One of the founders of constructivist painting, Piet Mondrian, arrived at the pure, abstract investigation of the condensed, stylistic force of lines, surfaces and colours through radical simplification. His so-called neo-plasticism i. The interplay of the panels coupled with the luminosity of the colours in the carefully distributed paintings created a vibrating optical state in the atelier, a fresh and animated sense of space that broke down the boundaries of the room 3.
Mondrian himself believed that the aesthetic programme he had developed through his careful process of distillation, aimed at a clear and spiritually elevated communicative style, could and should form the ideal point of departure for the entire physical environment of the new age, i.
Or did he want the interception of lines towards the boundary of the canvas to represent a thrust and gesture that goes beyond its physical borders? Such that the interception of lines and squares be understood as centrifugal forces on the background of which something is flung out?
It is not an issue that can be entirely resolved. El Lissitzsky exhibited in Berlin in the s in his so-called Proun room 7 , which consisted of tangents, surfaces, small geometric forms, etc. It was an exhibition that avant-garde artists and architects like Mies van der Rohe rushed to see. The issue of creating a hybrid of art and architecture in spatial art was undoubtedly on the agenda at the time.
And it is in the context of these issues that Anette Flensburg intervenes with her architectural paintings. Her large-scale works take possession of the surrounding space, but without becoming architecture. They do, however, take issue with framing as a linear system, demarcation and quadrangular motif. History folding in on itself. For a time, Mondrian himself confined the frame to a thin, white wooden strip, before going one step further and mounting his canvasses in front of a slightly larger white panel.
The canvas thus burst out of the frame, extended into the room, and took the first step towards being liberated into the space. That this series of works are in an upright format, underlines the idea of building up, i. In a textbook on painting, which was highly influential for centuries after its publication during the Renaissance, the painter, architect and dramatist Leon Battista Alberti 8 writes that in a painting called a landscape one should work with a view of ideal scenery seen from a single point of view through a window at a distance the equivalent of three times the width of the window to prevent the perspective escaping to all sides.
Alberti hereby formulated a rule for perspective and ratio governed by the window frame, the impact of which it would be difficult to overestimate.
Clement Greenberg, who as we know emphasised the increasing significance of the surface in painting after Impressionism, argued that we have to accept painting as two-dimensional, and that its focus has shifted from the subject to the act of painting itself, i.
On the basis of contemporary abstract expressionism and its large formats, he concluded that the ultimate destiny of painting was to become architecture. According to Greenberg, the sheer size and emphasis on surface in painting, had to lead to the works being absorbed by the architectural space, just as the space, in exchange, was enriched by the specific values and characteristics of painting.
These works intervene decisively in any space where they are hung, just as they cannot fail to enter a dialogue with its characteristics. They do not, however, become entirely architectural elements: they also represent something, manifest their own universe. They could resemble an archive or a storeroom with translucent sheets leaning against the parallel walls. We are dealing with enigmatic objects in a large-scale still life. They could also be seen as representing pictures, wall sheets, window glass or thin membranes to be placed in front of other, possible showcases.
They look like a stage, laid out according to the fourth wall convention of theatre, the kind of set design where the fourth wall facing the audience is removed, allowing them to look into the room or space where something is enacted.
It is striking how confidently she handles a series of difficult, technical issues for painting, like the illusion of translucency, the precise distribution of shadows, and the logical consistency of reflections in relationship to the light source: the entire convincing clarity of structure, spatial definition and illumination.
Historically, it was analytical cubism that manifested the optical phenomenon of one plane being able to lie both in front of and behind adjacent planes. In the s, the Bauhaus teacher Lazlo Moholy- Nagys believed that in the future people would paint with coloured light instead of pigments In an era when we meet electronic light screens everywhere, it is illuminating to see light walls painted with pigment.
Here, thanks to the large sections of glass walls and the multifaceted interplay of transparent glass, freestanding spatial partitions and openings, the interior spaces can escape into the open air and the space outside can wander through the interior. Others were made of opal glass. The light seems to be present in the material like an immanent property. The space flows around and through these planes that small channels of air and filtered light emerge between.
At the same time, there is a complexity that cannot be explained or interpreted within any clear ground plan. The smaller, upright canvasses provide an acrobatic exercise for the eyes. Numerous elements are brought into play in the stacking of motifs, as in the quadratic meshes that keep the basic structure together. There is no explicit definition of function for each room, and the stairs connecting the horizontal levels are more sculptural than connective of the floors below and above.
The spatial cells of the paintings form a rebus that the viewer has to compose and interpret, like the images in the mind from place after place that trail behind us as we walk through a building. Here I am thinking of his virtuoso installation City in Space The elements appear to be mobile.
Only a single reconstruction of these models has survived. It is fantastic that a circle of key figures in the avant-garde movement from , actually only a couple of hundred of them, believed that they could shape the entire aesthetic history of the world, that it all lay before them in their studios and manifestations. In a way they were right, albeit with modifications. The 20th century was not radically homogenised according to their ideas.
The frame is in principle drawn into the painting itself as an object of reflection. It is thus liquidated, partly into an object for meta-theoretical investigations of its role in establishing focus, as a boundary, and as a structural element, etc.
El Lissitzsky, who was in close contact with both the teachers at Bauhaus and the members of the Dutch De Stijl group van Doesburg, van det Leck, and not least Piet Mondrian , put a lot of energy into breaking down the academic isolation of art by advocating an entirely new form of spatial art — spaces that people could be in.
Leon Battista Alberti, Della Pittura, — published with a dedication to his friend the architect Brunelleschi, who almost a decade before had invented the mathematical laws of perspective. Carsten Thau, op. And congenially in a experimental drawing by the Mies van der Rohe disciple Kamol Jangkamolkulchais, reproduced in Detlef Martin ed. Af Carsten Thau I. Og det er bl. Hendes store formater griber det omkringliggende rum i sin helhed, uden dog at blive til arkitektur. For det sidstes vedkommende kan man observere en hybrid mellem Mondrians flade og linearystem, den teknologiske abstraktion i moderne skyskraberes betonskeletter og selve princippet for snit gennem en bygget struktur, som den praktiseres i arkitekturtegninger.
Hertil kommer den ingrediens af leg og overblik over alle etager vi kender fra dukkehuse. Optisk er der tale om variationer over den billedkunstneriske og den arkitektoniske indramning af blikke, udsyn og indkik. Elementerne forekommer flytbare. Disse modeller findes kun i enkelt rekonstruktion. Henrik Bjerre og Jannie H. Space has to be there, but as a precondition for something to happen it is difficult to envisage.
It has to be thought of as a necessity. Thinking in an architectural context is different. Here space is a constituent of the three-dimensional visibility of a building. When something happens, it happens in one of the rooms of the building. But what happens does not necessarily observe the specificity of the architecture. It can, for example, be our thoughts, which have a tendency to move beyond the space we occupy physically. The images do not stand alone, but are accompanied by short prose poems.
Together, the two perform the moving process of grieving for the loss of someone close. The series of images forms part of a process of memory and reflection where the boundary between material and immaterial reality, between the manifest graphics and the mental images generated by the texts, shifts back and forth.
Unoccupied by objects or people, the rooms in the images present us with one sole human action: the construction of a room. Anything else that the rooms contains — and protects — appears as the open possibility of that which has yet to occur. Just as the texts point to that which no longer is, the images appear to point to life that has yet to begin. Wherever the artist turns his gaze, it meets boundaries, obstacles: the obstacle of the empty room, the boundary of walls.
But melancholia as a space severed from time is something else and more than mental confinement, which perhaps more accurately describes depression. Instead of confinement, the room of melancholia can be understood as a room one can construct or enter and inhabit for a longer or shorter period of time, as if renting an as yet unknown space with equally unknown possibilities.
The German word Erinnerung has a stronger sense of the inner protected against the outer than its Danish translation erindring. Despite the fact that it may seem a long time ago that beauty ranked high on the list of concepts that stimulate our interest in art. The darkness of the images in We live inside one another is not representative of the imaginary structures in her other works.
Neither is the way the book develops as a whole. Towards the end the colours become clearer, just as we can also catch a glimpse of a fragment of reality beyond the interior — marking the boundary of the room and maybe also the possibility of leaving it.
I billedkunsteren Anette H Flensburgs bog vi bor i hinanden kan vi betragte en serie billeder af tomme, uindrettede rum. What considerations went into your decisions about the selection of works, how to install them, and the overall structure of the show?
There we became aware of certain points of correspondence between our works. I exhibited a number of showcase-sculptures, either enclosed or just placed behind a screen — a sort of space within a space. The works Anette had brought were paintings of miniature room models made of coloured acrylic sheets, like my showcases.
There was thus a degree of correspondence on a concrete level. More generally speaking, both our projects are about rooms — how we encounter rooms, how we enter them, or are cut off from them. My works involve a screen between the object and the observer, a screen that makes the sculpture stand out, but also hides it, depending on how you position yourself in relation to it inside the room. One sculpture stretches through an entire room, from wall to wall.
Another of my main ideas was to build smaller spaces within the gallery space, partly to physically create a labyrinthine atmosphere, partly to create a more intimate sphere around some smaller paintings. Both of us have worked extensively with space as a theme before, but we approach it from different angles and with different temperaments.
The actual installation of the works therefore became important in order to ensure that there was sufficient space around the objects to allow them to throw light on each other, and not just drown each other out.
Ordinarily, my sculptures are very compact, but here I was interested in inserting a transparent layer between object and observer. This makes the works more mysterious. It also makes them change completely, depending on your point of view within the room. We like to work in series, but as a rule each of the works is quite able to stand on its own. And this is where the major, paradoxical challenge of a dialogue exhibition lies, since the individual work must be able to function on its own, but at the same time be sufficiently open to allow new meanings and facets to unfold in the encounter with other works.
We carry on a continuous dialogue about our art on an everyday basis, primarily making use of each other as acute critics. The interesting thing about our collaboration on this project is that here we have placed our works in direct confrontation with each other.
Some can be seen as an extension of our many talks, while others can be seen as an extension of ourselves, but also very much as independent objects — whose meaning is not entirely under control.
And to a great extent, of course, this is true of the statement made by the exhibition as a whole. So in a way our approach to art is formal, but both of us want the finished work not to appear emotionally neutral, but instead awaken something in the observer. How do you go about creating such a room?
The more I break them up, the more fragmented they become, and the further away from their original state. What I look for is the point of intersection at which the original state and the new image become equally strong and achieve a balance.
The greater the contrast between the original objects and the new image, the stronger the sculpture becomes. Some of the images I work with carry associations to science fiction and bodybuilding, but their form is constructed from broken kitchen bowls of coloured plastic. The familiar is made alien. They are layers that defy unequivocal interpretations, but have the potential — on other levels, or in another time — of making sense.
Who knows, perhaps not until years from now, when the present has become history, can we begin to see signs and patterns which we are unable to see as long as we are in the midst of them. This, incidentally, is another interest I believe we share, as is our fascination with the classic, the timeless. The fact that our work points backward in time as well as forward, but is primarily in correspondence with our own time.
A Metaphysical Possibility? In the same way that you can sometimes say more with words than is actually said… because you succeed in refering to that which really cannot be stated in words at all. In my paintings I try to refer to the invisible, the unique, and the virtual, but I must articulate it by means of the visible, of course, and within a frame of reference that is contemporary, ordinary and shared.
This is a constantly challenging paradox. Obviously, when I try to bring body and physical presence into my sculptures, I also come up against the core concept. But by making use of cheap plastic and other mundane materials, I try to rid sculpture of the portentous and religious notions associated with this concept. Our approach to form is not about defining it in relation to what lies behind, to the metaphysical, but about the fact that there are many layers present simultaneously.
The metaphysical is thus understood in a very concrete sense, as a formal problem that has its starting point in observation and experience, but at the same time reaches beyond it. Despite this, the human body seems omnipresent; the rooms seems defined by how the observer orients him- or herself in them physically, how the dimensions of the rooms are experienced.
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And even though we do not inhabit these spaces, we can imagine what it would be like to be there. There is emptiness and silence, no compelling movement.
It is not an issue that can be entirely resolved. Space has to be there, but as a precondition for something to happen it is difficult to envisage. And even though we do not inhabit these spaces, we can imagine what it would be like to be there. En hemmelighed? Sample thank you letter after a wedding Orange County business performance reporting sharepoint template Morton Street zip
One of the founders of constructivist painting, Piet Mondrian, arrived at the pure, abstract investigation of the condensed, stylistic force of lines, surfaces and colours through radical simplification. Just as the molecular structure of the walls determines whether they block the light or are transparent. W 46th Street zip Greene Sample thank you letter after a wedding Seminary Row zip presentation on forex Lafayette Street zip Neither is the way the book develops as a whole. It is more a state. They are layers that defy unequivocal interpretations, but have the potential — on other levels, or in another time — of making sense.
If we imagine that a space is a place we occupy physically, then we expect a defined area. On the basis of contemporary abstract expressionism and its large formats, he concluded that the ultimate destiny of painting was to become architecture. Gravity is, of course, also ever-present: if the surfaces are not firmly joined, the entire fragile construction collapses instantly like a house of cards.
Is it about Colour? At an early stage of her career, Anette Flensburg, with an equally early technical brilliance, painted pictures that in an apparently paradoxical manner connected douce, atmospheric painting with characteristics of American superrealism. They look like a stage, laid out according to the fourth wall convention of theatre, the kind of set design where the fourth wall facing the audience is removed, allowing them to look into the room or space where something is enacted. In the latter case you can work out a plan to achieve the fulfillment of your needs.
Som findes der en vigtig besked om verden i netop denne flygtige konfiguration. Only a single reconstruction of these models has survived. The smaller, upright canvasses provide an acrobatic exercise for the eyes. And what a lot of art is about — also young, experimental art where the questions are legion. All displayed in rows apparently ordered according to aesthetics rather than standard categories — which makes it even more stimulating to look at. Both of us have worked extensively with space as a theme before, but we approach it from different angles and with different temperaments.
Such that the interception of lines and squares be understood as centrifugal forces on the background of which something is flung out? At an early stage of her career, Anette Flensburg, with an equally early technical brilliance, painted pictures that in an apparently paradoxical manner connected douce, atmospheric painting with characteristics of American superrealism.