Guy Rottier, Cité sur fil, 1965
(maquette en balsa, soie, carton)
Atelier Le Corbusier & Chef de chantier Unité d’ Habitation Marseille / Atelier des Bâtisseurs – AtBat & Vladimir Bodiansky / CIAM (Congrès Internationaux d’Architecture Moderne) [Bergamo (1949), Dubrovnik (1956) and Aix in Provence (1953)] / ‘École de Nice’ / GIAP (Groupe International d’Architecture Prospective) [Michel Ragon and Yona Friedman, Paul Maymont, Georges Patrix, Nicolas Schöffer] / Association Habitat Evolutif [Pascal Häusermann, Claude Costy, Jean-Louis Chanéac and Antti Lovag] / La Coopération Méditerranéenne Pour L’Énergie Solaire (COMPLES) / Groupe Conspiratifs à Nice [Guy Rottier, Antti Lovag, Jean Mas, Claude Gilli, Thierry Valfort, Dominique Petry-Amiel, Gilbert Grisoni, Pierre Pinoncelli] / ‘Guy Rottier architecture de recherches illustrées par Jean-Marc Reiser’ / Charles Barberis
Sketches of lots on a file folder – File 31
Fonds: Gordon Matta-Clark collection, 1914-2008
Series: Gordon Matta-Clark’s Artwork
Project: Fake Estates, [1973-1975] CP138.S5.D31 Canadian Centre for Architecture
A curved arrow stresses its ambiguity through the symbolic difference of masculine and feminine design . The arrow is used here as a metaphor of the god Eros in Greek mythology, whose thin, long and pointed objects in our case do not hit their targets. An arrow that always misses reminds us that the imaginary demands are by definition, unsatisfiable and that the original desire is sustained by its lack.
This exhibition is the continuation of a recent show (Stopping Point, 2018) based on a poem by Antoine Tudal, which describes the difficulty of love through the acoustic and verbal similarity of “love” (l’amour) and “wall” (le mur) in French. The“love-wall” (l’a-mur) in the second part of this visual research is titled as “Curved arrows” .
‘Les surréalistes ont été fascinés par les jeunes femmes criminelles. Par l’anarchiste Germaine Berton qui avait révolvérisé un rédacteur de L’Action française. Par Violette Nozières qui avait empoisonné père et mère, un père qui l’aurait violée quand elle avait douze ans. Par les deux sœurs Papin, qui massacrèrent leurs deux patronnes, leur arrachant les yeux, leur écrasant la tête.
[Ici] le portrait de trois femmes sans lesquelles l’histoire et l’imaginaire du groupe surréaliste n’auraient pas été ce qu’ils furent.
Deux de ces femmes relèvent de l’imaginaire :
l’actrice Musidora, qui ne se prive pas de conduire des actions criminelles dans le film Les Vampires,
le personnage de roman Gradiva que les commentaires de Freud ont rendu célèbre.
La troisième femme est réelle, trop réelle, et se nomme Nadja ou plutôt Léona Delcourt.’
-La femme et le surréalisme, Philosophie et surréalisme par Georges Sebbag
Reproduction of the Gradiva which hung next to Freud’s Couch. Photo by Edmund Engelman, 1938
Marcel Duchamp designed a glass door for André Breton’s gallery ‘Gradiva’. André Breton writes: ‘You entered the store through a glass door that had been designed and executed by Marcel Duchamp, whose opening silhouetted, as their shadows might, a rather large man and a noticeably smaller and very slim woman, standing side by side.’
André Breton et Marcel Duchamp devant la galerie Gradiva, 31 rue de Seine à Paris, en 1937
On view: ‘Garden Variations: From outside to inside and vice versa’
At The Symptom Projects //// On 15/09/2018 – 30/09/2018 //// Curated: Nikos Papadopoulos and Faye Zika //// Artists: Ianthi Aggelioglou, Alexandros Alekidis, Petros Batsiaris, Lizzie Calligas, Panos Charalambous, Prodromos Charalampidis, Martha Dimitropoulou, Espantapajaros project, Penny Gkeka, George Gyparakis, Evi Kalogiropoulou, Christos Kalogiros, Xanthi Kostorrizou, Anna Lascari, Andreas Lyberatos, Despina Meimaroglou, Maro Michalakakos, Vasilis Pafilis, Tereza Papamichali, Rena Papaspyrou, Katerina Papazisi, George Skylogiannis, Fani Sofologi, Efi Spyrou, Yannis Theodoropoulos, Artemis Vasilopoulou, Theodoros Zafeiropoulos
‘Central to the idea of the social condenser is the premise that architecture has the ability to influence social behavior. The intention of the social condenser was to influence the design of public spaces, with a goal of breaking down perceived social hierarchies in an effort to create socially equitable spaces.’ from Wikipedia
Александр Дейнека “В Районном Клубе” ///// Alexander Deyneka “At the local club”
‘In 1927, the editors of the leading Constructivist journal, Contemporary Architecture [Журнал Современная Архитектура], sketched out a radical architectural concept intended to foster a social revolution.
Led by Moisei Ginzburg, the editors declared that it was the duty of the Soviet architect to develop the ‘social condensers of our epoch’.
A ‘social condenser’, they explained, was architecture that ‘shaped and crystallised a new socialist way of life’.
Be it in the form of communal housing, public kitchens, workers’ clubs, administrative buildings, factories or parks, they insisted the social condenser should cultivate a new code of behaviours, norms and habits that would elevate human consciousness and secure the advancement of humanity, through the as yet unrealised potential of socialist organisation.
This was a daring vision based on the imagined virtues of greater human interaction and cooperation.’
from The Architectural Review
Human postural habits have anatomical and physiological limitations, but there are a great many choices, the determinants for which appear to be mostly cultural. The number of significantly different body attitudes capable of being maintained steadily is probably on the order of one thousand. Certain postures may occur in all cultures without exception, and may form a part of our basic hominid heritage. The upright stance with arms at the sides, or with hands clasped in the midline over the lower abdomen, certainly belongs in this category. A fourth of mankind habitually squats in a fashion very similar to the squatting position of the chimpanzee, and the rest of us might squat this way too if we were not trained to use other postures beyond infancy. Anthropoid postures may shed some light on the problem of which human ones are most likely to be “natural” or precultural, although ape limb proportions would deter us from relying too heavily on such evidence.
Descriptions of postures and sketches of figures: Nilotic one-legged resting stance, Chair-sitting postures, Deep squatting postures, Sitting with legs stretched out, Cross-legged or “tailor-fashion” postures, Kneeling on knees and feet or knees and heels, Sitting with the legs folded to the side, One knee up other down and flexed
Mieczysław Szczuka (1898 – 1927) was a Polish avant-garde artist, constructivist and productivist. In 1924 co-founds the artistic group ‘Blok’ (Blok Group of Cubists, Constructivists and Suprematists) with Henryk Stażewski, Władysław Strzemiński, Teresa Żarnowerówna among others and they publish the ‘Blok’ magazine. Mieczysław Szczuka was interested in the social functions of art and the utilitarianist ideas deriving from Constructivism, rather that formalism and the aesthetic experience. In 1927 he begins to publish the ‘Dźwignia’ magazine which is supported by the Polish Communist Party.
Architects’ Congress, László Moholy-Nagy, 1933
Film diary of the Architects’ Congress
30 min, silent film with intertitles in English
Architects’ Congress is a film diary commissioned by Sigfried Giedion, that recorded the CIAM-4, the 4th congress of the Congrès Internationaux d’Architecture Moderne, in August of 1933. The congress, titled The Functional City, was held on board the ship Patris II from Marseilles to Athens and the results of the congress were presented at an exhibition at the Technical University of Athens. The CIAM-4 congress produced the Athens Charter.