Category Archives: ARCHITECTURE

OSCAR TUAZON — MICHIGAN WATER SCHOOL

This is the closing weekend for OSCAR TUAZON—WATER SCHOOL at the Eli and Edythe Broad Art Museum at Michigan State University.

“In 1968, engineer and inventor Steve Baer self-published the Dome Cookbook, a treatise on mathematics, do-it-yourself architecture, and off-the-grid living. Three years later he created his Zome Home in the foothills overlooking Albuquerque. The house remains one of the earliest modern examples of passive solar architecture; the sun’s energy is collected during the day and stored in drums of water installed in large, bay windows, which then provide heat during the night.

“This unique structural system, and the larger countercultural DIY building and environmental movements of the 1960s and 1970s, form the basis for Tuazon ’s latest conceptual and material research. For his exhibition at MSU Broad—curated by Steven L. Bridges—Tuazon continues his investigations of the relationship between art, architecture, and environmental sustainability, with specific consideration of the exhibition’s immediate context: Michigan and the Great Lakes region.”*

The Water School has grown out of thinking about what role art making can play in building community and culture. Oscar Tuazon

“As the title suggests, Tuazon will initiate the latest version of his Water School, while also bridging the conversation in Michigan with the artist’s schools in California and Minnesota. These schools are spaces for formal and informal learning, opportunities to specifically address water, land rights, and other socio-environmental issues, connecting local concerns with national and global conversations.”*

OSCAR TUAZON—WATER SCHOOL*

Through August 18.

Eli and Edythe Broad Art Museum at Michigan State University

547 East Circle Drive, East Lansing.

Above images: Oscar Tuazon, Water School, Eli and Edythe Broad Art Museum at Michigan State University, 2019, photography by Eat Pomegranate Photography. Below: Oscar TuazonZome Alloy, 2016, plywood, aluminum sheeting, and hardware, courtesy and © the artist and Galerie Eva Presenhuber, Zurich.


ISAAC JULIEN — LINA BO BARDI

ISAAC JULIEN: LINA BO BARDI—A MARVELLOUS ENGAGEMENT is the British artist and filmmaker’s nine-screen installation in tribute to the great Brazilian architect.

“Linear time is a western invention; time is not linear, it is a marvellous entanglement, where at any moment points can be chosen and solutions invented without beginning or end.” — Lina Bo Bardi*

ISAAC JULIEN: LINA BO BARDI—A MARVELLOUS ENGAGEMENT*

Through July 27.

Victoria Miro

16 Wharf Road, Hoxton, London

ISAAC JULIEN in conversation with MARIA BALSHAW

Friday, July 5, at 6:30 pm.

Tate Britain

Millbank, London.

Isaac Julien—Lina Bo Bardi: A Marvellous Engagement, Victoria Miro, 2019, installation views. Images courtesy and © the artist and Victoria Miro. Isaac Julien limited edition cover courtesy and © the artist and Wallpaper.

BAUHAUS BEGINNINGS AT THE GETTY

“The aim is an alliance of the arts under the wing of great architecture.” — Walter Gropius, founder of the Bauhaus

BAUHAUS BEGINNINGS, now at the Getty Center, celebrates the centenary of the founding of the school in Weimar.

The exhibition “reexamines the founding principles of this landmark institution,” considering the school’s “early dedication to spiritual expression and its development of a curriculum based on elements deemed fundamental to all forms of artistic practice.”*

BAUHAUS BEGINNINGS*

Through October 13.

Getty Center

1200 Getty Center Drive, Brentwood, Los Angeles.

From top: Léna Bergner, Durchdringung (Penetration) for Paul Klee‘s course, circa 1925–1932, © the heirs of Léna Bergner; Walter Gropius, undated photograph by Lucia Moholy, © 2019 Artists Rights Society (ARS), New York and VG Bild-Kunst, Bonn; Gerd Balzer, Color wheel for Vassily Kandinsky’s Preliminary Course, 1929, gouache on paper, pasted on black paper; Material exercises in paper (2), photographs by Alfred Ehrhardt, circa 1928–1929, © Alfred Ehrhardt Stiftung; Erich Mzozek, Study for Vassily Kandinsky’s Farbenlehre (Course on color), circa 1929–1930, collage with gouache on paper, © Estate Erich Mrozek; Léna Bergner, Carpet design, circa 1925–1932, © the heirs of Léna Bergner; Joost Schmidt, Form and color study, circa 1929–1930; Benita Koch-Otte, Einfamilienwohnhaus auf der Ausstellung des Staatlichen Bauhauses (Single-family house at the exhibition of the State Bauhaus), 1923, Georg Muche, architect, 1923, from Staatliches Bauhaus in Weimar 1919–1923 (Munich: Bauhausverlag, 1923), p. 165, courtesy and © Bodelschwingh Foundation Bethel; Lyonel Feininger, Villa am Strand (Villa on the shore), 1921, from Bauhaus Drucke: Neue Europaeische Graphik, Erste Mappe [first portfolio], Meister d. Staatlichen Bauhauses in Weimar (Potsdam: Müller, 1921), © 2019 Artists Rights Society (ARS), New York and VG Bild-Kunst, Bonn; Ringl + Pit (Grete Stern and Ellen Auerbach), Bald Head (Johannes Itten), 1930, printed 1985, The Jewish Museum, © Ringl + Pit, courtesy Robert Mann Gallery, New York; Hilde Reindl, Color wheel and tone study for Paul Klee’s Course, circa 1927. Images courtesy of the Getty Research Institute.

ETTORE SOTTSASS AND THE SOCIAL FACTORY

ETTORE SOTTSASS AND THE SOCIAL FACTORY “connects Sottsass’ production to momentous postwar economic and social changes,” and is on view in Miami until October.

“During il miracolo economico, Italy went from being a low-cost manufacturer to an economy that used design to create premium products it could sell around the world. Fiat would stop building the faintly comic Topolino in 1947, and move towards the formal brilliance and technical innovation of the Cinquecento in 1959… In the space of twelve years, Ettore Sottsass went from building workers’ housing and designing fruit bowls made from knitted wire to being called in by Olivetti to design a computer.” —Deyan Sudjic*

ETTORE SOTTSASS AND THE SOCIAL FACTORY

Through October 6.

Institute of Contemporary Art

61 NE 41st Street, Miami.

*Deyan Sudjic, “Post-War to America,” in Ettore Sottsass and the Poetry of Things (London: Phaidon, 2015), 104.

From top: Ettore Sottsass, Monumento di Merda Alle Patrie, 1966, photograph © Silvia Ros, courtesy of Kim and Al Eiber; Ettore Sottsass, Mobili grigi, 1970, fiberglass, manufactured by and courtesy Centro Studi Poltronova, photograph by A. Fioravanti and Sottsass, © 2019 Artists Rights Society (ARS), New York, and ADAGP, Paris; Ettore Sottsass and the Social Factory, 2019, Institute of Contemporary Art, Miami, installation views (3), photographs courtesy and © Silvia Ros;

BAUHAUS — DOCUMENTA

BAUHAUS / DOCUMENTA—VISION UND MARKE—a new exhibition in Kassel curated by Philipp Oswalt and Daniel Tyradellis—looks at the crosscurrents between two iconic German institutions:

Bauhaus aimed to confront the crisis of industrialization and the damages caused by the First World War through the applied design of objects, spaces and buildings; documenta took up the romantic idea of the engagement with fine art, through which people should become responsible citizens again.”*

The show—part of the celebration of the Bauhaus centenary—includes works by Marianne Brandt, Marcel Breuer, Bazon Brock, Hans Haacke, Wassily Kandinsky, Barbara Klemm, Aleksandr Ptuschko, and Gilles Raynaldy.

BAUHAUS / DOCUMENTA—VISION UND MARKE*

Through September 8.

Neue Galerie

Schöne Aussicht 1, Kassel.

From top: Staircase of the Fridericianum with tapestry by Fritz Winter, 1956–1957, documenta 2, 1959, photograph by Günther Becker; Sculpture Hall at documenta I, Kassel, 1955, featuring works by Hans Arp, Henri Laurens, Alexander Calder, and Henry Moore; rotunda at the Fridericianum, documenta I, photograph by Günther Becker. Below: invitation card for Bauhaus/documenta—Vision und Marke, featuring images of Haus-Rucker-Co, Oase Nr. 7 (Oasis No. 7), documenta 5, 1972, photograph by Carl Eberth; and Wilhelm Wagenfeld ‘s Tischleuchte (table lamp), 1924, photograph by Joachim Fliegner. Images courtesy and © documenta archiv.