VK

visits on art, design, architecture and literature

Verena Hennig’s ‘Rope Light Chandelier’ unfolds Silken Threads

“Experience is never limited and is it never complete; it is an immense sensibility, a kind of huge spider’s web of the finest silken threads, suspended in the chambers of consciousness and catching every air-borne particle in its issue. It is the very atmosphere of the mind; and when the mind is imaginative – more so when it happens to that of a man of genius-it takes to itself the faintest hits of life. it covers the very pulses of the air into revelations ” (Henry James, “The Art of Fiction”  from the ‘Anthony Trollope’ first published in 1883)

 

‘Rope Light Chandelier’  Verena Hennig, 2017, photo @ Tilman Weishart

Verena Hennig‘s latest designed  piece “The Rope” unfolded to the “the rope light Chandelier” inviting the viewer/customer to explore and create their  own unique version of the product.  The chandelier contains of three illuminated lines, which can be arranged freely and intertwined. The flexible lights allow options to create forms and shapes in a space.

‘Rope Light ‘Verena Hennig, 2017, photo @Tilman Weishart

Verena Hennig is an internationally working Creative Director and Designer from Germany. She studied Graphic Design and Visual Communication at the Academy of Fine Arts in Nurenberg  alongside directing at the London Film Academy. Hennig went on to work for renowned practices such as as Sagmeister & Walsh in New York, Süddeutsche Zeitung in Munich and Pernilla Ohrstedt Studio in London.  In 2012 Hennig opened the design practice, Studio Verena Hennig followed by her own product brand in 2015.

Inspired from an early age by the work of American sculptor Alexander Calder, Verena’s appetite for interaction and playfulness was whetted by Calder’s ability to animate the inanimate through the use of wires and she has sought ever since to create designs that are both compelling and distinctly creative in her  approach. ”

‘Light Curtain’   Verena Hennig, 2017, photo@Tilman Weishart

 

The light shines from 360 customised LED bars to create a comfortable and unique mood.  Verena Hennig’ love of material, performance and minimalism resonates to form a sculptural piece, creating at same time, within the physical space an abstract and yet an ethereal space of illumination.

(detail)

ROPE LIGHT was first presented at Design-junction during the London Design Festival 2016, the filigrane and flexible pendant offers a multitude of configurations that allow for different graphical shapes to be drawn in the space. Warm light shines from 360° customized LED bars to create a comfortable and unique mood.

….I come from a background of graphic design, but always felt a little bit limited by materials and the graphical formats either on screen or on paper. Therefore my team and I explore and combine the fields of art, architecture and design in my studio. We investigate the questions of our daily lives and strive to engage our audiences with intelligent and distinctively created design solutions by altering the familiar, always with a focus on the interaction between product and user which has been the driving force in all of my designs… (Verena Hennig on Interview with Founding Editor Katie Treggiden/Confessions of a Design Week)

Verena Hennig ‘s private office/studio, Fuerth/Nuremberg

 

‘Rope Light’, Verena Hennig, 2017, photo @Tilman Weishart

 

The Studio Verena Hennig is a Design consultancy exploring and combining the fields of art, architecture and design. The studio produces projects for clients ranging from culture to industry, from print scales, products up to architectural designs.

I met Verena Hennig a year ago after  seeing a photograph at the AD /DE  as Winner of the Award for Interior Innovation 2016 featuring her ‘Roll collection” and I set to meet her and her work.  She designed the ‘Roll collection’ to create an engaging and playful experience between the user and the furniture; the name came from the rolling  aluminium sticks that form the seats and chair backs, which slide from left to right to massage the sitter. (Dezeen interview story) I found it incredibly interesting, playful and just beautiful. Verena Hennig is the darling of press of her beautiful and fresh designed pieces.

While I was reading Clarice Lispector ‘s book  ‘Selected Crônicas’  who had quoted Henry James in one of her stories (and I decided to bring the Silk Threads in my opening presentation) Clarice continues,  “…and that huge spider lurks in the chamber of consciousness. Ah, how wonderful life is with its ensnaring webs.”

Munich ; FUTURO ‘Flying Saucer in Town’

Deities, conspiracies, politics, space aliens: you don’t actually have to believe in these to find them interesting ” Perhaps  Carl Gustav Jung  (psychotherapist and onetime Freud protégé)  treated UFOs this way when he wrote his book Flying Saucers: ‘A Modern Myth of Things Seen in the Skies’  which examines “not the reality or unreality” of the titular phenomena, but their “psychic aspect’ …However, Dr Angelika Nollert (director of the Design Museum) and her team anchored FUTURO at  the courtyard of Pinakothek der Moderne.

FUTURO  landing (Dr Angelika Nollert and her team with the editor of Süddeutsche zeitung ) photo © Venetia Kapernekas

The FUTURO house was acquired in 2016 for Die Neue Sammlung and it is now on show for the first time after comprehensive restoration work. Apart from a continuous bench right round, its circular, open-plan room boasts no interior fittings. The FUTURO house in Munich was initially purchased by Stiebel Eltron in the early 1970s and erected on the company site in Vlotho. It was subsequently acquired by the Charles-Wilp-Museum in Witten in 2012. From there, it has moved to Munich. In the 1970s, artist, graphic designer and composer Wilp owned a FUTURO house which was wrapped by Christo in 1970 and in which artists such as Andy Warhol, Claes Oldenbourg and Yves Klein guested; it has not, unfortunately, survived.
Curated by Dipl. Rest. Univ. Tim Bechthold, Dr. Caroline Fuchs and Dr. Angelika Nollert

A flying saucer (also referred to as a flying disc) is a descriptive term for a supposed type of flying craft having a disc or saucer-shaped body, commonly used generically to refer to an anomalous flying object. The term was coined in 1930 but has generally been supplanted since 1952 by the United States Air Force term unidentified flying objects or UFO’s. 

….”what it may signify that these phenomena, whether real or imagined, are seen in such numbers just at a time” — the Cold War — “when humankind is menaced as never before in history.” As what Jung called a “modern myth,” UFOs qualify as real indeed. (source: Carl Jung’s fascinating 1957  letter on UFOs at Open Culture)

Olotila FUTURO leaflet, detail, 1968-1969, Originally published by Polykem Oy Ab, producer of the FUTURO house. © Matti Suuronen, Espoo City Museum

There are unfortunately no records of how many FUTURO houses were sold in total. At a conservative estimate there were originally around 70 of them, of which around 60 are still in existence today.

FUTURO houses on a mountain, late 1960s. The photo was taken with scale models of the house. © Matti Suuronen, Espoo City Museum, photo: unknown

FUTURO was manufactured by Finnish company Polykem Ltd. as one of the world’s first mass-produced plastic houses and marketed internationally.

Olotila FUTURO leaflet, detail, 1968-1969, Originally published by Polykem Oy Ab, producer of the FUTURO house.© Matti Suuronen, Espoo City Museum

Its walls are made of fiberglass-reinforced polyester shells with a sandwich layer of polyurethane foam providing insulation. In order to make assembly and dismantling easier, the house was manufactured in 16 arc segments which could be assembled on site in the space of only two days. A total of 16 double-glazed windows afford a panoramic view right round.

FUTURO house. Die Neue Sammlung – The Design Museum © Jörg Koopmanno-Haus

With a diameter of eight meters and an overall height of just under six meters the building offers around 25 m² of living space which can be heated by electricity in less than 30 minutes. The building rests on a stable tubular steel frame. It has been designed so that it can even be erected on rough terrain and can withstand not only extreme temperatures, but also earthquakes and storms. The door doubles up as fold-out stairs similar to those on small private jets, and these can be used to access FUTURO, which seemingly floats on its steel base.

          Assembly of the FUTURO in front of the Pinakothek der Moderne © Die Neue Sammlung – The Design Museum (A. Laurenzo)

FUTURO. Detail © Die Neue Sammlung – The Design Museum

The FUTURO house at the Internationale Kunststoffhausausstellung (IKA) in Lüdenscheidt 1972. © Stadtarchiv Lüdenscheid, Bildsammlung, Werner Silla

Around dawn on April 14, 1561, residents of Nuremberg saw what they described as an aerial battle, followed by the appearance of a large black triangular object and then a large crash outside of the city. According to witnesses, there were hundreds of spheres, cylinders and other odd-shaped objects that moved erratically overhead

Celestial phenomenon over the German city of Nuremberg on April 14, 1561 as printed in an illustrated news notice in the same month (source: wiki)

A manuscript illustration of the 10th-century Japanese narrative, The Tale of the Bamboo Cutter, or The Tale of Princess Kaguya ( details the life of a mysterious girl called Kaguya-hime, who was discovered as a baby inside the stalk of a glowing bamboo plant) depicts a round flying machine similar to a flying saucer.

….That summer, whenever Kaguya-hime saw the full moon, her eyes filled with tears. Though her adoptive parents worried greatly and questioned her, she was unable to tell them what was wrong. Her behaviour became increasingly erratic until she revealed that she was not of this world and must return to her people on the Moon. ……

A scene from The Tale of the Bamboo Cutter | © Shibata Zeshin. photographed by Sharon Mollerus/Flickr

……As the day of her return approached, the Emperor sent many guards around her house to protect her from the Moon people, but when an embassy of “Heavenly Beings” arrived at the door of Taketori no Okina’s house, the guards were blinded by a strange light. Kaguya-hime announced that, though she loved her many friends on Earth, she must return with the Moon people to her true home. She wrote sad notes of apology to her parents and to the Emperor, then gave her parents her own robe as a memento.

Fata Morgana, a type of mirage, may be responsible for some flying saucers sightings, by displaying objects located below the astronomical horizon  hovering in the sky, and magnifying and distorting them.

The first documented patent for a lenticular flying machine was submitted by Romanian inventor Henri Coanda  He made a functional small scale model which was flown in 1932 and a patent was granted in 1935 . At a Symposionum organized by the Romanian Academy in 1967 Coanda said:

‘These airplanes we have today are no more than a perfection of a toy made of paper children use to play with. My opinion is we should search for a completely different flying machine, based on other flying principles. I consider the aircraft of the future, that which will take off vertically, fly as usual and land vertically. This flying machine should have no parts in movement. The idea came from the huge power of the cyclons”
The Avrocar,  a one -man flying saucer style aircraft

FUTURO (from inside view) photo ©Venetia Kapernekas

FUTURO house. Die Neue Sammlung – The Design Museum © Jörg Koopmann

 

New York; Clarice Lispector ‘Selected Crônicas’

‘I only achieve simplicity with enormous effort’,
‘so long as I have questions to which there are no answers, I shall go on writing’,
Clarice Lispector 

 

One of my favourite  visits in New York is the 192 Bookstore in Chelsea.  A lovely afternoon  my eyes came on the  “Selected Crônicas’ (translated by Giovanni Pontiero, published by New Directions Publishing Corporation, New York).  Clarice Lispector (December 10, 1920 – December 9, 1977)  is widely recognised as the most original and innovative Brazilian woman writer of this century.

photo (source;WikiCommons)

The ‘Crônicas’ or Chronicles presents about two-thirds of the chronicles contained in “Descoberta do Mundo); in 1984, seven years after she died of cancer, Lispector’s son edited those chronicles which she published in the Saturday edition of the Journal do Brazil from August 1967 until December 1973. It is arranged in a chronological order, and is a miscellaneous collection of aphorisms, diary entries, reminiscences, travel notes, interviews, serialized stories and essays.

Varied and unpredictable, the chronicles allow us to piece together the life and career of this singular personality.  The chronicles register contrasting moods, one moment whimsical, the next grave and questioning, but whatever the theme, disarmingly frank. (Giovanni Pontiero’s note,  translator & publisher)

photo (source;WikiCommons)

The intimate revelations of the crônicas takes us through the various stages of womanhood from innocence to awakening perceptions of good and evil. The transition from adolescence to maturity is one of solemn rites, at once delicate and vulnerable.  One of the stories I love ‘Miraculous Leaves’ (written Jan 11, 1969)

No miracles never happen to me. I sometimes hear people discuss them and that give me hope. But it also makes me rebel: why do they never happen to me? Why  do I only hear about them? For I have heard conversations about miracles such as the following: ‘He told me that if such and such a word were to be spoken, some valuable object would smash into pieces.’ The objects in my house are broken in much more humdrum fashion, usually by one of the maids. I have even come to the conclusion that I am one of those people who roll stones throughout the centuries. I mean bought stones, not the smooth polished kind. Although I do have fleeting vision before falling asleep – could those be miraculous? But it has already been patiently explained to me that the phenomenon even has a name: cidetismo, which means been able to protect unconscious images into the sphere of hallucination. (Clarice Inspector, Jan 11, 1969, Crônicas, page 56) 

Brazil’s other great writer of this century, João Guimarães Rosa, once told her” ‘ ‘Clarice, I don’t read you just for the literature, but in order to learn about life.’ Her dramatic isights can surprise and shock, amuse and distress. Such is the intensity and vehemence of her prose that it unleashes everything which is gentled violent in this world of ours.  And as herself confided: ‘Everything affects me.. I see too much, heart too much, everything demands too much of me.’

‘The elusive genius who dramatised a fractured interior world in rich synthetic prose’ (Megan O’Grady, Vogue)

At the request of Clarice Inspector,  this interview, which was granted on January 1, 1977, to TV Cultura’s Panorama program, only aired ten months later, at the time of her death. (source: Obviousmagazine)

photo@ Claudia Andujar, 1961
Testimony of the photographer Claudia Andujar, recounting how she portrayed the writer in 1961. The photo illustrated the cover of the biography “Clarice”, by Benjamin Moser, released in 2009 by Editora Cosac Naify. This photo (in detail illustrates as well the Crônicas)

‘I went to the house of Clarice Lispector to photograph it at the request of the magazine Claudia, who wrote a report about the writer in 1961. I do not remember that day lost in time, but there are details that I keep forever. I wanted to make her comfortable for the photo, and I asked her how she would like to stand.  If I’m not mistaken, the idea of sitting before the picture Typewriter and start working on some text was from Clarice.And then she let herself be absorbed by the act of writing, completely delivered, without hardly noticing my presence. “ (Source: Obvious)

Clarice Lispector (December 10, 1920 – December 9, 1977),born to a Jewish  family in Podolia  in Western Ukraine, she was brought to Brazil as an infant, amidst the disasters engulfing her native land following the First World War…She left Brazil in 1944, following her marriage to a Brazilian diplomat, and spent the next decade and a half in Europe and the United States. After returning to Rio de Janeiro in 1959, she began producing her most famous works, including the stories of ‘Family Ties’ (Laços de Família), the great mystic novel ‘The Passion According to G.H’.(A Paixão Segundo G.H.), and what is arguably her masterpiece, Água Viva. Injured in an accident in 1966, she spent the last decade of her life in frequent pain, steadily writing and publishing novels and stories until her premature death in 1977.

Keisai Eisen (1790-1848) ‘The Courtesan Nanahito Making Tea, 1815-42’ by Francesco Nevola

Keisai Eisen (1790-1848) ‘The Courtesan Nanahito Making Tea, 1815-42’,  O-ban woodblock print; written by Francesco Nevola (sketch 05/written 31.12.2016)

A beautiful afternoon sipping a lovely green tea in a porcelain tea cup, sharing  with my readers the lovely ‘sketch 05’  sent from my contributor writer, Francesco Nevola.

photo (the Japanese gallery,London)

In this early nineteenth century print one of the most ancient of Japanese rituals is being performed: the making of tea. In contrast to the tranquillity of the ritual, its representation here is shown with singular dynamic force. The image captures the full extent of Ukyo-e elegance. The culture of the ‘floating-world’ pervaded Japanese capital, Edo, into the final years of the nineteenth century, as the nation opened up to the west. While the rich robes warn by Nanahito and the fine accoutrements she handles with such poise, all speak of time honoured traditions, this work’s composition, with its bold geometries and its stark white ground anticipate the aesthetic of western modernism, while its striking colouristic juxtapositions recall the bright brash signs of pop-art a century later. For all its apparent celebration of traditional Japanese aesthetic values, the bold structure of Keisai Eisen’s composition signals the future.

Text © Francesco Nevola

Francesco Nevola, a fabulous scholar of Piranesi

Nevola’s sketch 01 “The Sanctuary of the Tomba Brion”

Nevola’s sketch 09 “The Temple of Aphea II”

see older post on life and work of Francesco Nevola https://venetiakapernekasblog.com/2015/06/11/italyteverina-mountains-cortona-deanna-maganias-and-franciso-nevola-house-and-studio/

 

Münchner Kammerspiele: Daina Ashbee ‘s new dance piece “Unrelated’

“Unrelated”
Artistic Direction, Concept, Choreography and Scenography: Daina Ashbee
Interpreters and Performers: Paige Culley and Areli Moran
Lighting Design:  Timothy Rodrigues
Music: Bashar C#
Length: 70 minutes
Production: Daina Ashbee, supported by the Canada Council for the Arts; the British-Columbia Arts Council; the First Peoples’ Cultural Council; the MAI (Montréal, arts interculturels); Circuit-Est; and Studio 303.
photo@Sarah Marie (courtesy  of the Int’s Dance Festival press office

Last Sunday afternoon, entering  the Kammerspiele theater,  a dancer welcomed us lying on her back, naked, arms and legs slightly stretched.  She looks relaxed, breathes quietly, palms up;  her skin is adorned with a her skin is adorned with a variety of tattoos, …..a deep roar creeps out of nowhere into the room, becomes louder and lays down over us.

photo @Venetia Kapernekas

….The white wall in the back of the stage becomes a place of refuge and the object of the aggressive unloading and recharge when the performer throws at her with all her strength. Her body becomes a place of ambivalence between anger, self-assertion and self-hatred – the hair to the curtain behind which she hides her face. The good news: everything that the two dancers suffer during the Munich Kammerspielen during this hour is choreographed and staged. The bad news: the stories behind Daina Ashbee’s production are true. The choreographer, living in Montréal, deals with the disappearance of indigenous women and girls in North America in “Unrelated.”  The gravity and brutality that such a theme brings with it is not a trivial task. Daina Ashbee finds a language which satisfies the seriousness of the matter and is at the same time poetic enough not only to shock us but also to touch us (in translation, Karen Kovacs, dance-muenchen blog)

photo @Daina Ashbee (courtesy of the Int’s Festival press office)

photo @Sarah Marie (courtesy of the Int’s Festival press office)

photo @Venetia Kapernekas

…the audience towards the 2/3 of the performance is involved in small, ritual actions with the two performers, a  piece of fur goes through the ranks, a hand touches me, all  happens very slowly, slow motion, with great caution,  direct and honest…

 

photos @Venetia Kapernekas

“Unrelated” is a dark work that expresses the cruelty and vulnerability confronted by Aboriginal women in Canada, while exploring the self, cultural destruction, violence and self-destruction. With a disconcerting lucidity, “Unrelated” boils with feelings of emptiness and erupts with violence suggesting the loss of culture, identity and community.  (Daina Ashbee  website ) 

In Unrelated, the first decision we needed to make was that the dancers needed to be nude. No question about it. That for me was the first layer of vulnerability the performers need to have in order to represent how vulnerable aboriginal women are. A lot of my stuff is about insistence and duration and repetition. With a time constraint, you can accentuate something that is really insistent. (Daina Ashbee on interview on Cult Montreal,)

Photo: Annik MH de Carufel Le Devoir (published at Le Devoir)

Dans Unrelated (2012), la chorégraphe abordait la violence présente dans son propre corps et la tendance à l’autodestruction tout en dépeignant la vulnérabilité et la cruauté auxquelles les femmes autochtones font largement face. Toujours personnelles et teintées de son expérience de jeune femme d’origine crie et métisse, ses créations troublantes ne manquent pas de faire leur marque dans les esprits. (‘Les séismes intimes’de Daina Ashbee, Le Devoir, Libre de Penser)

Daina Ashbee & the performers Paige Culley and Areli Moran; photo@Venetia Kapernekas

My choreography is an investigation of the body in order to address the subconscious. A deepening of my own consciousness. The art of dance brings me closer to my own body and to the awareness of my own thoughts and processes. Articulating this awareness through choreography helps to uncover my connection to the environment, the earth and to my ancestors. (Daina Ashbee statement) 

…In a mixture of contemporary and traditional dance she contrasts the terrible aspects of the history with an inner powerfulness, vulnerability, and sensitivity. In a disturbing and expressive piece two dancers embody how unknown physical strengths in the body can manifest themselves. This is a recurring theme, like a thread, in the work of this artist living in Montreal. She became known internationally following an invitation to Geneva, where she presented her work in 2015 at the Global Alliance Against Female Genital Mutilation at Musée d’ethnographie de Genève (MEG). (press release of the Int’ l Festival Tanz, Munich) 

 

 

Capri : ‘Via Camerelle’ of Carthusia’ luxury from nature

 photo@ Nefeli Brandhorst

“Via Camerelle” _ Note Room fragnance ; ‘Lemon, Seawater & Jasmin”_’the flavour of  a place enclosed in a trace of notes’

This fragrance signed “Via Camerelle”_ Note Room,  of Carthusia, a small niche perfume house from the italian island of Capri.  This scent shares its name with the most prestigious street of the island Capri; it holds the freshness of lemon and orange, mixed with the fragrant notes  of sea moss and cedar wood create a flavour amazingly akin to the natural yearning of the sea, flowers and genuine living. My lovely teenage daughter Ana Nefeli was for a day in Capri and she brought me this fabulous scent being aware of my love for those citrus cents.

There is a beautiful story behind “Cathusia” …in 1380, the father prior of the Carthusian Monastery of St. James, caught unawares by the news of the arrival of Queen Joan of Anjou on Capri, picked a bouquet of the most beautiful flowers of the island; these remained in the same water for three days and, as he went to throw them away, the prior noticed that it had acquired a mysterious fragrance unknown to him. So he turned to the friar versed in alchemy, who traced the origin of the scent to the “Garofilium Silvestre Caprese” … in 1948 the Prior of the Charterhouse found the old perfume formulae and, upon obtaining permission from the Pope, revealed them to a chemist from Piemonte in the North of Italy, and thus created the smallest perfume laboratory in the world, calling it “Carthusia”, i.e.”Charter house”

International distribution of Carthusia  began in the early 2000s, when perfumer Laura Tomato  reworked four fragrances — Mediterraneo, Fiori di Capri, Io Capri and Ligea La Sirena — reportedly based on old formulas developed by the Carthusian monks at the Certosa di San Giacomo.

 

The symbol of the firm,  was created in 1948 by the painter Mario Laboccetta.  It portrays a “flower siren” that brings to mind the surreal and mythological landscapes of Capri’s heritage. She appears to be in the midst of an evolution, blooming with myriad colorful flovers, from wich Carthusia perfumes flow, achieving a logo wich recalls both art and nature in all their forms.

Carthusia has put into practice its centuries-old knowledge in order to develop a culture of perfume unique in the world. Over the years, it has refined its mastery over the olfactory senses, perfecting and structuring its discernment of essences, in order to grant patrons the purest and most titillating emotions. Nowadays, as was done in the past, all stages of production are carried out by hand to guarantee accurate application of the natural methods involved, and the exquisite care of traditional craftsmanship.

Elegant packaging for conveying luxury; a beautiful box, high-quality paper with meticulously crafted details, the finest rice paper, hand wrapped and folded around it.

photo@ Nefeli Brandhorst

“Carthusia”  brings me a literary memory  of  ‘ The Charterhouse of Parma” the novel by Stendhal published in 1839, telling the story of an Italian Nobleman,  in the Napoleonic era; The Charterhouse of Parma chronicles the adventures of the young Italian nobleman Fabrice del Dongo from his birth in 1798 to his death.  Fabrice spends his early years in his family’s castle on Lake Como, while most of the rest of the novel is set in a fictionalised Parma.

 

 

 

 

 

Aegina c.500 BC_The Temple of Aphaea II, by Francesco Nevola (sketch 09)

 
photo @Francesco Nevola
Francesco Nevola, a dear friend, writer and scholar of Piranesi, is contributing to the VK blog a series of sketches, this is the sketch 02. “The Temple of Aphaea II, Aegina c.500

Situated on the peak of the Saronic island of Aegina commanding a majestic view north across the sea to the Acropolis of Athens, the present 5th century BC remains of the Doric Temple of Aphaea were erected on a site previously occupied by earlier sacred sanctuaries dating back to the 14th century BC. Bronze age material remains suggest a Minoan connection for the shrine’s cult associated with fertility and the seasonal cycles.

The 2nd century chronicler Pausanias recalls that Britomaris – known in Aegina as Aphaea – was the daughter of Zeus and the Cretan Karme, whose grandfather Kharmanor purified Apollo after killing the Python that guarded the omphalos or centre of the earth – a place strongly associated with the sanctuary at Delfi. As a huntress, Britomaris was especially cherished by Artemis, so when she fled king Minos who lusted after her and cast her-self into the sea, Artemis made her a goddess. While her myth is of Cretan origin, the Aeginaetans claimed Britomaris revealed her- self to them, consequently the Goddess Aphaea was worshipped exclusively at this sanctuary in Aegina.

By the early 19th century the Temple of Aphaea had been singled out for its exceptional qualities of beauty and design by neoclassical and romantic artists on the Grand Tour. In 1811 – the same year the poet Byron was in Athens – the young Charles Robert Cockerell, a former pupil of the architect John Soane, and three decades later architect of the Ashmolean Museum, Oxford – collaborated with Baron

Otto Magnus von Stackelberg to remove the fallen, fragmentary pediment sculptures, and at the suggestion of the architect Baron Carl Haller von Hallerstein they were shipped abroad and sold to Crown Prince Ludwig I of Bavaria. The magnificent sculptures that originally ornamented the east and west pediments of the Temple of Aphaea were restored at Rome by the Danish neoclassical sculptor Bertel Thorvaldesn, considered the heir to the great Antonio Canova, and are now the masterpiece of the Munich Glyptothek. It was at Rome in 1817, returning from his seven year Grand Tour, that Cockerll met Ingres who took the young architect’s portrait.

The late archaic, early classical sculptures of the temple pediments, which are most unusual for being carved in the round with striking dynamism, celebrate the achievements of two of Aegina’s greatest heroes. The first Trojan war is represented in the east pediment: here Telamon – the second king of Aegina and father of the Homeric hero Ajax – fights alongside Heracles against the Trojan king Laomedon; in the west pediment, the Second Trojan war against king Priam is represented: here the Goddess Athena is positioned centrally, and Ajax features in the carved battle scene as prominently as he does in the Illiad.

Text © Francesco Nevola

Francesco Nevola, a fabulous scholar of Piranesi.

see here older post on life and work of Francesco Nevola https://venetiakapernekasblog.com/2015/06/11/italyteverina-mountains-cortona-deanna-maganias-and-franciso-nevola-house-and-studio/

Delphi and Ithaka:a spring pilgrimage

photo @VK Feb.24th,2017_ 10 am

 

Departing Munich with my daughter that rainy morning on February 23rd and arriving to Athens on sunny afternoon and  driving directly  to Delphi it was  indeed a pilgrimage to Light.

Delphi was an important ancient Greek religious sanctuary sacred to the god Apollo. It is located on Mt. Parnassus about 178km northwest of Athens

Delphi at a very early stage was a place of worship for Gaia, the mother goddess connected with fertility and also home to the panhellenic Pythian Games.  The sanctuary was home to the famous oracle of Apollo which gave cryptic predictions and guidance to both city-states and individuals.

Architecture: The first temple in the area was built in the 7th century BCE and was itself a replacement for less substantial buildings of worship which had stood before it. The focal point of the sanctuary, the Doric temple of Apollo, was unfortunately destroyed by fire in 548 BCE. A second temple, again Doric in style, was completed in c. 510 BCE with the help of the exiled Athenian family, the Alcmeonids.

The oracle of Apollo at Delphi was famed throughout the Greek world and even beyond. The oracle – the Pythia or priestess – would answer questions put to her by visitors wishing to be guided in their future actions. The whole process was a lengthy one, usually taking up a whole day and only carried out on specific days of the year. First the priestess would perform various actions of purification such as washing in the nearby Castalian Spring, burning laurel leaves, and drinking holy water. Next an animal – usually a goat – was sacrificed. The party seeking advice would then offer a pelanos – a sort of pie – before being allowed into the inner temple where the priestess resided and gave her pronouncements, possibly in a drug or natural gas-induced state of ecstasy.( Mark Cartwright at Ancient History Encyclopedia) 

photo @VK Feb.24th,2017_ 11 am

“…The oracle of Apollo at Delphi was famed throughout the Greek world and even beyond. The oracle – the Pythia or priestess – would answer questions put to her by visitors wishing to be guided in their future actions. The whole process was a lengthy one, usually taking up a whole day and only carried out on specific days of the year. First the priestess would perform various actions of purification such as washing in the nearby Castalian Spring, burning laurel leaves, and drinking holy water. Next an animal – usually a goat – was sacrificed. The party seeking advice would then offer a pelanos – a sort of pie – before being allowed into the inner temple where the priestess resided and gave her pronouncements, possibly in a drug or natural gas-induced state of ecstasy.” (Mark Cartwright at Ancient History Encyclopedia)

The ancient theatre at Delphi was built further up the hill from the Temple of Apollo giving spectators a view of the entire sanctuary and the valley below ; photo@VK

  Archaeological Museum of Delphi, designed by Alexandros Tombazis, photo@VK

The site was ‘re-discovered’ with the first modern excavations being carried out in 1880 CE by a team of French archaeologists…all survive as testimony to the cultural and artistic wealth that Delphi had once enjoyed.

(from left to right): “Column of the Dancers “,the three  daughters of Cecropos, about 13 m_”Aghias”, son of Agonios, champion at many Panhellenic games in the 5th century BC _ the twin marble archaic statues – the kouroi of Argos (c. 580 BCE) and the marble Sphinx of the Naxians (c. 560 BCE), (in museum) ;photo@VK by permission
splendid metope sculptures from the treasury of the Athenians (c. 490 BCE) and the Siphnians (c. 525 BCE) depicting scenes from Greek mythology ; in museum , photo@VK by permission

Staying in Delphi for 2 days, we continue driving to Astakos to catch the ferry for Ithaka.. An incredible island this time of the year  as the spring arrived early.  The island has been inhabited since the 2nd millennium BC. It may have been the capital of Cephalonia during the Mycenaean period and the capital-state of the small kingdom ruled by Odysseus. The Romans occupied the island in the 2nd century BC, and later it became part of the Byzantine Empire. The Normans ruled Ithaca in the 13th century, and after a short Turkish rule it fell into Venetian hands (Ionian Islands under Venetian rule). more here… 

I rest for a moment on the  poem “Ithaka” by C.P.Cavafy, 

Translated by Edmund Keeley/Philip Sherrard (C.P. Cavafy, Collected Poems. Translated by Edmund Keeley and Philip Sherrard. Edited by George Savidis. Revised Edition. Princeton University Press, 1992)

As you set out for Ithaka
hope the voyage is a long one,
full of adventure, full of discovery.
Laistrygonians and Cyclops,
angry Poseidon—don’t be afraid of them:
you’ll never find things like that on your way
as long as you keep your thoughts raised high,
as long as a rare excitement
stirs your spirit and your body.
Laistrygonians and Cyclops,
wild Poseidon—you won’t encounter them
unless you bring them along inside your soul,
unless your soul sets them up in front of you.

Hope the voyage is a long one.
May there be many a summer morning when,
with what pleasure, what joy,
you come into harbors seen for the first time;
may you stop at Phoenician trading stations
to buy fine things,
mother of pearl and coral, amber and ebony,
sensual perfume of every kind—
as many sensual perfumes as you can;
and may you visit many Egyptian cities
to gather stores of knowledge from their scholars.

Keep Ithaka always in your mind.
Arriving there is what you are destined for.
But do not hurry the journey at all.
Better if it lasts for years,
so you are old by the time you reach the island,
wealthy with all you have gained on the way,
not expecting Ithaka to make you rich.

Ithaka gave you the marvelous journey.
Without her you would not have set out.
She has nothing left to give you now.

And if you find her poor, Ithaka won’t have fooled you.
Wise as you will have become, so full of experience,
you will have understood by then what these Ithakas mean.

We stayed for a week at the most beautiful yoga retreat in Greece and beyond. http://itha108.com/gallery/

Ana-Nefeli saving a 3 week baby goat from the sea

Megaro Drakouli at Vathi

San Vito d’Altivole,Treviso_”The Sanctuary of the Tomba Brion” by Francesco Nevola (sketch 01)

Carlo Scarpa (1906-1978);                                                                                                                                                  The Sanctuary of the Tomba Brion, San Vito d’Altivole, Treviso, 1968-78

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                                                                             photo:Pintrest

The Tomba Brion is the last of Venetian architect Carlo Scarpa’s monumental works. Here all the leitmotifs of his approach to architecture find mature expression: the modeling of architectural forms that invites comparison to sculpture, the juxtaposition of ‘poor’ materials such as cement (the principal building material here) with precious ones like coloured Murano mosaics and individually designed bronze cast fixtures and fittings; the use of reflecting pools and water courses to animate the inside light and define external transitions and boundaries. Scarpa’s idiosyncratic interpretation of modernism not only restored importance to architectural ornament, but his forms reveal a particular sensitivity to historic architectural types: Venetian Gothic, castle architecture and perhaps most unexpectedly traditional Japanese architecture. Revealing his singularly creative approach to materials, the architect’s principal works are highly respectful museum renovations in which his signature style sings in perfect harmony with the existing ancient buildings: the Renaissance Palazzo Abatellis, Palermo (1953-54); the Neoclassical Museo Canova, Possagno (1955-57); the Gothic Museo di Castelvecchio, Verona (1956-64) and the late Gothic Venetian vernacular of the Fondazione Querini Stampalia, Venice (1961-63).

Text © Francesco Nevola

Francesco Nevola, a fabulous scholar of Piranesi.

see here older post on life and work of Francesco Nevola https://venetiakapernekasblog.com/2015/06/11/italyteverina-mountains-cortona-deanna-maganias-and-franciso-nevola-house-and-studio/

 

The Engadin: at Galerie Tschudi; Callum Innes “On Ground” & Julian Charrière “First Light”

During the last cold days of December my brief day visit at Lower Engadin.  I adore Zuoz  with the historic village centre and the proud patrician buildings, such as the Chesa Planta, which are particularly well preserved. Here one finds a perfect environment for contemporary art and as Liam Feeman recently wrote  at ” Art, at High Altitudes”  Despite the tiny population of 16,700 inhabitants and the brevity of the region’s high season, which lasts from December through March, there are at least 30 international art galleries between St. Moritz and the municipality of Sent, providing an enlightening alternative for après-ski.(Freeman, NY Times Style Magazine, Dec 1, 2016). Geographically the charming Zuoz belongs to the upper Engadine but everybody who is familiar with the area knows that this village is far away from upper Engadine with his buzzing St. Moritz in the centre.

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I find my  art tranquility  at Galerie Tschudi; a mighty sixteen metre-high tower, dating back to the year 1305, was uncovered within the fabric of Chesa Madalena. The house, located in the centre of Zuoz, was used as a farmhouse until 1999- sensitively renovated by Ruch & Partners Architects– these fascinating historical rooms in the former farmhouse,  house the Galerie Tschudi  fabulous art exhibitions.

These days there is this fabulous dual exhibition , Callum Innes ” On Ground” and of the younger artist Julian Charrière “First Light”.

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 Callum Innes (installation view)
Untitled, No 19, 20, 21, 2016 Lamp black, Oil on linen  162 x 160 cm                                                                photo@Ralph Feiner  @courtesy Galerie Tschudi

‘In one wall painting yellow shivers through the violet surface, and in the other flecks of orangeade visible through the black surface.  This work brings to mind the blackened ceilings prevalent in the Engadin, where carbon deposits remain as reminders of the stoves that once functional beneath them. Between this surface of absorbent charcoal-black  and the work of Callum Innes, an interesting chemistry takes place. ‘

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                Callum Innes (Installation view)   Untitled, 2016
Pastel on Two Rivers papers79 x 58 cm 99 x 77 cm (framed)                                                                               photo@Ralph Feiner  @courtesyGalerie Tschudi

‘Colour is the most important element in the work of the Scottish artist Callum Innes (Edinburgh 1962) …In the Tschudi gallery the colours applied with oil paint on canvas , pastel on paper, but also directly on the wall -appear and disappear. Sometimes they contrast vividly with the white ground; at other times they have in fact a very light, almost transparent hue with a considerable range of nuance. The paintings, pastel drawings and wall paintings require an active observer who takes control.’ (text by Dan Pieters, courtesy @gallery press)

In his research-based practice, Julian Charrière uses sculptural objects and images—both moving and still—to explore the connections between human activity, ecology, the environment, and time. Working in such far-flung locales as Kazakhstan and the Southern Cone, the Berlin-based artist performs site-specific actions inspired by the social and natural sciences, using biological and earthen substances as materials. “I use some scientific methods, but I would describe it more as an archeologist or geologist,” he has said. “I go into the field and get inspired by what I see, then I bring things back to the studio and do work.” A former student of Olafur Eliasson, Charrière focuses on investigations of the natural world, revealing the profound force exerted by humans and the environment on one another and highlighting how ecological systems can exhibit traces of human energy.

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Julian Charrière “Tropisme”, 2015
frozen plant, refrigerated showcase 208 x 66 x 66 cm    photo@Ralph Feiner  @courtesy Galerie Tschudi

“Tropisme” is  a beautiful, melancholic and yet fascinating  art piece; the artist has deposited plants captured in a sheath of ice -as if time could be stopped…  “ the plants might be preserved and archived for future use. In this frozen landscape, the vitality of matter is protected from the forces of entropy and decay. But the organisms also point backwards in time. The plants (orchids, cactuses, etc.) are testimony to a geological period that saw the extinction of dinosaurs. The artist thus freezes them like remains from a time whose memory forever escapes us, except maybe in some uncertain zone of our reptilian brain.” (Tschudi gallery)

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Julian Charrière “Lost at Sea “- Pikini-Fragment, 2016
High pollished stainless steel, coral sand, mutated bikinian coconut, glass 175 x 32 x 32 cm             photo@Ralph Feiner @courtesy Galerie Tschudi

“Lost at Sea”  Pikini Fragment: This series suggests ‘a post-apocalyptic botanical survey; an “unnatural history”. Standing vertically on a bed of coral sand, inside a glass housing  that caps a mirror-sided plinth, each coconut might be interpreted as a castaway that has been washed up on another identificatory shore. The sand implies a kind of terminal beach, while mirrors have long been symbolic of water — and vanity…The fact that these coconuts stand erect, like totemic phalluses, is a bitter irony: genetically disrupted by nuclear radiation, these coconuts from the Marshall Islands are utterly sterile from a reproductive standpoint. That the Marshallese creation myth involves a paradigmatic mother giving birth to a coconut, which then supplies her people with sustenance, tools and clothing, sets the profound degree of this and other genetic disruptions into relief.’ (Nadim Samman, “Unnatural History”, galerie Tschudi ) 

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Julian Charrière Pacific Fiction – Study for Monument, 2016  Coconut Sarcophagi
128 cm high in a steel frame of 227 x 203 cm overall size: 330 x 440 cm
Unique (Model for Monument for Marshall Island)  photo@Ralph Feiner  @courtesy Galerie Tschudi

Pacific Fiction – Study for Monument – is a sculpture which incorporates a pile of coconuts encased in lead. (The piece symbolises the traumatic embrace of the region of Bikini island in Pacific by the atomic bomb (between 1946 and 1958, at a remote Pacific Atoll, 23 of the most powerful explosions in history occurred. During this period, bombs delivering a combined fission yield of 42.2 megatons were detonated)..

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Julian Charrière,Polygon XVIII, 2014,
black and white double exposure medium format film on baryta paper, steel frame, lead, glass, thermonuclear strata, negative, 150 x 180 cm, Unique  @courtesy Galerie Tschudi

“Polygon” is a series of photographs shot at the Semipalatinsk nuclear test site in Kazakhstan. The photographs are made on analogue medium format film, and submitted to radiation before their development. Thus they both depict the site of nuclear radiation and bear the actual trace of radioactivity’s effects. Charrière’s journey to the Polygon was inspired by J.G. Ballard’s short story “The Terminal Beach”. The work oscillates between art, science and fiction and brings us to one of the most remote and inaccessible of places — to the beginning of the nuclear age. It is a mystic place, showing the dystopic aesthetics of a future archaeology.

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Julian Charrière “The Blue Fossil Entropic Stories” (3), 2013
Fine Art Print on Hahnemühle Photo Paper 100 x 150 cm 3 +1AP @courtesy Galerie Tschudi

“The Blue Fossil Entropic Stories” is the photographic trace of an expedition the artist undertook in 2013, travelling to Iceland to climb an iceberg in the Arctic Ocean and melt the frozen water beneath his feet with a gas torch during 8 hours. Like an absurd, quixotic hero, Julian Charrière confronts the elements in a seemingly hopeless battle – human time against geological time. And yet, a battle of which global warming is only the starting point. What remains of this perilous endeavour are three photographs of arresting beauty, a kind of contemporary version of Caspar David Friedrich’s Wanderer Overlooking the Sea of Fog (1817–18), and a questioning of our relation to nature as inherited from the Romantics via ecological thought.

There are two fantastic video works projected  in the  gallery.  On the lower level  is the ” Iroojrilik“; In this work, Charrierè captures the decay of the Bikini Attol’s atomic-industrial architecture. On the upper level floor , the “Somewhere” shot in Kazakhstan, where Joseph Stalin conducted the first atomic tests, “Somewhere” is an excursion into human-environmental interrelations and the topographic modifications in which they result. Julian Charrière pursues an archaeology and geology of deserted human landscapes, exploring their past and future

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Julian Charrière “Eninman III” – Terminal Beach, 2016   Archival pigment print on Hahnemühle Photo Rag, mounted on aluminium Dibond, red Palmira veneered frame, Mirogard anti-reflective glass, 122.8 x 152.8 cm (with frame), Edition of 3 (+1AP) @courtesy Galerie Tschudi

Terminal BeachA survey of mid-20th century atomic-industrial architecture, these black and white works reference the objective style of the Dusseldorf school. With their rusting iron and crumbling concrete, some of these structures recall the Egyptian pyramids: imposing leftovers of a questionable ideal.

all images courtesy of Tschudi gallery

Julian Charrière is participating this weekend (28-29 January 2017) in Zuoz, at Engadin Art Talks.  The topic of this year’s event is: “Snow and Desert”.The aim of the E.A.T./Engadin Art Talks is to facilitate unique interaction and exchange between artists, architects, curators and art enthusiasts in an intimate and informal setting and, in this way, perpetuate the history of the Engadin as a place of intensive creative activity and discourse.

 

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