“Peter Wilson. Small World Theory” at SATELLIT Architektur Galerie Berlin

This is not an exhibition of the architecture of BOLLES+WILSON, more my private reveries – objects or bi-products accidentally brought into being by the hand of the architect. Such enigmatic objects (counter-factual histories) are also reflections on the field of production, technologies and cultural anomalies endemic to the early years of the 21st century.

 

Peter Wilson: Missing Sky – Dutch Landscape (2001) © Peter Wilson

They conjure the relations of singularities to multiplicity, a soft empiricism that insists on the aesthetic and textural character of representation (but not representation as 2D images which today exist in such overwhelming superfluity – claiming and numbing our perception). These objects are monads in the sense of Leibniz or Benjamin, tiny cells (on average 2 x 15 x 15 cm), small worlds, in total a taxonomy of scripted physical narratives. (more…)

“Fibra Architectures” at Pavillon de l’Arsenal

Concrete walls made from hemp or load-bearing straw bales, bamboo frames, reed coverings and siding, insulation made from straw, hemp, or seagrasses , palm tiles, wicker banisters… The FIBRA Architectures exhibition features more than 50 constructions that have been built across the world using plant fiber materals.

 

“Fibra Architectures” at Pavillon de l’Arsenal © Pierre l’Excellent

 

In view of the exhaustion of our natural resources, this exhibition explores the potential of using rapidly growing plants in the architecture of the cities of tomorrow. It forms part of the exhibitions, research projects, and experiments conducted by the Pavillon de l’Arsenal since 2014 that have focused on the reuse of materials and on construction using raw earth or stone from quarries located within the Ile de France. (more…)

“Playmode” at MAAT Lisbon

The exhibition Playmode offers a reflection on these aspects and on the era of ludification that contemporary societies are now experiencing, bringing together pieces by several artists, such as Brad Downey, Gabriel Orozco and Ana Vieira, who incorporate the theme while exploring new ways of seeing, participating and transforming the world, using gaming in a critical light.

 

Brad Downey, House of Cards #3, Public Work, 2007, © Photo Credits Brad Downey

 

The artists understood early on the transformative power of play, and began integrating it into their works for various purposes – escaping reality, social construction and transformation, subversion or as a criticism of game and play mechanisms themselves. (more…)

“Transformations. Burckhardt+Partner” at Architekturgalerie München

“Everything changes without passing away completely. It is important to accompany these processes in an orderly manner.” With the double exhibition TRANSFORMATIONS, the renowned Swiss architects Burckhardt+Partner present works in the Architekturgalerie München in the Kunstareal and in the Bunker that are entirely dedicated to structural transformation and change processes.

 

“Transformations” Burckhardt+Partner

 

 

In the Architekturgalerie München in the Kunstareal, architecture can be experienced and grasped in three atmospherically designed rooms. The exhibition shows a broad spectrum of works by the Swiss firm Burckhardt+Partner from the almost 70-year history of the firm. This exhibition also focuses on the transformation process. It is about change and a profound development from something existing. “This can lead to something completely new, but also to a conversion of the existing,” explains Wolfgang Hardt, Partner at Burckhardt+Partner. “Transformation also means changing viewing habits and developing new perceptions. (more…)

“Beyond Bauhaus – Modernism in Britain 1933–66” at the RIBA London

Coinciding with the centenary of the Bauhaus school, the Royal Institute of British Architects (RIBA) presents an ambitious exhibition that revisits the impact of three notable Bauhaus émigrés: Walter Gropius, Marcel Breuer and László Moholy-Nagy.

 

Designs for a house, Ferriby, for M. P. Horsley Esq. perspective and axonometric views © RIBA Collections

 

This exhibition takes a fresh look at the development of British modernist architecture through the reciprocal influence of the Bauhaus movement. Centred on the brief period of 1934-37, when they came to live and work in Britain, the RIBA exhibition traces this fertile moment in British architectural history through the buildings completed during the decade. It considers the ideas they left behind and identifies the areas of post-war British architecture where its legacy has had the most enduring impact. (more…)

“For Forest” temporary art intervention by Klauss Littmann

Inspired by The Unending Attraction of Nature, a dystopian drawing by Austrian artist and architect Max Peintner (b. 1937) that Littmann discovered almost thirty years ago, FOR FOREST finally brings that vision to life.

 

Max Peintner, The Unending Attraction of Nature, pencil drawing, 1970/71, hand-coloured by Klaus Littmann in 2018, unique print from series

 

8 September 2019 marks the opening of FOR FOREST – The Unending Attraction of Nature, a temporary art intervention by Klaus Littmann and Austria’s largest public art installation to date. Bringing together art, nature and architecture in an unprecedented way, this monumental art intervention sees the transformation of Wörthersee football Stadium in Klagenfurt into a native central European forest, with almost 300 trees, some weighing up to six tons each, carefully installed on the existing pitch. FOR FOREST is open daily, free to access and on view until 27 October 2019. (more…)

“Le Mobilier d’architectes, 1960-2020” at Citè de l’Architecture

Through the movable creations of the biggest names in architecture of the last sixty years, the exhibition proposes to discover how architects fit into the decorative arts, through the design of furniture, objects and lighting.

 

“Le Mobilier d’architectes, 1960-2020” at Citè de l’Architecture © louisegoingout

 

For 150 years, architects have been designing furniture and lighting to complete their buildings. Unlike the furniture of their predecessors in the Viennese Secession, Art Deco, Bauhaus or the Modern movement, the furniture of architects from the 1960s to today has been little studied so far. (more…)

“ITALOMODERN. Architecture in Northern Italy 1946-1976” at Finstral Studio Friedberg

With current photographs and newly drawn plans, architect Martin Feiersinger and sculptor Werner Feiersinger rediscover post-war architecture in Northern Italy: idiosyncratic and characteristic buildings by neorealists, rationalists, brutalists and organicists. The exhibition, developed jointly with aut. architektur und tirol, can now be seen for the first time in Germany.

 

IGINIO CAPPAI, PIETRO MAINARDIS OLIVETTI HOTEL IVREA 1967–75 © MARTIN & WERNER FEIERSINGER

 

With the comprehensive inventory of ITALOMODERN, Martin and Werner Feiersinger draw attention to the heterogeneous architecture of the post-war period in Northern Italy. The focus of the brothers reflects their respective professional approaches, as a sculptor and as an architect. “On the one hand it is about the sculptural qualities of the buildings, their materiality and the different surfaces, on the other hand it is about space formation, functional conception and the integration into the environment.“ Martin and Werner Feiersinger


 

“ITALOMODERN. Architecture in Northern Italy 1946-1976”
26 September, 2019 – 15 July, 2020
Finstral Studio Friedberg
Winterbruckenweg 64,  Friedberg
Germany

 


The spectrum ranges from the precursors of today’s tiny houses such as Mario Cavallé “Case Zucca” in Milan, to small residential buildings such as Gino Valles “Casa Rossa” in Udine, to residential complexes in Trieste and Genoa that still seem bold today.

 

Aldo Bernardis, Terrazza a Mare, Lignano, 1969 – 72 Foto: Werner Feiersinger

Colle Val d’Elsa, via di Spugna: banca del Monte dei Paschi di Siena (Giovanni Michelucci, Bruno Sacchi, 1973-83)

 

Among the 115 photographs on display are pictures of the machine-like architecture of the Olivetti Hotel “La Serra” in Ivrea, the spectacular silhouette of BBPR’s “Torre Velasca” in Milan, and courageous constructions by hardly known architects. Not timeless architecture, then, but buildings that are a clear expression of a time full of optimism and belief in the architectural design of the future.

 

BBPR, Torre Velasca, Milan, 1950–58, Foto: Werner Feiersinger

 

ITALOMODERN results from years of initially private research carried by Martin and Werner Feiersinger. Their photographs, taken on journeys without any purpose of exploitation, were presented to the public for the first time in 2011 in aut. architektur und tirol. The recognition and international response to the exhibition and the catalogue encouraged them to continue their research and travel activities, resulting in ITALOMODERN 2, shown in aut in 2015. After stops in Austria, Switzerland and Italy, the South Tyrolean window manufacturer Finstral is now bringing the exhibition to Germany for the first time.

 

MARCELLO D’OLIVO, VILLAGGIO DEL FANCIULLO MENSA, TRIEST 1950–57 © MARTIN & WERNER FEIERSINGER

MARIO CEREGHINI, BIWAK LECCO, GRIGNETTA 1966–67© MARTIN & WERNER FEIERSINGER

 

Expressly for the gallery rooms of Finstral Studio Friedberg, Martin and Werner Feiersinger have designed a arge space object, which at the same time serves as a presentation surface and whose pointed forms are reminiscent of Mendini’s drawing “Non c’è Italia senza spine”: there is no Italy without thorns.

 

Angelo Mangiarotti und Bruno Morassutti, Kirche “Mater Misericordiae” Mailand, 1956 – 57, © Werner Feiersinger


News source: Finstral Studio Friedberg
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“Karl Blossfeldt: Urformen der Kunst” at Thyssen-Bornemisza Museum Madrid

The German photographer and sculptor Karl Blossfeldt (Germany, 1865-1932) captured the hidden beauty of nature through his camera. Throughout his life Blossfeldt photographed plants and flowers using cameras of his own design that allowed him to magnify the subject up to 30 times its size.

 

Karl Blossfeldt. Adiantum, 1928. LOEWE.

 

Austere and objective but with a power to transmit great emotion to the viewer, Blossfeldt’s images attracted the attention of writers and artists due to their innovative concept of nature, leading him to become one of the key reference points for avant-garde photography.


 

“Karl Blossfeldt: Urformen der Kunst”
6 September – 5 October, 2019
Thyssen-Bornemisza Museum Madrid
Paseo del Prado, 8, Madrid
Spain

 


From 6 September to 5 October 2019 the Museo Thyssen-Bornemisza and LOEWE Perfumes will be presenting a selection of 40 of these photographs from the album Urformen der Kunst [Original forms of art], considered one of the seminal photographic books of the 20th century. Published in 1928, it was the work that brought Blossfeldt to public attention and gave him entry to the art scene of the day, making him one of the most important of the New Objectivity photographers. The high quality of the paper and printing of these fascinating photographs further enhances the beauty of their powerful images, in which lighting and composition are used to emphasise the sculptural and graphic qualities of the plants. From the outset Blossfeldt’s photographs were compared to African sculptures and provided a source of inspiration for the Bauhaus industrial designers and creators.

 

Karl Blossfeldt. Aconitum_Anthora, 1928. LOEWE.

 

For the present exhibition its curator Juan Naranjo has organised the photographs into different sections that group Blossfeldt’s work together in formal and thematic terms, playing with de-contextualisation in order to reveal the formal beauty of the plants.

 

Karl Blossfeldt. Abutilon, 1928. LOEWE.

 

The importance of Urformen der Kunst continues today, given that it has come to be considered a manifesto for the interconnection of art and nature. Karl Blossfeldt revealed the beauty of the natural, a concept that is notably present in today’s causes and debates.

 

Karl Blossfeldt. Vaccinium, 1928. LOEWE.

 

Blossfeldt embarked on studying sculpture in 1881 and shortly after that date entered the School of Applied Arts in Berlin where he completed his art training. During that period he started to use photography to record specimens of plants that he found on days out and field trips. This unique and distinctive photographic “herbal”, which he produced over the course of more than thirty years, led Blossfeldt to become one of New Objectivity’s most important photographers.

 

Karl Blossfeldt. Petasites, 1928. LOEWE.

 

For many years Karl Blossfeldt’s photographic output was associated with his activities as a teacher and illustrator. With the publication of Urformen der Kunst (1928) his photographic work
entered the terrain of art, becoming extremely well known and successful. Blossfeldt’s photographs are to be found in the collections of some of the world’s leading museums and he captivated critics and theoreticians such as Georges Bataille and Walter Benjamin, while also inspiring numerous artists, including Max Ernst, Joan Fontcuberta and Arno Rafael Minkkinen.

 

Karl Blossfeldt. Centaurea, 1928. LOEWE.

Karl Blossfeldt. Cotula, 1928. LOEWE.

 

An expert in early and vintage photography, Juan Naranjo is an independent curator whose research has focused on the uses and functions of photography. He teaches on the Masters in Photography at the Universidad Politécnica de Valencia and has been a member of the advisory committee of the department of photography at the Museu Nacional d’Art de Catalunya, Barcelona. He advises the publishing house Gustavo Gili on its photography collection and has curated a number of exhibitions, including Distinción, Un siglo de fotografía de moda, Fundación Cristóbal Balenciaga (Guetaria, 2019) and Museu del Disseny (Barcelona, 2017); Gabriel Casas, Fotografía, información y modernidad, 1929-1939, Obra Social La Caixa, Museu Nacional d’ Art de Catalunya (Barcelona, 2015-2016); and Joaquim Gomis, de la mirada oblicua a la narración visual, Fundació Joan Miró (Barcelona, 2012).


News source: Thyssen-Bornemisza Museum Madrid
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“Giacomo Quarenghi architect in the imperial St. Petersburg” at Accademia Carrara

The exhibit, consisting of a selection of about seventy of the architect’s pages drawn from the Carrara collection, is the ideal conclusion of the celebrations that began in 2015 under the aegis of the Municipality of Bergamo and the Quarenghi Observatory, culminating in the 2017 anniversary, the bicentenary of the architect’s death.

 

Giacomo Quarenghi a Carskoe Selo. Accademia Carrara Bergamo

 

Over little less than forty years of work in Russia, Quarenghi contributed significantly to shaping the plans of Empress Catherine II of Russia and, later, of her son Alexander, who set out to transform St. Petersburg into a European capital. (more…)