Magazine article Artforum International

Pia Ronicke

Magazine article Artforum International

Pia Ronicke

Article excerpt

GB AGENCY

In Pia Ronicke's recent exhibition "Dream and action find equal support in it," everything was a matter of transparency--above all, that of the forms and ideas she assembled and borrowed from the Irish-born architect and designer Eileen Gray, whose oeuvre and precepts served as a script for what might be called an augmented or collaborative solo show. But transparency was also a matter of the Danish artist's very approach, since she exhibited here, without restriction and without restraint, documents in the rawest, most straightforward form possible: photocopies, collage, low-resolution photographs. At the heart of the setup, however, was a video shot in the famous villa E.1027 in Roquebrune-Cap-Martin (on the Cote d'Azur, east of Monaco), one of the rare constructions that Gray realized, which she built in 1929 for her lover, the Romanian architect and critic Jean Badovici. Abandoned for many years before being designated a historic monument in 2000, this house serves both as a set and as a playing field for Ronicke, who filmed it at an angle, in a fragmentary mode, and furthermore inversed the perception of its spaces through a system of mirrors. Through the intermediary of her camera, she strolls through the house as if in a dream. And she envisions it all as a surface on which to project fantasy, following in the footsteps of the Portuguese artist Leonor Antunes, who in 2008 at the Centre d'art conternporain d'Ivey le Credac recomposed the mental skeleton of this architecture, which was also meant to be a critical manifesto responding to the five points of modernist architecture decreed by Le Corbusier. …

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