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40 minuti fa da Manifesta7
a Ville spatiale de Yona Friedman (4/5) - Culture - Le ... 4 giorni fa lemonde.fr. La Ville spatiale de Yona Friedman ( / ) LEMONDE.FR | . | 17h04 • Mis à jour le . | 14h42 Réagissez Classez Citez Envoyez PARTAGEZ Culture Warhol, Koons. ...
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The exhibition at the gallery the galleries, the first in a gallery of the great Italian architect Yona Friedman, a discussion is centered on the reading of the architectural space of two Italian cities, Venice and Brescia, which share a subtle connection of belonging to the same territory, although with different specificity. Yona Friedman's reflection starts from its central concept of Ville Spatiale developed in the fifties and, through several variations, arrives at a model of non-geometric Ville Spatiale, remade in the gallery.
His conception of architecture stems from the fact that it must be made by the inhabitants themselves and the architect can provide just some guidelines for their implementation. In this way the architecture, according to Friedman, produces communication even before producing architecture as the creation of architectural codes and finally buildings. In this sense, his conception of architecture is tangential to the art. In his work, art and architecture become one way to build a dimension of communication between people that goes beyond any distinction between the two arts, creating a new territory beyond any possible specialization.
Postcards are images of the cities of Venice and Brescia, where Friedman has intervened with its architecture, declined according to the central idea of the Ville Spatiale. They will together provide an understanding of architecture and a vision in which the daily life of people is inseparable from the aesthetic representation.
The experimental nature of Friedman's work is the fact with an understanding of many areas: theory (from biology to cybernetics, anthropology, psychology and the humanities in general), art, architecture, animation. This broadening of horizons arises from the need to build a more modern vision of modernity. "After the Second World War - says Friedman - we had no option but to build something new." However, his idea of modernity is not something abstract, requiring the inhabitants of the modern city, but an idea that reuses the existing and takes into account the wishes of its inhabitants. Instead of creating iconic buildings like many contemporary architects, the architectural vision of Friedman falls within the daily life of the inhabitants, take account of their needs, providing the tools to build the micro-individual visions. In his view this is much closer to the mechanisms that govern the lives of contemporary Asian cities, which is also the great relevance of his work in the contemporary scene.
In the exhibition at the Gallery the galleries, the artist has a large installation space in the main picture-postcard of Brescia and Venice, some animation and a model of the Liberty Bridge in Venice.
Preparation of the exhibition curated by Maria Pesavento and Gabriele Maria Gallo.
Films Points of View and The making of Yona Friedman are played by Fabrice Luchini for ARTE TV. An Utopia City is written by Yona Friedman, directed by Emmanuel Bellegarde and played by Michael Lonsdale (Canal + France). For all the film Premiere Heure. Thanks Claire Marquet. The artist constructs the show from a reflection on the work of British philosopher and mathematician Charles Babbage, the first to design a programmable computer brass. Babbage was inspired for his car for the calculation, the loom by Joseph Marie Jacquard, adapting the punch cards used in textile production. Chiasera enhances the creative process of slippage that has seen Babbage change the design of Jacquard, rebuilding the machinery of the English mathematician and transforming it into an instrument for the amplification of music. The structure is made of wood and a digital sound system allows it to become a sounding board. The potential for calculating desired by Babbage is translated into musical potential. The machine spreads in space a wistful melody that evokes the sound of a carillon, the piece is composed by Andrew Porter and performed by pianist Andrea Lucchesini. ll try to Charles Babbage failed to build a car for the calculation becomes the opening words of imaginative process of making Chiasera imperfection, error, a fundamental moment for the sviliuppo of the draft shows. The error is a constitutive, generative work, the creative process seems to eat constantly to his own ruin. And 'the imperfection of the Babbage machine, in the draft of the artist, to lay the foundations of his poetry derives. By showing the car is positioned in the second exhibition space in the front room while a series of works suggest to the visitor the evolution of the project highlighting some fundamental aspects. At the center of the space we find the measure of error, a window that collects the waste, errors, false leads that have characterized the development of research. This is a meter of ash produced by combustion of waste and design a book documenting them photographically. The walls of the three works on paper Hybris represent parts of the Babbage machine and set a path toward the morphological characteristics and structural functional machines to its conceptual slippage. On the wall opposite the works Identity Approach to emphasize 3 key aspects of project development: dispersion, implosion and analogy. The forest evokes the dispersion, a disorientation that can cause a momentary loss of direction but often enhances the detection of unexpected stimuli, the second by the nuclear explosion in 15 photos undergoes a paradoxical process of implosion, the gradual erosion of the image because of a fixative agent to indicate the limits of the technique, the fracture that often opens between idea and practice, between ambition and outcome planning done. Finally the third paper suggests the process of analogy, the development of associative thinking that led the artist to alter the intended use of the machine of Babbage.
da Francesco Bonazzi -Vr-
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