Tunnel box miniature theatre of garden scene with dancers
"Title devised by cataloger. The set includes six hand-colored etched prints on light gray laid paper, with sections carefully cut out to create a perspective view when the prints are arranged in a viewing box. The prints are numbered 373, 374, 375, 376, 377, and 378. The set number (56) appears on print no. 378; the prints are otherwise without text.
Attributed to the engraver and print-seller Martin Engelbrecht of Augsburg, Germany. Artists Jeremias Wachsmuth or David Nessenthaler may have collaborated on the illustrations."
(Smithsonian Institution)
Fig. 1 Martin Engelbrecht [Garden scene with dancers, to be used as the set for a miniature theatre]
CONTRIBUTOR
Simon PerkinsSHARE
The hospital, contains the complete arsenal of modern healing, but is devoted to a radical deescalation of the medical process
"The hospital is a sequence of pavilions, each devoted to a particular disease. They are connected by a medical boulevard -a slow-moving belt that displays the sick in a continuous procession, with a group of dancing nurses in transparent uniforms, medical equipment disguised as totem poles, and rich perfumes that suppress the familiar stench of healing, in an almost festive atmosphere of operatic melodies.
Doctors select their patients from this belt, invite them to their individual pavilions, test their vitality, and almost playfully administer their (medical) knowledge. If they fail, the patient is returned to the conveyer; perhaps another doctor tries the patient, but it soon becomes apparent that the belt leads beyond the pavilions, through the cruciform building, and straight into the cemetery."
(Koolhaas, R., M. Vreisendorp, et al.)
Fig.1 - 9 Rem Koolhaas, Madelon Vreisendorp, Elia Zenghelis, and Zoe Zenghelis (1972). 'Exodus, or the voluntary prisoners of architecture'
CONTRIBUTOR
Simon PerkinsSHARE
Verner Panton: synthetic fantasy landscapes
"From the end of the Sixties to the mid-Seventies the chemical company Bayer rented a pleasure boat during every Cologne furniture fair and had it transformed into a temporary showroom by a well-known contemporary designer. The main aim was to promote various synthetics products in connection with home furnishings. Verner Panton was commissioned no less than twice to design this exhibition, entitled 'Visiona'. The 1970 'Visona 2' exhibition showed the Fantasy Landscape which was created in this environment. The resulting room installation consisting of vibrant colours and organic forms is one of the principal highlights of Panton's work. In terms of design history this installation is regarded as one of the major spatial designs of the second half of the twentieth century.
The creative fireworks which Panton lit with his studio within a preparation time of only a few months for 'Visiona 2' is expressed not only in the highly diversified room designs in the exhibition ship, but also in the wide range of furniture, lighting, wall coverings and textiles developed specially for this presentation. Some of these were adapted and went into series production later."
(Verner Panton)
Visiona 2, Verner Panton, Panton Design, Showroom, Ausstellung, Cologne furniture fair; Visiona 2, Biographie, Verner Panton, imm cologne, Kölner Möbelmesse; Vitra-157; VP-13-H906, Panton Design, Basel
CONTRIBUTOR
Simon PerkinsSHARE
Moholy-Nagy: Frames Within Space-frames
"A primary characteristic of the 'language' of montage is its tendency towards multiple and layered meanings. One example of this multiplicity is the combination of incongruous visual and verbal elements within the space of a single picture. ...these individual elements are combined in compositions, which are more like energy fields than traditional perspectival space (with its attendant sense of rational time). The syntax of montage is non-linear; any single element tends towards a multiplicity of possible connections with other elements. Meanings are contextual and relative, and the literalness of photography gives way to metaphor, metonymy and allegory. These effects are created not only by the cutting and fragmentation of elements but also by the space between the elements which, like gaps that must be jumped, activate and energise the image. It would not be incorrect to see these 'fields' as a kind of shattered mirror reflection of the energy, confusion and contradictions of life as the Dadaists saw it. Many of their works, however, emphasise the desire, perhaps the necessity, to see below this surface reflection to the underlying structure of society or the psyche. Iconographically, the most consistent reminder of that desire is the repeated use of anatomical photographs and diagrams in the work of Hausmann and Ernst. In addition to their visual impact as figures, these elements tend to constantly remind the viewer to be conscious of what is below the surface, even if that underlying layer is not visible. Thus, during this period the foundations were laid for the Surrealists' examination of the unconscious and for John Heartfield's satirical analysis of the ideology of Nazi Germany in the early 30's. Apart from and following Dada's end as an organised movement, important photomontages were also produced by Constructivist artists such as Lazio Moholy-Nagy and Alexander Rodchenko."
(John Pickel, 1988)
Fig.1
Title on Object: Eifersucht
Published Title: Jealousy
1927
collage with photographic/photo-mechanical and drawn elements
63.8 x 56.1 cm.
Museum Purchase; ex-collection Sybil Moholy-Nagy
GEH NEG: 4339
81:2163:0011
Old GEH Number: 4685-11
CONTRIBUTOR
The Constellations ProjectSHARE
Francis Bacon: Fractured Time
"The two figures, with the look of businessmen in the waiting room of a station, occupy a closed, domestic space. The surprising verisimilitude of the chairs derives from Bacon's early experience as an interior designer."
(www.all-art.org)
Fig.1 Two Seated Figures, 1979
[Many of Francis Bacon's paintings seek to represent time through temporal juxtaposition.]
CONTRIBUTOR
The Constellations ProjectSHARE
