Posts tagged with "Superstudio":

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In Florence, an unprecedented gathering at “Radical Utopians”

In 2014, the micro storefront art cooperative Base/Progetti for Art in Florence launched Radical Tools, a series of speaking events held in their single window facing Via San Niccolò on Florence’s “left” bank. Most of Florence’s historic Radicals showed up to participate, and this event proved that, despite past animosities, rivalries, and other unfathomable differences, the Radical generation could possibly come together at last. From there, the exhibit, "Radical Utopians: Beyond Architecture: Florence 1966-1976," evolved, though it originally was to open in 2016 to mark the 50th anniversary of emergence of the Superarchitecture movement. But for the usual complications, the exhibit was delayed a year. Perhaps this was a forgivable slip if one considers that there were two debuts for the Superarchitecture movement, one in Pistoia in 1966, and the other in Modena in 1967, and that even those two dates were precariously fixed. The exhibit, nonetheless, is a Florentine first, as up till now, no one was ever able to bring all these main players into the same space. It is also likely that this won’t happen again. The curators, Pino Brugellis, Gianni Pettena, and Alberto Salvadori, with Elisabetta Trincherini acting as curatorial coordinator, faced a heap of criticism for daring to shake up conventions, separating the group’s sacrosanct works by themes, eroding in the process the hierarchies that had been persevered among them. But there were many, like myself, who feasted on this splendid eye-opening smorgasbord of projects, objects, films and other Radical life accessories. After all, this assembly of Florentine Radicals: Superstudio, Archizoom, 9999, UFO, Zziggurat, Gianni Pettena, and Remo Buti, in their native home of Florence, with works collected from group and individual archives as well as from private collectors, manufacturers like Poltronova, and major museums like the Pompidou Center, represents an impressive curatorial feat. Just to see Archizoom's collection of clothing, “Dressing Design,” on display, created principally by Lucia Bartolini, with her modular dress patterns intended to encourage the user to be her or his own stylist, or her intriguing “hairy” leggings, promoted by Fiorucci for his fashion collection, are in themselves worth the while. Besides a good number of precious pieces by Superstudio and Archizoom, this is also an occasion to become immersed in the works of the other Florentine Radicals: Gianni Pettena’s images from different cities featuring his first political “statements” using his monumental alphabet, along with his underground films and American land art-inspired house series. Then there are the images of UFO ‘s pre-postmodern semiotic-inspired performance extravaganzas, and most prominently their enormous Colgate inflatable suspended in the Strozzi palace’s outdoor courtyard. Also on view is 9999’s compilation of videos taken of the Living Theater inside their Space Electronic discotheque along with their Franciscan-inspired illustrations for a film never realized. Along with Remo Buti’s original airbrushed renderings of his ideal cities, one can view his important collection of imprinted architecture white ceramic dinner plates. And then there is Zziggurat, whose name is legendary, but whose works are rarely displayed. Here are the most architectural drawings of the exhibit, including their 1969 project “la citta lineare per Santa Croce (the linear city for Santa Croce),” a jagged and immense superstructure that rips through the heart of Florence, programmed with cultural and public activities. This project, as Elisabetta Trincherini pointed out in a recent exhibit walkthrough, could clearly have inspired Rem Koolhaas’s 1972 Exodus, or the Voluntary Prisoners of Architecture. As Andrea Branzi once remarked, this was a generazione esagerata, or an exaggerated generation. These no-holds-barred Radicals lived in the same city, frequented the same university, and mounted the same barricades. Their incredibly fertile years of invention and re-invention have made an enormous mark on our common psyches, whether we are ready to acknowledge their contributions or not. But this is a chance to immerse oneself in their world. If you can’t make it to Florence before January 21, there is a catalogue by Quodlibet Habitat, sold in Italian and English editions. This might well be the most up-to-date and comprehensive publication yet, and will certainly serve as a useful Radical primer. "Radical Utopias" is on view at Palazzo Strozzi in Florence until January 21. 
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Pieces by Zaha Hadid, Superstudio, and Adolf Loos go on auction

A design auction, featuring a few rare and standout pieces by the late architect Zaha Hadid, will take place at one of Europe's largest auction houses, Palais Dorotheum in Vienna, on June 20, 2017. The “Design First” auction focuses on radical designs from the 1960s. Besides pieces designed by Hadid, works from architecture firm Superstudio and Austrian architect Adolf Loos are also up for bidding. Hadid’s “Project in Red” sofa, which is a part of her Wave Collection and was presented at Milan’s nightclub Studio 54 in September 1988, is a highlight. Another design by Hadid that will be in the auction includes a pair of “Monsoon” seats, which were custom-made in the 1990s for the Monsoon Restaurant in Sapporo, Japan. The other Zaha pieces include a tea and coffee set, as well as an ash "Ordrupgaard Bench." The items are now on view at the site before the auction tomorrow. Bidders can also bid online on the Palais Dorotheum's website, which ends in a few hours.
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More than 200 Superstudio works go on display at the MAXXI

The latest and most comprehensive exhibition on the work of the Italian design group Superstudio has recently opened at the MAXXI Rome, Zaha Hadid’s concrete neo-brutalist masterpiece. In an impressively fearless maneuver, the Superstudio veterans Adolfo Natalini, Cristiano Toraldo di Francia, and Gian Piero Frassinelli have rammed their signature Continuous Monument straight through the entrails of Hadid’s longest suspended gallery. Revolutionary red and stretching over 100 meters, the broad elongated slab serves to reinforce Hadid’s sinewy and gravity-defying series of splayed ramped spaces, some futilely narrow, others in hairpin twists. Though clearly the MAXXI installations in this canted structure are improving as the curators come up with increasingly clever ways to hang shows in these spaces, Superstudio’s revisited monument functions as the critical datum on which this important retrospective is organized.

MAXXI’s artistic director Hou Hanru offers up one of the museum’s prime spaces for the exhibition, and it pays off with great dividends as Superstudio’s work gets the kind of ample spatial treatment it has long deserved. Moreover, this show, curated by Gabriele Mastrigli, comes with a comprehensive book-catalogue that weighs in at over 660 pages and proves that Mastrigli, who spent more than five years compiling the publication, has mastered every aspect of the group’s oeuvre. While now only available in Italian, an English edition is promised in time to accompany the show’s move to Shanghai early next year.

The MAXXI exhibition offers more than 200 works by Superstudio, with a surprising amount of pieces never before placed on public display. Organized mainly in chronological order, the first objects one encounters at the ground floor entrance to the gallery are full-scale reproductions of the first Superarchitettura installation made for the Jolly2 gallery in Pistoia in 1966, mounted by the Tuscan manufacturer Poltronova. As soon as one alights the top of the main stairs however, the real show begins with the group’s timeline, beginning in the fanciful pop phase, journeying through the design storyboards, the histogram assembly, and the gridded villas, until a few stairs up, one gets to meet with the Continuous Monument in all its splendor and folly. From there, things get gnarly, as visitors can branch off in different directions, depending on which ramps they follow: A few contemporary works pop into view, such as the new digital animation based on the Continuous Monument storyboard by Lucio Lapietra. Present among these new works are also the Trieste-based architect and photographer Stefano Graziani’s collection of unmediated photographs made while working in the Superstudio archive, and the mesmerizing “living Photoshop” compositions by Nadia Hironaka and Matthew Suib. 

Then there are the late pieces made for the 1978 Venice Biennale curated by Lara Vinca Masini in the Magazzini del Sale: The Wife of Lot, a table-stand supporting the primary archetypes of architecture made in baked salt, and the Life of Zeno, a documentation on the farmer who contributed to the important extra-urban material cultural studies conducted at the school of architecture in Florence through the 70s. There are some notable absences however. Like any superstar rock group worth remembering, there are misgivings among Superstudio’s members. Alessandro Poli is conspicuously absent, along with him some prime works from the group’s first collective film effort, Interplanetary Architecture. Contributions of two other members, the brothers Roberto and Alessandro Magris, remain evident throughout the show.

Stephen Wallis’s recent T Magazine preview, “The Super Superstudio,” carries the subtitle “A ’60s Architecture Collective That Made History (but No Buildings).” The myth that Superstudio never completed a single building is a convenient notion that serves to disempower the group’s revolutionary impact on mainstream architecture. If indeed they had built nothing, theirs would be a non-threatening movement of the coffee table variety. But that’s far from the truth. Superstudio was a fully functioning architecture office, with clients seeking designs for discotheques, bank interiors, homes, industrial designs, and a consistent production of competitions, exhibition installations, etc. Furthermore, it was precisely this very real and frustrating daily architectural practice that provoked these Florentines to push even further their anti-design philosophy.

When compared to the Milanese retrospective organized at the PAC in 2015, MAXXI’s Superstudio 50 is a much more introspective story. There are none of those previous controversies present here at MAXXI. This exhibition is unabashedly all about Superstudio, and there are no diversions whatsoever to undermine this essential premise. But therein lies the exhibition’s greatest weakness. If the PAC juxtaposed the works of Superstudio with a set of questionably unrelated contemporary artists, the Rome exhibit acts inevitably to “ghettoize” the primacy of the content: Is Superstudio really a standalone act of architecture? Or is it in fact something much more than that, something that has embedded a majority of the great conceptual themes of an era? Isn’t the work of Superstudio so incredibly significant today precisely because it reaches across professional disciplines and political boundaries, connecting the arts with architecture, humanities with science fiction, performance with deadpan spectacle? While the book begins to fill this gap by bringing together an encyclopedia of Superstudio related sources, the exhibition is hung dry. If architecture is to regain its role as social instigator ever again, and not just behave like a capitalist lackey, then a whole lot more must be brought to bear in the toolkit that serves architects today. That’s why Superstudio’s work deserves to be in more space, but also to be in more categorical places. Each document by Superstudio can be read as a call to action, inaction, violence, or desperation. These messages are not limited to architects—they are relevant to everyone.

Superstudio 50 (Five Decades Later) is on view at the MAXXI - National Museum of the 21st Century Arts, Via Guido Reni 4A, 00196 Rome, through September 4, 2016.

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On View> Three L.A. shows present a flood of architectural experimentation

Forget El Niño, this SoCal winter presents a deluge of architectural representation. Three weeks with three openings bring drawings, models, mock-ups, and experimental visualizations to Los Angeles. Things kick off on January 16 with the exhibition Errors, Estrangement, Messes and Fictions, featuring the work of two collaborative pairs: Laurel Broughton/Andrew Kovacs and Anna Neimark/Andrew Atwood of First Office (AN's 2015 Best Young Architects winner). Installed at the Space@All Gallery in the Bradbury Building and curated by architect Hadrian Predock, director of undergraduate programs at the USC School of Architecture the exhibition is supported by USC, where Broughton is a faculty member. Models from the four emerging architects will fill the show, which Predock describes as an “early career retrospective,” an apt description of a quartet who is just as comfortable cribbing from the past as toying with our pop present. A week later is the opening on January 22of Drawings Lie: Recent Works by Bryan Cantley at Christopher W. Mount Gallery in the Pacific Design Center. Cantley is an architect and a master illustrator, and his experimental, almost sci-fi drawings fall in line with the visionary work of Superstudio, Lebbeus Woods, and Neil Denari. “[These projects] attempt to question the role of representation in architecture, the potential of the non-building as a form of critical discourse in the profession,” said Cantley. The month closes out with Building Portraits, featuring the work of architect Elena Manferdini. The show opens on January 30 at Industry Gallery in Downtown L.A. The exhibition continues the investigations Manferdini began for the Art Institute Chicago last year—a series of elevation studies and models that riffed on Mies’ Lakeshore Drive Apartments. For this exhibition she’s created a new set of abstract, chromatic drawings and a metal mock up.
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La Moglie di Lot in Venice Remembers Superstudio’s Radical Ideas

05-venice4 The Florentine architecture group Superstudio enjoyed the penultimate moment on the world architecture stage at the 1972 MoMA exhibition, The New Domestic Landscape. However, by the end of that decade with worldwide radical politics on the wane and postmodernism on the rise, the Florentines found their radicale arguments and practice marginalized and they began to move away from architecture towards other sorts of design initiatives. But before the group left the international stage, they created one last potent architectural statement: La Moglie di Lot and displayed it at the 1978 Venice Biennale of Art. 03-venice4 The piece consisted of an iron frame with a table on which were placed four basic architectural forms constructed of salt, like a round Coliseum (see below). The frame has a taller high-rise like armature that help up plastic tubes that dripped water down on the forms. Each mass slowly disappeared or eroded into nothingness like Superstudio's careers and hopes for radical change in culture and the architecture profession. The frame from Moglie disappeared after 1978 but now a gallerist from Genoa has reconstructed a new frame (in fact, he built three of them for sale), and it is on display the 2014 Venice Biennale in the Moditalia Arsenale. 04-venice4 02-venice4 01-venice4
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Alessandro Magris, 1941-2010

Peter Lang called this morning with the sad news that Superstudio member Alessandro Magris has died in Florence, Italy. Born in 1941, Magris joined the group in 1970 after graduating from the University of Florence, and was responsible for the general organization of the Superstudio office. He continued a practice long after the demise of Superstudio, specializing in the restoration of historical monuments and residential and commercial renovations. He is the brother of Roberto Magris, also a member of Superstudio, who died in 2003.