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Greg Lynn


Institute of Contemporary Art
University of Pennsylvania
118 S. 36th St., Philadelphia, PA 19104-3289

dal 18 gennaio al 6 aprile 2003

a cura di:
Greg Lynn

allestimento e assistenza al curatore:
Elena Manferdini

tel/fax: +1 215 898 5911

"Intricacy", l'esposizione collettiva curata da Greg Lynn e presentata all'Institute of Contemporary Art (ICA) di Philadelphia, raccoglie opere di diversa estrazione nelle quali la sensibilità verso l'innovazione tecnica descrive un comune ambito di interesse. I lavori proposti sono caratterizzati da una composizione complessa originata da un intrico organico che comprende un olismo macroscopico, coerenza, sintesi, ma anche variazioni e diversità microscopiche. Tra i partecipanti, oltre a Greg Lynn FORM, i pittori David Reed, Fabian Marcaccio, James Rosenquist, gli scultori Tom Friedman, Bonnie Collura, il videoartista Chris Cunningham, gli architetti Jesse Reiser e Nanako Umemoto (Reiser & Umemoto, New York), Wolf Prix (COOP Himmelb(l)au, Vienna), Karl Chu (Metaxy, Los Angeles), Farshid Moussavi e Alejandro Zaera-Polo (Foreign Office Architects), Nader Tehrani (Office DA, Boston), Peter Eisenman (Eisenman Architects, New York), Preston Scott Cohen (Preston Scott Cohen, Cambridge).

La mostra è accompagnata dal convegno w/INTRICACY: Architecture, Art and New Media e da un catalogo progettato da the Purtill Family Business. ARCH'IT presenta l'iniziativa attraverso una nota introduttiva di Greg Lynn e segnala, con l'occasione, che l'architetto presenterà la propria ricerca il prossimo 10 aprile a Ferrara, in una conferenza ospitata nell'ambito delle celebrazioni per il decennale della locale facoltà.

Intricacy is a term that connotes the fusion of disparate systems through local, fine grain connections. Intricacy is a derivative of "pli" based terms, all of which extend from practices of weaving, folding and joining as a compositional method. Intricacy in particular involves notions of scale and fineness. The show will rely on contemporary machine processes that allow for both a monolithic materiality and form while maintaining an incredible fineness of detail and connection. Not just about detail, intricacy is about joining disparity to achieve synthetic monstrosity. Because of the machinic focus, the show curates a contemporary sensibility that has some kinship with the machine design exhibitions of the 40s and 50s. Instead of looking for a machine aesthetic or a digital aesthetic the works will outline a compositional, organizational, visual and material sensibility that relies on coherence, high degrees of complexity, monolithic viscosity characterized by homogeneity at a distance and near formal incoherence in detail.


Greg Lynn FORM. Intricacy Exhibition Design Ceiling Installation, Institute of Contemporary Art, University of Pennsylvania, 2003. Fiberglass shells cast on CNC tooled foam formwork. Six “flowers” dimensions variable. Design Team: Greg Lynn, Elena Manferdini, Lukas Haller, Patrick McEneany. Fabricated by C-TEK, Tustin, CA.

Roxy Paine. Scumak, 2001. Linear and low density polyethylene. Courtesy of the artist and James Cohan Gallery, New York.

The list of exhibitors is composed of people with a myopic rigor within their own discipline and an attention to technical innovations outside their respective fields. In this way all of the works should be susceptible to expanding the audience for their medium. Self-conscious parallelism will be the installation logic drawing on similarities in form, material and process between works across disciplines. It is important that the exhibition is very clearly hosted by architecture and so qualities of drafting, assembly and volume germane to architecture will guide the selection of objects and their installation.

Viste dell'installazione.

Reiser+Umemoto, RUR Architecture PC. West Side Convergence, IFCCA Competition for Manhattan's West Side, 1999. Basswood, styrene and plywood.

COOP Himmelb(l)au. BMW Building Competition 2001, 1:500 scale model, 2001. BMW Welt, Munich, Germany (2001-2005). Acrylic, wood, plastics.

Foreign Office Architects. Hole Model, Yokohama Port Terminal, 2002. Acrylic.

This exhibition aspires to disassociate a number of common formal and structural techniques being used by the exhibitors out of the milieu of any particular discipline. The work should be presented in a highly abstract and mechanistic manner; an atmosphere of disembodied affects and alienated techniques. The physical installation would be of extreme microscopic and macroscopic views of the work that would look for adjacencies between projects. The exhibition will also be used as an opportunity to have a discussion among the participants at a symposium in Philadelphia.

Chris Cunningham. Robot from the Björk music video "All is Full of Love", 1999. Mixed media.

Preston Scott Cohen. Eyebeam Model, 2002. Architectural Design Competition Proposal for Eyebeam Museum of Art and Technology, New York. Mixed media.

All of the artists have some significant involvement with and understanding of architecture and the common thread among all of the pieces is that they all work with an advanced notion of drafting in some way, whether constructed, drawn, photographed, or modeled rigorous techniques akin to those used by architects will be a focus. Moreover, the visual sensibility of all of these individuals emerges from technique rather than figuration or content.

Greg Lynn


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