family heirloom | εμπρός-για-την-γεύση-της-ελευθερίας

ΕΜΠΡΟΣ ΓΙΑ ΤΗΝ ΓΕΥΣΗ ΤΗΣ ΕΛΕΥΘΕΡΙΑΣ

cité-sur-fil-

Guy Rottier, Cité sur fil, 1965
(maquette en balsa, soie, carton)

Guy Rottier(1922-2013)

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

Cité sur fil (1965)

Guy portrait double Généalogie trzpx

from:
Guy Rottier site
FRAC Centre collection

Offcut estates

Sketches of lots on a file folder

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

from: One dollar lot sale alert

pepe en noir__

Chrono-déclarations

les professeurs espagnols

il n’y a que des imbéciles et des professeurs espagnols qui puissent s’intéresser aux dates

Hans Jean Arp, “Déclaration”, Dada: recueil littéraire et artistique: Dada In Tirol Au grand air Der Sängerkrieg, 1921

In Splendor (Gradivo)

In Splendor (Gradivo), 2018

lores insplendor overview red double

Gradiva

‘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

Social Condenser

If architecture has the ability to influence social behavior, the concept of the Social Condenser aimed to recondition social dynamics in the public sphere and generate a new social organisation to existence by creating socially equitable spaces.

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

Tatry | Tatra mountains

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.

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