Études sur Paris, André Sauvage’s 1928 cinematic ode to the French capital, is a stroll through a city on the brink of change, says Isabel Stevens.
Massimiliano and Doriana Fuksas’s aluminium-clad store for 180km of state papers is inevitably imposing, but manages to retain a human scale.
Richard Rogers has always urged people to consider the dialogue between structures in a cityscape, rather than just individual buildings – an interest that can be traced back to his mother’s arrangements of ceramic pots that occupy a central space in his home.
|Archaeology of the Digital||Galleria Vezzoli||Moving: Norman Foster on Art|
|CCA, Montreal||MAXXI, Rome||Museum of Contemporary Art, Nîmes|
|Until 13 October||Until 24 November||Until 15 September|
Curated by architect Greg Lynn, this exhibition investigates the foundations of digital architecture. Drawing on four key projects from the late eighties and early nineties by Frank Gehry, Chuck Hoberman, Shoei Yoh and Peter Eisenman, the show will reveal the directions taken by these architects in exploring the possibilities offered by emerging digital tools that are now common in practice.
As part of a project titled The Trinity, the first international retrospective of the work of filmmaker Francesco Vezzoli, the MAXXI will convert one of its spaces into an 1800s-style museum based on Vezzoli’s fascination with artistic quotation. Two other concurrent exhibitions complete the trinity. The courtyard at MoMA PS1 in New York will host an exhibition titled The Church of Vezzoli in a relocated deconsecrated 19th-century Italian church, while MOCA in Los Angeles will hold an exhibition titled Cinema Vezzoli.
To mark the 20th anniversary of the completion of the Carré d’Art, Norman Foster has been invited to curate an exhibition for the building he completed in 1984. The works on display cover a 200-year period and include pieces by 138 different artists. Foster says of his exhibition: “The challenge is both daunting and truly exhilarating. Because I have no scholarly aspirations or pretensions on the subject of art, I am free to make any kind of choices or visual connections.”
|On TYPE: Texts on Typography||New Designers 2013||Everything Loose Will Land|
|Bauhaus-archiv, Berlin||Business Design Centre, London||MAK Centre, LA|
|Until 5 August||26-29 June and 3-6 July||Until 4 August|
Drawing together manifestos and theses on 20th-century typography in German-speaking countries, this exhibition will present the arguments surrounding typography. On TYPE will display type specimens, typography magazines and important debates in the history of typography with a particular focus on legibility and the effects of digitisation.
Now in its 28th year, New Designers will bring together more than 3,000 design graduates over the duration of its two shows. Part one will showcase contemporary applied art, ceramics and glass, fashion, textiles, accessories, jewellery and precious metalwork. The second show will focus on furniture and product design, visual communication and spatial design. The second show will also introduce Prime Cuts, a new feature that brings together motion arts disciplines including film, video and costume design.
“Tip the world over on its side and everything loose will land in Los Angeles,” remarked Frank Lloyd Wright. Taking his offhand comment as inspiration, this exhibition will explore the unique evolution of the institutional, geographical and social looseness of LA throughout the 1970s that, through the interaction between architecture and other fine arts, shaped the built environment of the Californian metropolis.
|The Furnace of the Angels and All’Ambic||Venice Art Biennale||Design Parade|
|MUDAC, Lausanne||Giardini and Arsenale, Venice||Villa Noailles, Hyères|
|Until 24 November||Until 24 November||5-7 July|
In the 1960s, master glassmaker Egidio Costantini invited artists such as Jean Arp, Jean Lurçat, Pablo Picasso and Max Ernst to collaborate on a number of works. The collection was named by Jean Cocteau, another collaborator, as La Fucina Degli Angeli (The Furnace of the Angels). The 36-piece collection explores the potential of glassmaking in the eyes of artists not famed for their use of the medium. Alongside this exhibition is a new series of vases titled All’Ambic, by designer Patricia Urquiola.
The 55th International Art Exhibition lands in the city of bridges, with 88 countries exhibiting in the pavilions and across the city. This year the biennale is titled The Encyclopedic Palace and is curated by Massimiliano Gioni. More than 150 artists from 37 countries will be exhibited in the Arsenale and central pavilion, to form a coherent exhibit that will span the past century and showcase new commissions. Alongside this there are 47 collateral events planned for the duration of the biennale.
Launched in 2006, Design Parade is an annual competition that brings together some of the most talented young designers in Europe through an open competition. The winners are exhibited at the Villa Noailles, an 1,800 sq m building built for Charles and Marie-Laure de Noailles in 1932 that served as an artistic hothouse for the avant-garde of the 20th century. During the three-day festival, Design Parade will host exhibitions, events, lectures, and films to complement the competition.
The London-based designer is fascinated by imperfections in everyday objects – the “runts of production”. It is only when things go wrong, he says, that we can appreciate how things are made.
An updated reissue of Charles Jencks and Nathan Silvers’ 1970s celebration of improvisation provides glimpses of the prescience and naivety of another age, says Douglas Murphy.
Matali Crasset's furniture, made from a new super-light type of concrete, aims to make us rethink the role of the material in the home.
Charles and Ray Eames’ 1977 attempt to capture the scale of the universe on film is both a fascinating Cold War relic and a giant leap towards the contemporary fascination with aerial imagery.
The architect’s esoteric collection of objects plays past against present, with ancient Greek pots alongside Sex Pistols magazines. It is a theme she explores in many of her buildings, from Selfridges Birmingham (Icon’s first cover) to the new V&A courtyard.
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