long, nighttime exposures that reveal colours and shapes invisible to the human eye – Primož Bizjak (more…)