Initiated by N°111 with François Bauchet and Eric Jourdan, the Quatrième Mur was one of the ‘off’ exhibitions which spearheaded the event during the St Etienne Design Biennial 2010. In a former cinema and with this mysterious title, three ex- Saint Etienne students invited two of their ex-lecturers for a collective exhibition in the shape of ‘tribute-thanks-transmission’ with a result which lecturers and pupils alike can be proud of. The installation comprised everyday objects which, through their design and varying scales, gave rhythm and composition to the scenic space. The objective was to encourage the spectator to observe the objects from our domestic environment from a different angle and to reconsider the relationship between objects.
Matthias Pliessnig creates objects made from steam bent white oak, sometimes oxidized or blackened with tar.
Tripudio Bestia, Insum Itineris, Occupo Orbis, by Matthias Pliessnig
Portuguese architect Álvaro Siza, best known for designing museums and galleries, has presented a series of wood sculpture.
Exposição Esculturas, by Álvaro Siza, Porto, Portugal, Photography by Fernando Guerra
After Rock and Absent Nature a new exhibition by Arik Levy stays in the continuity of the “natural non-natural”. The investigation, imaginary and interpretation of these issues, grow this time, around the concepts of “parallel” and “opposed”. By presenting the concretization of these ideas for the very first time, the exhibition illustrates various forms of expression related to geotectonic… Arik’s perception of such levels is not only geological, but also emotional, visual, social, architectural, as well as urban and genetic.
“What I feel and see are complete images of objects, buildings, mountain splitting into layers the same way an iceberg will detach from the North Pole creaking open and starting drifting in the space. Each element slides over the other in perfect harmony of total chaos. Construct to deconstruct, built to destroy, and constantly being on the borderline between balance and in balance, stability and catastrophe, magic and power.”
- Arik Levy
Exhibition: Geotectonic by, Arik Levy, 16 September – 6 November, at Mitterrand+Cramer, Geneva, Switzerland
American artist Sarah Oppenheimer was commissioned by Rice University Art Gallery, Houston to create an installation for their gallery space. D-17 took a year and a half in making the epic 65-foot, aluminum-sheathed white structure angles above the transom of Sewall Hall’s front doors, into the foyer and extends into floor of the gallery itself. Along the way the work seemingly passes through two walls of glass that act as filters, subtly changing the color of the structure as you look through them.
D-17 is a massive physical intervention into the building and gallery. Seeing it in bright daylight creates an entirely different experience of the installation. Approaching Sewall Hall in full sun, D-17 is essentially invisible; the wall of windows becomes a mirror reflecting the green leafy grounds of the campus. Your only real clue to what lies inside is the foot or so of the structure that pokes out from the opening above the doors. It is only once you enter through the doors that the rest of the massive construction is revealed, looming above you. While the daylight turns the building’s glass exterior into a mirror, the same thing occurs discretely inside. An overhead channel in the piece directs sunlight in from the outside, and when that channel of light hits the glass of the gallery wall, it creates a tiny mirror. Standing in the entry and facing the gallery, you can peer up into the open channel.
Inside the gallery is where you really feel the work’s energy. The expansive aluminum plane angles dramatically up from the gallery floor and soars out toward the courtyard beyond. That slender channel running along one side of the piece directs your eye out into the trees beyond the building.
Curated by Norman Foster and Luis Fernández-Galiano, the exhibition features drawings and models including the recently completed recreation of the Dymaxion car. Foster worked with Fuller for the last 12 years of his life and explains that Fuller ‘had a profound influence on my own work and thinking’. The new Dymaxion car was commissioned by Foster based on Fuller’s own drawings and prototypes. The prototype was built in East Sussex by the car restoration company Crosthwaite and Gardiner.
Santiago Calatrava collaborated with the New York City Ballet for their 2010 spring season festival of new choreography, “Architecture of Dance.” One of the major thrusts of ballet dance is to appear to defy gravity, so working with Calatrava, who is known for his architectural works suggesting flight, makes perfect sense. The ”Architecture of Dance” festival included seven world premiere ballets, five of which included sets designed by Calatrava. Four new scores were also commissioned for the festival. For the performances, eight new cocktails were created one for each choreographer, and a one for Santiago Calatrava: Sangria of Spanish Red Wine, Triple Sec, Rum, Vodka & Seasonal Fruits.
The sound sculptures and installations of Zimoun are graceful, mechanized works of playful poetry, their structural simplicity opens like an industrial bloom to reveal a complex and intricate series of relationships, an ongoing interplay between the artificial and the organic.
25 woodworms, wood, microphone, sound system
5 ventilators, 35 styrofoam balls, 5 helping hands, air
23 prepared dc-motors, grid
30’000 plastic bags, 16 ventilators
97 polysiloxane hoses 3.0mm, compressed air
Zimoun, Sound Sculptures and Installations
Hiroyuki Hamada’s works are monumental in impact, but built with delicacy. They are filled with an unknown spirit. There is no direct reference, but one can read the mysteries of the ancients or the mapping of a digital age in their rich surfaces. The forms hold space, rather than make it. Tension pervades, as each mark and tone tell a story of perfection, balance and upset. Hamada spends up to three years creating the sculptures, as he applies plaster over burlap and wooden forms. He then shapes and stains them with wax, resin, and paint.
Australian Architect Chris Bosse has built a sliced up homage to the 1967 Panton Chair as part of this year’s Sydney Design Festival. The designer has “…chosen to represent this shape as slices, similar to an MRI scan in order to make visible its complex three-dimensional geometry. The chair is metaphorically and physically carved out of a sliced box”, says Bosse. “The project retro-digitises the chair design, although it was the chair that preceded the digital design revolution.”