“Italian Vocabulary, Stories and Faces of our Country” museographic project by EMBT

The permanent exhibition “Italian Vocabulary, Stories and Faces of our Country” has been inaugurated, whose museographic project has been made by Benedetta Tagliabue (Milan, 1963) and his architecture studio Miralles Tagliabue EMBT.


Exhibition “Italian Vocabulary, Stories and Faces of our Country” by Benedetta Tagliabue. Photograph by Paolo Fassoli.


The exhibition is part of a new development plan for the Vittoriano museum complex in Rome, which currently has around three million visits a year, a famous monument dedicated to Vittorio Emanuele II opened in 1911 to celebrate the first fifty years of unity Italian Located in the old Gallerie Sacconi, on the ground floor of the museum, the exhibition represents the Italian identity and its values through a collection of projections, texts, objects and works.  (more…)

“Le Corbusier: 5 × Unité” by Arthur Zalewski

The five Unités, which are now in very different states of repair, have been photographed by Arthur Zalewski. Le Corbusier: 5 × Unité – Marseille, Nantes, Berlin, Briey, Firminy by Arthur Zalewski will be shown in five exhibitions, curated by Peter Ottmann, from April to November 2019 in C834 in the Corbusierhaus in Berlin.


“Le Corbusier: 5 × Unité” by Arthur Zalewski © Arthur Zalewski


Le Corbusier planned and built five Unités d’Habitation in Marseille, Nantes, Berlin, Briey, and Firminy in the period from 1945 to 1967. Owing to the acute shortage of housing after the war, he also developed a new type of building, a multifunctional block of flats that combined a large number of apartments on a small plot: the buildings included a roof landscape and other urban structures, such as a kindergarten, cinema, pharmacy, and grocery store. (more…)

“Refresh, Renew” by Common Accounts at the Accademia di Spagna in Rome

Common Accounts designs “Refresh, Renew”, a project in the Academy of Spain in Rome that proposes a rearticulation of the current funerary constructions so that they operate simultaneously in the urban sphere and social networks.


Common Accounts, “Refresh, Renew” Funerary Catafalque, Rome © Common Accounts


The Common Accounts project has an open pavilion located outside the Academy of Spain in Rome, which puts the ritual capacity of body images in the foreground and plays with the way in which emerging funeral practices understand muscle as archive. “Refresh, Renew”, a funerary catafalque for the digital era. (more…)

“Negotiating Ungers – The Aesthetics Of Sustainability” at CIVA Brussels

In 1980, the German architect Oswald Mathias Ungers participated in a competition for solar housing in the community of Landstuhl, Germany. Ungers’ design was never executed and has since fallen into oblivion, however with the project Ungers most clearly defined his approach to a sustainable architecture.

The project is used as a starting point to take a new look at both Ungers’ work and the concept of sustainability. During a summer school in July 2018 at the Ungers Archiv für Architekturwissenschaft in Cologne, the project was analyzed together with students from the KU Leuven, Faculty of Architecture and the Kunstakademie Düsseldorf.


“Negotiating Ungers — The Aesthetics Of Sustainability”
5 July – 22 September, 2019
CIVA Brussels
Rue de l’Ermitage Kluis 55, Brussels


Following the summer school, six students decided to continue their work on the subject and to further expand on the ideas developed in the discussions. The results are now presented in an exhibition at CIVA. Rather than delivering an overall interpretation of Ungers’ project, it represents a plurality of voices, reflections and interpretations of the design. Besides original drawings by Ungers, the exhibition includes installations and analytical presentations, which critically negotiate Ungers’ position on sustainability.

Oswald Mathias Ungers, Solarhaus, community of Landstuhl, Germany © OM Ungers

Oswald Mathias Ungers, Solarhaus, community of Landstuhl, Germany © OM Ungers

Oswald Mathias Ungers, Solarhaus, community of Landstuhl, Germany © OM Ungers

Oswald Mathias Ungers, Solarhaus, community of Landstuhl, Germany © OM Ungers


Students: Alessandro Cugola / Lisbeth Decloedt / Natasha Kurmashova / Tom Schoonjans / Juliane Seehawer / Fien Werckx


News source: CIVA Brussels
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“inservitude” exhibition at Arc en Rêve Bordeaux

Can architecture, a discipline defined by constraint, constantly reinvent itself via undisciplined creative utopias, architects, and modes of use? Between the political advent of the Enlightenment and that of 20th century totalitarianism, where do we stand in the art of “voluntary inservitude” and “reflexive indocility?


“inservitude” exhibition view © Arc en Rêve Bordeaux


The philosopher Guillaume le Blanc invites us to address these questions, and the exhibition inservitude explores the question of freedom as an essential raw material for architecture that offers potential alternatives. (more…)

“The Housing Laboratory. Éloge de la méthode” at Citè de l’Architecture

The challenge of this exhibition is to put into perspective a specific approach that is in line with the experiments that have marked the history of housing in France. The success of this project makes it a landmark that the Platform for Architectural Design has chosen to present as part of its “Laboratory Housing. “


Gare D’auteuil – Ensemble De Logements © Anne Demians, Francis Soler, Rudy Ricciotti, Finn Geipel


The exhibition Praise of the Method puts into perspective the specific approach of the operation of the Gare d’Auteuil. Unique urban piece, in line with the experiments that have marked the history of housing in France and fruit of an international competition launched by the City of Paris in 2008, this operation is carried out by a “collective of authors” consisting of four architects and a landscape architect: Anne Demians, Francis Soler, Rudy Ricciotti, Finn Geipel and Louis Benech. (more…)

“A poet of architecture. Pier Niccolò Berardi and Fiesole”

Thirty years after his death, Fiesole recalls with an exhibition the figure of Pier Niccolò Berardi (1904 -1989), painter and architect, exponent of the Italian rationalism movement, author of the Richard Ginori Museum at Doccia and with the ‘Gruppo Toscano’, of the Santa Maria Novella railway station in Florence, which, despite its activity in Italy and abroad, has been linked to its birthplace throughout life.


Stazione Santa Maria Novella, Gruppo Toscano: Giovanni Michelucci, Nello Baroni, Pier Niccolò Berardi, Italo Gamberini, Sarre Guarnieri and Leonardo Lusanna

Wanted by his daughter, Antonella Berardi, a poet of architecture. Pier Niccolò Berardi and Fiesole is the work of the architect Marco Romoli, his pupil and collaborator, and is carried out under the patronage of the Tuscany Region, the Municipality of Fiesole and the Giovanni Michelucci Foundation. (more…)

“Experimental Architecture Biennial” at Jaroslav Fragner Gallery

The fourth “Experimental Architecture Biennial” was formally launched in mid-June under the Digital Tactics banner. It will feature an exhibition presenting fifteen creatives from across the world.


“Filip Šlapal: Bauhaus” © Jaroslav Fragner Gallery


It will include representatives from the top Los Angeles-based SCI-Arc school; the Neri Oxman studio at the MIT Media Lab in Cambridge, Massachusetts; the Dutch UNStudio; the British-based Zaha Hadid Architects; the Vienna-based Moh architects; architects and teachers from the University of Innsbruck; and architects and teachers from the Bartlett School of Architecture in London. (more…)

“Giorgio de Chirico. Il volto della metafisica” at Palazzo Ducale Genova

Curated by Victoria Noel-Johnson and organised in collaboration with the Giorgio and Isa de Chirico Foundation, the exhibition chronicles the long and fruitful career of one of the most interesting and original artists in the history of twentiethcentury art. First acclaimed but later scorned by the surrealists, at all times Giorgio de Chirico followed his own personal idea of art, inspired by the philosophy of Schopenhauer and Nietzsche.


“Giorgio de Chirico. Il volto della metafisica” Giorgio de Chirico


His style of painting was metaphysical, seeking to overcome the appearance of reality. It was also a style that reflected his fascination with the classics. The exhibition presents all the great themes of the Pictor Optimus: his metaphysical exteriors (Italy’s town squares and towers); his mannequins, his disturbing muses and his archaeologists. Also on display are examples of his still lifes – or silent lifes, as de Chirico liked to call them – horses, copies or free interpretations of great masters such as Raphael and Perugino, as well as the famous self-portraits in period clothes in the style of Rubens or Velázquez. This is an exhibition that is also a journey, an eternally cyclical journey in search of self and beauty. (more…)

“Jannis Kounellis” at Fondazione Prada Venice

“Jannis Kounellis”, curated by Germano Celant, is the major retrospective dedicated to the artist following his death in 2017. Developed in collaboration with Archivio Kounellis, the project brings together more 60 works from 1959 to 2015, from both Italian and international museums , as well as from important private collections both in Italy and abroad.


“Jannis Kounellis” Fondazione Prada Venezia. Photo Agostino Osio – Alto Piano


The show explores the artistic and exhibition history of Jannis Kounellis (Piraeus 1936 – Rome 2017), establishing a dialogue between his works and the eighteenth-century spaces of Ca’ Corner della Regina. The artist’s early works, originally exhibited between 1960 and 1966, deal with urban language.


“Jannis Kounellis”
11 May – 24 November, 2019
Fondazione Prada Venice, Ca’ Corner della Regina
Calle de Ca’ Corner, Santa Croce 2215, Venezia


These paintings reproduce actual writings and signs from the streets of Rome. Later on, the artist transferred black letters, arrows and numbers onto white canvases, paper or other surfaces, in a language deconstruction that expresses a fragmentation of the real. From 1964 onward, Kounellis addressed subjects taken from nature, from sunsets to roses. In 1967 Kounellis’ investigation turned more radical, embracing concrete and natural elements including birds, soil, cacti, wool, coal, cotton, and fire.


“Jannis Kounellis” Fondazione Prada Venezia. Photo Agostino Osio – Alto Piano

“Jannis Kounellis” Fondazione Prada Venezia. Photo Agostino Osio – Alto Piano


Kounellis moved from a written and pictorial language to a physical and environmental one. Thus the use of organic and inorganic entities transformed his practice into corporeal experience, conceived as a sensorial transmission. In particular, the artist explored the sound dimension through which a painting is translated into sheet music to play or dance to. Already in 1960, Kounellis began chanting his letters on canvas, and in 1970 the artist included the presence of a musician or a dancer. An investigation into the olfactory, which began in 1969 with coffee, continued through the 1980s with elements like grappa, in order to escape the illusory limits of the painting and join with the virtual chaos of reality.


“Jannis Kounellis” Fondazione Prada Venezia. Photo Agostino Osio – Alto Piano

“Jannis Kounellis” Fondazione Prada Venezia. Photo Agostino Osio – Alto Piano



In the installations realized toward the end of the 1960s, the artist sets up a dialectic battle between the lightness, instability and temporal nature connected with the fragility of the organic element and the heaviness, permanence, artificiality and rigidity of industrial structures, represented by modular surfaces in gray-painted metal. Kounellis participated in exhibitions that paved the way to Arte Povera, which in turn translated into an authentic form of visual expression. An approach that recalls ancient culture, interpreted according to a contemporary spirit, in contrast with the loss of historical and social identity that took place during the postwar period.

Beginning in 1967, the year of the so-called “fire daisy,” the phenomenon of combustion began to appear frequently in the artist’s work: a “fire writing” that enlights the transformative and regenerative potential of flames. At the height of the mutation, according to alchemical tradition, we find gold, employed by the artist in multiple ways. In the installation Untitled (Tragedia civile) (1975), the contrast between the gold leaf that covers a bare wall and the black clothing hanging on a coat hanger underlines the dramatic nature of a scene that alludes to a personal and historical crisis. In Kounellis’ work smoke, naturally connected with fire, functions both as a residual of a pictorial process, and as proof of the passage of time. The traces of soot on stones, canvases and walls that characterize some of his works from 1979 and 1980 indicate a personal “return to painting,” in opposition to the anti-ideological and hedonistic approach employed in a large part of the painting production in the 1980s.


“Jannis Kounellis” Fondazione Prada Venezia. Photo Agostino Osio – Alto Piano


Throughout his artistic research Kounellis develops a tragic and personal relationship with culture and history, avoiding a refined and reverential attitude. He would eventually represent the past with an incomplete collection of fragments of classical statues, as in the work from 1974. Meanwhile, in other works the Greco-Roman heritage is explored through the mask, as in the 1973 installation made up of a wooden frame on which plaster casts of faces are placed. The door is another symbol of the artist’s intolerance for the dynamics of his present. The passageways between rooms are closed up with stones, iron reinforcing bars and lead sheets making several spaces inaccessible in order to emphasize their unknown, metaphysical and surreal dimension.

The exhibition narrative is completed with large-scale installations realized by Kounellis from the end of the 1980s. These ensembles envelop shelves or metal constructions containing objects of various origins: from musical instruments to sacks, from plaster casts to stones, from coats to glasses, from mechanical gears to fragments of furniture. The large interventions hosted in the central rooms of the two main floors of Ca’ Corner della Regina are included in this context. Already as early as 1967 Kounellis dealt with the motifs of gravity and equilibrium in his works. However, it wasn’t until the 1980s and 1990s that he developed a deeper dialogue with architectural and urban spaces. Both of these aspects would result in the monumental 1992’s installation presented in the internal courtyard of the Venetian palazzo. Originally conceived for the external façade of a building in Barcelona, it is composed of seven metal plates that support sacks filled with coffee beans.

The retrospective is completed on the ground floor by documents – including films, exhibition catalogues, invitations, posters and archival photographs – that trace Kounellis’ exhibition history, and by a focus on his theater projects. The exhibition is accompanied by a volume that includes an essay by Germano Celant and an extensive illustrated chronology, documenting and exploring Jannis Kounellis’ artistic career and biography. Designed by 2×4 (New York), the book is published by Fondazione Prada.


News source: Fondazione Prada Venice
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