"WHEN ATTITUDES BECOME FORM"
The design of the Prada Foundation When Attitudes Become Form: 1969/Ve-nice Bern, 2013 (Ca 'Corner della Regina, Venice, from 1 June to 24 November 2013) reconstructs Live in your head. When Attitudes Become Form, the exhibition curated by Harald Szeemann at the Kunsthalle Bern in 1969. In addition to reawaken in a concrete and challenged in an important moment in the history of art and its presentation, the remake is both homage addressed to Szeemann investment is self-referential, if not autobiographical, a situation that has personally shared.
Making us spectators of the birth of another exhibition, the unlived, but reborn through the photographic story and theoretical historians and critics, it was decided to tell the story of a revisiting and a remaking, with all the questions and doubts that we shared with Miuccia Prada, Thomas Demand and Rem Koolhaas, along with a solid scientific team. The dialogue that follows is only a fragment of a long reflection on the problematic nature and the meaning of a project that has developed through a deep discussion under three different perspectives: artistic, architectural and curatorial.
Germano Celant: "Rem, when we began the collective discussion on the process of review of When Attitudes Become Form, we immediately shared the obsession to repeat it exactly as it had been in 1969. From the beginning we have undertaken a mission to expose the same architectural context everything that was presented in Bern. Doubt largest concerned the manner in which make it contemporary and nostalgic.'s response was the "pull" architecture, namely the idea of including the space of Bern in that of Ca 'Corner della Regina in Venice. According to me in this ephemeral gesture contains a strong communicative character. Do you also think that this space creates an asymmetry that is the true contemporary element of this project? ".
Rem Koolhaas: "At first I was very surprised to see how much you and Thomas Demand wanted to be" loyal "and" respectful "- or maybe it's just that the task of the curator - but I was particularly amazed by the seriousness" curatorial "demonstrated by Thomas. For me it was a paradox that a show so deeply based on improvisation and artistic freedom could be framed in terms of artistic and historical so conventional. Eventually, I think the forced marriage of the two architectures Venetian building, the fact that there would be was an experimental dimension, it was a relief for everyone. "
GC: "Overlap spaces Bern to those eighteenth-century Ca 'Corner della Regina implies both an architectural and a tear of time. A sensational and spectacular engagement in which two scenarios are intertwined in a third container space and time. What does this mean for an architect? ".
RK: "It may perhaps seem strange, but for me the most important finding was that the words" stunning "and" spectacular "are not really relevant.'ve Always been very interested in archeology: a profession whose essence is love for the unveiling of aggregates and very complex architectural layers that take up the same space. was as if this project was an archeology that the observer were to unravel. If you look like archaeological operation, our installation is strangely familiar. "
GC: "How would you react if someone wants to rebuild in the same way a building or an interior designed by you and lost or destroyed? The percepiresti as a nostalgic gesture, or rather as the documentation of a process? Personally believe that the reconstructions are an important contribution the history of knowledge. By this I mean the knowledge of a "whole" that our society has dismantled, exactly as it was destroyed the integrity of the environments.'s why I think it is important to redo something that has existed in the past not only as object or environment, but in his integrity. "
RK: "Discovering that we could actually represent" the whole "it was for me a very important moment. Remember that initially we were resigned to play only fragments or spaces physically reduced, which would have created unusual relationships with the existing building? When we printed the plant in Berne on transparent film we discovered that the entire building actually fell perfectly within Ca 'Corner. should never trust the first impression. "
GC: "Thomas, your work is based on photographic reconstruction of real space through the use of the cardboard. What we do with this exhibition is rather the opposite: the actual reconstruction of a real space through the visual memory (pictures). What is the physical and mental process involved in this operation? ".
Thomas Demand: "I think both efforts there is a shared interest in withdrawing the recoverability of our memories, even artificial ones. Many of the places we remember and on which we reason we've never even seen in the reality, and in this particular place ( the Kunsthalle Bern) have had access to very few visitors. Nevertheless, I believe that the photographs of the space can be interpreted as memories, I think of them as a tool, a map or a compass. Given that this project has, as a result of the works art, physical appearance, we must work in a real dimension. Whatever is around becomes less hypothetical, and this is what I've always tried to do in some way in my work. "
GC: "As a curator, I'm not at all opposed to the reconstruction of one of my shows, if it stays as I had realized. As this event is experienced as an artist?".
TD: "I've never thought about it. I think some of my exhibitions have had an effect of slow memory clear enough to persist in the mind. And here we return in the same case. Yet I had my doubts that it was a good idea, why not you can recreate the context that has played a central role in the transmission of what we actually know of When Attitudes Become Form. All the hype and the scandal that became the scene of the original will not be part of the current effort. then I thought that I would was really curious to take that trip back in time to see what has become the mother of all exhibits that belong to this type. "
GC: "In the remake Venetian ceilings have not been reconstructed, so the floors of the Kunsthalle meet the ceilings of Ca 'Corner. Might be an option due to the fact that the exhibition of 1969 was primarily a show that unfolded on the floor? This element highlights the visual strength of the two architectures? ".
TD: "The building emphasizes the grotesque aspect of this project, especially when you look like a Swiss building in 1969 has been crammed into a palace in Venice in 2013. Nevertheless, I believe that we must be clear about what we are not doing . Kunsthalle is the place but not the reason for doing this, and eventually put the concentration in the entirety of creation would in fact misunderstand the concerns curatorial Szeemann. On show what should be enough to stimulate the imagination, because chase an ideal of completeness, including ceilings, for example, would be going too far. "
Making us spectators of the birth of another exhibition, the unlived, but reborn through the photographic story and theoretical historians and critics, it was decided to tell the story of a revisiting and a remaking, with all the questions and doubts that we shared with Miuccia Prada, Thomas Demand and Rem Koolhaas, along with a solid scientific team. The dialogue that follows is only a fragment of a long reflection on the problematic nature and the meaning of a project that has developed through a deep discussion under three different perspectives: artistic, architectural and curatorial.
Germano Celant: "Rem, when we began the collective discussion on the process of review of When Attitudes Become Form, we immediately shared the obsession to repeat it exactly as it had been in 1969. From the beginning we have undertaken a mission to expose the same architectural context everything that was presented in Bern. Doubt largest concerned the manner in which make it contemporary and nostalgic.'s response was the "pull" architecture, namely the idea of including the space of Bern in that of Ca 'Corner della Regina in Venice. According to me in this ephemeral gesture contains a strong communicative character. Do you also think that this space creates an asymmetry that is the true contemporary element of this project? ".
Rem Koolhaas: "At first I was very surprised to see how much you and Thomas Demand wanted to be" loyal "and" respectful "- or maybe it's just that the task of the curator - but I was particularly amazed by the seriousness" curatorial "demonstrated by Thomas. For me it was a paradox that a show so deeply based on improvisation and artistic freedom could be framed in terms of artistic and historical so conventional. Eventually, I think the forced marriage of the two architectures Venetian building, the fact that there would be was an experimental dimension, it was a relief for everyone. "
GC: "Overlap spaces Bern to those eighteenth-century Ca 'Corner della Regina implies both an architectural and a tear of time. A sensational and spectacular engagement in which two scenarios are intertwined in a third container space and time. What does this mean for an architect? ".
RK: "It may perhaps seem strange, but for me the most important finding was that the words" stunning "and" spectacular "are not really relevant.'ve Always been very interested in archeology: a profession whose essence is love for the unveiling of aggregates and very complex architectural layers that take up the same space. was as if this project was an archeology that the observer were to unravel. If you look like archaeological operation, our installation is strangely familiar. "
GC: "How would you react if someone wants to rebuild in the same way a building or an interior designed by you and lost or destroyed? The percepiresti as a nostalgic gesture, or rather as the documentation of a process? Personally believe that the reconstructions are an important contribution the history of knowledge. By this I mean the knowledge of a "whole" that our society has dismantled, exactly as it was destroyed the integrity of the environments.'s why I think it is important to redo something that has existed in the past not only as object or environment, but in his integrity. "
RK: "Discovering that we could actually represent" the whole "it was for me a very important moment. Remember that initially we were resigned to play only fragments or spaces physically reduced, which would have created unusual relationships with the existing building? When we printed the plant in Berne on transparent film we discovered that the entire building actually fell perfectly within Ca 'Corner. should never trust the first impression. "
GC: "Thomas, your work is based on photographic reconstruction of real space through the use of the cardboard. What we do with this exhibition is rather the opposite: the actual reconstruction of a real space through the visual memory (pictures). What is the physical and mental process involved in this operation? ".
Thomas Demand: "I think both efforts there is a shared interest in withdrawing the recoverability of our memories, even artificial ones. Many of the places we remember and on which we reason we've never even seen in the reality, and in this particular place ( the Kunsthalle Bern) have had access to very few visitors. Nevertheless, I believe that the photographs of the space can be interpreted as memories, I think of them as a tool, a map or a compass. Given that this project has, as a result of the works art, physical appearance, we must work in a real dimension. Whatever is around becomes less hypothetical, and this is what I've always tried to do in some way in my work. "
GC: "As a curator, I'm not at all opposed to the reconstruction of one of my shows, if it stays as I had realized. As this event is experienced as an artist?".
TD: "I've never thought about it. I think some of my exhibitions have had an effect of slow memory clear enough to persist in the mind. And here we return in the same case. Yet I had my doubts that it was a good idea, why not you can recreate the context that has played a central role in the transmission of what we actually know of When Attitudes Become Form. All the hype and the scandal that became the scene of the original will not be part of the current effort. then I thought that I would was really curious to take that trip back in time to see what has become the mother of all exhibits that belong to this type. "
GC: "In the remake Venetian ceilings have not been reconstructed, so the floors of the Kunsthalle meet the ceilings of Ca 'Corner. Might be an option due to the fact that the exhibition of 1969 was primarily a show that unfolded on the floor? This element highlights the visual strength of the two architectures? ".
TD: "The building emphasizes the grotesque aspect of this project, especially when you look like a Swiss building in 1969 has been crammed into a palace in Venice in 2013. Nevertheless, I believe that we must be clear about what we are not doing . Kunsthalle is the place but not the reason for doing this, and eventually put the concentration in the entirety of creation would in fact misunderstand the concerns curatorial Szeemann. On show what should be enough to stimulate the imagination, because chase an ideal of completeness, including ceilings, for example, would be going too far. "
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