DOCSLIB.ORG

KUB Collection Showcase Architectural Models by Peter Zumthor Will Continue to Be on View in 2013

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
KUB Collection Showcase Architectural Models by Peter Zumthor Will Continue to Be on View in 2013 Press release KUB Collection Showcase Architectural Models by Peter Zumthor Will continue to be on view in 2013 Page 1 | 6 In response to popular demand, Peter Zumthor’s archi- tectural projects will continue to be on view in the KUB Collection Showcase in 2013. In presenting Peter Zumthor’s architectural models the Kunsthaus Bregenz is opening a part of its hitherto little- known collection to a broader public. Few are aware that even before the opening of the Kunsthaus in 1997 pur- chase of works by contemporary Austrian artists as well as works at the crossroad of art and architecture by inter- national artists had already begun. Significant donations by Donald Judd, Per Kirkeby, and others to accompany exhibitions and publications with the KUB have further extended the collection. Moreover, in the past three years there has been a policy of purchasing works from the big solo exhibitions or of artists donating them to the institution as a form of return service. One of the largest groups of works in the collection con- sists of architectural models by Peter Zumthor. Some of these exhibits have been in storage at the KUB since the architect’s solo exhibition in 2007. Further models have been or are still being added to the collection as permanent loans. A selection of these models by Peter Zumthor has been on show since June 2012 in the 200-square-meter space on the first floor of the Post Office building directly adjacent to the Kunsthaus Bregenz. The curatorial conception and design of this showcase has been developed in close con- sultation with Peter Zumthor by Thomas Durisch. Realized buildings as well as projects that remained in the design stage will be on show. In its variety the exhibition demon- strates the outstanding role that working with models and original materials such as wood, metal, or clay play in Peter Zumthor’s studio. In addition to the majority of exhibits, which are presented on a system of display shelves specially designed for the purpose by the architect, three specimen projects will be individually displayed. These three projects, all involving cultural spaces in the broadest sense of the word, are of recent date. All three buildings serve in different ways as gathering places for the presentation of cultural products such as handicrafts and music or ( Redevelopment of De Meelfabriek, Leiden) revitalize an industrial heritage. Two of the projects ( Werkraumhaus, Andelsbuch, and New Town Gate, Isny) are also notable for their geographical closeness to Bregenz. Page 2 | 6 Architectural Tour Sunday, December 2, December 16, December 30, 2012 January 6, January 20, 20113, 11 a.m. Architectural tour Kunsthaus Bregenz and KUB Collection Showcase, Post Office, Seestraße 5, Bregenz (Entrance from the Kornmarktstraße side, alongside the Nepomuk Chapel). Meeting point: KUB reception desk. Tour charge 5.– EUR If you wish to book an individually arranged tour please be sure to ring and give advance notification. Lisa Hann | ext. -415 [email protected] Page 3 | 6 Short biography Peter Zumthor 1943 Born in Basel, trained as cabinetmaker in his father’s workshop and studied design and architecture at the Kunstgewerbeschule, Basel, and the Pratt Institute, New York. Since 1979 he has had his own architectural practice in Haldenstein, Graubünden, Switzerland. Visiting professorships at South California Institute of Architecture, SCI-ARC, Los Angeles, 1988; at the Technical University, Munich, 1989; and at the Graduate School of Design, GSD, Harvard University, Boston, 1999. From 1996 to 2008 professor at the Accademia di architettura, Università della Svizzera italiana, Mendrisio. Major buildings Protective housing for Roman excavations, Chur, 1986; Saint Benedict Chapel, Sumvitg, 1988; Truog House, Gugalun, Versam, 1994; Thermal Bath, Vals, 1996; Kunsthaus Bregenz, 1997; Klangkörper Schweiz, Swiss Pavilion, Expo 2000, Hannover, 2000; Kolumba Art Museum, Cologne, 2007; Brother Klaus Field Chapel, Wachendorf, Eifel, 2007; Steilneset, Memorial for the Victims of the Witch Trials in the Finnmark, Vardø, Norway, 2011; Serpentine Gallery Pavilion, London, 2011. Page 4 | 6 Venue of the presentation Architectural Models by Peter Zumthor KUB Collection Showcase Seestraße 5 | 6900 Bregenz | Austria Phone +43-5574-485 94-0 | Fax +43-5574-485 94-408 [email protected] | www.kunsthaus-bregenz.at Entrance from the Kornmarktstraße side, alongside the Nepomuk Chapel Curator of the presentation Architectural Models by Peter Zumthor Thomas Durisch Organizer Kunsthaus Bregenz Director Yilmaz Dziewior Chief Executive Werner Döring Curator Rudolf Sagmeister Curator of the KUB Arena Eva Birkenstock Communications Birgit Albers | ext. -413 [email protected] Press photos to download www.kunsthaus-bregenz.at Art Education Winfried Nußbaummüller | ext. -417 [email protected] Publications | editions Katrin Wiethege | ext. -411 [email protected] Page 5 | 6 Sales Editions Caroline Schneider | ext. -444 [email protected] Opening hours Tuesday to Sunday 10 a.m. — 6 p.m. Thursday 10 a.m. — 9 p.m. July 13 to September 1 daily 10 a.m. — 8 p.m. Ticket Office ext. -433 Admission | Tickets at the KUB counter Adults 6.– EUR Reductions 5.– EUR Free admission for children and adolescents (19 and under) Combined Ticket Kunsthaus Bregenz and KUB Collection Showcase 11.– EUR Combined Ticket reduced 8.50 EUR Page 6 | 6 .
Load more

Recommended publications
  • EINLADUNG INVITATION Attractions Onoffer Outside Kubonkarl-Tizian-Platz
    EINLADUNG INVITATION Invitation GEZÄHMT UNGEZÄHMT We would like to cordially invite you and your friends to attend the official ceremony in the neighboring Vorarlberger Landestheater, on the occasion of the 20th anni ver sary of Kunsthaus Bregenz, on Saturday, July 15, 2017, at 7 pm. Throughout the weekend of July 15 to 16, 2017, free admission to KUB and free short guided tours will enable you to experience Adrián Villar Rojas’ ex- hibition “The Theater of Disappearance.” Guests will also have the opportunity of enjoying the catering, prize competition, music, dance, and other spectacular attractions on offer outside KUB on Karl-Tizian-Platz. Adrián Villar Rojas’ exhibition will transport visitors to spaces full of experiences that could hardly be any more impressive. Rather than merely looking at art, you will find yourself being immersed in it. A monumental Piero della Francesca painting covers the ground floor. Stone slabs from Morocco have been laid and plants from the Far East arranged on the floors above it. A fire flickers in front of gigantic paintings, the two floors darkened in a cavernous bunker-like atmosphere. On the third floor the legs of Michelangelo’s “David” rise in a hall of reflecting light. The exhibition is worthy of an anniversary. Kunsthaus Bregenz, which is 20 years old in the summer, is able to look back upon a story of success. The list of artists who have exhibited at KUB reads like a “Who’s 2007 BREGENZ, KUNSTHAUS KOONS, JEFF © Who” of contemporary art. Many of the exhibitions, indeed the majority, have undoubtedly become part of recent art history.
    [Show full text]
  • Introduction to Modern Literature David Spurr, Fall 2020 11 Nov
    Introduction to Modern Literature David Spurr, Fall 2020 11 Nov. Architectural form and representation: Some principles American beginnings of modernism: The Chicago School Louis Sullivan, “The Tall Office Building Artistically Considered,” 1896 https://ocw.mit.edu/courses/architecture/4-205-analysis-of-contemporary- architecture-fall-2009/readings/MIT4_205F09_Sullivan.pdf 18 Nov. Organic architecture: Frank Lloyd Wright Wright, “In the Cause of Architecture,” 1908 https://www.architecturalrecord.com/ext/resources/news/2016/01- Jan/InTheCause/Frank-Lloyd-Wright-In-the-Cause-of-Architecture-March- 1908.pdf “Frank Lloyd Wright: American Architect,” Museum of Modern Art, 1940: https://www.moma.org/calendar/exhibitions/2992 Architectural Forum, special issue on Wright, January 1938: https://usmodernist.org/AF/AF-1938-01.pdf 25 Nov. European beginnings of modernism: Walter Gropius Gropius, “Bauhaus Manifesto and Programme,” 1919 http://mariabuszek.com/mariabuszek/kcai/ConstrBau/Readings/GropBau19.p df Gropius, “Principles of Bauhaus Production,” 1926 http://mariabuszek.com/mariabuszek/kcai/ConstrBau/Readings/GropPrdctn.p df Gropius, ”The Theory and Organization of the Bauhaus,” 1923, in Herbert Bayer, Bauhaus 1919-1928, Museum of Modern Art: https://www.moma.org/documents/moma_catalogue_2735_300190238.pdf De Stijl: Gerrit Rietveld Theo van Doesburg, First De Stijl Manifesto, 1918 https://www.readingdesign.org/de-stijl-manifesto Rietveld, “The New Functionalism in Dutch Architecture,“ 1932 https://modernistarchitecture.wordpress.com/2010/10/20/gerrit-rietveld- %E2%80%9Cnew-functionalism-in-dutch-architecture%E2%80%9D-1932/ Machines for Living: Le Corbusier Le Corbusier, “Five Points Towards a New Architecture,” 1926 https://www.spaceintime.eu/docs/corbusier_five_points_toward_new_archit ecture.pdf Le Corbusier, “Towards a New Architecture,” 1927 https://archive.org/details/TowardsANewArchitectureCorbusierLe/page/n91/ mode/2up E1027: Eileen Gray Joseph Rykwert, “Eileen Gray, Design Pioneer,” 1968.
    [Show full text]
  • Program 2013 02|02|2013- 12|01|2014
    KUB 2012 | Press release Program 2013 02|02|2013- 12|01|2014 Press conference Thursday, November 29, 2012, 12 noon Page 1 | 28 Kunsthaus Bregenz Balance 2012 »Seriousness and popularity undergo a remarkable symbiosis in the KUB exhibition program. Architecture and art strike up a dialog that is extremely fruitful for both sides.« Yilmaz Dziewior Not least as a result of its outstanding architecture de- signed by Peter Zumthor and the spectacular interplay of art and exhibition space, the Kunsthaus Bregenz is among the major international institutions of contemporary art. Again and again, the building’s distinctive architectural aura has inspired artists to new works created specifically for the museum. As well as the interdisciplinary and cross- generational nature of its programs, the activities of the KUB are characterized by an increasing openness to African, Asian, and Latin American artists. Additionally, the KUB Arena and its innovative curatorial approaches lend the museum program and its major exhi- bitions an altogether unique slant. The KUB Collection Showcase, where architectural models by Peter Zumthor on permanent loan to the KUB have been on view since summer 2012, is no less important for the Kunsthaus Bregenz, its image of itself, and its reception. The elements of contemporary art production are handled in their complexity at a range of levels, combined with a broad-based education program consisting of guided tours, workshops, film screenings, and visits to architectural practices in the Vorarlberg region. The broad spectrum of activities of the Kunsthaus Bregenz is rounded off by its excellently researched publications and editions that accompany the exhibitions and are produced in close collaboration with the artists.
    [Show full text]
  • Kunsthaus Bregenz Program 2021
    er eng hw fsc ol W Exhibitions 2021 ud a tr er : G to o h p , 0 7 9 1 . x o r p Kunsthaus Bregenz is a unique place, Peter p Kunsthaus Bregenz a , T R Zumthor designed extremely striking spaces. O P X E E The gray concrete walls, the soft light from I L Program 2021 A Free the ceiling, and the spacious levels are all V admission very distinctive. The encounter with art is every first more intimate and intense here than in other Friday exhibition spaces. Such encounters necessarily raise fundamental questions, concerning individual perceptions, the nature of the art, and the individual’s sense of themselves. Exhibitions in Bregenz are unique. Not just because of KUB’s singular spaces, the addressing of current issues is no less important. Such questions not only include the pandemic and issues of coexistence, but also political respon­ sibility, as well as debates around gender, together with issues concerning environmental awareness and dangers to the climate. KUB Collection Showcase All such considerations have but one objective: König-Lebschik Collection to consolidate Kunsthaus Bregenz as a place 26 | 06 — 29 | 08 | 2021 of the present – an art institution providing insights into the moment. Thomas König, born in Vorarlberg, and his deceased wife Erika Lebschik collected original prints by international artists for more than forty years. Their collection embraces the entire range We are looking forward to the program of of printmaking. One point of its focus is on both international KUB exhibitions in 2021! and Austrian contemporary art and its pioneers, including such renowned names as Pierre Alechinsky, Iris Andraschek, Max Bill, Eduardo Chillida, VALIE EXPORT, Bruno Gironcoli, Maria Lassnig, Thomas D.
    [Show full text]
  • The Design of New Buildings in Historical Urban Context: Formal Interpretation As a Way of Transforming Architectural Elements of the Past
    THE DESIGN OF NEW BUILDINGS IN HISTORICAL URBAN CONTEXT: FORMAL INTERPRETATION AS A WAY OF TRANSFORMING ARCHITECTURAL ELEMENTS OF THE PAST A THESIS SUBMITTED TO THE GRADUATE SCHOOL OF NATURAL AND APPLIED SCIENCES OF MIDDLE EAST TECHNICAL UNIVERSITY BY ELİF BEKAR IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARCHITECTURE IN ARCHITECTURE SEPTEMBER 2018 Approval of the thesis: THE DESIGN OF NEW BUILDINGS IN HISTORICAL URBAN CONTEXT: FORMAL INTERPRETATION AS A WAY OF TRANSFORMING ARCHITECTURAL ELEMENTS OF THE PAST submitted by ELİF BEKAR in partial fulfillment of the requirements for the degree of Master of Architecture in Architecture Department, Middle East Technical University by, Prof. Dr. Halil Kalıpçılar _________________ Dean, Graduate School of Natural and Applied Sciences Prof. Dr. Cânâ Bilsel _________________ Head of Department, Architecture Prof. Dr. Aydan Balamir _________________ Supervisor, Architecture Dept., METU Examining Committee Members: Assoc.Prof. Dr. Haluk Zelef _________________ Department of Architecture, METU Prof. Dr. Aydan Balamir _________________ Department of Architecture, METU Prof. Dr. Esin Boyacıoğlu _________________ Department of Architecture, Gazi University Date: 07.09.2018 I hereby declare that all information in this document has been obtained and presented in accordance with academic rules and ethical conduct. I also declare that, as required by these rules and conduct, I have fully cited and referenced all material and results that are not original to this work. Name, Last name : Elif Bekar Signature : ____________________ iv ABSTRACT THE DESIGN OF NEW BUILDINGS IN HISTORICAL URBAN CONTEXT: FORMAL INTERPRETATION AS A WAY OF TRANSFORMING ARCHITECTURAL ELEMENTS OF THE PAST Bekar, Elif M.Arch., Department of Architecture Supervisor: Prof.
    [Show full text]
  • Douglas Gordon Solo Exhibition
    DOUGLAS GORDON Born in Glasgow (Scotland) in 1966, Douglas Gordon lives and works between Berlin (Germany), Glasgow (Scotland) and Paris (France). Né à Glasgow (en Écosse) en 1966, Douglas Gordon vit et travaille entre Berlin (Allemagne), Glasgow (Écosse) et Paris (France). SOLO EXHIBITION 2018 Douglas Gordon - Artist Rooms - Berwick Visual Arts, The Granary Gallery, Berwick-upon-Tweed, UK Douglas Gordon, Instituto Moreira Salles, Sao Paulo, Brazil I will, if you will..., Galeria Marilia Razuk, São Paulo, Brazil k.364, Kunstsammlung NRW / K20, Duesseldorf Zidane – A 21st Century Portrait, Dunedin Public Art Gallery, New Zealand 2017 24 Hour Psycho, Peter B. Lewis Center for the Arts, Princeton University back and forth and forth and back, Gagosian, New York, West 21st St. Black Burns, Scottish National Portrait Gallery, Edinburgh (exh cat)* Douglas Gordon - Selected works from the 1990‘s, André Viana Gallery, New York Gente di Palermo, Prisons of the Palazzo Ducale, Venice I had nowhere to go, Gagosian Gallery, London Jesus is not enough, untilthen, Paris Portrait of Janus (divided states), Art Sonje Center, Seoul, South Korea 2016 Douglas Gordon: Searching for Genius. Peninsula Art Gallery, Plymouth Douglas Gordon: Play Dead; Real Time, Dunedin Public Art Gallery, New Zealand Douglas Gordon, Gagosian Gallery, Geneva Douglas Gordon: I had nowhere to go, Galerie Eva Presenhuber, Zurich Douglas Gordon @ Paris Photo Prisme, Grand Palais, Paris Functional Family, Sala della Cavallerizza in Palazzo Sant Elia, Palermo k.364, National Holocaust
    [Show full text]
  • Interpretation of Minimalism in Architecture According to Various Culture
    Published by : International Journal of Engineering Research & Technology (IJERT) http://www.ijert.org ISSN: 2278-0181 Vol. 10 Issue 07, July-2021 Interpretation of Minimalism in Architecture According to Various Culture Swetha Elangovan1 , Madhumathi.A2 1 Student, School of Architecture, VIT University, Vellore, Tamilnadu, India 2Professor, School of Architecture, VIT University, Vellore, Tamilnadu, India Abstract:- Minimalism is agreeable as a cultural definition that has an aesthetic approach towards various fields. Since the 1960s, minimalism has been a common movement of art, architecture and lifestyle. Minimalism is a name used to define arts that flourish in content and form with simplicity, as well as a sign of private expressiveness. Minimalism is recognized by reasoning as concept of culture. The modern culture is somehow impregnated by minimalism. Simplicity in architecture allows the user’s/ viewers to experience and grasp the work instantly. Necessary elements in architecture to achieve a simplicity design is limited no. of. materials, play with light, color, and geometric forms and most importantly removing the minor elements to highlight the major elements. The idea of this study is to comprehend how different cultures have diverse understandings towards minimalist architecture. Key words: Minimalist Architecture, Culture, Interpretation, Western, Japanese. 1. INTRODUCTION From 1960s, minimalism has been a common movement of art, architecture and lifestyle. Visual arts and architecture are differentiated and conveyed at one of the points is modernism as a category of art-object (Macarthur, 2002). It is reasonable to say that minimalism is a self-aware version of modernism where it reflects the current way of life. Minimalism concentrated on the most essential elements and a form’s simplicity and it is believed to be evolved from the modern movement whereas few philosophers tend to disagree by indicating that minimalism is indeed very closely linked to a user’s lifestyle and culture.
    [Show full text]
  • PETER ZUMTHOR RECONSIDERS LACMA on VIEW: JUNE 9-SEPTEMBER 15, 2013 LOCATION: Resnick Pavilion
    ^ Pacific Standard Time PRESENTS: MODERN ARCHITECTURE IN L.A. EXHIBITION: THE PRESENCE OF THE PAST: PETER ZUMTHOR RECONSIDERS LACMA oN VIEW: JUNE 9-SEPTEMBER 15, 2013 LOCATION: resnick pavilion (Los Angeles-January 14, 2013) The Los Angeles County Museum of Art (LACMA) presents The Presence of the Past: Peter Zumthor Reconsiders LACMA. This exhibition about the proposed future of LACMA’s campus is part of the Getty’s Pacific Standard Time Presents: Modern Architecture in L.A. initiative. The exhibition will be divided into three sections, with the first devoted to an exploration of the museum’s buildings within the complicated history of Hancock Park—a unique site with explicit ties to Los Angeles’s primordial past. For the first time in an exhibition, LACMA will analyze the development of its campus and explain how financial restrictions, political compromises, and unrealized plans have impacted the museum’s architectural aesthetic and art-viewing experience. This section will include rarely seen materials relating to unrealized master plans for LACMA by Renzo Piano and Rem Koolhaas, as well as new insights about the designs by William Pereira, Bruce Goff, and more. Swiss architect Peter Zumthor has been commissioned to rethink the east campus at LACMA by addressing challenges raised by the original structures, and to present a different approach, one that posits a new relationship to the historic site as well as examines the function of an encyclopedic museum in the twenty-first century. The exhibition will display Zumthor’s preliminary ideas about housing LACMA’s permanent collections, including several large models built by the architect’s studio.
    [Show full text]
  • The Scripted Life Candice Breitz Kunsthaus Bregenz 6.2
    THE SCRIPTED LIFE CANDICE BREITZ KUNSTHAUS BREGENZ 6.2.–11.4.2010 Factum, 2010 Him + Her, 1968 – 2008 New York, New York, 2009 New York, New York, 2009 Working Class Hero (A Portrait of John Lennon), 2006 Working Class Hero (A Portrait of John Lennon), 2006 WERKVERZEICHNIS VIDEOINSTALLATIONEN THE 1999–2010 SCRIPTED CATALOGUE RAISONNÉ VIDEO INSTALLATIONS LIFE 1999–2010 KUNSTHAUS BREGENZ CANDICE BREITZ Yilmaz Dziewior INHALT The Scripted Life CONTENTS 18 The Scripted Life 20 Okwui Enwezor Vergötterung des Unechten: Porträtdarstellung und Massenbewusstsein in Candice Breitz’ Videoporträts 23 Idolatry of the False: Portraiture and Mass Consciousness in Candice Breitz’s Video Portraits 33 Beatrice von Bismarck Performing the Role and Always Becoming 43 Performing the Role and Always Becoming 51 Colin Richards Candice Breitz: Rezitation 59 Candice Breitz: Recitation 71 Werkverzeichnis Videoinstallationen 1999–2010 Catalogue Raisonné: Video Installations 1999–2010 Texte von / Texts by Edgar Schmitz 82 Werkverzeichnis Fotografische Werke 1996–2010 Catalogue Raisonné: Photographic Works 1996–2010 194 Biografie Biography 219 Bibliografie Bibliography 223 Credits 227 Mit der anlässlich zur Ausstellung von Candice Breitz erscheinenden In der speziell für die Ausstellung im Kunsthaus Bregenz entstandenen Video- THE Publikation beginnt das Kunsthaus Bregenz eine neue Schriftenreihe, installation New York, New York kulminieren beide Aspekte, angeborene und SCRIPTED die sowohl die jeweilige Präsentation im KUB ausführlich dokumen- angeeignete, gespielte und gelebte Identität, zu einem Hybrid, das nicht nur die tiert, als auch in Form eines Werkverzeichnisses das Œuvre einer Künst- performativen Qualitäten im Werk von Candice Breitz, sondern auch dessen kon- LIFE lerin beziehungsweise eines Künstlers vorstellt oder sich auf einzelne zeptuelle Stringenz anschaulich ins Bild setzt.
    [Show full text]
  • The Pritzker Architecture Prize 2009
    THE PRITZKER ARCHITECTURE PRIZE 2009 PRESENTED TO PETER ZUMTHOR ALL MA TERI A LS IN THIS PHOTO BOOKLET A RE FOR PUBLICATION/BRO A DC A ST ON OR A FTER MOND A Y , APRIL 13, 2009 Peter Zumthor Photo by Gary Ebner The following pages contain images of selected works of Peter Zumthor accompanied by descriptive comments on each of the projects in Peter Zumthor’s own words. These images are linked to high resolution photos that may be downloaded and used for printing or broadcast in relation to the announcement of the Pritzker Architecture Prize with no charges. All images are courtesy of Peter Zumthor. Please credit photographers. Note that for viewing these images on screen, the pages are 9X12 inches. If you desire to print this pdf on standard 8½ X 11 inch paper for reference, when in the print window of Acrobat, use the “shrink to printable area” under page scaling. SPONSORED BY THE HYatt FOUNDatION 2007 Brother Klaus Field Chapel Wachendorf, Eifel, Germany (this page and opposite) Photo by Walter Mair sketch by Peter Zumthor The field chapel dedicated to Swiss Saint Nicholas von der Flüe (1417–1487), known as Brother Klaus, was commissioned by farmer Hermann- Josef Scheidtweiler and his wife Trudel and largely constructed by them, with the help of friends, acquaintances and craftsmen on one of their fields above the village. The interior of the chapel room was formed out of 112 tree trunks, which were configured like a tent. In twenty- four working days, layer after layer of concrete, each layer 50 cm thick, was poured and rammed around the tent- like structure.
    [Show full text]
  • The Emergence of the Glass Age of Museum Architecture from the 1990S
    Redesigning the Physical Boundary: The Emergence of the Glass Age of Museum Architecture from the 1990s 潘 夢斐* Mengfei PAN 1．INTRODUCTION Contemporary museum architecture is buildings’ exalted status. This kind of seeing an age of glass. Both renovation extensive glazing has become an almost projects and new constructions have been indispensable part of the new generation of exploiting glass extensively, as if it is the museum architecture. best solution to serve the spatial functions, By contextualizing the phenomenon of present the architects’ concepts, and address extensive glazing in museum architecture, the institutions’ missions and social this paper aims to discern its connections expectations. Prominent examples include with the museum situation and the the Louvre Pyramid by I. M. Pei （1989） contemporaneity and locality of Japan. It and SANAA’s designs for The 21st Century argues that the increasing exploitation of Museum of Contemporary Art, Kanazawa glass in museum architecture demonstrates （2004） and Louvre-Lens, France （2012）. the influence of Neoliberalism on the public This trend of increasing use of glass by institutions and the architects to embrace museum architecture deviates from the visually appealing, technologically demanding, previous model of museums, temples and and commercial elements. It challenges the shrines, with grand staircases and formidable pre-dominant association of glass with look. A new physical boundary of museums, transparency and modernity and argues for a glass walls with their possibility to mediate contextualized reading of glass. Previous visual penetration and similarity with media research in the field of architectural studies interfaces that interact with the surrounding focused on glass employment in all types of and the spectators, is designed in contrast buildings and overlooked the specific with the older type that stresses the situation of museums; while museum studies * Ph.
    [Show full text]
  • Damien Hirst
    Damien Hirst Damien Hirst The Physical Impossibility of Death in the Mind of Someone Living, 1991 Glass, steel, silicon, formaldehyde and shark 2170 x 5420 x 1800 mm Photograph: Prudence Cuming Associates © Damien Hirst. All rights reserved, DACS 2010 1 Artist Rooms Damien Hirst is the most prominent artist to have emerged from the British art scene in the 1990s. His role as an artist and curator has proved fundamental in the development of the group that became internationally known as ‘the YBAs’ (Young British Artists). Hirst’s work asks viewers to question the main dilemmas of human existence: birth, illness, death and religion. The ARTIST ROOMS collection (jointly owned and managed by Tate and National Galleries of Scotland) comprises five important works spanning Hirst’s career including photography, painting, sculpture and installation. The early photograph taken in a morgue, With Dead Head is included, displaying an early preoccupation with death. Away from the Flock - one of his ‘Natural History’ works featuring dead animals floating in vitrines - is also on show, featuring a sheep floating in formaldehyde. The lamb looks alive but is dead, and references the religious theme of the lamb of God. Religion is explored further in the large triptych work, Trinity - Pharmacology, Physiology, Pathology, in which medical products become a replacement for faith. Hirst is also recognised for his mirrored pharmacy cabinets lined with shelves full of drug bottles, pills, sea shells or cigarette butts, and his paintings, both which he produces in series. Included in this collection is the early Controlled Substances Key Painting (Spot 4a), a canvas where a grid of dots of different colours is accompanied by letters in alphabetical order that seem to dissect and reorganise the very matter of painting into cells.
    [Show full text]