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The Rise of the Curator and Architecture on Display

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The Rise of the Curator and Architecture on Display THE RISE OF THE CURATOR AND ARCHITECTURE ON DISPLAY Eszter Steierhoffer A thesis submitted in partial fulfilment of the requirements of the Royal College of Art for the degree of Doctor of Philosophy JanuAry 2016 COPYRIGHT STATEMENT This text represents the submission for the degree of Doctor of Philosophy at the Royal College of Art. This copy has been supplied for the purpose of research for private study, on the understanding thAt it is copyright material, And that no quotation from the thesis mAy be published without proper acknowledgment. 2 ABSTRACT This thesis constitutes a new Approach to contemporary exhibition studies, a field of research that has until now dedicated little attention to connections between exhibitions of contemporary art and those of architecture. The late 1970s saw a 'historical turn' in the architectural discourse, which alluded to the rediscovery of history, After its abandonment by all the Modern masters, and developed in close alignment with architecture’s project of autonomy. This thesis proposes a reading of this period in relation to the formative moment for contemporary curatorial practices that brought art and architecture together in unprecedented wAys. It takes its starting point from the coexisting and often contradictory spatial representations of art and architecture that occur in exhibitions, which constitute the inherently paradoxical foundations – and legacy – of today’s curatorial discourse. The timeframe of the late 1970s, which is this study’s primary focus, marks the beginning of the institutionalisation of the architecture exhibition: The opening of the Centre Pompidou in Paris (1977), the founding of ICAM in Helsinki (1979), and the first official International Architecture BiennAle in Venice (1980), all of which promoted architecture within the museum. This period also saw the idealism of the social, political and artistic revolutions of 1968 finally dissipate, marking the emergence of a new conservatism. The concurrent postmodernisation of the cultural discourse, together with the post- industrial era’s changing economic climate, prompted a need to redefine the purpose and position of the architectural profession. The resulting new architecture not only developed within the spAce of art, but also substantially reshaped it, provoking numerous artistic And curatorial responses, which continue to this dAy. In order to explore and elucidate the connections between the fields of architecture, contemporary art and curatorial practices, the chapters consider the often-overlapping notions of architecture as object, concept, process, media and context through period case studies, including examples of the ‘void shows’ and artist museums, Ungers’ building of the DAM, Friedman’s Street Museum, Frankfurt’s Museumsufer, Matta-Clark’s and Kabakov’s respective practices and Portoghesi’s ‘Strada Novissima’ at the first Venice Biennale of Architecture. Surveying the separate models of architectural displays, drAwn from different institutional and disciplinary contexts of the late 1970s and early 1980s, this thesis questions how these different exhibition typologies have expanded the definition of architecture. It also investigates the wAys in which contemporary curatorial and Art practices have been informed and shaped by architecture, and, how these curatorial representations of architecture adhere to the wider cultural, political and economic contexts. Ultimately, the thesis reconsiders the past as a wAy to grAsp the present, and, through the anAlysis of the socio-political and economic contexts of the case studies, it builds a critique of the globalised hyper-acceleration of contemporary curatorial production. 3 CONTENTS ABSTRACT 3 LIST OF ILLUSTRATIONS 5 PREFACE 9 ACKNOWLEDGEMENTS 12 CHAPTER 1. INTRODUCTION 14 1.1 THE CONTEMPORARY EXPANSION OF THE CURATORIAL FIELD 15 1.2 BETWEEN NOW AND THEN: REFRAMING THE VOID 32 CHAPTER 2. THE CONTAINER UNDONE: MUSEUM ARCHITECTURE AS DISPLAY 39 2.1 EXHIBITING THE VOID 41 2.2 BUILDING SYMBOLIC CAPITAL 48 2.3 ART OF ARCHITECTURE: THE DEUTSCHES ARCHITEKTURMUSEUM IN FRANKFURT 56 CHAPTER 3. EXHIBITION AS MEDIUM: FROM THE STREET TO THE MUSEUM AND BACK AGAIN 69 3.1 UNGERS INSIDE THE CUBE 71 3.2 ARCHITECTURE AS INSTITUTIONAL CRITIQUE 85 3.3 THE CITY AS EVENT 103 CHAPTER 4. THE SUBJECT AS THE OBJECT: COLLECTING ARCHITECTURE 124 4.1 CONTEXTUALISM AND SOCIAL CONCIOUSNESS: FROM THE ARCHITECTURAL SUBJECT TO ARCHITECTURE AS OBJECT 126 4.2 BEYOND QUESTIONS OF DISPLAY: FROM BUILDING TO DRAWING 141 CHAPTER 5. THE MUSEUM IN THE EXPANDED FIELD: THE MUSEUM AND THE CITY 161 5.1 HE MUESEUM IN THE EXPANDED FIELD 163 5.2 SHIFTING GROUNDS: THE CITY AS MUSEUM 174 5.3 THE TOTAL MUSEUM: FROM THE UTOPIAN RUIN TO THE RUIN OF UTOPIA 191 CONCLUSION 208 BIBLIOGRAPHY 215 4 LIST OF ILLUSTRATIONS Fig. 1. René Magritte, Eloge de la Dialectique, 1936. Page 14 Fig. 2. Photograph of René Magritte painting his 1936 painting La Clairvoyance. Page 38 Fig. 3. Yves Klein in the Void Room (Raum der Leere), Museum Haus Lange, Krefeld, JAnuary 1961. Page 39 Fig. 4. Dan GrahAm, Present Time Observed, 1974, submitted for ‘A Space: A Thousand Words’ exhibition. Page 41 Fig. 5. (left) Daniel Buren, ‘Work in Situ’, 1968; (right) taking down of the paintings exhibited at the Purple show, Paris, Museum of Modern Art of the City of Paris, January 26, 1962 from left to right: François Dufrene and Yves Klein. Page 44 Fig. 6. Cover page of the exhibition catalogue ‘A Space: A Thousand Words’, 1975. PAge 46 Fig. 7. (left) André Malraux’s office; (right) Interior of the Städtisches Museum Abteiberg, Mönchengladbach. Page 49 Fig. 8. Map of Frankfurt’s Museumsufer. Page 51 Fig. 9. O. M. Ungers, Axonometric drAwing of the Deutsches Architekturmuseum, Frankfurt, 1980. Page 57 Fig. 10. (left) Interior of the DAM, Frankfurt, 1984.; (right) Marc-Antoine Laugier's Essai sur l'architecture and the ‘Primitive Hut’, 1755. Page 59 Fig. 11. ‘Das Architekturmodell – Werkzeug, Fetisch, kleine Utopie’ exhibition with a section on O. M. Ungers’ models of the DAM, 2012. Page 60 Fig. 12. (left) O. M. Ungers, ‘Berlin as a Green Archipelago’, 1977; (right) René Magritte, The Importance of Marvels, 1927. Page 62 Fig. 13. O. M. Ungers, City Metaphors, 1982. Page 63 Fig. 14. Twelve reinterpretations of Nolli’s map for Rome, ‘Roma Interrotta’, 1978. Page 64 Fig. 15. View of ‘Ad Reinhardt: Recent Square Paintings’, Dwan Gallery, Los Angeles, 1963. Page 66 Fig. 16. Leon Krier, Difficult Access to O.M.U., 1975. Page 67 Fig. 17. Guy Debord, The Naked City: Illustration de L'hypothèse des Plagues Tournantes en Psychogéographique, 1957. Page 69 Fig. 18. City Metaphors, at the ‘MANtransFORMS’ exhibition at the Cooper-Hewitt Museum of Design, New York, 1976-77. Page 71 Fig. 19. Installation view of O. M. Ungers’ ‘Kubus’ at Galerie Max Hetzler, 1990. Page 73 Fig. 20. ‘Strada Novissima’ at the Corderie dell’Arsenale, ‘The Presence of the Past’, 1st International Architecture Exhibition, Venice, 1980. Page 74 Fig. 21. O. M. Ungers' facade at the ‘Strada Novissima’, 1980. Page 75 Fig. 22. Samuel Beckett, Quad, 1981. Page 76 Fig. 23. (left) Joseph Albers, Homage to the Square: Waiting, 1962, from Ungers’ collection; (middle) Sol LeWitt, Untitled, 1984, from Ungers’ collection; (right) Klotz’s office designed by Ungers, DAM, Frankfurt, 1984. Page 78 Fig. 24. (left) Ungers’ drawings for the Hypo-Bank building, Düsseldorf, 1991; (right) Sol LeWitt, Cube, Basel, 1984/2011. PAge 79 Fig. 25. (left) Detail of An incomplete morphological code bAsed on fundAmental geometric forms And their variants by O. M. Ungers; (right) Rubik's cube prototype, ca.1978. Page 80 5 Fig. 26. (left) Sol LeWitt, Variations of Incomplete Open Cubes, 1974; (right) Beckett, Quad II, 1981. Page 81 Fig. 27. ‘O.M. Ungers – Kosmos der Architektur’, Neue Nationalgalerie, Berlin, 2006. Page 84 Fig. 28. Yona FriedmAn, Street Museum, 2011. Page 85 Fig. 29. (left) Yona FriedmAn, Ville Spatiale, 1959; (right) Yona Friedman, ‘Architecture without Buildings’, MUAC, 2013. Page 87 Fig. 30. Ed Ruscha holding his book Every Building on the Sunset Strip, 1967. Page 89 Fig. 31. (left) O. M. Ungers, Ludwig Museum, Cologne, 1975; (right) Yona FriedmAn, Street Museum. Page 90 Fig. 32. The beach beneath the street, Situationist GrAffiti, May 1968. Page 92 Fig. 33. Ugo Mulas, protests during the Venice Biennale in 1968. Page 94 Fig. 34. (left) Gastone Novelli exhibiting his paintings facing the walls in protest against the Biennale, 1968; (right) Yves Klein taking down the paintings exhibited at the Museum of Modern Art of the City of Paris in preparasion for his Void show, 1962. Page 95 Fig. 35. (left) cover of the exhibition catalogue ‘A Proposito del Mulino Stucky’, 1975; (right) Mario Ceroli and Gianfranco Fini, Cassa in legno d'abete installation at the ‘A Proposito del Mulino Stucky’ exhibition. Page 97 Fig. 36. (left) Vladimir Tatlin, Complex Corner-Relief, 1915; (right) Mario Merz, Tables, 1976, as exhibited at the two respective sections of the ‘Ambiente/Arte’ exhibition, Venice, 1978. Page 99 Fig. 37. (left) ‘Strada Novissima’, at the Corderie dell’Arsenale, 1980; (right) 1:50 model of the reconstruction of the old market of Frankfurt, 2014. Page 103 Fig. 38. Elevations of the facades at the ‘Strada Novissima’, 1980. Page 105 Fig. 39. (left) Adolf Loos, Chicago Tribune Tower, 1922; (middle) Hans Hollein’s facade, on the ‘Strada Novissima’, 1980; (right) Reconstruction of Hollein’s facade at the ‘Postmodernism’ exhibition, V&A, London 2011. Page 106 Fig. 40. (left) Uliano Lucas, Carnevale di Venezia; (right) Ugo Mulas, a protestor arrested on St Mark’s Square, 1968. Page 108 Fig. 41. (left) The reconstructed Ostzeile in Frankfurt todAy; (right) Ostzeile in 1930 before it wAs completely destroyed. Page 111 Fig. 42. Malraux’s Le Musée Imaginaire, ‘museum without walls’. Page 112 Fig. 43. Installation view of the ‘Revision of the Modern: Postmodern Architecture 1960-80’, the inaugurating exhibition of the DAM, Frankfurt, 1984. Page 115 Fig.
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