George Bures Miller
Living in Motion. Design and architecture for flexible Dwelling. Kunsthaus Graz is marked by movement. Here architecture and form, both specific to the audience as well as miscellaneous exhibitions, represent the starting point. After the two exhibitions of Sol LeWitt's installation Wall and Vera Lutter's large-size photographs of various interiors and outdoor environments, both thematising and gauging space, an exhibition explicitly devoted to the subject of architectural mobility follows on the first floor (Space 01). The interaction of Sol LeWitt's installation Wall and Vera Lutter's large-size photographs and the performative architecture of the Kunsthaus Graz finds its continuation in Videodreams: Between the Cinematic and the Theatrical (Space 02).
Living in Motion
Design and architecture for flexible Dwelling
Exhibition organized by the Vitra Design Museum, Weil am Rhein, Deutschland.
May 15, 2004 - Aug 15, 2004, Space01
Kunsthaus Graz is marked by movement. Here architecture and form, both specific to the audience as well as miscellaneous exhibitions, represent the starting point. After the two exhibitions of Sol LeWitt's installation Wall and Vera Lutter's large-size photographs of various interiors and
outdoor environments, both thematising and gauging space, an exhibition explicitly devoted to the subject of architectural mobility follows on the first floor (Space 01).
Living in motion is about the fascinating forms of the movable utilitarian object, flexible dwelling and the possibilities of mobility as such; and, as a unique overall exhibition, it offers an extensive outline of the most important developments and visions in the fields of architecture and design in the past as well as in the future. Located in the upper
exhibition space, the exhibition, which has been shown in several museums in cities like Berlin, Dublin or Barcelona since early 2003, is going to take up a dialogue with both its visitors and the open and flexible building.
Flexibility, mobility and multifunctionalism have always incited formal and technical innovations. Furniture or buildings complying with these criteria have always been regarded as groundbreaking and modern. So one of the central preoccupations of Modernism, for instance, was to make the domestic environment more flexible via multifunctional furnishing or multipurpose rooms that merged into one another. Gerrit Rietveld's "Haus Schroder" of 1924/25 with its multipurpose rooms and movable walls is one of the most significant examples for this. Though not only Gerrit Rietveld but also almost all great designers have dealt with this subject, from
Frank Lloyd Wright and Mies van der Rohe, Charles and Ray Eames, Jean Prouve, Joe Colombo or Achile Castiglioni up to Rem Koolhas or Shigeru Ban.
Yet the pursuit of flexibility in dwelling has a long history that extends through the ages and spans a wide variety of cultures: early European stair ladders, North African tents or South American hammocks, they all bear ostensive witness to this. The exhibition presents spectacular
objects, like a movable Japanese hearth from the second half of the 19th century, sleeping mats from Malaysia and the Southwest Pacific, an adjustable wall screen from China (ca. 1885) and many more.
Rapidly changing living conditions and technological advances in recent years have only reinforced the relevance of the subject. As boundaries between work and private life become increasingly blurred today and mobile and independent lifestyles gain in importance, we are looking more than ever for dwelling possibilities that are freed from fixed patterns and
predetermined locations. So architects and designers have aimed to adapt our domestic environment to these new parameters. Shigeru Ban's "Naked House" (2000) with its room units that can be wheeled outside, Steven Holl's "Fukuoka Apartments" (1992) whose interior layout can be completely
transformed by means of pivoting and folding partition walls, the rotating living module "Turn on Sushi" by awg AllesWirdGut (2000) or the transportable "NheW"-house of the group OpenOffice /COPENHAGEN OFFICE (2000) are important examples for this.
So the exhibition presents the subject of flexibility and mobility as a fascinating topic of everyday life of the past, the present and the future and thus it bridges the exhibition and the characteristic features of the Kunsthaus itself.
BETWEEN THE CINEMATIC AND THE THEATRICAL
15.05.2004 - 19.09.2004
The interaction of Sol LeWitt's installation Wall and Vera Lutter's large-size photographs and the performative architecture of the Kunsthaus Graz finds its continuation in Videodreams: Between the Cinematic and the Theatrical.
Spread conceptually and stylistically from Oskar Schlemmer's Triadic Ballet and Antonin Artaud's Theatre of Cruelty through the Brechtian epic theater and Verfremdungs-effect to Lars von Trier's Dogville and Robert Lepage's Geometry of Miracles, this exhibition traces the archaeology of a back stage and a location set in a thorough investigation of poetics and politics of artificiality and illusion. Merging dreaming (a field of projection) and staging (a space of self-training), this exhibition aims at analysing the subjectivity under construction, in a process, during the rehearsal, while mastering before the final performance occurs.
It is a study of a mechanism of illusion and imagined realities with a focus on the notions of the theatrical, the performative and the mise-en-scene. How the convention is being negotiated? How the artificiality is played out in a drama of genuine gestures and intentions? How the belief is born and spelled out on the crossway of a direct and mediated behaviour, between the real and virtual environments? Appropriating Mieke Bal's treatment of theatricality as a form, medium, or practice, in which the object of cultural analysis performs a meeting between (aesthetic) art(ifice) and (social) reality, the exhibition reconsiders the mise-en-scene as a collective reception, a mediation between a play and the multiple public. It aims at pointing out the connections between the mise-en-scene and subjectivity as it is revealed in the reality of dreams: after Bal, it asks what dreams can tell us about staging; what staging can tell us about dreams; what dreaming occurs on, or through the stage in the examples of mise-en-scene. Imaginary and oneiric are intertwined with unreal and conventionary, as in the post-studio site-specific Dogville where Freudian uncanny field of critical imagination combines dream space and Brechtian strategies of sabotaging the reality effect.
Theatre and theatricality as well as cinema and cinematicity are regarded as both the subject matter and a particular stylistic. As such the exhibition aims at investigating the condition of a (moving) image in its fluent oscillation between the theatrical stillness, suspended movement of the dia projection and the cinematic flux; through the insight into the production of a spectacle it examins the intensity of attentiveness and the status of contemporary spectatorship. Referring to Jack Smith's Flaming Creatures and Alain Resnais' L'anee derniere a Marienbad, Videodreams: Between the Cinematic and Theatrical focuses on the recent video environments and video multi-screen installations. As such, the exhibition itself becomes in a way a strongly site-specific event in the new building of the Kunsthaus Graz designed by Peter Cook and Colin Fournier. Kunsthaus' unusual biomorphic architecture foregrounds the aspects of the performative space with an advanced theatricality. Searching for new contexts for the viewing conditions of the video-based works and trying to reach new audiences, the exhibition also aims at expanding its performative space through staging video works behind the Kunsthaus' own territory - in such environments like Schauspielhaus, Schubert Cinema and Grazer Mausoleum.
Fabienne Audeoud / John Russell, Barbara Bloom, Janet Cardiff / George Bures Miller, Stan Douglas, Rodney Graham, Teresa Hubbard / Alexander Birchler, Katarzyna Kozyra, Joan Jonas, Mark Lewis, Sharon Lockhart, Aernout Mik, Tony Oursler, Judy Radul, Catherine Sullivan, Artur Zmijewski
Curated by Adam Budak, Peter Pakesch
May 15-June 6, 2004/10:30 a.m.-12:30 p.m. and 1:30-4 :00 p.m.
Artur Zmijewski: Singing Lesson
Grazer Mausoleum, Entrance Burggasse
May 15-July 15, 2004/Daily
Barbara Bloom: The Diamond Lane
Videodreams/Video Presentation in the section of film trailers
Schubert Cinema, Mehlplatz 2, 8010 Graz
Sunday, June 6, 2004/7:00 p.m.
Sharon Lockhart: Teatro Amazonas, Goshogaoka
Schauspielhaus Graz/Hofgasse 11, 8010 Graz
Additional Film and Videoprogram
Jorgen Leth & Lars von Trier
The Five Obstructions, 2003, 87 min.
Dogville Confessions, 2003, 52 min.
David Clermont Beique
Digging For Miracles, 2000, 57 min.
Lives of Performers, 1972, 90 min.
Volcano Saga, 1989, 28 min.
Double Lunar Dogs, 1984, 24 min.
Mike Kelly and Paul McCarthy
Fresh Acconci, 1995, 45 min.
Out O'Actions, 1998, 4 min. 25 sec.
Deafman Glance, 1981, 27 min.
Kunsthaus Graz am
Lendkai 1, A-8020 Graz