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Stockholm, Sweden

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Maria W Horn : Fides Minus

The compositions of Maria W Horn (1989) implement synthetic sound, electroacoustic and acoustic instruments and audiovisual components, often devicing generative and algorithmic processes to control timbre, tuning and texture. She employs a varied instrumentation ranging from analog synthesizers to choir, string instruments, pipe organ and various chamber music formats. Acoustic instruments are often paired with digital synthesis techniques, in order to extend the instruments timbral capacities. Often based on minimalist structures, her music explores the inherent spectral properties of sound and their ability to transcend time and space, reality and dream.

Marias installation work explores the inherent memory and mythologies of specific places or geographic areas and the people that have inhabited them. In her careful work with perceptualities, sound is often connected with structures of light aiming to build acoustic environments where senses interlace.

Whale Valley

"Wadi Al-Hitan is a unique and fascinating place, a living record of the evolution of life on our planet." - Ahmed Zewail, Nobel Prize-winning Egyptian-American chemist

Wadi Al-Hitan (Whale Valley)
Egypt
© UNESCO
https://whc.unesco.org

Wadi Al-Hitan, also known as Whale Valley, is a remarkable site located in the Western Desert of Egypt. It is a UNESCO World Heritage Site and one of the country's most fascinating natural wonders, offering visitors a glimpse into the earth's distant past and the evolution of life on our planet.

Wadi Al-Hitan (Whale Valley)
Egypt
©Editions Gelbart
https://whc.unesco.org

The valley is home to an exceptional collection of fossil remains of whales and other marine creatures that lived around 40 to 50 million years ago, during the Eocene epoch. The fossils found in this valley are considered to be the most significant and complete record of the early stages of whale evolution, which led to the emergence of these majestic creatures as we know them today.

Wadi Al-Hitan (Whale Valley)
Egypt
© UNESCO
https://whc.unesco.org

The site covers an area of around 20 square kilometers and consists of a series of rocky outcrops and cliffs that have been eroded by wind and water over millions of years. The fossils are embedded in the sedimentary rocks and can be seen clearly on the surface, making it easy for visitors to appreciate the scale and diversity of the marine life that once inhabited this area.

Wadi Al-Hitan (Whale Valley)
Egypt
© Editions Gelbart
https://whc.unesco.org

One of the most impressive features of Wadi Al-Hitan is the presence of several complete and partially articulated skeletons of ancient whales, including the famous Basilosaurus, a 15-meter long predatory whale with a serpentine body and sharp teeth. Other species of whales that can be found in the valley include Dorudon, a smaller and more primitive ancestor of the modern-day dolphin, and Zygorhiza, a whale with a shorter snout and fluked tail.

Wadi Al-Hitan (Whale Valley)
Egypt
© Editions Gelbart
https://whc.unesco.org

In addition to the natural wonders of Wadi Al-Hitan, the site is also of great cultural and historical significance. The area has been inhabited by various civilizations throughout history, including the pharaonic, Roman, and Islamic periods, and there are several ancient ruins and artifacts that can be seen in the vicinity of the valley.

Wadi Al-Hitan (Whale Valley)
Egypt
© Ko Hon Chiu Vincent
https://whc.unesco.org

Overall, Wadi Al-Hitan is a must-see destination for anyone interested in natural history and the evolution of life on our planet. Its unique and breathtaking landscape, combined with its rich collection of fossils and other scientific treasures, make it an unforgettable experience that will leave visitors with a newfound appreciation for the wonders of the natural world.

"The fossils at Wadi Al-Hitan provide a unique insight into the early stages of whale evolution, shedding light on the adaptations that allowed these creatures to thrive in the oceans." - National Geographic.

Coop Himmelb(l)au

Coop Himmelblau's exhibition
Architektur ist Jetzt / Architecture is Now
Kunstverein Stuggart, Germany, 1982
© Coop Himmelb(l)au

Coop Himmelb(l)au is an architectural firm founded in Vienna in 1968 by Wolf D. Prix, Helmut Swiczinsky, and Michael Holzer. The name of the firm translates to "Cooperative Sky Blue," with "Himmelblau" referencing a color that symbolizes the sky and the infinite possibilities of design. From the beginning, the group's approach to architecture was unconventional, influenced by the avant-garde movements of the time, such as Pop Art, Minimalism, and Deconstructivism.

Villa Rosa
Pneumatic Living Unit — Prototype, 1968
© Coop Himmelb(l)au

The thinking behind Coop Himmelb(l)au's projects is centered around the idea of challenging conventions and breaking boundaries. They reject the traditional notion of architecture as a static and unchanging entity, instead seeing it as a dynamic, evolving, and interactive form. Their work aims to disrupt preconceived notions of space and to create experiences that are both immersive and thought-provoking.

Opera House Sketch
Malibu, California, 1983
© Coop Himmelb(l)au

The group's use of technology is a key aspect of their design philosophy. They employ advanced digital tools, including computer-aided design and parametric modeling, to achieve the intricate geometries and complex forms that are characteristic of their work. This use of technology allows them to explore new possibilities in design, and to create structures that were previously impossible to conceive.

Cloud three dimensional grid
© Coop Himmelb(l)au

One of the group's early projects, the exhibition installation Architecture Is Now, showcased their approach to architecture. The installation, which was created in 1982 for the Württembergischer Kunstverein in Stuttgart, Germany, featured a series of large-scale models of buildings that challenged traditional notions of form and function. The installation was designed to be interactive, with visitors encouraged to explore the models and engage with the ideas behind them.

Verlag Gerd Hatje, Stuttgart 1983
First published in the USA by Rizzoli International, New York 1983
First published in Great Britain by Thames & Hudson Ltd., London 1984
Foreword: Frank Werner
Texts: Coop Himmelblau
ISBN 0 – 8478-0515 – 8
German/ English

Coop Himmelblau's exhibition
Architektur ist Jetzt / Architecture is Now
Kunstverein Stuggart, Germany, 1982
© Coop Himmelb(l)au

“ Our architecture is not domesticated. It moves around in urban areas like a panther in a jungle. When it is in a museum, it is like a beast of prey in a cage.” – Coop Himmelb(l)au, 1982

Architecture Is Now, 1982
Exhibition Installation, Württembergischer Kunstverein
Stuttgart, Germany

Another significant project by Coop Himmelb(l)au is the Falkestrasse Roof, which was completed in 1988. The project involved the renovation and extension of an existing building in Vienna, with a new roof structure added to create a unique and dynamic form. The roof, which appears to float above the building, is made up of a series of curved and angled steel elements that create a complex and intricate geometry.

Rooftop Remodeling Falkestrasse
Wien, Austria, 1987-88
Rooftop Remodeling Falkestrasse
Design development
© Coop Himmelb(l)au

“ The rooftop remodeling project in this exhibition... is clearly a form that has been distorted by some alien organism, a writhing, disruptive animal breaking through the corner. Some twisted counter-relief infects the orthogonal box. It is a skeletal monster which breaks up the elements of the form as it struggles out. ” - Mark Wigley, 1988

Rooftop Remodeling Falkestrasse
Wien, Austria, 1987-88

The Open House project, completed in 1998, exemplifies Coop Himmelb(l)au's philosophy of challenging conventional notions of space. The project involved the transformation of an existing warehouse in Vienna into a mixed-use development, featuring apartments, offices, and commercial spaces. The building's facade is covered in a mesh of aluminum panels, which can be adjusted to control the amount of light and privacy in each unit. The interior spaces are designed to be flexible and adaptable, with movable walls and sliding partitions allowing residents to customize their living spaces.

Opera House
Malibu, California, 1983
Design Development
© Coop Himmelb(l)au

“ Created from an explosively drawn design. Drawn with eyes closed. Undistracted concentration, the hand as the seismograph of the feelings, the hand that will awaken the constructed space.” - Coop Himmelb(l)au, 1983.

Opera House
Malibu, California, 1983

Overall, Coop Himmelb(l)au's philosophy is characterized by a rejection of traditional architectural conventions in favor of bold, dynamic designs that interact with their environment and challenge the status quo. Their early works, such as the "Architecture Is Now" exhibition installation and the Falkestrasse Roof, exemplify this philosophy and have made Coop Himmelb(l)au one of the most innovative and influential architecture firms of the 20th century.

Edith Dekyndt: Ombre indigène

Edith Dekyndt is a Belgian artist whose work combines scientific inquiry with poetic sensibility. Her artistic approach is multidisciplinary, drawing from fields such as physics, chemistry, and biology to explore the mysteries of the natural world. Through her art, she explores the relationship between humanity and the environment, and the ways in which we interact with and understand the world around us.

Edith Dekyndt
Indigenous Shadow Part. 2
2014
Credit: Edith Dekyndt
https://www.e-flux.com

In 2021, Wiels in Brussels hosted a retrospective exhibition of Dekyndt's work titled "Indigenous Shadow." The exhibition brought together a range of works from throughout her career, showcasing her diverse artistic practice and the evolution of her ideas over time. The exhibition was divided into several distinct sections, each highlighting different aspects of Dekyndt's work and offering a glimpse into her artistic process.

Edith Dekyndt
Ombre Indigène
WIELS, Brussels
2016
Credit: Edith Dekyndt
Photos by Sven Laurent
https://www.tique.art

One of the most striking aspects of Dekyndt's work is her use of unconventional materials. For example, in the section of the exhibition titled "Mud," Dekyndt created a series of large-scale paintings using mud and pigments. The paintings are created by layering the mud and pigment onto the canvas and allowing it to dry, creating a textured and nuanced surface that is both beautiful and mysterious. The paintings are an exploration of the primal nature of the earth, and the ways in which we can connect with the natural world through art.

Edith Dekyndt
A Portrait of Things
1995-2015
Aquarium with piece of fabric
205 x 120 x 50 cm
Credit: Edith Dekyndt
https://www.tique.art

Another section of the exhibition, titled "Object, Human Hair and Fabric," features a series of sculptures created from found objects and materials. These works are a meditation on the transience of human existence, and the ways in which we create meaning through our interactions with the material world. The sculptures are at once fragile and powerful, with a sense of energy and vitality that is both mesmerizing and haunting.

Edith Dekyndt
Ombre Indigène
WIELS, Brussels
2016
Credit: Edith Dekynd
Photos by Sven Laurent
https://www.tique.art

Dekyndt's interest in the natural world is also evident in her use of scientific tools and technologies. In the section of the exhibition titled "Variable Dimensions," she created a series of installations using laser light and smoke to create ephemeral and immersive environments. These works are a meditation on the nature of light and space, and the ways in which we can use technology to explore the mysteries of the universe.

Edith Dekyndt
The Kingdom (Morsum 11)
2017
Wood, staples, fur
50 x 40 cm
Courtesy Galerie Greta Meert
http://galeriegretameert.com

Overall, "Indigenous Shadow" is a powerful and thought-provoking exhibition that showcases the breadth and depth of Edith Dekyndt's artistic practice. Dekyndt invites us to contemplate the mysteries of the natural world and the ways in which we interact with and understand it. Her work is a testament to the power of art to inspire wonder, awe, and understanding, and to the importance of exploring the mysteries that lie at the heart of our existence.

In conversation with Marc Leschelier and Alberto Deon

To introduce its SS22 collection, Demon partnered with sculptor and architect Marc Leschelier for an installation at Spazio Maiocchi. The event features a conversation between Marc Leschelier and Demon’s creative director, Alberto Deon, freewheeling on the origin and ambitions of their collaboration.

Employing his peculiar artistic vocabulary, Leschelier reinterpreted the brand’s narrative and eclectic research, centered around core values of memory, experimentation, heritage, and territorialization.

The talk was hosted by architect and educator Giles Nartey, who curated a selection of questions aimed at discerning the nuances behind the collaboration.

GN
How did your relationship start?

ML
We met in Paris and we started a conversation about architecture and shoe design, especially the evolution of these industries together. I found similar the fact that Demon is using prefabricated soles from Vibram and that we have also in architecture prefabricated elements that we are combining together to produce a new design. My architecture vocabulary is also made of prefabricated elements, and I was curious to see how shoe industry has been capable to produce so much variety and how they succeed to make small capsule collections out of customisations of prefabricated elements. I think architecture industry has a lot to learn from shoe industry.

We have the same constraints with the cost of the moulds for example, to produce a mould for concrete blocks is as expensive as the cost for new sole mould. But it seems that shoe industry has been more innovative by importing knowledge from other disciplines, which allow them to expand their vocabulary.

What about your established method of working have you brought to this collaboration and how has it been different form your previous works?

To start off, this work has been the mightiest in Marc’s production so far. Moreover, in this instance he tried combining the two expressive languages that characterise his art: the rigidity of bricklaying on the one hand, and the fluidity of concrete textile on the other. In a way I think I encouraged and facilitated this new expansion in his modus operandi. I hope at least! Personally I was very compelled by the idea of a corral.

Alberto gave me a carte blanche, but at the same time our discussions pushed me to bring the vocabulary of the blocks and of the textile together. It hasn't been so different in terms of process for me, but it is changing everything when you have a great commissioner that has the same expectations as you. We wanted to make an architectural installation that will speak for itself. Like a shoe, that generally doesn't need any words to be understood. Which is also something that I was criticising in architecture, it is the distance between the concepts and how things are executed.

What is the importance of materiality in your work?

Materiality is very important in my work but at the same time it is not the central point. Many people things my work is about cinder blocks and concrete, and about the abraisiveness of this material, which is also true, but actually the main subject of my work is about the practice of architecture. My work is very related to the situation of architecture today. It is a kind of response to this field which has been not anymore considered as a creative act. But on the contrary, a discipline under a whole system of laws that makes it impossible to be free. The message of my work is about freedom, which is something that should be discussed again in the architecture field. Which means that materiality is the vehicle of the message, and not the subject.

What are your key references?

The works of architecture which has been very important to me, are moments when architecture could become something else. When architecture becomes a sculpture for example. These moments of transformation are rare to observe. For example, when Michelangelo, is building a staircase for the Laurenziana library in Florence, he is building it as a sculptor, the architecture vocabulary becomes somehow blocked by absorbing sculptural properties and qualities.

Windows are blocked, decorative elements are contradicting themselves and the stairs are not attached to the wall but detach like a standing sculpture. And at the same time, my key references belongs also to the art field. Moments of liberation, like the viennese activism, with all the risks it brought on

My references tend to span from movements and line of thoughts rather than other designers. I think I am inspired by the idea of mannerisms. Mannerism as an attitude more than a movement, it’s a special artistic-born behaviour that rises within the body od work of artistic movements in their maturity and seeks for imperfection to elaborate on. In this sense, it contrasts the status quo of a certain artistic language and probs alternative directions. That’s what I’m trying to do with Demon.

What is the relationship between digital and physical in your practice?

I'm using the digital to detail and to express my work sometimes, but I use mainly physical models and mock-ups to develop my work. The digital can be as dumb as a way to count easily the blocks I have to use in an installation. I would be interested to use the digital in my work to see how it can propose new practices and possibilities to escape the normative context of architecture. But for the moment, I'm focused on the development of a physical vocabulary. Which is engaging myself in a thinking where I have to built another meaning out of prefabricated architectural vocabulary.

Coming from architecture education, I digested so much digital simulation that when I approached this project I was reluctant to approach design via any sort of screen. I significantly prefer to explore the raw materials and work design ideas from the ground up, starting from physical instances and scraps of materials, soles, minuteria. So I can - say - start from a sculptural phase in which I condense feelings and impressions into matter without caring about serialisation. After this phase there is the “pain” phase in which I have to review the chimeras I created and reverse-engineer an industrialised version. Nonetheless I don’t exclude hybridising my work method with digital tools, I’m thinking especially of 3D modelling. I hope to interweave these two realms and start working in a “phygital” process that allows me to maximise both inputs. On the other hand, I’ve used in the past digital tools to enhance our communication, but I see digital alteration and technologies becoming increasingly less relevant as the brand grows; I’d rather allow the products speak for themselves. Because it is products we’re dealing with at the end of the day.

How do you relate to the concept of community, and how does it affect your practice?

I think a community is very important, to not feel alone and isolated in your own desires. But I have to say that I don't see a lot of architects who wants to be out of the system of architecture. I don't want to be only considered as an artist or a sculptor, I want also to be considered as an architect, and someone who is engaged in the act of construction and in the development and expansion of architecture vocabulary.

Design is rarely revolving around design. Or better, design is just one side of design as a cultural expression. What gives meaning to design are the social attributes that it stems from, and the social groups it represents. It’s much broader than a pencil dictating shapes on a sheet, the nuances are much more than what floats in a Rhino7 interface, no matter how equipped with state of the art plugins. To a certain degree over-design leads to boredom. Now more than ever forms need to become (de)sign, thus “sign-ify” something other than the form in and of its own.

I’m discovering the very meaning of the idea of community very recently. I think having debuted in this market via Slam Jam is having a huge impact on my understanding of fashion. In a way, the cultural load of a certain community represents the other half of design. Social status, value systems, lifestyle, group membership all encompass the anthropological load of a certain piece of design. Nowadays, with all sorts of industrial facilitation, giving shape to object and its degree of aesthetic specificity is unprecedented. This undermines the gesture of design tout-court, and moves the focus to what that specific shape represents, what values and feelings it broadcasts. Communities are catalysts for this process to happen.

You both come from an architectural background, in which way has the concept of manifesto is still relevant in the 21st century?

It's true that manifestos are very important in the architecture history. Architecture has been structured and pushed by the treatises and manifestos, but it seems that today they are less popular and written. It is related to our epoch, which doesn't have any time left for reading and writing thoughts, everything is about immediacy and visual communication. It's almost the model of telepathy. Everything should be direct and consumed with no patience. Sad or not ? I don't know, we're probably losing a lot but it is the rules of our time and everyone can still make great work out of this context.

Manifestos are rooted in a context in which ideas in and of their own had a much grander allure. Discussing ideas even when this implied dwelling on tortuous intellectual mazes was an important process in the act of generating culture. I think nowadays this procedure has fallen apart, in favour of immediacy. Mostly because liberalism thrives on novelty and novelty requires speed and momentum. I am inspired by the old usage of creating a “Corpus Theoreticus” before putting things into the world, that’s why I always try to test my ideas in my mouth. Speak them out loud, looking for syllogistical immediacy between thoughts, cause I know that will result in a clearer vision.