Category: Exhibition_visit

30 Dec 2018, Φ Wellcome Collection: Living with Buildings

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2018_12_30 134037a wellcome-coll
2018_12_30 Wellcome Collection

30 Dec 2018, Φ Wellcome Collection, Special exhibition: Living with Buildings – Health and Architecture, 4 Oct 2018 – 3 Mar 2019

“We’re surrounded by buildings all the time, but how do they affect our physical and mental health? Explore the role colour can play in making us feel better, see a pioneering mobile clinic designed to provide adaptable healthcare in emergency situations and examine the history and continuing reality of how we design for health … this exhibition examines some of the ways in which architects, planners and designers influence our health, self-esteem and ideas about society“, https://wellcomecollection.org/exhibitions/Wk4sPSQAACcANwrX

From the Exhibition booklet: “Our built environment contributes to our physical and mental health in both physical and mental ways … The exhibition traces how urban planning and development has been employed as a tool to improve people’s  lives, as well as showing how architecture can respond to global issues in health today. Emily Sargent, Curator, Living with Buildings”. Sections:

  • Terrace of the future; refuse of the past
  • How do we know what homes look like?
  • Hut, Tent, Cottage, Palace
  • Healing Buildings
  • Living with Buildings: Global Clinic
  • RawMinds: Made Well.

Companion book: Iain Sinclair (2018): Living with Buildings and Walking with Ghosts. On Health and Architecture. Published in association with Wellcome Collection for the exhibition Living with Buildings curated by Emily Sargent. Profile Books Ltd., London.

From the book:

  • MOVE, incl.: Christ Church: The Sickness and the Shadow; Ex-Voto Detour
  • FURTHER, incl.: John Evelyn’s Mulberry Tree; Radiant City
  • OUT, incl.: Southampton Water; Spitalfields: Scintilla.

[Book epilogue, pp.179-80] Emily Sargent: Living with Buildings: an exhibition about health and architecture.

  • “Approaches of architects, planners and designers can have a powerful influence over our feelings of individual wellbeing, as well as physical health and have much to tell us about the dominant wider priorities in society and politics … In the introduction to the publication of Oliver Twist, … Charles Dickens wrote: ‘Nothing can be done for the elevation of the poor in England, until their dwelling places are made decent and wholesome.’… A line can be drawn … to the terrible fire at Grenfell Tower in June 2017 … The exhibition … showing how architecture can respond to global issues in health today.”

Context: 3 Jan 2019, Φ Sojourn in London, 27 Dec 2018 – 3 Jan 2019

30 Dec 2018, Φ Wellcome Collection and Trust

Posted on Posted in Exhibition_visit, Site_visit

30 Dec 2018, Φ Wellcome Collection and Trust

Wellcome Collection, https://wellcomecollection.org/

 

2018_12_30 London (UK): Wellcome Collection
2018_12_30 London (UK): Wellcome Collection

“Wellcome Collection: life, death and everything in between” …  “Wellcome Collection is a free museum and library that aims to challenge how we all think and feel about health. Through exhibitions, collections, live programming, digital, broadcast and publishing, we create opportunities for people to think deeply about the connections between science, medicine, life and art.”

Permanent exhibition: “Medicine now”, https://wellcomecollection.org/exhibitions/WeobUyQAAKdwjbEO

“After 11 years, this exhibition will close in April 2019.”

Wellcome Trust, https://wellcome.ac.uk/

  • „Wellcome exists to improve health by helping great ideas to thrive. We support researchers, we take on big health challenges, we campaign for better science, and we help everyone get involved with science and health research”
  • “We value breadth and depth in the activities we support. We remain true to the vision and values of our founder, Sir Henry Wellcome, a medical entrepreneur, collector and philanthropist…“
  • “Our funding supports over 14,000 people in more than 70 countries.”

Context: 3 Jan 2019, Φ Sojourn in London, 27 Dec 2018 – 3 Jan 2019

29 Dec 2018, Tate Modern incl. Ice Watch (Eliasson & Rosing)

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29 Dec 2018, Tate Modern incl. Ice Watch (Eliasson & Rosing)

Tate Modern: “International modern and contemporary art”, www.tate.org.uk/visit/tate-modern

“… is Britain’s national gallery of international modern art and forms part of the Tate group (together with Tate Britain … and Tate Online) … based in the former Bankside Power Station … holds the national collection of British art from 1900 to the present day and international modern and contemporary art … one of the largest museums of modern and contemporary art in the world… Prior to redevelopment, the power station was a 200 m … long, steel framed, brick clad building with a substantial central chimney standing 99 m … The structure was roughly divided into three main areas … – the huge main Turbine Hall in the centre, with the boiler house to the north and the switch house to the south”, https://en.wikipedia.org/wiki/Tate_Modern

2018_12_29 London (UK): Ice Watch
2018_12_29 London (UK): From Tate Modern

Olafur Eliasson & Minik Rosing: Ice Watch

“A public artwork … On the occasion of COP24 in Katowice, Poland, and the third anniversary of the Paris Agreement … Bankside outside Tate Modern – City of London outside Bloomberg’s European headquarters – 11 December 2018 until the ice has melted”, http://icewatchlondon.com/

Context: 3 Jan 2019, Φ Sojourn in London, 27 Dec 2018 – 3 Jan 2019

29 Dec 2018, Trafalgar Square: The Fourth Plinth

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29 Dec 2018, Trafalgar Square: The Fourth Plinth

2018_12_29 143254a trafalgar-sq-fourth-plinth
2018_12_29 Trafalgar Square: Fourth plinth

“The Fourth plinth is the northwest plinth in Trafalgar Square … originally intended to hold an equestrian statue of William IV, but remained bare due to insufficient funds. For over 150 years the fate of the plinth was debated; in 1998, the Royal Society for the encouragement of Arts, Manufactures and Commerce … commissioned three contemporary sculptures to be displayed temporarily on the plinth … In 2003, the ownership of Trafalgar Square was transferred … to the Mayor of London … this marked the beginning of the Mayor of London’s Fourth Plinth Commission … Under the stewardship of the Fourth Plinth Commissioning Group, the following artworks have been commissioned:

  • 5 March 2015 – 6 September 2016, Hans Haacke: Gift Horse. Depicts a skeletal, riderless horse…
  • 29 September 2016 – 6 March 2018, David Shrigley: Really Good. A bronze sculpture of a human hand in a thumbs-up gesture, with the thumb greatly elongated…
  • 28 March 2018 – Present, Michael Rakowitz: The Invisible Enemy Should Not Exist. A recreation of a sculpture of a lamassu (a winged bull and protective deity) that stood at the entrance to Nergal Gate of Nineveh from 700 B.C. It was destroyed in 2015 by Isis [Islamic State of Iraq and the Levant], along with other artefacts in the Mosul Museum. Rakowitz’s recreation is made of empty Iraqi date syrup cans, representing the destruction of the country’s date industry
  • Planned for 2020, Heather Phillipson: The End. A dollop of whipped cream with an assortment of toppings: a cherry, a fly, and a drone. The drone will film passers-by and display them on an attached screen”, https://en.wikipedia.org/wiki/Fourth_plinth,_Trafalgar_Square

Context: 3 Jan 2019, Φ Sojourn in London, 27 Dec 2018 – 3 Jan 2019

29 Dec 2018, London: National Gallery, incl. Claude L.

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29 Dec 2018, London: The National Gallery, incl. Claude L.

Trafalgar Square, West End, London, WC2N 5DN, www.nationalgallery.org.uk/

2018_12_29 144153a national-gallery
2018_12_29 National Gallery

Claude paintings (MR = Marcel Röthlisberger 1961, The paintings, vol. I, II. LV = Liber veritatis)

  • Landscape with a goatherd and goats (c. 1636-7) – MR p. 129 & fig. 54; described as a variant of LV 15
  • Seaport with the embarkation of Saint Ursula (1641) – MR p. 190 & figs. 118f.; LV 54
  • A seaport (1644) – MR p. 175 & fig. 106; LV 43
  • Landscape with Hagar and the Angel (1646) – MR p. 268 & fig. 187; LV 106
  • Landscape with the marriage of Isaac and Rebekah (“The mill”) (1648) – MR p. 281 & figs. 196, 198; “There are two almost identical originals of the same size and of equal beauty, in London … and in the Doria Gallery”; LV 113
  • Seaport with the embarkation of the Queen of Sheeba (1648) – MR p. 286 & figs. 201, 434; “Clear, rather cool atmosphere, suggesting morning, which is appropriate to the subject … Water blue-green … Fine painterly handling …”; LV 114
  • Landscape with David at the Cave of Adullam (1658) – MR p. 344 & fig. 240 (“Landscape with David and the three heroes”); LV 145
  • Landscape with Aeneas at Delos (1672) – MR p. 422 (“Coast view of Delos  with Aeneas”) & fig. 292.

Context: 3 Jan 2019, Φ Sojourn in London, 27 Dec 2018 – 3 Jan 2019