Archive

exhibitions

Paul-Catherall8

When I first came across this exhibition of Paul Catherall’s linocut prints, I was drawn to it by its theme. Brutalism is a staple for architects along with the colour grey, black clothes and weird glass frames. Following my regular style of not researching what I was going to see, I entered Eames Fine Art Gallery.  The first impression was good and weirdly familiar. It was only when I went back home and looked into the artist’s work that I realised I had seen posters of his prints in the tube.

Paul-Catherall3

Catherall’s work is focused on London and it is beautiful but also legible. His choice of colour is often unpredictable and surreal but the landmarks are recognisable. Therefore it was not a surprise that TFL commissioned him for a series of posters that highlight these landmarks and their accessibility by London Transport.

Paul-Catherall4

Some of the prints in the Brutalism exhibition are more abstract than others and even though I like his work in general, these abstract ones were more interesting to me. Shapes and surfaces of the Hayward Gallery, Southbank Centre and the Lloyd’s building have been de-constructed and recomposed with the use of vibrant colours in a very inspiring way.

After reading a couple of interviews of the artist, I understood better his ethos and how it is related to architecture. Architecture is a practical, literally down to earth, art. Architects create buildings that need to be inhabited and used by people. This is, or rather should be, their first priority. Sometimes when the architecture is really really good, it suggests new ways of moving through space or even living. It can be inspiring and uplifting, but it always has to follow some rules. It needs to provide a safe environment that accommodates people’s needs and quite often, this very restriction is the source of its beauty.

Paul-Catherall2

Architects who have aspired to create high art by disregarding people’s needs enter a territory of thin ice. Their appropriation of the building as their own artistic creation is merely a proof of their conceitedness and self absorption. Architecture’s success should be measured by the user’s happiness not the architect’s need for self expression.

When Paul Catherall speaks about enjoying his commissions regardless of the restrictions that they pose, like their need to be legible and relatable, I see his fascination with architecture and also why architects enjoy his prints.

Paul-Catherall6

Naturally not all art has to be like that. In fact we need controversial art that defies all rules and tests the boundaries, especially in a world that becomes increasingly conservative and close-minded. However the world needs less self-absorbed artists who care only about themselves and more like Paul Catherall who is devoted to his craft and enjoys communicating that with others.

Maybe I enjoyed this work a lot because it was a exhibition full of buildings in strange colours and I am after all an architect, I cannot help myself. Anyway, if you are south of the river during this weekend, go have a look. You only have a couple of days left.

Paul-Catherall7

Eames Fine Art Gallery’s is on

58 Bermondsey Street
London
SE1 3UD

Advertisements

Documenta1

Documenta is an art exhibition that has been organised and presented in Kassel, Germany, every 5 years since 1955. The reason behind the very first one was to disperse Germany’s cultural darkness due to Nazism after the war. Through the years though it has developed into one of the most important exhibitions of contemporary art worldwide, possibly because of its non-commercial nature. Usually the event is curated towards exploring a specific political, cultural or sociological theme, for example feminism or migration.

Documenta aims to showcase the work of artists from all around the world and regardless of the fact that its centre has always been in Kassel, the latest exhibition’s concept evolved around the idea of moving the whole event in Athens, Greece. Adam Szymczyk the artistic director of Documenta had been coming and staying in Greece for a number of years, as have many artists from all over the world who are drawn to it by the popular idea that Athens is the new artistic centre of Europe.

 

Documenta2

To be precise Athens has been referred to as the new Berlin so often that the local street artists write graffiti that reads: “This is NOT the new Berlin” or “Athens is the new Athens”. However the name of the exhibition was decided to be “Learning from Athens”. A contradictory title that along with the absence of representation of a large number of Greek artists, infuriated a significant part of the Greek scene. The exhibition has only a couple of days left before the Athens part is finished (the Kassel part will be open until September 17) but I believe there is much to be said still about it, especially since its creative director has stated that the organisation hopes to “leave something behind it that the city can profit from”.

Documenta6

Looking into the matter first from the aspect of Athens becoming the coveted place where artists, (especially those from other countries) want to go and live at, the possible results are rather daunting. Being Greek but having lived in London for a decade myself, I have witnessed artists relocating as a first sign of gentrification. The artists choose areas where rents are cheap and the environment feels genuine and inspiring. Then the real-estate agents follow, the area slowly gets a make-over and is sold to a high price to people who can afford it. Simplistic but telling description of gentrification in a couple of phrases. With the way things have developed in Greece for the last few years, one can only wonder if that could ever expand to the scale of a city, or even a whole country.

 

Documenta3

When I think about the title of the exhibition, “Learning from Athens” again I cannot but wonder, what does it really mean. Athens is a city full of contradictions. It always carries the massively heavy burden of its past, the one that gave to the world the masterpiece of the Acropolis and the concept of Democracy. It also occupies awkwardly a crossroads position between the Eastern and the Western world, being part of Europe but parading with pride a misogynistic, macho, god-fearing religious culture. On top of all of that, on top of the blue sky, the long summers and an always vibrant nightlife, lands the CRISIS. In capital letters because it can be nothing but capital (pun intended) what has changed the lives of all Greeks. The Greeks who have been mocked and criticised by the entire world for not being able to deal with their debt, when the power play of banks and rich nations have been plotting against them. Nor being able to deal with the burden of the leftish revolution that the world expected with Syriza coming to power or the pseudo-Grexit referendum. And then the Syrian refugee influx and entrapment in a country of zero ability to deal with the problem has thickened the plot, increasing both the solidarity and self-organisation but on the other hand heightening the power and righteousness of far-right nationalist parties like Golden Dawn.

 

Documenta7

In the middle of all that chaos lands Documenta 14 that wants to “Learn from Athens”. Wants to learn from a city which manages to look like it deals with all that and actually has fun as well. “How come the bars and restaurants and cafes are still open and people are having fun?”, “How is it possible that people get on with their lives wrapped in riots, tear gas, graffiti and vandalism?”, the universal scene seems to wonder. How can they be in so much trouble and still seem so cool? This is what they really want to learn. This cannot be learned though, much as they try. Coming to look at Athens from the outside, or even for a few months (maybe even years) from the ‘inside’, is as futile as trying to grasp what it is to be a lion, by observing it in its cage, in the zoo.

 

Documenta4

I can attest to that, after living for 10 years in London I have a vague idea about Britishness but I cannot really explain what it is to be British. Of course I did not come here from a position of power, with any imported funds. I did not come to London to advertise any supposed superiority in life’s wisdom quoting Anthony Quinn impersonating Zorba the Greek. “Boss, life is trouble, only death is not”.

Going through the galleries of Documenta 14 in Athens I run into many artist friends of mine working as invigilators or gallery assistants. I was pleased to see them and they all told me how they felt excited to be around all that international art and also to have finally a steadily paid job, even if it was only for 4 months. Of course I knew that they would rather be on the other side, that of the celebrated artist sipping wine at the opening, but alas, they were the help.

 

Documenta5

Adam Szymczyk said at the announcement of Athens as the Documenta location that he wants to leave something behind. Much as I enjoyed strolling through the galleries with my friends, “inhaling” this abundance of art that was mostly imported; supposedly to learn from us but really to subtly patronise us, I was reminded of the 2004 Olympic games. Where so much money was spent into building new sites that were afterwards only left there to rot and crumble.

That was not an exhibition about Athens, it just happened to be there.

 

Documenta8

Documenta website

An interesting article I read about Documenta

Athenian Panopticon by Iason Athanasiadis

An article in Greek:

Αθηνόραμα : Τα επόμενα χρόνια όλος ο κόσμος της τέχνης θα μιλάει για την Αθήνα της Δέσποινας Ζευκιλή

BBC article:

Can Athens become Europe’s new arts capital

chamberlin-powell-bon1

The Chamberlin, Powell & Bon exhibition at the Barbican despite its small size, is worth visiting and I can attest to that as I have enjoyed it twice already. The main exhibit on display is a series of square photographs that were chosen to be featured on the seasonal greeting cards the firm used to send to its clients. The pictures are all square-shaped, similar to the hugely famous Instagram format of the social media with the same name. Chamberlin, Powell & Bon, quite ahead of their time, favoured the square frame recognizing its power.

chamberlin-powell-bon2

The context of the pictures though is what is of importance. Looking at these images is like looking through an architect’s eyes. Form, rhythm and composition, shadow and the contrast of light and dark and of course, the human scale. This collection of photographs is a very good example of how architects were trained in the past. Attention to detail and great love for their labour is manifested on their handmade drawings that took months to produce.  The scale rulers, the drawing compass and the triangle on display are reminders of of the architectural synthesis process  as it used to unfold during previous decades. There is no doubt that this process is quite different to the one we have today.

chamberlin-powell-bon-3

Chamberlin, Powell & Bon were all teaching architecture at Kingston Polytechnic when they entered and won the Golden Lane Estate competition which is situated right next to the Barbican. Golden Lane was and still is a Council Housing project. Since it is often said that with this project the architects developed and tested the ideas they eventually used on Barbican, the latter has often been confused as a social housing project itself. This naturally brings harsh criticism upon the Barbican as it is a known fact that the prices for an apartment in the complex are truly sky-high. You can have a look here.

chamberlin-powel-bon-5

The Barbican was never meant to be a social housing project. It was supposed to encompass however many concepts that Le Corbusier and other modernist architects developed which definitely did not only have to do with aesthetics. Their goal was to reinvent urban living: to entwine private and public space, to provide cultural spaces and events, gardens and athletic facilities within in the same building complex. That was Modernism’s social agenda that brought humanitarian meaning to architecture for decades. The Barbican will always be an architectural monument for modernism and its galleries and performance spaces will continue to provide high quality cultural services. Still its most amazing feature is Barbican Centre’s spaces which are open to the public. Many times I go there and bring my computer along with my lunch to spend time writing next to the lake or in the foyer. The free wi-fi is much appreciated by many people who come here to work or study as friendly spaces where you can sit without having to buy and consume something are getting fewer by the minute.

chamberlin powell bon 6

Left Instagram by architect Irena Mavromati

Unfortunately the extraordinary humanitarian ideas of architects that dreamt post war urban utopia are fading faster than ever. The Barbican is stuck in limbo between the idea of free-for-all-quality space and the luxury overpriced apartments that only incredibly rich people can afford. Therefore it is not only a unique brutalist monument but also a symbol of the architectural dream of creating a better life for all and not only for the few privileged. The current situation of overpriced housing in London, along with gentrification, privatisation and reduction of social housing prove it without a shadow of a doubt.

This little exhibition that will remain open until the 17th of May though is a modest reminder of architectural ideals in their original form. The penetrating visual observations of architects that naively chose to dream of a better future.

serra1

It is quite often that architecture’s artistic potential is reduced to its decorative ability. Richard Serra is a sculptor but his work usually incorporates spatial archetypes which he orchestrates into sculptures of distinct architectural qualities. His alphabet of spatial paradigms is often stripped down to the absolute basic features. There are no articulations nor junctions. Most elements seem smooth and of one piece. At the same time the architectural references are never too obvious with the use of windows for example or any other similar scale-revealing elements. However most of these sculptures can be entered hence the visitor is surrounded by them making the association to buildings inevitable.

serra2

Backdoor Pipeline

Apparently Serra distils the character and essence of spaces that have haunted him. Usually the materials he uses to form these spaces are heavy metals with a rusty finish which from certain angles look as if they have been carved in butter. They feel like light structures when in reality they weight tonnes. What interests me though is that the media used is not the metal but the space which is defined by it.

Backdoor Pipeline

Backdoor Pipeline

There are more contradictions which enrich this work and make it interesting along with its minimal aesthetic simplicity. In this specific exhibition at the Gagosian Gallery in London Backdoor Pipeline is actually a piece which resembles both a cave and a leviathan, summing up contradictory spatial experiences of shelter and dangerous confinement. Hence the effect is extremely powerful.

Ramble

Ramble

Ramble which is basically a simplified maze is another age-old architectural paradigm. Even though there is no way to actually get lost in it because there are no dead ends, there is a similarity to the maze concept. One has to manoeuvre around parallel metallic walls of different height hence the moving pattern is similar and brings to mind the maze archetype. Being able to find one’s way through a dense combination of obstacles can be stressful but manoeuvring skilfully among them evokes feelings of accomplishment.

Ramble

Ramble

In London Cross both access and visual contact are restricted as a part of the room cannot be seen or entered. This feels quite oppressive however eventually one realises that the inaccessible space is actually easily reached through an other door which is not even visible from the initial entrance. This obviously changes everything and the space acquires an interesting ironic quality.

London Cross

London Cross

Finally the piece of two metal solid blocks on top of one another brings forth strong feelings that refer to mortality and impermanence. To me it somehow looked like a tombstone and something about it was quite harsh or even aggressive. Most Serra sculptures are more playful and they can be entered. This is the opposite: It is impenetrable.

I believe that what Serra does is to masterfully manipulate minimal architectural symbols in order to appeal to our primordial human nature. The use of such a spatial vocabulary stirs visceral feelings that most people can relate to. Actually this is what good architecture should do as well.

serra7

Dead Load

The one negative thing that I have to say about Serra’s work has to do with how commercial it actually is. I find quite contradictory that this work deals with universal themes which people relate to beyond culture or education, however extremely few sculptures are ultimately exhibited in public spaces or galleries. Serra’s work is exclusive to the Gagosian and is displayed in order to be sold to private collectors for astronomical prices. It is eventually hidden away in some secluded property, large enough to accommodate it and is never seen again by the public eye.

The truth is that there are no real surprises there. We all know that the art world is a dog-eat-dog area and artists strive to remain successful in order to stay relevant. Naively though, I cannot but be a little hurt when art which can reach so many is reserved for the few “privileged.

The exhibition will remain open until Wednesday 4th of March 2015

Visit the Gallery’s website here

Futuro was originally designed by Finnish architect Matti Suuronen as a skiing cabin in the mid-60’s. It actually originated as a post-war product reflecting Europe’s economical growth and the increase of people’s leisure time. Its aesthetic is very characteristic of its time suggesting the need for  distance from the devastating effects of war and also the dream of a high-tech better future. It is very efficient for many reasons. It can be broken to 16 pieces in order to be transferred easier but it can also be carried via helicopter in one piece and be placed on its base which should be already on site. It is additionally highly insulated and its temperature can be changed within a half hour which makes it perfect for a chalet-cabin. Regardless of its odd elliptical shape it feels quite spacious. It has everything one would need from a basic dwelling and in fact for its small size it feels rather luxurious. With so many favourable traits I was extremely surprised to find out that it was received by the public with anger, truly disproportionate to its size or production number.

Left image from futurohouse.co.uk/photos.html / Right: by the writer

Left image from futurohouse.co.uk/photos.html / Right: by the writer

Apparently the first one to be constructed and placed near Lake Puulavesi in Finland faced public protest for being too unnatural. Others that were erected in the USA were vandalised and in some states even banned altogether. Retrospectively I find the extreme reactions that the little lodge received ironic and very curious indeed. Especially since today collectors from all over the world are willing to pay a lot of money in order to buy one and transfer it to their country (which at times costs even more than Futuro itself). It really got me thinking why would a little elliptical object like this one be seen as a threat to the public which could be the only explanation for the hostility it has encountered.

IMG_8552

Even architectural critics dislike Futuro because they consider it a caricature that seems to pop out of a James Bond film or a graphic novel. According to some of them it is a travesty compared to other similar sci-fi specimens designed by Archigram, Buckminster Fuller, Oscar Niemeyer or even more recently Future Systems. One of the reasons is that it lacks urban vision which is for example the basis of Japanese Metabolism Architecture. Modular pieces multiplied organically to create buildings and ultimately whole cities are the concept behind architectural milestones of the genre like the Kurokawa tower.

One of the reasons why it stopped being produced was the 1973 oil crisis which increased its production cost dramatically. Today Futuro is sought after and is often auctioned in very high prices because of its rarity but also due to its kitsch comic-book aesthetics which are tremendously fashionable. This is a vintage flying saucer that looks both old and new and sums up many retro-futuristic traits that have been quite desirable in design the last few years.

IMG_8538

The only Futuro currently on display in UK is found at Matt’s Gallery roof terrace, only for a few more days, specifically until the 14th of December. It is put there as a host of its owner’s Craig Barnes project Centre for Remote Possibilities which he contributes to the gallery’s Revolver exhibition. The project is basically the online streaming of all events, talks, lectures and performances that are scheduled to take place in Futuro during the exhibition. Unfortunately upon my visit I did not have the chance to see any of them. Entering it though and literally bumping into the people who were there for the performance which had just finished it was very difficult not to actually chat with them. I totally ‘blame’ the Futoro for that. Its central open space with peripheral seating makes it impossible not to interact with whoever is there. People are too close to each other and there are no corners to hide in. It seems like a convivial light-hearted space hence my surprise for the attack of hatred it has received throughout its history of existence. It really got me wondering what was it about it that evoked this negativity. The only reason I could think of is that dwellings in general embody roots and traditions and societies are often reluctant to change them. I truly do not find Futuro offensive at all. However I could never be too objective as I am a huge science fiction fan.

You can visit Futuro at Matt’s Gallery until the 14th of December and of course do check out the rest of the Revolver exhibition. There are performances and events happening inside Futuro every day. Find below the link to the live stream or even better see the program and go visit it. Alternatively make a bookmark of Futuro’s website by Craig Barnes to find out the next time that a visit might be possible.

Right image from the Futuro house website http://www.thefuturohouse.com/

Right image from the Futuro house website
http://www.thefuturohouse.com/

Matt’s Gallery website

Craig Barnes website

Find out the program of events and see the live stream of what is happening inside Futuro

Futuro UK website

Check the Futuro of the exhibition before its restoration here

Or if you are interested in locating and buying one check out this website!

Japanese metabolism architecture

Architecture has been a favourite subject for artists throughout history. One of the obvious reasons is that it is very static and geometric but I find this to be too shallow of an explanation. Anything that qualifies as architecture constitutes the man-made part of our environment and as such it materializes its social structures and politics. However it also carries multiple layers of symbolism referring to the human condition. Still -as the curators of Constructing Worlds exhibition Alona Pardo and Elias Redstone have eloquently mentioned- it is extremely challenging to translate its material and sensorial aspects in a two dimensional image. This collection of images demonstrates with an interesting variety of styles of photography how this obstacle can be overturned into an asset. The very personal and ultimately subjective point of view of each photographer, highlights qualities that make up for the loss of the third dimension.

Left: Berenice Abbott Night view, New York City, 1932 © Berenice Abbott, Courtesy of Ron Kurtz and Howard Greenberg Gallery, New York. Right : Berenice Abbott Rockefeller Center, New York City, 1932 © Berenice Abbott, Courtesy of Ron Kurtz and Howard Greenberg Gallery, New York.

Left: Berenice Abbott Night view, New York City, 1932 © Berenice Abbott, Courtesy of Ron Kurtz and Howard Greenberg Gallery, New York. Right : Berenice Abbott Rockefeller Center, New York City, 1932 © Berenice Abbott, Courtesy of Ron Kurtz and Howard Greenberg Gallery, New York.

The photos on display at the first floor where the exhibit begins are more or less objective in documenting their era. Downstairs on the contrary the photographs are more subjective and artistic. The images are organised in a chronological order so the first artist one comes across is Berenice Abbott who is famous for her breathtaking 1930’s New York photos. This old-school depiction of the city which architects will always be fascinated with, is spectacular. Artistically and compositionally, the photos are perfectly balanced but most importantly they somehow manage to capture the frenzy of innovation that New York embodied at that time. Its aspiration for expansion and the hope of a new world are encompassed in them and therefore they are eternally modern.

Left: Walker Evans Frame Houses. New Orleans, Louisiana, 1936 Library of Congress, Prints & Photographs Division, FSA/OWI Collection [LC-USF342-T01-008060-E] © Walker Evans Archive, The Metropolitan Museum of Art / Right : Allie Mae Burroughs (Source Wikipedia)

Left: Walker Evans
Frame Houses. New Orleans, Louisiana, 1936
Library of Congress, Prints & Photographs Division, FSA/OWI Collection [LC-USF342-T01-008060-E]
© Walker Evans Archive,
The Metropolitan Museum of Art / Right : Walker Evans : Allie Mae Burroughs (Source Wikipedia)

While Abbott is known for zooming out and looking from afar Walker Evans is very famous for a series of pictures that he took to document the devastating effects of the Great Depression. In order to do so he zooms-into the lives of people in an almost voyeuristic way. He looks at every detail of their houses, in fact he looks close into every detail of their faces concentrating more on the personal aspect of architecture which reveals also a lot about the collective.

14.-Julius-Shulman,-Case-Study-House-#22,-Pierre-Koenig,-1959

Left : Julius Shulman Case Study House #22, 1960 (Architect: Pierre Koenig) © J. Paul Getty Trust. Used with permission. Julius Shulman Photography Archive, Research Library at the Getty Research Institute (2004.R.10) / Right : Julius Shulman Case Study House #22, 1960 (Architect: Pierre Koenig) © J. Paul Getty Trust. Used with permission. Julius Shulman Photography Archive, Research Library at the Getty Research Institute (2004.R.10)

Those who have studied architecture or its history should be quite familiar with the Shulman photos than come up next in this exhibition. The legendary case study houses, naïve as they may seem in showing-off post war luxury and picture-perfect families, are considered historically important. The Eames and Koenig houses are design prototypes that haunted generations of architects who tried to follow their example.

8.-Lucien-Herve,-High-Court-of-Justice,-Chandigarh,-1955

Left :Lucien Hervé High Court of Justice, Chandigarh, 1955 Photograph by Lucien Hervé. The Getty Research Institute, Los Angeles (2002.R.41). © J. Paul Getty Trust With permission from Fondation Le Corbusier, Paris and Judith Elkan Hervé. / Right : Lucien Hervé High Court of Justice, Chandigarh, 1955 The Getty Research Institute, Los Angeles (2002.R.41). © J. Paul Getty Trust With permission from Fondation Le Corbusier,

Lucien Hervé was not only admired for his unique talent but also for the opportunity he had to be Le Corbusier’s chosen photographer in documenting his iconic work. He travelled to Chandigarh to witness the construction of the High Court of Justice and the Secretarial Building. The images reveal the dramatic chiaroscuro that is created by the concrete and India’s sunlight and are works of art in their own right.

13.-Bernd-&-Hilla-Becher,-Constructing-Worlds-installation-images-©-Chris-Jackson_Getty-Images

Constructing Worlds: Architecture and Photography in the Modern Age Bernd & Hilla Becher installation images Barbican Art Gallery 25 Sept 2014 – 11 Jan 2015 © Chris Jackson / Getty Images

Bernd and Hilla Becher have contributed the photographs of 21 water towers displayed in a rectangular grid formation. Sculptural and monolithic as their subjects are reveal the contradictory beauty of industrialisation that most contemporary architects are drawn to.

5.-Stephen-Shore,-Beverly-Boulevard-and-La-Brea-Avenue,-LosAngeles,-CA,-21-June-1974

Left : Stephen Shore Beverly Boulevard and La Brea Avenue, Los Angeles, California, June 21, 1974 Image courtesy of the artist, 303 Gallery, New York and Sprüth Magers, London © 2014 Stephen Shore / Right : Stephen Shore Holden Street, North Adams, Massachusetts, July 13, 1974 Image courtesy of the artist, 303 Gallery, New York and Sprüth Magers, London © 2014 Stephen Shore

Stephen Shore’s photographs document the environment where pop culture occurred. They depict everyday spaces, back streets, garages and fire escapes but their vibrant technicolor palette along with examples of design like cars or characteristic fonts on street signs, unmask the very specific age that they derived from.

In the downstairs part of the exhibition where the work of more contemporary artists is displayed things get much more personal. In fact the images at times seem almost psychoanalytical revealing more about the actual photographers than about the buildings and their architects.This does not mean that architectural photographers of previous decades did not have a personal point of view. True to their time though their opinions were more subtle and sought to highlight the buildings more than their own perceptions of them. Contemporary photography is less detached and objective. It is actually the exact opposite: involved and engaging and by putting the photographer’s interpretation forth it speaks of an artist’s dreams or nightmares but also of politics, social structures and conflict.

18.-Hiroshi-Sugimoto,-World-Trade-Centre,-1997

Left : Hiroshi Sugimoto World Trade Centre (Minoru Yamasaki), 1997. Courtesy of Hiroshi Sugimoto / Middle: Constructing Worlds: Architecture and Photography in the Modern Age Hiroshi Sugimoto installation images Barbican Art Gallery 25 Sept 2014 – 11 Jan 2015 © Chris Jackson / Getty Images / Right : Constructing Worlds: Architecture and Photography in the Modern Age Hiroshi Sugimoto installation images Barbican Art Gallery 25 Sept 2014 – 11 Jan 2015 © Chris Jackson / Getty Images

One of the exhibits I liked the most was of Hiroshi Sugimoto. He chooses architectural icons such as Le Corbusier’s Ronchamp chapel, Frank Lloyd Wright’s Guggenheim Museum and Yamasaki’s Twin towers of the World Trade Centre. The photographs are out of focus and simple as this idea might be the effect is spectacular and the possible interpretations can vary. These buildings need no introductions they are historic lampposts and as such they hold actual or symbolic memories for most.

26.-Helene-Binet,-Jewish-Museum-Berlin,-Daniel-Libeskind,-Untitled-9,-1997

Left : Hélène Binet Jewish Museum Berlin, Daniel Libeskind, Untitled 9, July 1997. Courtesy of Hélène Binet / Right : Constructing Worlds: Architecture and Photography in the Modern Age Hélène Binet installation images Barbican Art Gallery 25 Sept 2014 – 11 Jan 2015 © Chris Jackson / Getty Images

Hélène Binet has photographed Daniel Libeskind’s famous Jewish Museum in Berlin during construction. The play of light through the dramatic windows of a building that is considered a sculptural monument on its own, seem even more interesting as rough slits in the wall. Without glass panes and finishes weirdly imply that they could have remained like that, unfinished.

2.-Andreas-Gursky,-Constructing-Worlds-installation-images-©-Chris-Jackson_Getty-Images

Left : Constructing Worlds: Architecture and Photography in the Modern Age Andreas Gursky installation images Barbican Art Gallery 25 Sept 2014 – 11 Jan 2015 © Chris Jackson / Getty Images / Right : Constructing Worlds: Architecture and Photography in the Modern Age Andreas Gursky installation images Barbican Art Gallery 25 Sept 2014 – 11 Jan 2015 © Chris Jackson / Getty Images

Andreas Gursky chooses to alter architecture through digital manipulation. This as a method is largely used in our days although the effect is not always so blatantly outspoken. In Gursky’s work the goal is to make a very specific social commentary about the way societies are structured and how these structures are reflected on the built environment.

21.-Bas-Princen,-'Mokattam-ridge'-(garbage-recycling-city),-2009

Left : Bas Princen ‘Mokattam Ridge’, (Garbage Recycling City), Cairo, 2009 Courtesy of Bas Princen / Right : Bas Princen Cooling Plant, Dubai, 2009. Courtesy of Bas Princen

Another photographer who creates truly haunting images is Bas Princen. His work is focusing on five cities Istanbul, Cairo, Amman, Beirut and Dubai. He is interested mostly in urbanity and the way that cities by expanding reveal a lot about the social fabric that creates them. I stayed quite a while in front of the photo of Mokattam (Cairo) where every inch of open space in the area depicted is covered with trash as the city’s economy is based on recycling. I felt similar awe by looking at the image of the cooling plant in Dubai. Sleek, megalithic and soul-less brought to my mind the black slate surrounded by apes at the beginning of Kubrick’s 2001 Space Odyssey.

17.-Guy-Tillim--DIPTYCH----Grande-Hotel,-Beira,-Mozambique,-2008

Guy Tillim Grande Hotel, Beira, Mozambique, 2008 © Guy Tillim. Courtesy of Stevenson, Cape Town and Johannesburg (Diptych)

A similar feeling of abandonment is evoked in the photos of Guy Tilly. Late-modernist post colonial blocks in decay speak eloquently about the false promises that were given to Africans. Decay is also one of the central themes in Simon Norfolk’s photographs but this decay is inflicted suddenly on the cities that he visited because of war. Sadness but weirdly also irony is the message that he seems to convey, especially in the images of vibrant natural sunset colours.

25.-Simon-Norfolk,-A-secuirty-Guards-booth...,-Herat,-2010-2011.-Burke_Norfolk.-Courtesy-Simon-Norfolk

Left : Simon Norfolk A security guard’s booth at the newly restored Ikhtiaruddin citadel, Herat, 2010 – 2011. Courtesy of Simon Norfolk / Right : Simon Norfolk Former Soviet-era ‘Palace of Culture’, Kabul, 2001 – 02. Courtesy of Simon Norfolk

The large format pictures of Nadav Kander who has travelled in China to document activities and structures across the massive Yangtze River portray a country that is extremely contradictory. Traditional but modernised, communist but expanding with capitalist aggression. Vast but densely populated.

10.-Nadav-Kander,-Chongqing-XI,-Chongqing-Municipality,-2007

Left : Nadav Kander Chongqing XI, Chongqing Municipality, 2007 © Nadav Kander, courtesy Flowers Gallery. / Right : Nadav Kander Chongqing IV (Sunday Picnic), Chongqing Municipality, 2006 © Nadav Kander, courtesy Flowers Gallery.

Iwan Baan photographed Torre David, the Centro Financiero Confinanzas in Caracas, Venezuela. A huge tower block that due to the 1994 financial crisis was left unfinished and empty for a decade. Eventually it was squatted by no less than 3000 inhabitants that transformed it slowly but efficiently until it became habitable. Their apartments and communal activities are displayed in these images which document an impressive collective venture that seemed to have worked wonderfully for a number of years. The housing shortage which is a global problem and a possible solution are both mentioned here along with Torre David’s unfortunate ending when its residents were evicted in the summer of 2014.

1.-Iwan-Baan,-Torre-David-#2,-2011

Left : Iwan Baan Torre David #2, 2011 Image courtesy of the artist and Perry Rubenstein Gallery, Los Angeles. / Middle : Iwan Baan Torre David #10, 2012 Image courtesy of the artist and Perry Rubenstein Gallery, Los Angeles. / Right : Iwan Baan Torre David #1, 2011 Image courtesy of the artist and Perry Rubenstein Gallery, Los Angeles.

Architectural photography has changed a lot throughout the years and this exhibition follows its transition. The photographers portray the buildings and the history of the people who created them because undoubtedly in observing architecture closely one is actually looking at humanity and its ways of inhabiting the world. This collection of images reveals a lot about political history and art history as well. We see clearly how artists true to their time crossover from a hopeful but also clean-cut way of being to a deeper, quasi- psychoanalytical manner of looking at society and its material creations. Uncomfortable as it might be, our world seems to be getting increasingly unfriendly and with more conflict than ever and it is no coincidence that these artists choose to highlight that.

If you are in London until the 11th of January do not miss the chance to catch this exhibition.

Find the exhibition website here

Read more information about the photographers at the exhibition here

Find a podcast of curators Alona Pardo and Elias Redstone discussing the photographers’ work here

edwin-smith1

Ordinary beauty is quite an interesting title for this exhibition because these photographs are not very ordinary at all. Smith’s editing eye and the way his compositions are chosen are truly remarkable. The angle of the frames, the light and of course his strategic choice of introducing objects that refer to the human body. In doing so, regardless of the fact that people are usually absent in his photographs, the human presence is always implied. I believe this potentially derives from his architectural training. Usually in architects’ drawings and illustrations the human scale is evident but actual human bodies are absent. Architects are poetic this way. They are trained to be sensitive to peoples’ needs which are supposed to be their priority, however more often than not human bodies are absent in their representations.

My first impression when I entered this exhibition was that the quality of these photographs was superb. Which actually did not explain the fact that I was slightly bored and not very excited to write about them. It took me a whole month I believe to get around writing this article.

edwin-smith2

Still I cannot deny that I liked quite a few of the subjects depicted. For example the bench with the plants growing through it stayed with me because even though Smith was a trained architect he shows a lot of respect, or one might even say awe, for nature and its ability to take over human creations. In fact in some ways Smith shows he is not that into the man-made environment even though architecture seems to be the centre of his attention. Ultimately architecture seems to be almost a necessary evil in these images when what actually prevails is nature and the decay it brings, which is inescapable.

edwin-smith3

Undeniably all artists have their own private obsessions. The subjects that speak to them, are their inspiration and what they choose to depict. For Edwin Smith the underlying subject in his photographs is the past or rather a world that is destined to disappear. Hence his pictures are always filled with nostalgia and intense emotion. As I have already mentioned the compositions are great and he is unique in revealing all that is poetic in things that otherwise would have been seen as mundane and unimportant. However there was something in this whole collection of pretty images that did not agree with me.

edwin-smith4

Probably it had to do with the fact that this overall sentiment of nostalgia is not very exciting. When people start reminiscing too much about the past and glorify it by saying that things were much better then than now, you know that they are growing old. And it is a known fact that feeling old has nothing to do with age. Being in the present and anticipating the future is young, while being nostalgic and resentful of change is old. People can be young or old at any age. If they are old in a young age a possible way to describe them is conservative.

edwin-smith-5

This is what I did not like in this exhibition. Smith is supposed to be one of the most iconic British photographers and actually the one that represents Britishness better than most and indeed he has done an amazing job in focusing on history and its importance. He has also done a great job in producing a body of work that is ultimately a “memento mori”, a reminder of human mortality. This is achieved through the importance that is given to the power of decay and the way in which it is implied that nature is destined to destroy whatever man has created.

edwin-smith6

However there are some things that are very intrinsic to Britishness that are totally left out of these images. Eccentricity, novelty, innovation which all have one foot already in the future and look forward to change. Smith’s images focus in the past and whatever is destined to disappear and die. Naturally death is always present within life and truly there are no new beginnings without something being lost or left behind. There is always pain over the loss but the pain is partly overtaken by the joy of the anticipation of the new. Here the new is not even implied. This very conservative way of looking at things is most definitely not what speaks to my heart. Still this exhibition is very much worth seeing.

The exhibition will be on until the 6th of December 2014

Find out more on RIBA’s website here

%d bloggers like this: