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The Future Begins at Home

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The Future Begins at Home ASMUND HAVSTEEN-MIKKELSEN THE FUTURE BEGINS at HOME ——— UK building appear as an ordinary model. In his choice of subject matter, he plays on a collective memory of modernism’s spaces as Havsteen-Mikkelsen is interested in DREAMS ARE THE STUFF the mental space that buildings are exponents for, rather than the concrete space. THAT ARCHITECTURE IS MADE OF ——— DYNAMIC OPPOSITES A formal characteristic of Havsteen-Mikkelsen’s paintings is the fact that they are constructed over dynamic opposites present not only externally, between two paint- ing techniques for instance, but also internally in the individual styles. At first glance the work Spacey from 2008 seems composed with clear oppo- sites as the basic principles: On the level of subject matter this is manifest as the per- sonal dwelling versus the normative architectural structure, and in the composition light is contrasted with shade, inside with outside. Stylistically one finds Concretism (the clearly defined areas of pastose paint) versus realism (the work depicts a recog- nisable room), and opposites are also evident in the actual painting style which is ——— THE MENTAL SPACES OF ARCHITECTURE both clear and distinct with no traces of the brush, only elsewhere to be light, loose Belief in the significance of architecture is premised on the notion that we are, for better or and expressive. for worse, different people in different places – and on the conviction that it is architecture’s Looking closer, however, the opposites are dynamically interwoven. The task to render vivid to us who we might ideally be. model for Spacey is Le Corbusier’s Villa Savoye. The subject is an architectural icon, Alain de Botton1 originally created as a private residence but which never functioned optimally as such, as the house in many ways was unfit to live in. This in itself is a dynamic oppo- Since the Age of Reason buildings have been regarded as active and educational and site, one of the modernist convictions being that the rationally conceived dwelling with an ability to influence and change people’s mental spaces. The book The Architec- was to be comfortable and ease everyday life; the so-called “machine for living in”. ture of Happiness by Alain de Botton is a cultural historical exploration of our build- This opposite is emphasised by Havsteen-Mikkelsen’s treatment of the motif which ings with the presumption that they are not merely empty shells that provide roofs both opens up for the universal and the personal: Most traces of life have been dis- over our heads; rather they are exponents of our approach to the world. Architecture tilled away so that the subject appears to be pure with only the minimal space gen- affects us and helps shape our world – we both create it and are created by it. erating structures remaining. In a way, the dwelling has been taken back to its pure That architecture is more than a framework, that it also provides a direc- form, to the model before residence is taken up, everyday life begins, and the inhab- tion for our way of living and thinking our lives, is the point of departure for the art- itants make their personal marks on the house. Expressed through painting’s form, ist Asmund Havsteen-Mikkelsen (b. 1977). The exhibition The Future Begins at Home however, still the model is personalised and its universality is wrested from it. is a large-scale exploration of the fundamental architectural ideas behind our mod- Compositionally the opposites are evident in the tight construction of geo- ern dwellings today, presented primarily through paintings but also through site- metric figures; an abstraction which recalls the Concretism of the 1950s, juxtaposed specific works, dialogue based projects and sculptures. by free and expressive brushwork. The painting seems to be vibrating between a Asmund Havsteen-Mikkelsen saw his breakthrough in the middle of the synthetic purity and a saturated textural effect. The mutual dynamics of the oppo- previous decade with his evocative Hopper inspired subjects from the edges of the sites are given power because Havsteen-Mikkelsen allows the contrasts to be ex- big city, which emphasised places void of identity and relations such as tunnels and pressed within the frames of Concretism, in that an exaggerated illusionist space is petrol stations. Today the architectural structures still constitute the motivic foun- introduced in the work, capturing the viewer’s gaze but to such an extent that it dation in his works, but his spatial explorations have moved from the depiction of seems unreliable, thus breaking the illusion. In this way, the realist painting’s space, fringe areas and transit rooms to the canonised edifices of modernism and habita- which Concretism abandoned, is present in the work but without being maintained. tions of today. It is exaggerated through the formal dynamics and thus the illusion is forced back to His painterly explorations concern the architectural frames we erect around its concrete basis: the mere paint. our lives and which take part in governing the way we lead our lives. Therefore, it is a This subtle duality is a general device that Havsteen-Mikkelsen employs in recurring feature that Havsteen-Mikkelsen selects subjects that are often canonised his works, and it is present at all levels, compositionally, stylistically and in the sub- and normative architectural buildings, such as Le Corbusier’s 1931 Villa Savoye in ject matter. Paris or Richard Neutra’s Chuey House in California from 1958. In the cases where the Furthermore, in a number of paintings, Havsteen-Mikkelsen employs this point of departure isn’t famous buildings, Havsteen-Mikkelsen focuses on the archi- duality to create an atmosphere of “the uncanny” in his works – a theme he has ex- tectural structure and has the modernist traits carry the narrative, letting the 4 5 plored in previous solo exhibitions such as Meditations on the Uncanny and CHUEY HOUse, 2008 Estrangement City. The term is derived from Sigmund Freud’s text “Das Unheimliche” situations familiar things suddenly become unfamiliar, intimate things strange and from 1919. Das Unheimliche means the scary, creepy, directly translated “the un- safe things menacing. This distancing effect or “Verfremdungseffekt” takes place in home-ly”. With this ambiguous term Freud wished to draw attention to the fact that a number of Havsteen-Mikkelsen’s paintings through their pictorial reduction, the the familiar and intimate everyday rooms that surround us have an immanent abili- striking cropping and the evocative mood attained through the colours’ derealised ty to turn into their opposite. With this he meant that the structures and forms of values. On a critical level, this aesthetic strategy in itself becomes a statement on the rationality on which our behavioural patterns are based, have an ability to make ability of architectural structures to produce Verfremdung where ideally they ought themselves independent and thus alienate us – the users – from them. In these 6 7 to produce freedom. ——— ACTIVE USE OF TRADITION is manifest in form as well as in painting style. The works appear as a closed form, Havsteen-Mikkelsen works actively with the tradition of painting, drawing heavily free of inherent references to the world beyond and thus also free of references to on the explorations made in the past sixty years by movements such as Concretist the artist and his hand in the creation process. Their works are experimental explo- painting; explorations whose results are continued and at the same time developed rations of creations of space. Richard Mortensen denoted the space in his works in his work practice, in that they support and offer substance to the themes he deals from this period “the egg shaped space” – a space which was both concave and con- with in his subject matter. He uses Concretism as form; it lies beneath his subjects, vex, built from surface and line, and which worked against a classically perspectival pulsating, giving composition and space to the paintings, but he also employs the space. Gunnar Aagaard Andersen took the space experiments to the next level, or- meanings that Concretism brings as art historical position. ganising his works from principles of repetition and fixed structures, making the re- The Concretists opposed a type of painting and art borne by expressivity, pudiation of subjectivism increasingly concrete, and anticipating some of the explo- spontaneity and consequently subjectivism. Works by Danish artists like Gunnar rations made by 1960s Minimalism. His works, however, also open up to an archi- Aagaard Andersen, Albert Mertz and Richard Mortensen are characterised by geo- tectural field, a social space, and compared with Havsteen-Mikkelsen, this move- metric and structural strictness, and all openings which might lead to figurative ref- ment is interesting because here is a connection between painting’s spatial experi- erences and on from there to symbolic and conceptual worlds are closed off. In their ments and the space of architecture. Havsteen-Mikkelsen expands Concretism’s ex- paintings the expressive brushwork – so essential to CoBrA and the subsequent plorations by making them figurative – by allowing them expression in a figurative Abstract Expressionism – is banned. The universal, not the personal, is key, and this space which, however, is never pure figuration because the spaces either open too much or reject the viewer with their materiality, making it impossible to sustain the illusion – a device which is most evident in the works Spacey and Garage. ——— ABSTRACTION AND REALISm – A PARAdoX AND A PoSSIBILITY Yet, Concretism isn’t the only player on the field, for Havsteen-Mikkelsen also em- ploys an expressive idiom and the meanings associated with it. The expressivity be- comes an element that adds meaning to the works, as a stylistic device which opens up to personal and intimate aspects; the quick, loose brushstroke versus the sharply delineated field as manifest for instance in the work Spacey.
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