Luisa Lambri

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Luisa Lambri April 18 — May 19 2006 Exposição no 1º piso Press Release LUISA LAMBRI A Galeria Luisa Strina apresenta exposição da fotógrafa italiana Luisa Lambri a partir do dia 18 de abril. A mostra reúne fotografias feitas a partir de duas casas projetadas pelo arquiteto mexicano Luis Barragán: a casa Barragán e a casa Gilardi, nesta que é a segunda exposição individual da artista na galeria e no Brasil. As fotografias tiradas na Cidade do México, em 2005, dão continuidade ao trabalho iniciado no final dos anos 90 quando Luisa Lambri partiu em viagens pelo mundo em busca de marcos da arquitetura modernista: quase sempre locais privados. Entre as imagens clicadas pela artista, estão obras de arquitetos como Mies van der Rohe, Le Corbusier, Giuseppe Terragni, Walter Gropius, Alvar Aalto, Richard Neutra, Pierre Koenig, Oscar Niemeyer, Philip Johnson entre diversos outros mestres. O que, a primeira vista, pode parecer uma fotografia de arquitetura cuidadosamente produzida, é na verdade uma oscilação entre uma representação objetiva destes espaços e a percepção e compreensão totalmente subjetivas destes lugares por parte da artista: é mais uma interpretação dos locais do que uma documentação destes. Contrastando com a imagem objetiva da fotografia clássica de arquitetura, que principalmente nos aproxima aos edifícios pelo lado de fora (a fachada), as fotografias de Luisa Lambri são feitas pelo interior, olhando de dentro para fora das construções, o que estabelece uma posição física e conceitual entre ela e o observador. Isto também leva a artista a trabalhar com as salas onde expõe suas obras, instalando cuidadosamente as fotografias em novos espaços. Assim, Lambri cria ainda outra relação: entre o espectador, o objeto e o espaço, como o encontro da artista com os espaços capturados em seus trabalhos. Luisa Lambri nasceu em Como, na Itália, em 1969. Vive e trabalha em Milão. Seu trabalho foi apresentado em duas Bienais de Veneza (1999 e 2003), no “Living Inside the Grid” (New Museum of Contemporary Art, Nova York, 2003) e no “Vanishing Point” (Wexner Center for the Arts, Columbus, 2005). Recentemente, seu trabalho foi mostrado no “The Fluidity of Time: Selections from the MCA Collection” (Museum of Contemporary Art, Chicago). Em 2003, trabalhou por dois meses no Rio de Janeiro através do programa de residências para artistas da Colecção Teixeira de Freitas. Fez exposição individual no “The Menil Collection” (Houston, 2004) e fará outras duas: no The Baltimore Museum of Art , em 2007, e no Los Angeles Museum of Contemporary Art, em 2008. A artista agradece Monica Manzutto e Jose Kuri (kurimanzutto), Monica e Cesar Cervantes, Rocio e Boris Hirmas, Catalina Corcuera e Federica Zanco (Barragán Foundation, Suíça) pela preciosa ajuda em seu trabalho nas casas Barragán e Gilardi na Cidade do México. Images Copyright Barragan Foundation, Switzerland, owner of the copyright on the work of Luis Barragan Morfin. Link Page 1 / 2 www.galerialuisastrina.com.br/exposicoes/luisa-lambri-2006 + Info Galeria Luisa Strina Phone: +55 11 3088–2471 Rua Padre João Manuel 755 Cerqueira César 01411-001 [email protected] São Paulo SP Brazil www.galerialuisastrina.com.br Page 2 / 2 Powered by TCPDF (www.tcpdf.org).

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The Directors of Thomas Dane Gallery Are Pleased to Announce the Second Exhibition of Italian Photographer, Luisa Lambri
The Directors of Thomas Dane Gallery are pleased to announce the second exhibition of Italian photographer, Luisa Lambri. The exhibition features a selection of photographs from her body of work currently at the Hammer Museum, Los Angeles. The artist has long been captivated by the light of Southern California as well as by its architecture - particularly modernist houses designed by expatriate European architects. The mid-century photographs of these houses by Julius Shulman, describing flawless, pristine spaces have caused her to reflect on what a more personal experience of these spaces might be. Suspended between abstraction and figuration, her images are highly subjective responses to the Modernist ethos as evoked in these buildings. Characteristically, Lambri records the subtleties of their interiors as a means of exploring her own relationship to the space, to memory and to changes in perception over time. Eschewing the heroic, she photographs the less obvious details - apertures, windows, doors ajar, corners. In this exhibition, she has chosen skylights as a device, with hundreds of exposures in different qualities of light. Figures never appear in her work, but the human presence is evoked - "it is the ghost of the human being that is always in the photograph' says Hammer Chief Curator, Douglas Fogle. The images vary in their light and detail, from the very obscure, to the bleached out, effects also achieved through painstakingly adjusting the saturation and tone of each image in post-production. In this respect, Lambri reveals her ongoing interest in the work of light-and-space artists such as Robert Irwin and Larry Bell.
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Luisa Lambri Photographs April 8 – 29, 2006 Luhring Augustine Is
FOR IMMEDIATE RELEASE Luisa Lambri Photographs April 8 – 29, 2006 Luhring Augustine is pleased to announce an exhibition of photographs by Italian photographer Luisa Lambri. This will be the first solo exhibition of her work in New York and will feature photographs of iconic buildings by Modernist architects such as Luis Barragan, Walter Gropius and Marcel Breuer. Luisa Lambri's ephemeral photographs stand in clear contrast to the established practice of architectural photography which has traditionally focused attention on the exteriors of the buildings. Her unique approach to the subject is the investigation and documentation of the structures from within, interpreting the atmosphere of the space. She primarily photographs private houses, focusing on the view from the inside to the outside thereby establishing a physical and conceptual position for herself and the viewer. These delicately crafted images oscillate between objective representations of space and Lambri’s perceptions and reactions. The work realizes its full meaning when it is installed in a new space and in so doing establishes a new relationship between the viewer, the object and the space. Lambri utilizes traditional as well as new digital printing techniques to move her photographs beyond pure documentation. Her photographs of Luis Barragan’s house in Mexico City are a study of one window in which the changing position of the shutters dramatically affects the conditions of light. The photographs reference minimalism and abstract painting, evoking moments of transcendence. Similarly, her studies of the diamond shaped windows of Konstantin Melnikov’s house in Moscow, built 1927-29, are investigations of the temporally sublime.
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Studio Guenzani Via Eustachi 10 20129 Milano Tel
STUDIO GUENZANI VIA EUSTACHI 10 20129 MILANO TEL. 0229409251 [email protected] LUISA LAMBRI – New Works 16 febbraio - 30 marzo 2013 Inaugurazione: sabato 16 febbraio dalle 13.00 alle 20.00 Il 16 febbraio 2013 lo Studio Guenzani inaugurerà la quinta mostra personale di Luisa Lambri. Per oltre un decennio le fotografie di Luisa Lambri hanno esplorato e decostruito l'architettura modernista attraverso uno sguardo femminile. La sua ricerca si è concentrata quasi esclusivamente sulla relazione tra lo spazio e la luce, gli ambienti e la loro illuminazione, sugli spazi di transizione, di passaggio, e sulla relazione tra interno e esterno. Vediamo porte, corridoi, scale, e finestre di ogni tipo e forma dietro a cui si percepisce una natura non ancora addomesticata. Astrazione, minimalismo, femminismo, il corpo e l'autoritratto, tutto questo contribuisce in modo ugualmente importante alle composizioni dell'artista. Dopo avere esaminato il lavoro di architetti come Rudolph Schindler, Richard Neutra, Frank Lloyd Wright e John Lautner sulla costa occidentale degli Stati Uniti nel corso degli ultimi anni, ed essersi concentrata sulla relazione tra la loro opera e il paesaggio aspro tipico della California, soffuso da luce intensa e con la sua vegetazione dirompente, il lavoro di Luisa Lambri ha preso una nuova, eppure conseguente, direzione. Per la sua serie di fotografie più recenti Lambri ha fotografato le opere di alcuni artisti legati al movimento Light and Space del Sud della California come James Turrell, Robert Irwin, Larry Bell, Peter Alexander, oltre che importanti lavori di Donald Judd, Dan Flavin, e Lucio Fontana. In tutti i casi Lambri ha esplorato le loro opere e installazioni come gli interni, con i loro materiali, i riflessi, le superfici, lo spazio e il vuoto che sembrano creare.
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November 14, 2008 PRESS CONTACTS: Lori Chinn, Curatorial Coordinator 510.430.2164 [email protected] Camila Perez, Publicity Assistant 510.430.2164 [email protected]
FOR IMMEDIATE RELEASE MILLS COLLEGE ART MUSEUM DATE: November 14, 2008 PRESS CONTACTS: Lori Chinn, Curatorial Coordinator 510.430.2164 [email protected] Camila Perez, Publicity Assistant 510.430.2164 [email protected] Painting the Glass House: Artists Revisit Modern Architecture Curated by Jessica Hough and Mónica Ramírez-Montagut January 21-March 22, 2009 Daniel Arsham/The M-House got lost found itself floating on the sea, affecting salination levels in the North Atlantic/2004/Courtesy of Galerie Emmanuel Perrotin, Paris OAKLAND, CA—Sixteen artists reconsider modern architecture and what it represents to a new generation in Painting the Glass House: Artists Revisit Modern Architecture curated by Jessica Hough and Mónica Ramírez-Montagut on view at the Mills College Art Museum from January 21 through March 22, 2009. A public reception will be held on January 21 from 5:30-7:30pm with a walk-through with the curators at 6:00pm. Modern architecture is often identified with buildings by Le Corbusier, Philip Johnson, Mies van der Rohe, and Frank Lloyd Wright, which represent a period driven by developments in technology, engineering, and the introduction of industrial materials such as iron, steel, concrete, and glass. However, architects at this time engaged in a practice that not only incorporated structural innovations, but also encouraged social change. The artists featured in the exhibition are interested not only in the potential of utopian ideas that these buildings represent, but also the sense of a passing idealism and lost opportunity that modern architecture now embodies. Hough comments, “The artists are less interested in the built structures themselves and what it might feel like to be inside one, and more interested in the philosophy and idealism they represent.
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Luisa Lambri's
Barbara, Casavecchia. “Luisa Lambri’s ‘New Works’”. Art-Agenda Online. 6 March 2013. Luisa Lambri’s ‘New Works’ Whenever I see a photo by Luisa Lambri, I think of a painting done by Gwen John (whose work remained in the shadows of her more famous brother Augustus until recently). It’s called A Corner of the Artist’s Room in Paris (1907–9) and it depicts a luminous corner of her attic: a wicker chair, a vase of flowers, the painter’s blue smock, a curtained window, and a triangular patch of pale sun. Although Lambri has always been attracted to corners and radiant apertures (windows, skylights, blinds) in private, domestic interiors, that’s not what sets my free associations into play. A Corner is obviously a self-portrait, even if John has subtracted her image from the frame. She painted it for seeing herself seeing, not for seeing herself being seen by others. In 2010, Lambri titled her exhibition at the Hammer Museum in Los Angeles “Being There.” “I am photographing myself being there,” she explained of the photographs from which she was so obviously absent. It’s the “the silent presence of another person”—as Michael Fried once described it—that confronts us in Lambri’s new series of prints at Studio Guenzani (where she held her first solo, back in 2000). They bring her gaze into the pictorial and sculptural space of post-war Abstraction and Minimalism: a new territory for her after having trod the familiar ground of Modernist architecture. Since the 1990s, Lambri has been capturing signature houses by—mostly male—stars like Aalto, Mies, Niemeyer, Le Corbusier, Wright, Kahn, Barragán, and Johnson, but she did so by erasing all iconic points of reference.
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Luisa Lambri
LUISA LAMBRI BORN 1969 in Como, Italy Lives in Los Angeles SOLO EXHIBITIONS 2015 “Luisa Lambri with OFFICE Kersten Geers David Van Severen,” Thomas Dane Gallery, London, England, November 20 – January 9, 2016 “Luisa Lambri,” Studio Guenzani, Milan, Italy, April 10 – July 3 2013 “Luisa Lambri,” Studio Guenzani, Milan, Italy, February 16 – March 30 2012 “Portrait,” Isabella Stewart Gardner Museum, Boston, MA January 19 – October 1 Marc Foxx Gallery, Los Angeles, CA, October 20 – November 24 West Gallery, Marc Foxx Gallery, Los Angeles, CA June 30 – August 4 2011 “Luisa Lambri: Certain Variables,” Luhring Augustine, New York, NY, July 1 – August 12 “Luisa Lambri: Interiors,” Ivorypress Art + Books Space, Madrid, Spain, May 26 – September 7 2010 “Being There,” The Hammer Museum, Los Angeles, CA, February 27 – June 13 Thomas Dane Gallery, London, England, May 13 – June 25 2009 Galeria Luisa Strina, São Paulo, Brazil, May 26 – July 24 Galerie Paul Andriesse, Amsterdam, the Netherlands, May 8 – June 13 Gallery 32, Embassy of Brazil, London, England, Feb. 11-Mar. 11 Fundación RAC, Pontevedra, Spain (catalogue), January 30 – March 7 “Photographs,” Luhring Augustine, New York, NY, January 9 – February 7 2008 Studio Guenzani, Milan, Italy. February 20 – April 2 2007 “Front Room: Luisa Lambri,” Baltimore Museum of Art, curated by Darsie Alexander, Baltimore, MD (catalogue). March 7 – May 20 Thomas Dane, London, England, November 21 – December 21 2006 Gallery Koyanagi, Tokyo, Japan, September 6 – November 4 “Forum 57: Luisa Lambri and Ernesto Neto,”
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Hammer Museum Fall 2011 Non Profit Org
Hammer Museum Fall 2011 Non Profit Org. US Postage 10899 Wilshire Boulevard Los Angeles, California 90024 USA Fall 2011 Calendar For additional program information: 310-443-7000 PAID Los Angeles, CA www.hammer.ucla.edu Permit no. 202 100% recycled paper (DETAIL), 1969. ASSEMBLAGE. (DETAIL), 2½ IN. COURTESY OF MICHAEL ROSENFIELD GALLERY, NY. OF MICHAEL ROSENFIELD GALLERY, 2½ IN. COURTESY BLACK GIRL’S WINDOW BLACK GIRL’S x 8 ⁄ 1 18 x BETYE SAAR. 35 ¾ 24 25 2 3 news director HAMMER NEWS the 1 from MEMBERSHIP THANK YOU message COMING UP: STUDIO VISIT a JOIN The Hammer Museum wishes to thank those who have Hammer Patrons this fall and attend the annual Patrons Studio Visit on Saturday, September 10. This year contributed acquisition funds or made gifts of works we will visit the Highland Park studios of Matt Monahan, of art since July 1, 2010. HAMMER STAFF WITH 2011 ARTIST COUNCIL 1 Lara Schnitger, and My Barbarian. Enjoy the afternoon A MESSAGE FROM THE DIRECTOR visiting with our hosts and exploring their creative spaces. Matt Aberle Glenn Kaino Amy Adelson and Dean Valentine Margery and Maurice Katz Pacific Standard Time: Art in L.A. 1945–1980 is finally here. performance by Bruno Mars. The Gala sells out every year, The Buddy Taub Foundation Patti and Frank Kolodny More than five years in the making, this citywide initiative so if you are interested in supporting the event, please UPGRADE! Seth Cohen Luisa Lambri Nan and Eugene Corman Kourosh Larizadeh and Luis Pardo spearheaded by the Getty will officially open the first weekend call 310-443-7026—but make haste! Upgrade now or join at the Supporter level ($350) or Cecilia Dan LA><ART in October to great fanfare.
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Luisa Lambri with OFFICE Kersten Geers & David Van Severen
Luisa Lambri with OFFICE Kersten Geers & David Van Severen Blind Architecture curated by Douglas Fogle Private view: 19 November 6-8pm Exhibition dates: 20 November 2015 – 9 January 2016 The Directors of Thomas Dane Gallery are pleased to announce two concurrent exhibitions that explore the interrelation between photography and architectonic forms. These two artistic media have been intimately interrelated since the birth of photography when the French inventor Nicéphore Niépce documented the facades and rooflines of a group of buildings in his 1826 work View from the Window at Le Gras. In Luisa Lambri’s third exhibition with the gallery, the Italian photographer shifts her attention from her previous concern with the light and space of modernist architecture to an investigation of the topography of the skin of abstract post-war modernist sculpture. Featuring new bodies of photographs that look at the works of Donald Judd, Lygia Clark, Charlotte Posenenske, and Barbara Hepworth, Lambri continues her poetic exploration of our phenomenological experience of man-made forms. In a series of photographs devoted to the milled aluminium box sculptures of Donald Judd that are permanently on view at the Chinati Foundation in Marfa, Texas, Lambri treats the surface of these works as a reflective lens that casts the light of the world back at us as a ghostly afterimage. Rigorously framing her subjects only in detail, the resulting photographs invoke the viewer into the aura of their ethereal glow while emphasizing the subtle shifts of perspective involved in the multiple formal iterations of Judd’s own serial process. The artist continues this exploration with her more hard-edged images of Lygia Clark’s bichos, hinged aluminium geometric sculptures meant to be handled and manipulated by the viewer in a physical implementation of the Brazilian Neo-Concrete artist’s adherence to the philosophy of phenomenology in the 1960s.
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Fogle, Douglas, “Pause, Reflect: Luisa Lambri on Donald Judd”, T Magazine, November 14, 2012
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1 Matthew JW Drutt
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Imagined Utopias in the Built Environment
Imagined Utopias in the Built Environment Imagined Utopias in the Built Environment: From London’s Vauxhall Garden to the Black Rock Desert By Anna Novakov Imagined Utopias in the Built Environment: From London’s Vauxhall Garden to the Black Rock Desert By Anna Novakov This book first published 2017 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2017 by Anna Novakov All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-4139-0 ISBN (13): 978-1-4438-4139-9 For Christina CONTENTS List of Illustrations ..................................................................................... ix Acknowledgements .................................................................................... xi Introduction ................................................................................................. 1 From a Walk in the Park to a Trek through the Ruins Chapter One ................................................................................................. 9 Arcadian Drift: London’s Vauxhall Garden and Denbies’ Il Penseroso— a memento mori Chapter Two .............................................................................................
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