Woodscapes | Erieta Attali on Kengo Kuma
Erieta Attali’s photographic tasks develop over lengthy dedicated years and thru many, many photos. But for this, her second exhibition on the Byzantine Museum, she has distilled the profound dialogue she entertains with structure right into a collection of fifteen pictures. These are photos of layered perceptions that seize the very essence of her strategy to structure and pictures as complementary experiences of shifting opticality.
Not like industrial pictures produced on deadline to doc a not too long ago accomplished constructing captured as a designed object, Attali’s artwork is born of a sustained relationship with the whole physique of labor of a single designer trying at all times to seize the very essence of the atmospheres that recur from work to work. Of the handful of relationships that Attali has honed in nicely over 1 / 4 century as a photographer, none has been extra reciprocal than that with the Japanese architect Kengo Kuma. For the melding of designed house and setting is the target of each architect and photographer.
In his combos of the engineering feat of big planes of glass with modern interpretations of conventional Japanese picket structure, Kengo crafts areas that fluctuate visually and experientially within the altering valences of pure settings. His works have an nearly preternatural resonance with Attali’s photographic follow. By way of the glass lenses of her analog cameras she seeks to seize the interpenetration of discovered and artifical environments, merging laborious and mirrored surfaces into layered photos that document ambiance because the very substance of the artwork of Kuma’s structure.
It’s no shock that Attali remembers her first encounter with Kuma’s work on the flip of the millennium as a strong second of elective affinity. Satirically sufficient she had first seen Kuma’s work by way of the medium of one other photographer’s picture, a picture of the architect’s seminal early work the Water/Glass Home in Atami, Japan. In that constructing vacillating transparency and opacity turned the veritable constructing blocks of structure whilst recording them reworked Attali’s photographic sensibility. The encounter with the constructing at first hand on a visit to Japan in 2001 was a strong second of elective affinity. Captivated by the sense that in Kuma’s work she had discovered the trendy architectural equal of the connection between setting and constructing, panorama and structure, she had been exploring in years of pictures of archaeological websites, Attali skilled Kuma’s work as a turning level, focusing her lens on the insertion of the brand new into historic settings. As she recounts in a revealing interview with historian/critic Ariel Genandt, the encounter was transformative: “What fascinated me within the Water/Glass Home was that the constructing is skilled like atmospheric situations: when inside it, one feels a part of the panorama…. My encounter with the home … helped me crystalize a specific photographic notion the place structure and panorama are steady.”
It is among the nice myths of avant-garde glass and metal structure that tumbler disappears permitting a complete transparency by which the attention occupies the inside lengthy earlier than the physique would possibly comply with. Already as one in every of Kuma’s heroes, the German avant garde pioneer Mies van der Rohe realized in radical unrealized designs for all glass skyscrapers in Twenties Berlin, glass adjustments frequently from close to complete transparency to just about black opacity, with each nuance of reflectivity and translucency in between. Kuma’s structure has developed in making these very vacillations into the veritable constructing blocks of an structure by which the crafting of ambiance, the staging of sunshine results, the merging with nature as elementary as the selection of supplies and the answer of engineering points. However it’s exactly the qualities shared by Kuma’s and Attali’s palettes that render these pictures all of the extra advanced, as Attali patiently builds by way of her lens the very experiences that Kuma levels in building of ephemeral atmospheres by way of engineered glass and timber.
Exhibition Textual content: Barry Bergdoll, Meyer Schapiro Professor of artwork historical past within the Division of Artwork Historical past and Archaeology at Columbia College, NYC.
Exhibition Design: Tasos Roidis, Architect, Assistant Professor, TUM, Munich.
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