Joachim Koester
Variation of Incomplete Open Cubes
2011
“Variation of Incomplete Cubes shows a close-up of two hands attempting to form the shape of cubes. The film pays homage to the American minimalist artist Sol LeWitt, whose 1974 work Incomplete Open Cubes explores the permutations of a cube through a variety of sculptures, photographs and drawings.”
[x]
Variation of Incomplete Open Cubes
2011
“Variation of Incomplete Cubes shows a close-up of two hands attempting to form the shape of cubes. The film pays homage to the American minimalist artist Sol LeWitt, whose 1974 work Incomplete Open Cubes explores the permutations of a cube through a variety of sculptures, photographs and drawings.”
[x]
Vimeo
Joachim Koester "Variation of Incomplete Open Cubes" (2011)
16mm film installation, black and white, mute, 8'40''. Variation of Incomplete Cubes shows a close-up of two hands attempting to form the shape of…
Ettore Sottsass Jr.
Metafore
1972-1979
“Sottsass was questioning the act of building as well as the underpinnings of industrial culture. He then abandoned this artistic production to focus on writing and design. His “constructions” are a sort of “study of the language of architecture” (Barbara Radice), on the link between oneself and the physical environment. These temporary structures are composed of humble and fragile elements, bits of string, wood, ribbons, leaves, rocks, bits of clothing, etc., referring to the precariousness of things.
Sottsass wrote: “I felt a deep necessity to visit deserted places, mountains, to establish a new physical relationship with the cosmos, which is the only environment there is, precisely because it cannot be measured, anticipated, controlled or known...”
[x]
Metafore
1972-1979
“Sottsass was questioning the act of building as well as the underpinnings of industrial culture. He then abandoned this artistic production to focus on writing and design. His “constructions” are a sort of “study of the language of architecture” (Barbara Radice), on the link between oneself and the physical environment. These temporary structures are composed of humble and fragile elements, bits of string, wood, ribbons, leaves, rocks, bits of clothing, etc., referring to the precariousness of things.
Sottsass wrote: “I felt a deep necessity to visit deserted places, mountains, to establish a new physical relationship with the cosmos, which is the only environment there is, precisely because it cannot be measured, anticipated, controlled or known...”
[x]
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