VK

visits on art, design, architecture and literature

New York_Andrew Ferentinos ‘The desk of an architect:objects of desire’

“Recognizing the need is the primary condition for design.” Charles Eames

 

A beautiful warm fall afternoon in New York City, I walked to Andrew Ferentinos‘ studio. The sun was bright and some beautiful object was calling for attention on his desk.  I thought yes, indeed, this is an object created at the desk of the architect to elevate maybe the experience of everyday life, the need to reach for simple but yet important moments that transcend a normal day experience;  without any technical device, or charged the phone. It was indeed there, the “Untitled, Box No, 1”

Andrew Ferentinos, Untitled, Box No. 1, 2016, aluminum, brass, cork, photo©Andrew Ferentinos

The box is constructed from two solid blocks of aluminum measuring 18″ x 4.75″x 3.5″. Voids within the interior provide storage for business cards or small items. The cork lining provides soft contact when closing. Two brass rods are pinned to the underside and raise the box slightly off the table.

Andrew Ferentinos, Untitled, Box No. 1, 2016, aluminum, brass, cork, photo©Andrew Ferentinos

 

Andrew Ferentinos, “Untitled, Box No. 1″, 2016, aluminum, brass, cork,5.5″ x 4.25” x 18″(available in mirror polish or sandblasted with clear anodize), photo©Andrew Ferentinos

 

“I am interested in part-to-whole relationships and the repetition of units in series. The concept of the box is to function as a brick. A brick can stand alone or be one of many bricks in a larger assembly. The form of the box is a result of its potential to construct something larger than itself.  This is achieved by the coupling of flutes and rods that fit together, establishing not only a firm joint and locking mechanism but also a sliding mechanism.  Boxes stacked in series function as the stacked sliding drawers of a cabinet.  Like a brick, there is no prescribed way of joining them together. It is up to the builder to make an arrangement.” (Andrew Ferentinos)

Andrew Ferentinos, 11″ x 17″ graphite on paper, sketches for the ‘unitled Box no.1’

Andrew Ferentinos, 11″ x 17″ graphite on paper. sketches for the ‘untitled box no.1’

Farnsworth House, in Plano, Ilinois,  designed by Ludwig Mies van der Rohe, completed 1951,now a modernist icon, was once a controversial home, photo©Arcaid images/Alamy

Villa Savoye, a modernist villa on the outskirts of Paris, designed by Corbusier & Pierre Jeanneret (1928-1931)
Corbusier cited the 1912 book of the Austrian architect Adolf Loos “Ornament and crime”, and quoted Loos’s dictum, “The more a people are cultivated, the more decor disappears.”….He declared that in the future the decorative arts industry would produce only “objects which are perfectly useful, convenient, and have a true luxury which pleases our spirit by their elegance and the purity of their execution and the efficiency of their services.

 

Le Corbusier, Exterior of the Unité d’ Habitation, in Marseille (1947–1952)

The modular design of the apartments inserted into the building the Unité d’ Habitation, in Marseille (1947–1952)

Andrew Ferentinos has created another ‘object of desire’ the ‘Barcelona Column’  

Andrew Ferentinos, ‘Barcelona Column’, a photo of the prototype,2016  ©Andrew Ferentinos

Barcelona Column is an exact replica of Mies van der Rohe’s legendary Barcelona Pavilion column, yet made of polished yellow brass and slightly scaled down to become an object rather than a building component.

Andrew Ferentinos, ‘Barcelona Column’, a photo of the prototype,2016  ©Andrew Ferentinos

The  Barcelona Pavilion, part of the 1929 International Exposition in Barcelona, Spain,  designed by Mies van der Rohe, was the display of architecture’s modern movement to the world.  Originally named the German Pavilion, the pavilion was the face of Germany after WWI, emulating the nation’s progressively modern culture that was still rooted in its classical history. Its elegant and sleek design combined with rich natural material presented by Mies’ Barcelona Pavilion as a bridge into his future career, as well as architectural modernism.

the Barcelona Pavillion photo ©Gili Merin (resource, ARCDaily, Feb 2011 )

“..In 1930, the original Barcelona Pavilion was dismantled after the International Exposition was over;  in 1983 a group of Catalan architects began working on rebuilding the pavilion from photographs and what little salvaged drawings that remained.  Today it is open daily and can be seen in the same location as in 1929

….the Barcelona Pavilion resides on a narrow site in a quiet tucked away corner secluded from the bustling city streets of Barcelona.  Raised on a plinth of travertine, the Barcelona Pavilion separates itself from its context create atmospheric and experiential effects that seem to occur in a vacuum that dissolves all consciousness of the surrounding city.”

the Barcelona Pavillion photo ©Gili Merin (resource, ARCDaily, Feb 2011 )

 

‘…..The interior of the pavilion consists of offset wall places that work with the low roof plane to encourage movement, as well as activate Mies’ architectural promenade where framed views would induce movement through the narrow passage that would open into a larger volume….’

Andrew Ferentinos studied architecture and art at The Cooper Union in New York City and at Massachusetts Institute of Technology. Andrew Ferentinos received a BArch from Cooper Union and an advanced Masters degree from MIT.  Ferentinos opened his architecture office Ferentinos Architecture in 2012 after working in New York City for such prestigious architects as Skidmore, Owings & Merrill (SOM), Raimund Abraham, and Francois de Menil.  Currently, Andrew is working on the re-constructing ambitious revival (private client) of two houses by Peter Eisenman, on West Cornwall, Connecticut, and Hardwick, Vermont.

 

The longer I live, the more beautiful life becomes. If you foolishly ignore beauty, you will soon find yourself without it. Your life will be impoverished. But if you invest in beauty, it will remain with you all the days of your life.
                                                                                                 Frank Lloyd Wright

 

Andrew Ferentinos has been one of my contributor writers with a beautiful piece in earlier times for my blog, on Eero Saarinen’s MIT Chapel 

 

…………………Thank you Andrew Ferentinos for your friendship and work with you as contributor writer and to learn so much about architecture from you; for your photos and sketches of your fabulous ‘objects of desire ‘  (New York, May 2018 )

 

New York_ Francesca DiMattio_ ‘Boucherouite’stitching histories & traditions with porcelain and stoneware & color

Francesca diMattio, “Boucherouite”, Venus II, 2018 (detail), glaze on porcelain and stoneware, resin, enamel, acrylic paint, steel, courtesy salon 94, New York  & artist

 

Upon my return from Europe, from Maremma/Toscana mid-March,  I left a beautiful and lovely springtime landscape.  New York has not smiled to spring; one of those rainy and cold days, I walked one of those mornings into a very special garden at 243 Bowery (salon 94), Francesca DiMattio’s ‘Boucherouite”.

DiMattio returns to the aesthetics of craft for inspiration, metamorphosing traditional techniques and imagery into mad-cap mise en scenes. Boucherouite, the exhibition title, refers to the rag rugs traditionally made from torn and reused clothing by Berber women in North Africa.  In a nod to their improvisational and idiosyncratic style, DiMattio shreds and weaves together images from many centuries and cultures, turning them into a new hybrid form. (Boucherouite exhibition, salon 94, NY, gallery press release)

The Boucherouite rug  is a magical colorful work of art, made by the  Berbers in Morocco, Boucherouite or Boucherwit, from Moroccan Arabic ‘bu Sherwin’ ( a piece torn from pre-used vintage clothing scrap )

 

What is the contract of a copy?  How does a reproduction shift meaning?  Monet’s waterlilies are at once associated with a Kleenex box and to MoMA. I love how a reproduction can reroute the value system, pointing out an image’s inherent instability.  That’s in part why I was drawn to porcelain.  Its development can be mapped through the copying from one culture to another- a history of hybrids: a Dutch version of an Asian scene, the white glazed clay cup faking porcelain, etc. I am most attracted to such dueling combinations. (Francesca DiMattio, February 2018)

Francesca DiMattio, “Boucherouite”, 2018 at Salon 94, Bowery, New York,  exhibition view

Francesca DiMattio, “Boucherouite”,2018 at Salon 94, Bowery, New York, exhibition view

 

Francesca DiMattio, “Boucherouite” ‘Venus II’, 2018, glaze on porcelain and stoneware, resin, enamel, acrylic paint and steel,96x60x38 inches, 2438×152.4×96.5 cm), courtesy of salon 94, NY  & artist

 

Francesca DiMattio, “Boucherouite”,’Venus I’, 2018, glaze on porcelain and stoneware, resin, enamel, acrylic paint and steel, 105 x 44 x 33 inches (266.7 x 111.8 x 83.9 cm), courtesy of salon 94, NY  & artist

As in her painting, in her ceramic work, DiMattio follows the principles of stitching together pieces of fragments of histories and traditions to create multivalent forms and images that connect diverse sculptural and decorative languages around ideas of value, function, gender, and class.  References to decorative wares such as Anatolian Iznik, Chinese Ming Dynasty porcelain, and Dutch Delftware abound alongside allusions to the output of the German factories Meissen and Augarten, the French Du Paquier and Sèvres, and the English Derby, Minton, and Wedgwood. (Claudia Schmuckli “Digital Becoming”, published in DiMattio book, Blaffer Art Museum, University of Houston)

Francesca DiMattio,”Boucherouite” ‘Venus I’, (detail )  2018, glaze on porcelain and stoneware, resin, enamel, acrylic paint and steel, 105 x 44 x 33 inches (266.7 x 111.8 x 83.9 cm), courtesy of salon 94 & artist

Roberta Smith writes at the New York Times (April 2015) on  DiMattio ‘s  ‘Domestic Sculpture’ at Salon 94 “Combining porcelain and stoneware, these bravura bricolages owe something to the ceramics of Nicole Cherubini and Arlene Shechet, while merging the improvisation energy of Peter Voulkos with the neo-Expressionist swagger of Julian Schnabel’s broken-crockery paintings. But they mainly reflect Ms. DiMattio’s voracious reconsiderations of the history of ceramics, seemingly deforming, shattering and piecing (or jamming) together appropriated vessels in contrasting styles, glazes and decorative patterns.”

Cindi Strauss finds a challenging similarity of Ms. DiMattio’s work in “Pattern Recognition”* with Katsuyo Aoki‘s

..perhaps one of the most intriguing comparisons to DiMattio’s ceramic sculpture comes in the work of Katsuyo Aoki (see figure below), a Japanese ceramist who has emerged in the past few years as an exponent of a ‘neo-ornamentalist’ style in Japan. Like DiMattio, Aoki favors the baroque and rococo styles of eighteenth-century Western European porcelain, examples of which she has seen only in books. Through her absorption, dilution, and translation of the ‘pieces’ form and ornament, she questions historical porcelain as a symbol of wealth and power. Aoki’s concern is with how these symbols of beauty from the West have filtrated and affected Japanese culture. ….DiMattio’s concern differs, lying in porcelain’s association with the feminine and the easy dismissal of the medium by society. (*Francesca DiMattio, published book by Blaffert Art Museum, University of Houston)

Katsuyo Aoki, view of the solo exhibition, May 2005, INAX gallery2, Tokyo, 2006

Francesca DiMattio working on her studio finalizing her sculptures for “Boucherouite. photo@Mathew Novak, published at New York Times (permission by Salon 94)

 

While walking  around the exhibition large space of Salon 94, at Bowery,  I could not stop thinking the similarity of the intensity of the work with Niki de Saint Phalle ‘s  just a few days before I was at the Tarot Garden by Niki de Saint Phalle in Maremma, a fourteen-acre sculpture park build atop Etruscan ruins, close by the picturesque village of Capalbio,  which happens to be close to my summer home. (see here “Beautiful Monsters” at New Yorker, April 18, 2016, by Ariel Levy)

Niki de Saint Phalle among her Nanas at the Galerie Alexandre Iolas, Paris, Autumn 1965. Photo: © André Morain, Copyright © 2007-2018 Niki Charitable Art Foundation

Niki de Saint Phalle in her studio at Soisy, surrounded by Le Mangeur d’Enfants, La Mariée sous l’Arbre, and Le Cheval et la Mariée. Photo: © Monique Jacot Copyright © 2007-2018 Niki Charitable Art Foundation

To Saint Phalle, the Tarot Garden was to be an Eden of art and magic. To the local gentry, the garden was an act of vandalism. But there was little they could do besides carp about the “madwoman and her monsters,” because Saint Phalle was under the protection of Italian nobility. (Ariel Levy, “Beautiful Monsters” at New Yorker, April 18, 2016)

Francesca DiMattio, “Boucherouite”,2018 at Salon 94, Bowery, exhibition view, courtesy of salon 94 & artist

On Q & A at Interview Magazine, by Emily McDermott, “Francesca DiMattio’s Unstable Stability, November 5, 2015, Ms. DiMattio says,

….I don’t think I took a sculpture class the whole time I was at Cooper. The sculptures really developed out of the paintings, out of the thinking I had already developed. I definitely had to figure out how to make stuff, and I still do. When I was at school nobody could teach me ceramics. I was lucky enough to have that in my family. 

DiMattios’ answer to Anne Thompson’s question “..is there any modernist critique or engagement in your use of ceramics”  … FD: I choose to work with ceramics for feminist reasons rather than as a modernist critique. I was interested in ceramics for its connection to craft because I think a lot about the structures of craft in general. The up and down of sewing, the stark juxtapositions of colors and patterns in guilts, and how knitting and crocheting can turn the disparate material into something altogether new. (*Francesca DiMattio, published book by Blaffert Art Museum, University of Houston)

lovely Francesca DiMattio with Ana-Nefeli, photo©VenetiaKapernekas

Munich “IL TRITTICO”, Giacomo Puccini at Bayerische Staatsoper_ a brilliant performance

IL TRITTICO: Il tabarro / Suor Angelica / Gianni Schicchi

Three operas in one act each: Composer: Giacomo Puccini ; Libretti by Giuseppe Adami and Giovacchino Forzano  (In Italian with German and English surtitles)

 IL TRITTICO (Suor Angelica): Ermonela Jaho (Suor Angelica), Ensemble und Chor der Bayerischen Staatsoper photo©Wilfried Hösl

 

musical direction: Kirill Petrenko  production: Lotte de Beer
Conceptual advice: Peter te Nuyl 
stage: Bernhard Hammer 
Costumes: Jorine van Beek 
light: Alex Brok 
dramaturgy: Malte Krasting 
choirs: Sören Eckhoff 

Last December, few days before Christmas, I had a lovely invitation for “Il Triticco, one of the most underrated opera by Giacomo Puccini, for the Bayerische Staatsoper_Munich,   one of the most triumphant opera houses of our contemporary time.

Three radically different sets being demanded for this 3-act opera and a balanced ‘marriage’ of Ms Lotte de Beer ( production /stage design), the music direction by Kirill Petrenko and the performers, principally Ermonela Jaho on the role of Suor Angelica emanated  to an astonishingly outstanding performance.

Simply stunning, simply gorgeous….And then something very rare happens: De Beer takes the stage, and instead of the usual boos the applause gets even louder. The spinning spaceship has done it to the audience. “(Sueddeutsche Zeitung”)

These three self-contained operas whose stories have nothing to do with each other  act as strange neighbors; First,  ‘Il Tabarro’ (The Cloak), a melodramatic slice of life and marital sleaze, a chill drama on the Seine; then follows the delicate tragedy of Suor Angelica, a religious tale set in a convent, (location:near Siena), featuring an entirely female cast; and the third act comes a devilish comedy of Gianni Schicchi (location; Florence) in which a family of hypocrites are duped out  of their inheritance by a perfect villain.

 Giacomo Puccini has summarized under the art historical term “triptych” – Il tabarro, Suor Angelica and Gianni Schicchi  three one-act operas,  scenes of reality. Puccini ventures to narrate the world as a whole in a grand opera as in a great novel.  Puccini sets three historical highlights, bundled by a music that understands the human impulses of relentless coldness to glowing passion.

Ms. de Beer doesn’t think operas should abandon the audiences they already have in favor of new audiences, but “I think they should get a second brand, like a younger version run by young artists who get a chance to try and communicate with their contemporaries.(NY Times, 2014, Breaking the Rules of Opera for a New Generation)

Il trittico (Sour Angelica): Michaela Schuster (Die Fürstin), Ermonela Jaho (Suor Angelica) photo ©Wilfried Hösl

Around 1904, Puccini first began planning a set of one-act operas, largely because of the success of  Cavalleria Rusticana.  Originally, he planned to write each opera to reflect one of the parts of Dante’s Divine Comedy However, he eventually based only Gianni Schicchi on Dante’s epic poem; the link in the final work is that each opera deals with the concealment of a death. 

Il trittico (Sour Angelica): Ermonela Jaho (Suor Angelica) photo©Wilfried Hösl

“Il Trittico is not only a showcase of some of Puccini’s best writing, but it can also be a showcase for a director who is unable to resist the temptation to try to link them at least thematically, since there is little common convergence of tone, period or character between the three short works. Lotte de Beer connects the three pieces in only the most abstract of ways for the new production in Munich. Each of the one-act operas remains in the period of its original setting, and plays out closely to the libretto, but each take place within the wide opening of what looks like a large tunnel. The concept behind this is something to do with time, connecting the past with the future, but it’s not something that makes a great impression or present the works in any new or revelatory way.” (Opera Journal, Puccini, Il Trittico, Munich 2017) 

Il trittico (Sour Angelica): Ermonela Jaho (Suor Angelica) photo©Wilfried Hösl

After the extensive music dramas of Richard Wagner and Giuseppe Verdi, the music world occupied itself with the question of what can follow those form-perfect opera dramas with leitmotif technique and a duration of many hours of performance; an increase no longer seemed possible. In Italy, therefore, people around the year 1880 recollected the short form of one-act play, which was not completely unknown. As early as the 16th century, it was customary to insert smaller and stand-alone “mini-comedies” as intermedia between the acts of tragedies, in order to make the evening evenings more varied. Over time, the comic intermezzi between soprano and bass buffo developed out of these, while in France they created variety through ballet inserts between the tragedy files. (Amelie Langermantel, Il Trittico-Die Kunst Des Einakters, 12.20.2017)

 IL TRITTICO (Il tabarro): Eva-Maria Westbroek (Giorgetta), Wolfgang Koch (Michele), Yonghoon Lee (Luigi); photo©Wilfried Hösl

 IL TRITTICO (Il tabarro): Eva-Maria Westbroek (Giorgetta), Wolfgang Koch (Michele), Yonghoon Lee (Luigi); photo©Wilfried Hösl

The idea of the one-acter Puccini did not seem to have let go since then. At the turn of the century, he focused more intensively on the idea of three co-ordinated short operas dedicated to various episodes of the Divine Comedy Dante, each depicting the areas of Inferno, Purgatorio and Paradiso (Hell, Purification Mountain and Paradise). Both the unsatisfactory libretto search for three matching stories, and in crucial instance Puccini’s publisher Giulio Ricordi spoke against the implementation of this fabric idea. However, Puccini thus laid the foundation for his Trittico, which should unite as well as the Divine Comedy in three initially independent parts under a theme. Over the years, the composer tried repeatedly  to implement the idea of the three separate acts and thought, for example, in 1907 to set to music by Maxim Gorki. Again publisher Ricordi expressed his concerns that those topics would not be suitable for an opera and would never sell to the public.

 IL TRITTICO (Suor Angelica): Ermonela Jaho (Suor Angelica), Ensemble und Chor der Bayerischen Staatsoper photo©Wilfried Hösl

 

Many thanks to Christoph Koch (Head of Press & Editorial Content /STAATSOPER) for his invitation and  support  and patience to finalize this post.

 

 

‘Lightscape’ porcelain quietness creations of Ruth Gurvich

‘Lightscapes ‘: light and delicate as paper, precise as an origami object, and pure  and clean as freshly fallen snow.

all photos, courtesy of Porzellan Manufaktur Nymphenburg

When the days are heavy and stormy, as last days in New York, my luxury refuge memories is my passion for porcelain.  About a year ago, a very misty morning, while living in Munich, having an invitation to visit the Porzellan Manufacturer Nymphenburg, I drove to Nymphenburg Palace, where springtime I visited often the gardens, to experience the creations of Ruth Grulich.

Porcelain has been made for 1,000 years, traded for 1,000 years. And it has been in Europe for 800 of these.  You can trace a few shards earlier.  These broken fragments of Chinese for gleam provocatively alongside the heavy earthenware pitchers they were found with an no one can work out how they got to this Kentish cemetery, the Urbino hillside. There are scattering of porcelain across medieval Europe in inventories of Jean, doc de Berry, a couple of popes, the will of Piero de’Medici with his ulna copper di porcellana, a cup of porcelain. (Edmund de Waal, The White Road, a pilgrimage of sorts,

….Marco Polo reaches ‘a city called Tinju’.

Here, they make bowls of porcelain, large and small, of incompatible beauty. They are made nowhere else except in this city, and from here they are exported all over the world. In the city itself, they are so plentiful and cheap that for a Venetian groat you might buy their bowls of such beauty that nothing lovelier could be imagined.  These dishes are made of a crumbly earth or clay which is dug as though from a mine and stacked in huge mounds and then left for thirty or forty years exposed to wind, rain, and sun. By this time the earth is so refined that dishes made of it are of an azure tint with a very brilliant scene. You must understand that when a man makes a mound of this earth he does so for his children; the time of maturing is so long that he cannot hope to draw any profit from it himself or to put it to use, but the son who succeeds him will repay the fruit. (Edmund de Waal

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Ruth Gurevich’s models have not created additively; she does a model with paper, she constructs, usually starting with a single sheet of paper.  She cuts, folds, and designs according to a precisely calculated plan.  Like a true architect, Gurvich leaves nothing to chance.  And this is true when it comes to choosing the paper as well; she uses silky soft, absorbent paper made from cotton fibers, like the packing paper used for rolls of film. To fix the models in place, she uses off-the-shelf paper glue.  This creates tensions, kinks, and seams that give the vessel support and structure. (Nymphenburg Manu Factum)

Ruth Gurvich to the question ‘how do you transform paper into porcelain’,  She says: …‘for the production, we had to take a completely fresh approach.  The idea was always to translate the paper character of the models as accurately as possible, even including to the feels of it, but I also wanted to expose the construction process and structure. The cuts and splices, the kinks and curves, even the measurements I had written in pencil on the model, which provides the idea for the decorative painting.’

Ruth Gurvich originally studied architecture before she turned to painting, and this is reflected in her creations. The major theme of her life’s work is the examination of spatiality and dimension, and the passion to captivate space in delicate porcelain vases.

all photos, courtesy of Porzellan Manufaktur Nymphenburg

‘Porcelain had interested me for a long time, so the idea was to translate the feel and character of the paper models, as accurately as possible, to porcelain,’ the Paris-based Argentine, who is known for her three-dimensional work with paper. A beautiful video, (Ruth Gurvich: An artist with scissors and paper): camera by Frank Becker.

Ruth Gurvich was born in Cordoba, Argentina in 1961. Initially, she studied architecture in her homeland, but in 1979 she switched to art, continuing her studies at the École Nationale Supérieure des Beaux-Arts in Paris from 1987 to 1991. In her designs, Ruth Gurvich aims to show the shapes and structures of everyday things the way they are. Her ‘lightscape teapot 2011’, manufactured by Nymphenburg Porzellan, is part of the Product and Decorative Arts department at Cooper Hewitt, New York.  Ruth Gurvich lives and works in Paris.

 

 

 

 

New Haven: Tom Burr revives Jean Genet’s ‘May Day Speech’ at Yale/ the Pirelli bldg

Tom BurrThe Railings (May, 1970), 2017 detail, photo@courtesy of the artist and Bortolami, NY

 

“What is still called American dynamism is an endless trembling.”

 Jean Genet’s prophetic declaration, written for a speech he delivered on  May 1, 1970 at Yale University, before an audience of approximately 25,000 (published in Hyperallergic, Tim Keane, Jan 21,2017

Reflecting last days of our ‘contemporary political landscape’, I recall that rainy  Sunday morning, November 5th,  invited by  Stefania Bortolami  for a  journey to New Heaven as of the last day of a ambitious project by artist Tom Burr, part of the expanding out of the box /Bortolami gallery projects “Artist/City”.  Over the past six months, Tom Burr has occupied and activated the first of the Marcel Breuer-designed Armstrong Rubber Company, later and more colloquially known as the “Pirelli Building” for the Pirelli Tire Company.After extensive demolition and remediation to the lobby’s original interiors, local codes required new railings. Burr produced and engraved new stainless steel railings with the complete text of Jean Genet’s “May Day Speech” delivered at Yale on the occasion of the 1970 May Day Rally (shortly after the construction of the building) in support of the Black Panthers, and their recently imprisoned founder, Bobby Seale. Burr named this site-responsive sculptural work The Railings (May 1970). (gallery press)

Tom Burr / New Haven, Phase 1, 2017, installation view, Bortolami, New Haven, photo@courtesy of the artist and Bortolami, New York

In order to open the Pirelli Building to the public, the City of New Haven required the artist and the gallery to cordon off the rough edges of its naked interior with safety railings; this became the most and central piece for Burr as he inscribed with Genet’s speech, in full.  Genet’s words may ring  true today: ‘We whites are living perhaps in a liberal democracy, but the black lives, like it or not, under a paternalistic, authoritarian, imperialistic regime.’

Tom Burr / New Haven, Phase 1, 2017, installation view, Bortolami, New Haven,photo@courtesy of the artist and Bortolami, NY

Genet was legendary for his queer subversion of power and his fetish for domination; his face appears twice in the Pirelli Building’s open-plan ground, printed on aluminum plates. Photographs of young and old Genet (Bae Genet / Grey Genet, all works 2017) rest on either side of a urinal divider, separated – or perhaps conjoined by – decades of sexual deviance.

Tom Burr / New Haven, Phase 1, 2017, installation view, Bortolami, New Haven,photo@courtesy of the artist and Bortolami, NY

 

“Located in the artist’s hometown, the Breuer- designed building constitutes a cipher for the various social and political concerns central to Burr’s work, not to mention the artist’s own autobiography. As he explains, “I was born there a handful of years before the Pirelli Building was built, so it was always in my mind while I was growing up.” Armstrong Rubber commissioned the building in 1968 for its factory and executive offices and it became an iconic emblem as the entrance to the city o Interstate 95, particularly at a time when the city was gaining attention for its urban renewal and restructuring. The building was envisioned and constructed as a symbol of utopian urban strategy but, like many examples of  Brutalism became a representation of the failure of Modernism’s idealistic aspirations.” (Bortolami gallery,NY, press text)

today’s Pirelli /IKEA bldg.(photo@VK),Nov.5, 2017

This Brutalist masterpiece has served as the site of an evolving exhibition that commenced with the first phase, Pre-Existing Conditions, and it concluded with the final phase,  “Always Already Happening”, an ongoing durational performance consisting of simultaneous readings throughout the space …..

Tom Burr during the last day of the Artist/City project, (November 5,2017) orchestrated  a four-hour performance at the ground floor;  a group of “actors” /Yale are students were reading texts by or responding to the legacy of Anni Albers, Jean Genet, and the Black Panthers; the actors  were positioned near “zones of intensity” and each person was  reading  a specific  text during the 4 hour duration.

Yale art students on 4 hour performance,Nov.5, 2017  photos@VK

 

Yale Art students hired by Tom Burr reciting text (4-hour performance/Nov 5, 2017)photo @VKThe interior space had no heating and the constant rain and greyness of the day o had created a heavy atmosphere within  the dry and gloomy colors inside; while  the actors /students were reading, I found it somehow refreshing to take snippets of the text mirroring the experience of reading The Railing (May 1970)

Tom BurrThe Railings (May, 1970), 2017 Blackened steel, polished steel etched with Jean Genet’s 1970 “May Day Speech”, tempered glass, 23 panels, total length 42 in x 104 ft / 106.5 x 3170 cm, photo@courtesy of the artist and Bortolami, New York

 

Located in the artist’s hometown, the Breuer- designed building constitutes a cipher for the various social and political concerns central to Burr’s work, not to mention the artist’s own autobiography. As he explains, “I was born there a handful of years before the Pirelli Building was built, so it was always in my mind while I was growing up.” Armstrong Rubber commissioned the building in 1968 for its factory and executive o ces and it became an iconic emblem as the entrance to the city o Interstate 95, particularly at a time when the city was gaining attention for its urban renewal and restructuring. The building was envisioned and constructed as a symbol of utopian urban strategy but, like many examples of Brutalism, became a representation of the failure of Modernism’s idealistic aspirations. (gallery press text)

Tom Burr Women Who Work, 2017 powder coated steel guard rails, IKEA desk chairs, direct-to-substrate print on aluminum, book (Women’s Work: Textile Art from the Bauhaus by Sigrid Wortmann Weltge), photo@courtesy of the artist and Bortolami, NY

 

Burr’s sculptural composition entitled Women Who Work consists of a group of IKEA chairs facing away from a printed aluminum panel featuring a textile design by Joseph Albers. Burr positioned a book called “Women’s Work: Textile Art from the Bauhaus” is open on one of the empty chairs, suggesting maybe an absent audience.

Tom Burr ‘Brutalist Bathroom’, 2017 Powder coated steel guard rails, bathroom doors from Marcel Breuer’s Armstrong Rubber Co building, direct-to-substrate print on aluminum, photo@courtesy of the artist and Bortolami, New York

 

Next to two bathroom doors, one labeled “Gentlemen” and the other without any label, Burr positioned a portrait of J. Edgar Hoover brandishing a gun.  At that time Hoover presiding  FBI Director in 1970 he ordered his agents to disrupt and discredit radical groups, like the Black Panthers who were on trial in New Haven at the time.

Best known as the home of Yale, one of the most elite universities in the US,  New Haven is a surprisingly blue-collar port town. Tom Burr was born in New Haven in 1963, under the mayoralty of Dick Lee, a prodigious builder and an enthusiast of modernism. In 1968, Lee convinced the Armstrong Rubber Company to hire Marcel Breuer to design their corporate headquarters: an imposing seven-story concrete tower atop a long base, like a head on a recumbent body. Armstrong was bought by Pirelli, a tire manufacturer, who later sold the building to IKEA; after demolishing its base, though, the Swedish megastore decided to set up shop next door, leaving the stripped Breuer behemoth abandoned for over 15 years. (text from gallery press)

Tom Burr Body/ Building (blue), 2017 Used blue work shirts, metal clothing rack, wooden pedestal, photo@courtesy of the artist and Bortolami, New York

 

“Genet’s highly stylized, sexually explicit works in memoir, fiction and playwriting transformed each of those genres, scandalizing readers and audiences and turning him into one of the most exasperating and profound moralists of the twentieth century. Late in his career, facing a decade-long writer’s block, his writing was reborn, first by engaging with the visual art and later, through writing about aspiring revolutionary groups who were fighting power from the margins. Little wonder, then, that by the late 1960s he was drawn to the trembling that was shaking the United States.” (Tim Keane, Hyperallergic, January 21, 2017)

Jean Genet, “May Day Speech” (1970) (© City Lights Books)

The speech, read in its English translation by a founding Black Panther member, Elbert “Big Man” Howard, consists of a rousing appeal on behalf of Bobby Seale, who was then on trial in New Haven for murder (the charges were eventually dropped). Genet’s oratorical strategy, a full-scale assault on the toxic apathy of white liberals, remains prophetic.

Genet blames the prevalence of racism on his Yale audience. “It is very clear that white radicals owe it to themselves,” he declares, “to behave in ways that would tend to erase their privileges.” Closing on a provocative note, he further goads the audience by comparing universities to “comfortable aquariums […] where people raise goldfish capable of nothing more than blowing bubbles.” Reread in light of the response to controversial police killings of African Americans in Charlotte, Ferguson, and elsewhere, Genet’s words bluntly spell out the diplomatically stated ideas coursing through the Black Lives Matter movement. (Harriet Staff, ‘A Look at Jean Genet’s 1970 May Day Speech,published at Poetry Foundation, January 23, 2017)

Angela Davis and Jean Genet  (Berkeley,70s,published at Blogcitylights, on Mumia Abu-Jamal’s article)

‘……The Frenchman’s name was Jean Genet, but I had no idea what that meant. David gave me a slender book, entitled The Blacks, with the name Jean Genet listed as its playwright. I turned to the back cover to learn more. It described the play, The Blacks, as an example of what was called ‘The Theatre of the Absurd’ (Mumia Abu-Jamal, Blogcitylights, September 9, 2016)

I want to thank  Tom Burr and Stefania Bortolami, an amazing visionary gallerist, who gave me  the chance to travel thru time, challenge and question myself where we are now as viewers, as spectators, as life critics, as young in heart revolutionary students, as mothers, being concerned of our times and the political fearful environment.  My early student days in Berkeley was after Genet and Angela Davis ‘s teaching days while their speeches were ‘rocking’ the strong temples of the University.  Indeed, their echo was still there; it also spread thru the Pirelli building that morning thru Burr’s selection of performance texts by the students and his fabulous rail installation/art piece.

 “The essence of theatre is the need to create not merely signs,” Genet writes, “but complete and compact images masking a reality that may consist in absence of being.”

Tom Burr with young visitors, Maya Fuchs Bortolami and Nefeli Brandhorst, Nov 5th, 2017, photo@VK

 

So much of my specificity as an author, as an artist, has to do with being a queer subject. …I became interested in throwing these things into the foreground, not letting them exist in an anonymous vessel. I’m interested in this project being a culmination of these facets, these problems/masquerades/privileges/disappointments, of both this particular building and my own body. All of these conditions that operate both metaphorically and actually, manifest in the presence of the building and in the hopes and dreams and expectations and all the disappointments and abandonments as well. … (Tom Burr, as told to Julian Elias Bronner, Artforum,500 Words, Feb 3, 2017.online)

rendering made “The Railings” 23 panels, total length: 42 in x 104ft (106.5 x 3170cm), 2017  @courtesy Bortolami gallery, New York
“I don’t have a preservationist approach to my project,” says the artist. “I like the building, so I don’t want to see it taken down. But I’m not here to save it. I’m interested in the fact that it’s amputated.” (Tom Burr to Mark Byrnes at CityLab, Oct.5, 2017

 

 

New York: Karin Waisman’s new piece “Stem 3” silence speaks

“Space is not merely given, it too  is produced; by analogy, we can evoke the space created by a musical chord, its wave-like expansion producing a tapestry of sound.”
                                                         (Olivier Berggruen on Karen Waisman’s work)

 

A short ride with the subway from Manhattan to Queens last week,  before the temperatures dropped dramatically in New York City on my way to visit my dear friend’s studio, Karin Waisman to see her new piece,  “Stem 3#”  a jewelry piece.  While reading a great book, Pascal Mercier ‘ s ‘Night Train to Lisboa” I was traveling through time since I met Karin and arrived early a sunny afternoon at Karin’s lovely small studio; our conversation unfolded slowly with green tea revealing the essential nature of her work.

Karin Waisman  studied architecture as an undergraduate in her native Buenos Aires and later earned an MFA in sculpture from Cornell.  She lives in New York with her family and goes uninterrupted to her studio every day. She is an accomplished artist with many exhibitions and site- specific installations to her credit.   Despite being trained as an architect, she prefers to work on her art full time.  A great writer, my dear friend, Olivier Berggruen, notes on  Karin’s work:

El Dorado, 2008-2014. Installation view;photo ©Karin Waisman

Karin Waisman creates haunting, ethereal works in which ornamentation acts as a founding principle.  Formal elements alternate between refined vegetal motifs and a proliferation of geometric patterns. These unfold effortlessly across a flat surface that is primarily dynamic rather than static. The expansion of geometric forms occurs in a spontaneous, organic fashion that undermines the Pythagorean ideal on which they seem to be based.

        Karin Waisman  Stem #3, 2017    Carved in wax and cast in  gold 1”D x 7/8”W x1-1/8”H; photo ©Karin Waisman

 

Karin Waisman, El Dorado, installation view, 2008-14. Wall 2, dimension variable;photo ©Karin Waisman

 

….the interlacing of lines is the foundation of the structure of the arabesque and its geometric complexity (much cultivated in late Antiquity) reveals repeated patterns, thus allowing the beholder to imagine the design extending beyond its actual limits. It also introduces the idea of infinite connection of correspondence. In one-way or another, everything is deduced and linked together.  The arabesque was not just exclusive to Islamic art. Rococo ornament, for example, introduced a fluid and whimsical style that has applied to a variety of media, from boiseries and mirrors to porcelain and silver. 

Karin Waisman’ work refers to 17th Century needlepoint, the craft involving lace making by embracing potentially infinite growth forms, ornamentation generated through a painstaking process.  (Olivier Berggruen essay  ‘Efflorescence & Evanescence’ at the book/ cataloge ‘Karin Waisman – The Garden of Eden’, New York, 2004)

( boiserie: finely-sculptured wood paneling or wainscoating, particularly  in 18th-century French architecture, source; Collins dictionary)

Karin Waisman, Evanescence I, 1998-1999. Pencil on velum, 68″h x 96″w;photo ©Karin Waisman

 

Karin Waisman, Tondo II, 2006. Cast Resin, 84″ diameter; photo ©Karin Waisman  

Karin Waisman -Puzzled, 1998-1999. Cast Aluminum 432″h X 24″w x 2″d. Permanent Collection Plattsburgh Sculpture Park. Myers Fine Arts Building;photo ©Karin Waisman

Karin Waisman -Puzzled, 1998-1999 (detail) Cast Aluminum 432″h X 24″w x 2″d. Permanent Collection Plattsburgh Sculpture Park. Myers Fine Arts Building;photo ©Karin Waisman

    Karin Waisman  Stem #3, 2017    Carved in wax and cast in  gold 1”D x 7/8”W x1-1/8”H;
photo ©Karin Waisman

Stem #3 is part of a new series of pieces that are to be worn on the hand. This new tactile element of the work explores how one perceives weight, temperature and different surfaces on our own body. My previous pieces for public places, explored the relationship of our body moving in front of the work or in an enclosed space, perceiving it as a field of vision. In these sculptures the relationship is changed; we hold, move and transport the piece with our own body. (Karin Waisman, 2017) 

In her work, ‘Evanescence I‘, Olivier Berggruen continues, ‘… The vegetal-inspired motifs that appear in this inner sanctum evoke growth and movement without falling into representation. In other words, the motif that pervades this work is inspired by vegetal forms but nowhere is there a fully formed, self-contained plant to be seen. The principle of vegetal, organic growth is used as a formal and metaphorical device to structure the work. Plants have the infinite potential for growth. Vegetal forms here are an evocation of life, of that very form that appears in movement.’ 

Karin Waisman, Evanescence I, 1998-1999. Pencil on velum, 68″h x 96″w, detail;photo ©Karin Waisman

see Karin Waisman   and more about her work  see here 

  Karin Waisman,  Stem #3, 2017  Carved in wax and cast in recycled silver  1”D x 7/8”W x1-1/8”H;photo ©Karin Waisman

Karin loves to be surrounded by nature; her second studio is two hours away from the city in Eastern Long Island where she escapes to work, a sanctuary, a place to work on her large pieces and preparation sketches on site-specific site-specific work that often incorporates architectural elements.  One of them is at Chihuahua Desert at the foothill of the 18th century silver mining town Real Catorce, the ‘Blue Oasis’, finalized in 2013.

Blue Oasis is a partially buried concrete structure, fifteen feet square and twelve feet high on the inside. We enter by descending a narrow and dark stair, a transitional space that leads to a large tiled cubic room. All the walls, floor, and ceiling are covered with a square encaustic tile that is patterned with concentric circles in blues and greens. A stainless steel tube penetrates some of these circles to the outside, allowing for natural light and ventilation as well as serving as a small oculus that allows the viewer to see the desert landscape beyond. Working within this extreme site, Blue Oasis exists for the viewer to establish a temporary dialog with Nature through the lens of the vibrant blue light that pulsates within. It transforms the landscape from within. On the outside it blends with the desert landscape, half- buried in the land. (Karin Waisman, April 2013)

‘Blue Oasis’, San Luis Potosi, Mexico, 2011. Permanent collection Sculpture Park San Luis Potosi.  Exterior view, reinforce concrete;photo ©Karin Waisman

‘Blue Oasis’, San Luis Potosi, Mexico, 2011. Permanent collection Sculpture Park San Luis Potosi. (Detail tiled main space with wall and ceiling perforations);photo ©Karin Waisman

‘Blue Oasis’, San Luis Potosi, Mexico, 2011. Permanent collection Sculpture Park San Luis Potosi. (Detail wall perforation looking to the desert from inside main space;photo ©Karin Waisman

This optic effect reinforces the idea of movement and transformation. The sound of our own bodies reflects on the tiled walls, floor and ceiling creating a continuous echo. Outside is the desert, harsh and sublime, tamed by this new oasis, a shelter, a second skin. The possibility of perceiving the walls as a limit that separates the inside space from the outside world and as an element that grants that space its symbolic quality is only possible because I, myself, inhabit my body within the limits of my own skin. (Karin Waisman, April 2013) 

 

 

New York: Carey Young “Palais de Justice” and Franz Kafka ‘Before the Law’ 1915 parable at Paula Cooper gallery

SEPTEMBER 7 – OCTOBER 14, 2017 at Paula Cooper gallery, 21st street, Chelsea
published:(VK)  October 8th, 2017, Berlin

Installation view, Carey Young, Palais de Justice,2017,single-channel HD video (from 4K); 16:9, color, quadrophonic sound;17 mins 58 sec,Photo: Steven Probert  © Carey Young. Courtesy Paula Cooper Gallery, New York

 

Carey Young presents a  challenging,  quitely stunning 18 minute video, and  poetic exhibition at Paula Cooper’s space on 21st street.  The piece, a new video  ‘Palais de Justice’ develops Young’s interest in law, gender and performance, and considers the complex relations between lenses, surveillance and ideas of framing or being framed.

Carey Young (London-based British -American visual artist,b.1970, Lusaka, Zambia) takes her inspiration in part  from “Before the Law” by Franz Kafka (1915) parable Focusing on “gateways” to the law, both architectural and human, Young’s work here—a quietly stunning 18-minute video shot in the Brussels court building in which the protagonist is continuously denied access to ‘the law,’ the series depicts these doorways as metaphors for the legal system itself.

Before the law sits a gatekeeper. To this gatekeeper comes a man from the country who asks to gain entry into the law. But the gatekeeper says that he cannot grant him entry at the moment.  The man thinks about it and then asks if he will be allowed to come in later on.  “It is possible,” says the gatekeeper, “but not now.” At the moment the gater to the law stands open, as always, and the gatekeeper walks to the side, so the man bends over in order to see through the gater into the inside. When the gatekeeper notices that, he laughs and says: “If it tempts you so much, try it in spite of my prohibition. But take note: I am  powerful.  And I am only the most lowly gatekeeper. But from room to room stand gatekeepers, each  more powerful than the other. I can’t endure even one glimpse of the third.” (exerpt “Before the Law” (1915) by Franz Kafka, transl.by Ian Johnston)

 

Installation view, Carey Young, Palais de Justice, 2017,single-channel HD video (from 4K); 16:9, color, quadrophonic sound;
17 mins 58 secs,Paula Cooper Gallery, New York  © Carey Young. Courtesy Paula Cooper Gallery, New York

 

Palais de Justice was filmed surreptitiously at the Palais de Justice in Brussels, a vast 19th century courthouse designed in an ornate late Neo-Baroque style. Contradicting the familiar patriarchal culture of law, Young’s concealed camera depicts female judges and lawyers at court. Sitting at trial, directing proceedings or delivering judgments, female judges are spied through a series of circular windows in courtroom doors.(gallery’s press release).

Installation view, Carey Young, Palais de Justice, 2017,single-channel HD video (from 4K); 16:9, color, quadrophonic sound;
17 mins 58 secs, Paula Cooper Gallery  © Carey Young. Courtesy Paula Cooper Gallery, New York

 

“…..Examined through the lens of contemporary politics, both within the United States and abroad, the film acts as a critical counterpoint to regressive trends towards autocratic government and limited civil rights, particularly those belonging to women….”

Installation view, Carey Young, Palais de Justice, Paula Cooper Gallery, New York (9/7 – 10/14/17) © Carey Young. Courtesy Paula Cooper Gallery, New York

 

The exhibition includes a series of photographs, images  of courthouse doorways….Carey Young in continuous analysis based on Before the Law, after Franz Kafka’s 1915 parable, which the protagonist is continuously denied access to ‘the law,’ depicts these doorways as metaphors for the legal system itself.

As Carey Young  told Elephant in an interview earlier this year, the law “beckoned as an institution that had been little explored by artists, and one which had such a relevant philosophical literature in terms of art—Derrida, Agamben, Deleuze, Foucault, Butler etc. … In so many ways, mainly to do with its lack of visuality and lack of understanding of creativity, law is an “other” to art, and yet when one takes an artistic subject—ideas of site, space or landscape, for example—law offers me a way to reframe it in a playful and unfamiliar way, in which I can also conflate it with ideas of control, rhetoric, power and neoliberalism.”(Jeffrey Kastner, on Vice, sept 28th, 2017) 
“…. Courtrooms are glimpsed in various ways – a red glow emanating from one entices us with its surprising warmth and seductiveness; a red velvet curtain in another calls to mind law’s reliance on aspects of theatre; in a third, a courtroom visible through a frosted glass window glows like an abstract painting, as if law’s abstractions may connect with artistic thinking in ways which have not yet been fully considered…..”

Installation view, Carey Young, Palais de Justice, 2017  single-channel HD video (from 4K); 16:9, color, quadrophonic sound;
17 mins 58 secs,Paula Cooper Gallery, New York  © Carey Young. Courtesy Paula Cooper Gallery, New York

 

Few days after the opening of the exhibition, September 8th, Anthony Allen,  director of Paula Cooper gallery organized a challenging and intellectual  panel discussion with Carey Young, Colby Chamberlain and Joan Kee , where many questions were raised on law, patriarchal society and barriers…

Carey Young (b. 1970) is a British-American artist based in London, England. Her work has been exhibited in prominent national and international exhibitions and has been the subject of numerous one-person exhibitions including at the Dallas Museum of Art, curated by Gavin Delahunty (2017); the Migros Museum of Contemporary Art, curated by Raphael Gygax (2013); Eastside Projects, Birmingham, England (2010), which traveled to Cornerhouse, Manchester and MiMA, Middlesborough; Le Quartier, Quimper, France (2013); The Power Plant, Toronto (2009); and the Contemporary Art Museum St. Louis (2009). Young’s work has also been presented at the Taipei Biennial (2010), Tate Britain (2009), Moscow Biennale (2007), Modern Art Oxford (2007), Performa 05 and the Venice Biennale (2003).
Colby Chamberlain is Lecturer in Discipline in Modern Art and Theory at Columbia University and is a founding editor of Triple Canopy. His scholarship and criticism focuses on intersections of art and other fields of professional practice, in particular the law.
Joan Kee is Associate Professor in the History of Art at the University of Michigan. A contributing editor for Artforum, she received a J.D. from Harvard Law School and has recently completed a book on the relationship between contemporary art and law in post-sixties America. In 2016, she guest edited a section of the Brooklyn Rail on art and the law whose contributors included Carey Young.

 

Thilo Westermann ‘Notes on Willem de Rooij’s ‘flower bouquets’ Or: How to deal with the ‘exotic’

published: August 27, 2017, Berlin

Installationsansicht: How To Live Together, Kunsthalle Wien 2017, Foto: Jorit Aust: Willem de Rooij, Bouquet V, 2010, Courtesy der Künstler und Sammlung Haubrok, Berlin

 

Departing from  Documenta 14 and Venice Biennale I came to a majestic ‘flower bouquet’ by Willem de Rooij at Kunsthalle Wien.  The bouquet seemed exotic not only because of the choice of flowers used but rather by the fact that it has been staged right within an exhibition space.  I was thinking about the term ‘exotic’, which originating from Greek ‘exotikos’, meaning   ‘from the outside’, ‘foreign’ or ‘unusual’ as this was the exact feeling which this amazing “bouquet” left with me.  I have seen flamboyant flower bouquets in hotel lobbies or luxury homes; nevertheless placed within a museum space, the arrangement seemed as if something from the outside (not art) world has entered the sacred exhibition halls.  What a beautiful flower bouquet might contribute to the Kunsthalle’s current socio-political exhibition  ‘How to live together’, I was wondering.

Installation view of Willem de Rooij: Entitled Museum für Moderne Kunst, Frankfurt, October 15, 2016-January 8, 2017

 

De Rooij began developing the ‘bouquets series’ in 2002 together with Jeroen de Rijke and continued alone after the latter’s untimely death in 2006.  The 16 different bouquets existing to date may vary in size and flower breeds, but they have one thing in common: they come with a certificate, a description and an exact list of the botanical names of the flowers to be used. In general, the bouquets are not arranged by the artist himself, but by different florists, who are chosen by the artist and listed on the final object’s name tag as ‘interpreters’. In this regard the arrangements can be claimed conceptual art pieces: ‘Setting aside the personal touch in the execution of the bouquets indicates a discursive, conceptual stance: the work’s essence lies in the development of an idea, not in its execution.’ (Jan van Adrichem: Willem de Rooij. The Bouquets (2002-2010). In: Marente Bloemheuvel and Toos van Kooten (ed.): Windflower. Perceptions of Nature. Rotterdam 2011, pp. 177-190, here p. 184.)

But yet, some earlier pieces are supplemented with texts written by the artist(s). For example, Bouquet II (2003) comes with the text ‘Azra Akin, Agbani Darego, Ayaan Hirsi Ali, Amina Lawal’, which has been published in the Austrian art magazine Springerin (Vol. IX, No 1/2003, pp. 42-45) telling the story of the title’s four women. Not interconnected with each other, the women had to face Islamic fundamentalism, nationalistic populism or racist threats, which in the case of Amina Lawal ended up on a north Nigerian court’s sentence of death by stoning, because she became pregnant without being married. Of course, reading about the women’s tragic histories influences the perception of the bouquet next to the text. So I found myself attributing the different flowers of Bouquet II to the text’s female characters.

Willem de Rooij -Jeroen de Rijke -‘Bouquet II’ 2003, courtesy of Stedelijk Museum, Amsterdam

While this early flower piece may still refer to the four women, later arrangements lack this kind of direct link. For example, the descriptions of Bouquet IV (2005) focus on mere formal issues: ‘The overall impression of the arrangement is dense and compact; all flowers have the same height and thus form quite an even, dome-like shape. The hierarchy between the flowers is designated by their colors and shapes, not by means of their placement within the arrangement. In other words: the different flowers are evenly distributed over the whole, never coming to a concentration of any sort in any area. An exception are the euphorbia and the lisanthia. Although they are also distributed in an even rhythm over the total ensemble, parts of these flowers extend somewhat higher than the other sorts, thus forming protrusions above the entire surface of the piece. […] The essence of Bouquet IV lies within its color palette, which extends to many different varieties and mild shades of pink, peach, orange yellow, light green… and even soft blue… but never arrives at an extreme.  Avoided are whites or light yellows on one side of the spectrum, and reds, purples, or deep blues on the other.  There are no green leaves whatsoever.’ (Willem de Rooij cited in Daniel Birnbaum: Floral Imperative  (Artforum, September 2016)  pp. 289-297, here pp. 292-293.) The two spectra mentioned in this description relate to some flowers’ colors, which would appear super bright or pitch dark in a black and white photograph. Flowers of these colors have to be avoided as – different to all other bouquets – Bouquet IV always becomes exhibited together with a black and white picture of itself.  This two-part installation gains something like a closed circuit quality and can be called the self-referential turn within the flower series: the flower arrangement refers to its photographic image and vice versa. From now on, there are no more clear references at all.

Bouquet IV, 2005, Flower arrangement in white ceramic vase, dimensions variable, courtesy of Friedrich Petzel gallery, New York (exhibited on Jan 19-Feb 18,2006)

Jeroen de Rijke and Willem de Rooij Installation view, Friedrich Petzel Gallery, New York, 2006

Bouquet V (2010), which is currently part of the show at Kunsthalle Wien, comes without any further notes and therefore it stays open to all kind of interpretations. It has been developed in the year of Willem de Rooij’s landmark exhibition ‘Intolerance’.  To the

Willem de Rooij, ‘Intolerance’, 2010, Neue Nationalgalerie, Berlin. Painting, Melchior d’Hondecoeter, Pelican and other waterfowl in a park, c. second-half seventeenth century, 132 x 161.5cm. Collection Staatliche Museen zu Berlin. © Staatliche Museen zu Berlin. Photograph: Jens Ziehe

end of this show at Neue Nationalgalerie in Berlin the artist had juxtaposed 18th and 19th century feathered objects from pre-Christian Hawaii and bird paintings by Dutch master Melchior d’Hondecoeter (1636–1695).   Starting from two pieces in the collections of the Staatliche Museen zu Berlin, De Rooij concentrated on the rare pieces, which had been brought to Berlin in former times to satisfy the hunger for exotic objects.  Instead of merely appropriating these objects, he initiated fundamental research to put the artifacts in their own right.  Studying the exhibition’s three-part publication not only the hidden power structures implicated in the religious Hawaiian objects and the hierarchical symbolism of the birds depicted become obvious, but also early global trade and intercultural conflicts are discovered as the backdrop of the objects’ and paintings’ provenience.  Therefore, the exhibition’s title can be related to the (post-)colonial aspects of so many First world collections, their institutional practices and the aspects of global market systems, which handle even religious items and animals as mere products without any deeper understanding nor commitment.

What does all this tell us about the flower bouquets?  Well, in reference to this  2010 exhibition De Rooij claimed in an interview, that the ‘very notion of ‘representing’, of ‘imaging’, is what my [his] work is most deeply concerned with’ (artists-at- work-willem-de Rooij).  We may interpret for example the variety of 95 different flower species making up ‘Bouquet V’ that ‘the work deliberately avoids any hierarchy’ and therefore speaks ‘to the diversity and tension between the politics of collectivism and individualism’ (David Trigg on Willem de Rooij, Arnolfini, Bristol). But what do the bouquets really have to do with representing and imaging?  I think that we might   travel  further back in time to the very core of Netherlandish still life painting, which flourished in De Rooij’s native country in the 16th and 17th centuries; as these early masterpieces may contain religious and allegorical symbols as well as dead animals and foodstuff, De Rooij’s pieces concentrate exclusively on the mere beauty of the flowers.  Looking at his ‘bouquets’ we ‘find ourselves face-to-face with beauty in its purest form’ as art critic Daniel Birnbaum wrote in his essay ‘Floral Imperative’ (Artforum, September 2016).  Even death – the vanitas tradition’s main subject – is excluded in Willem de Rooij’s exhibitions as his bouquets’ flowers are replaced as soon as they start wilting.  Therefore, the bouquets’ beauty remains ideal.  Presumably, the flowers stay faultless like their artificial equivalents, which finally become included in Bouquet VII (2010). Indeed, after all the research on De Rooij’s bouquets and despite of knowing about the flowers being replaced, it still feels strange to see one and the same flower bouquet blossoming all year long and touring the different stages of the art world without any symptom of fatigue. It seems like the idea of a certain arrangement has become manifest in an eternal form.

Isn’t this exactly what we expect from ‘pure beauty’ – no aging, no wrinkles, just freshness and perfect shape?  Yet, this has nothing to do with our everyday life.  It is something different than what we are used to.  It is this other – ideal – mode of existence facing us with its opposite by reminding us of our own bodies’ mortality.  This kind of ‘otherness’ revisits the  ‘exotic’ and the core of Willem de

This kind of ‘otherness’ brings us back to the term ‘exotic’ and the core of Willem de Rooijs bouquets.  In the exact moment where we start thinking about the flower arrangements,  we start taking sides by trying to define (more or less consciously) our own position in reference to those bouquets.  Not far from that we can’t call something or someone exotic, foreign or unusual without having a more or less clear understanding of what is non-exotic, local or familiar; we can’t distinguish ourselves from the ‘other’ without having any idea of who/what we are.  Apparently, specifying this very dichotomy and reasoning about its relevance today is the crucial point, where tolerance turns into intolerance and vice versa.  It’s the exact starting point for any responsible socio-political life.  Hence, I am overjoyed to see these pretty flowers within the exhibition ‘How to live together’.

                                                                                                                                               Thilo Westermann                          Berlin, August 2017
Thilo Westermann, is an artist,  art historian and lover of nature and flowers
The exhibition ‘How to live together’ at Kunsthalle Wien closes on Oct. 15th, 2017. Willem de Rooij’s retrospective show ‘Whiteout’ opens at Kunstwerke Berlin on Sept. 13th, 2017 (through Dec. 17th, 2017).

 

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’

published on June 3, 2017

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

 

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