Taking this cross-pollinatory shift between art and architecture as its cue, Vienna's Thyssen Bornemisza Contemporary Art will this week open its latest show, Transitory Objects, displaying work from key international architects and artists caught in the ever-shrinking gap between their two disciplines.
Among them, Olafur Eliasson and David Adjaye's collaborative project from 2005, Your Black Horizon, will be on show, featuring a custom-designed pavilion by Adjaye filled with Eliasson's horizontal, alternating light show.
Also up will be Matthew Ritchie's 'Anti-pavilion', The Morning Line - a black, beetle like structure designed to represent a ruin of the future - and Hernan Diaz Alonso 's Pitch Black - exoskeletal robotic structures lurching out of the floor like light-up spiders. Transitory Objects aims to expose a new type of architectural practice, an energetic architecture rooted in flexibility, immediacy and ecological efficiency.
A key figure in the Thyssen show is Neri Oxman. Oxman's award winning Materialecology project may sound complex but her ultimate aim is to use advanced photo sculpting techniques in order to better understand the relationship between architectural objects and their environments - and if that fails to get you going, the milky, boiled-sweet-esque objects Oxman produces are also utterly mesmerising.
Alisa Andrasek is director of Biothing - a labratory that produces artificial computation techniques for design. These flower-like models, Mesonic Emission from 2007, were produced using laser techniques.
Sound artist Florian Hecker's Asynchronous Jitter. Selective Hearing from 2006 is a model to create polyphonic sounds in space. The structure re-reflects the waveparticles of things surrounding it.
László Moholy-Nagy's Neon signs was taking in Chicago in 1939 - one of the first and most jarringly contemporary examples of light-trailing in photography
Hernan Diaz Alonso's Pitch Black from 2007 arc like giant futuristic spiders across the space, featuring a 60 second animation the piece plays on notions of horror in art
R&Sie(n), François Roche and Stéphanie Lavaux have produced thegardenofearthlydelights, a living glass structure dripping inside with mould. 2008
Made from low density, recyclable polymer, Greg Lynn's FORM Blobwall from 2007 is a lightweight, highly aesthetic reworking of the building brick.
David Maljković's Retired Compositions is a collage quite literally fusing art and architecture - just in a more traditional way, 2008
Another of David Maljković's architecturally inspired collages, Retired Compositions from 2008
A scale model of Matthew Ritchie with Aranda\Lasch and Arup AGU's The Morning Line from 2007, an anti-pavilion designed to emulate a ruin from the future.
Francesca Woodman's Then at one point i did not need to translate the notes; they went directly to my hands, from 1976. Woodman's notion of the body as an architectural object
Working in sculpture, film, paint and architecture Bojan Šarčević's 'The breath-taker is the breath-giver' features a series of four films projected into glass pavilions
An architectural prototype from Nikolaus Hirsch & Michel Müller in Collaboration with the Cybermohalla Ensemble. Cybermohalla Hub, 2008
Fred Sandback's illusionistic -Untitled, 1968
Another scene from Bojan Šarčević's 'The breath-taker is the breath-giver'.
PArt of Neri Oxman's Materialecological project, Raycounting from 2008 is an architectural model produced using multi angled photo sculpting
Olaf Nicolai's mixed media light sculpture - Samani. Some Proposals to Answer Important Questions, 2008
Rodney Graham, Oxfordshire Oak, Banford, Fall , 2002
Monica Bonvicini's interactive chain swing hanging over a gloss black floor - Untitled (Chain swing), 2006
Matthew Ritchie with Aranda\Lasch and Arup AGU. Assembly of 27 generation 3, 39 generation 4, and 56 generation 5 modules (from The Evening Line), 2008
INFORMATION
Event dates
3 July 2009 to 31 October 2009
Website
http://www.tba21.org/
Telephone
43.1 5139 8560
Address
Himmelpfortgasse 131010 ViennaAustria
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