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“Gunnar Smoliansky’s (b. 1933, Swedish) studies of trees are social journalism in photographic form, although not from the human world in spite of their occasional traces of humanity. No, people appear to have left the scene. Smoliansky’s depictions of trees are a forestry ranger’s nightmare and at the same time far too vulnerable to please the zealous conservationist.(...)
Trad
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“Gunnar Smoliansky’s (b. 1933, Swedish) studies of trees are social journalism in photographic form, although not from the human world in spite of their occasional traces of humanity. No, people appear to have left the scene. Smoliansky’s depictions of trees are a forestry ranger’s nightmare and at the same time far too vulnerable to please the zealous conservationist. These photographs are about a type of vegetation that may once have been both magnificent and dignified – what remains of growth is both frustrated and defiant.
Monographies photo
Antarktis
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In 2001, through a grant from the Swedish Polar Research Secretariat, Gerry Johansson (b. 1945, Swedish) traveled to the inaccessible and distinct landscape of Antarctica on a research trip for two months. With him on the journey he had a large-format camera and his fearless curiosity. The series of photos eventuate in an unusual reality relevant perspective, and capture(...)
Antarktis
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In 2001, through a grant from the Swedish Polar Research Secretariat, Gerry Johansson (b. 1945, Swedish) traveled to the inaccessible and distinct landscape of Antarctica on a research trip for two months. With him on the journey he had a large-format camera and his fearless curiosity. The series of photos eventuate in an unusual reality relevant perspective, and capture the astonishing non-distance relationship between physicality and nature. The series was exhibited at the Museum of Modern Art in 2003 in Stockholm, Sweden.
Monographies photo
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Hubs and Fictions, originally a touring forum, invited international curators, writers, and producers to probe how fiction plays out in a globally distributed art-world ecology, and how infrastructures are invented against its background. In 2012, the forum was staged sequentially at Cooper Gallery (Dundee), Baltic Centre for Contemporary Art (Gateshead), Goldsmiths(...)
Hubs and fictions: on current art and imported remoteness
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Hubs and Fictions, originally a touring forum, invited international curators, writers, and producers to probe how fiction plays out in a globally distributed art-world ecology, and how infrastructures are invented against its background. In 2012, the forum was staged sequentially at Cooper Gallery (Dundee), Baltic Centre for Contemporary Art (Gateshead), Goldsmiths University of London, and operated as a satellite event to Edgar Schmitz’s exhibition “Surplus Cameo Decor,” curated by Sophia Yadong Hao at Cooper Gallery. The book functions as a deliberately discontinuous reader; it juxtaposes documents, negotiations, and reflections from and on these conversations. The publication also includes a preface by Andrea Phillips, a new image sequence by Schmitz, and a suite of reflexive annotations exchanged between Hao and Schmitz.
Muséologie
Lost in the barrens
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Awasin, a Cree Indian boy, and Jamie, a Canadian orphan living with his uncle, the trapper Angus Macnair, are enchanted by the magic of the great Arctic wastes. When the boys have a chance to join a band of Chipeweyans on a trip to the remote Barrens, they jump at the opportunity. But when their canoe capsizes and they are separated from the group, it takes all their(...)
Lost in the barrens
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Awasin, a Cree Indian boy, and Jamie, a Canadian orphan living with his uncle, the trapper Angus Macnair, are enchanted by the magic of the great Arctic wastes. When the boys have a chance to join a band of Chipeweyans on a trip to the remote Barrens, they jump at the opportunity. But when their canoe capsizes and they are separated from the group, it takes all their ingenuity to survive winter in the Barrens. Drawing on his knowledge of the ways of the wilderness and the implacable northern elements, Farley Mowat has created a memorable tale of daring and adventure.
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Architecture Without Content is architecture reduced to its very perimeter. The books in the series are the outcome of studios held at EPFL. In Architecture Without Content 14, the second incarnation of Roman Architecture presents itself as a double folded exercise: partly portraying the systematic work by Palladio in the Venetian inland during the second half of the(...)
Roman Architecture: Architecture without content 14
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Architecture Without Content is architecture reduced to its very perimeter. The books in the series are the outcome of studios held at EPFL. In Architecture Without Content 14, the second incarnation of Roman Architecture presents itself as a double folded exercise: partly portraying the systematic work by Palladio in the Venetian inland during the second half of the sixteenth century, partyly reusing the accumulated knowledge in order to deal with urgent challenges in contemporary Flanders. The oeuvre by Palladio represents on of the most prototypical incarnations, almost literal indeed, of a possible Roman project. His prolific work for the venetian inlandrepresents a tremendous effort to systematise the complexity of an entire territory, from the city proper (i.e. Vicenza), to the countryside proper 9the sprawl still to come).
Expositions en cours
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Architecture Without Content is architecture reduced to its very perimeter. The books in the series are the outcome of studios offered at EPFL. Architecture Without Content 15 emerged from the Roman Architecture studio trip to the Veneto- we were looking for an architecture that we felt we could only discover in the tangible reality as found, opposed to the monumental(...)
Neon Palladio: Architecture without content 15. Stefano Graziani
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Architecture Without Content is architecture reduced to its very perimeter. The books in the series are the outcome of studios offered at EPFL. Architecture Without Content 15 emerged from the Roman Architecture studio trip to the Veneto- we were looking for an architecture that we felt we could only discover in the tangible reality as found, opposed to the monumental photographs we know all too well. Stefano Graziano, our compagnon de route, was looking for something similar, as if he was pursuing a parallel project of re-appropriation, making a new set of photographs depicting another Palladio. Neon Palladio is a collection of overviews and details, fragments and relations. It is equally Palladio and Scamozzi and Sansovino.
Architecture contemporaine
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Architecture Without Content is architecture reduced to its very perimeter. The books in the series are the outcome of studios offered at EPFL. In Architecture Without Content 17, we examine Metropolitan Architecture as the embodiment of the metropolis, an urban environment which has the ambition of becoming a world in itself, absorbing and swallowing different ecologies.(...)
Metropolitan Architecture. Paris -Tokyo: totems of individual living. Architecture without content 18
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Architecture Without Content is architecture reduced to its very perimeter. The books in the series are the outcome of studios offered at EPFL. In Architecture Without Content 17, we examine Metropolitan Architecture as the embodiment of the metropolis, an urban environment which has the ambition of becoming a world in itself, absorbing and swallowing different ecologies. Metropolitan Architecture embraces this condition and tends to reproduce the overwhelming diversity of the metropolis in itself. It develops its own way of engaging with formal consequences, in an attempt to organise the abundance of information into a crystallized architectural form. Deeply embedded in the european context, the metropolis of Paris coulf never be fully realised. projects shown here are perhaps expressing this position. They are bold depictions of the envelope, consciously lacking the interior and the detailed luster.
Architecture contemporaine
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Architecture Without Content is architecture reduced to its very perimeter. The books in the series are the outcome of studios offered at EPFL. For the second incarnation of Metropolitan Architecture, Architecture Without Content 18, we went to Japan. There we found an array of buildings whose small size seemed capable of negotiating the scale between the interior and(...)
Metropolitan architecture: Specific interiors. Architecture without content 18
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Architecture Without Content is architecture reduced to its very perimeter. The books in the series are the outcome of studios offered at EPFL. For the second incarnation of Metropolitan Architecture, Architecture Without Content 18, we went to Japan. There we found an array of buildings whose small size seemed capable of negotiating the scale between the interior and the metropolis. The small houses depicted here mediate between an individual city dweller and the shared infrastructure.
Expositions en cours
Corbu comme le corbusier
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Le tout premier livre des Editions La Joie de lire réédité pour les 30 ans avec une nouvelle couverture. Il y a plus d’un siècle naissait Le Corbusier. Il était un architecte différent. On prétend que sans lui, les maisons et les villes ne seraient pas les mêmes. Cet album invite petits et grands à regarder cela de plus près… Une approche de l’architecture du grand(...)
mai 2017
Corbu comme le corbusier
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Le tout premier livre des Editions La Joie de lire réédité pour les 30 ans avec une nouvelle couverture. Il y a plus d’un siècle naissait Le Corbusier. Il était un architecte différent. On prétend que sans lui, les maisons et les villes ne seraient pas les mêmes. Cet album invite petits et grands à regarder cela de plus près… Une approche de l’architecture du grand maître, né il y a 130 ans, qui explique les caractéristiques de ses trouvailles essentiellement par l’image.
Histoire du Mile End
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Le Mile End constitue un espace unique à Montréal; c’est entre autres le quartier branché des bagels, de la scène alternative et des anciennes manufactures de vêtements converties en ateliers d’artistes. Pourtant, pendant plus d’un siècle, le Mile End était surtout un lieu de passage no man’s land coincé entre l’est canadien-français et l’ouest anglo-protestant, traversé(...)
Histoire du Mile End
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Le Mile End constitue un espace unique à Montréal; c’est entre autres le quartier branché des bagels, de la scène alternative et des anciennes manufactures de vêtements converties en ateliers d’artistes. Pourtant, pendant plus d’un siècle, le Mile End était surtout un lieu de passage no man’s land coincé entre l’est canadien-français et l’ouest anglo-protestant, traversé par la « Main » et l’avenue du Parc. Anciennement associé à la pauvreté, c’était aussi un espace de métissage social et culturel où l’empreinte de plusieurs générations d’immigrants est toujours visible. Plonger dans l’histoire du quartier permet de découvrir la clef de sa diversité et de son dynamisme. De l’époque des artisans canadiens-français travaillant dans ses carrières à celle des créateurs contemporains, en passant par le quartier juif de Mordecai Richler ou celui des Irlandais de l’église St. Michael, l’identité du Mile End ne cesse de se renouveler.
Architecture de Montréal