Tag: built space

Picture/Readings by Barbara Kruger

The occasional intrusion of a palm or other tropical vegetation provides the only sense of place. Equally detached in its casual typewritten appearance and tone is the accompanying text: Kruger has written a narrative which recounts the incidental urgencies and activities of the buildings‚ and imagined inhabitants.

Kruger, Barbara. Picture/Readings. [s.l.: s.n.], 1978.

engulfedcathedral:

absalon, ‘solutions’  1992; video (7:30 min), color, sound

“In the course of six years Absalon created a series of one person living units based on everyday routine actions and designed entirely in relation to his measures. The inside of the cell is all covered in white in order to reduce distractions or elements that can disturb the eye. In his video Solutions (1992) Absalon demonstrate the study of measurements and calculation of movements like eating, sleeping, taking shower which later will define the form of his cells. In 1993 Absalon started to construct six cells which were supposed to be installed in six metropolitan centers[6] as Absalon described in interview: “I would like to create my own setting and belong to nothing else. My living unit will be comprised of the six habitation units which I construct, and my homeland will be in-between them.” [7]“

—Wikipedia 

Source: arndtberlin.com

Doris Salcedo,

La Casa Viuda VI (detail), 1995

Wooden doors, steel chair, and bone
Three parts: 74⅞ x 39 x 18½ in. (190.2 x 99.1 x 47 cm); 62⅞ x 47 x 22 in. (159.7 x 119.3 x 55.8 cm); and 62½ x 38 x 18½ in. (158.7 x 96.5 x 46.9 cm)
Collection of the Israel Museum, Jerusalem, gift of Shawn and Peter Leibowitz, New York, to American Friends of the Israel Museum
Photo: D. James Dee

“Salcedo’s interviews with displaced rural Colombian women forced out of their homes in search of safety resulted in the series La Casa Viuda. Doors without buildings, unmoored from their foundations, evoke the loss of home and lack of shelter that these families were forced to endure.The title of the series, roughly translated as “the widowed house,” furthers this sense of loss and disruption to the domestic sphere. Embedded within or joining the pieces of furniture, one finds other material remnants that evoke the human presence: a child’s toy chair, human bone, and articles of clothing. Using a strategy employed throughout her work, Salcedo creates uncanny experiences out of the seemingly familiar. As such, the house is transformed into a space of mourning.”—Chicago Museum of Contemporary Art