Carl Theodor Sørensen (1893-1979), was a Danish landscape architect, and the first professor of the department of Garden Art at The art Academy in Copenhagen. He was very sceptical about the idea of the Romantic Garden - according to him it inserts “mythical content” in between the concrete shapes and the experience of the garden user, who might end being so preoccupied by trying to decode the many meanings and atmospheres that one “looses oneself” in the process. For this reason he only used a limited variety of plants so as to not “distract” the garden user with pompous flower arrangements. “This is not nature, he said about his gardens, but a creative, culture-driven act”. The Musical Garden, Herning, Denmark, started 1945 completed 1956. B/w photos by Christina Capetillo. Naerum Allotment Gardens, 1952. Private garden of his daughter Sonja Poll, Copenhagen. Sketch for amphitheater, 1938 (click on image for more)

The unspeakable openness of things, Red Brick Museum, Beijing, 2018. A film by SHIMURAbros, music by afewnotes

#fakenature In 2001 The mediated motion occupied all four levels of the Kunsthaus Bregenz, Austria, choreographing the visitors’ meandering progression through the art museum. Created in collaboration with the landscape architect Günther Vogt, the exhibition led the viewer in a spiral from one floor to the next, from one discrete environment to another. "The work was primarily a staging of movement and of people. On the first and third floors, I took the function out of the bridges, making them terminate at walls, so that people were forced to turn around. This stressed the mediated, staged feeling of the interior landscapes. On the suspension bridge at the top floor, you were forced to negotiate the presence of others, were entangled in a mid-air."
On the ground floor, visitors first encountered an array of logs leaning against a wall with shiitake mushrooms (Lentinula edodes) growing on them. Climbing the stairs to level one, they entered a room taken up entirely by a shallow artificial pond, whose dark, reflective surface was mottled by a thin layer of floating duckweed (Lemna minor). A walkway supported by pontoons guided visitors into the room and to the stairway leading to the next floor. Level two was empty save for a gently sloping ramp of packed soil that covered the entire space. Visitors were free to wander about the room, following whatever route they chose, before resuming their upward journey. The top floor was filled with fog and featured a suspension bridge, which stretched from one side of the room, where it could be accessed via a wooden staircase, to the other, where it terminated abruptly at a blank wall and forced visitors to retrace their original route. From the first floor onwards, a staircase of roughly hewn wood was installed about a metre and a half above the existing exposed-concrete steps, allowing a smooth, unbroken transition from one landscape situation to the next.

La Consagración by Belkis Ayon - part of We Don’t Need Another Hero, Berlin Biennale.
Curated by: Gabi Ngcobo, Nomaduma Rosa Masilela, Serubiri Moses, Thiago de Paula Souza, and Yvette Mutumba

Still river (Dnieper River, Kiev), 2018 - part of group exhibition Democracy Anew? at Pinchuk Art Centre, Kiev. Opens tomorrow.
via Instagram

When Faith Moves Mountains, Francis Alÿs, Lima, Peru 2002.
www.francisalys.com

The Invention of Nature by Andrea Wulf. "Alexander von Humboldt has been largely forgotten in the English-speaking world. He was one of the last polymaths, and died at a time when scientific disciplines were hardening into tightly fenced and more specialised fields. Consequently his more holistic approach - a scientific method that included art, history, poetry and politics alongside hard data - has fallen out of favour. This connection between knowledge, art and poetry, between science and emotions - the deeply-seated bond as Humboldt called it - is more important than ever.” “It was this approach that allowed him to find connections everywhere in nature. Nothing - not even the tiniest organism, was looked at on its own. When nature is viewed as a web, its vulnerability also becomes obvious. Everything hangs together. After he saw the devastating environmental effects of colonial plantations at Lake Valencia in Venezuela in 1800, Humboldt became the first scientist to talk about harmful human-induced climate change.” “As scientists are trying to understand and predict the global consequences of climate change, Humboldt’s interdisciplinary approach to science and nature is more relevant than ever"

Via the kitchen Instagram

WASSERfarben opens tonight at Pinakothek der Moderne in Munich

Very excited to announce Little Sun’s new collaboration with IKEA. Together they want to inspire and explore new ways of harnessing the power of the sun through intelligent and creative design. They will be working on creating a series of sustainable off-grid tools, not only for energy, but also water and communication. Learn more here: www.littlesun.com

Glacial currents, 2018, Watercolour, glacial ice, Indian ink, and pencil on paper - part of WASSERfarben, opens tomorrow at Pinakothek der Moderne, Munich

via Instagram

Fjordenhus - the first building designed entirely by Olafur Eliasson and the architectural team at Studio Olafur Eliasson, will open on 9 June in Vejle, Denmark. The completion of Fjordenhus marks the shift of Studio Olafur Eliasson’s major architectural activities to a new international office for art and architecture, Studio Other Spaces (SOS), founded by Eliasson and his long-time collaborator, architect Sebastian Behmann. As an architectural counterpart to Studio Olafur Eliasson, Studio Other Spaces will be the vehicle for Eliasson and Behmann to carry out large-scale interdisciplinary and experimental architectural projects of a scope similar to Fjordenhus, in addition to works for public space

Walking out through the parabolic hinged door to the windy porch that feels like the inside of a pizza oven – but cold. The bricks are colorful and inviting to the touch. The water beckons but with breeziness not vertigo. Vertigo happens when I look up. The whole building feels like it is tipping into me. My feet are stable but I’m leaning back to counter the fall. As clouds fly above the bright blue sky, the whole building feels like it is flying and tipping. I can’t find stability, but I hang there, suspended in a continual falling in. The bricks jutting out a bit, contribute to the sense that the building is coming apart a little. How does this happen? My sense of balance is more than my inner ear. The building reels, and I can’t handle it. But I can look at the wall and the sensation of movement stops. Only when I look up. This is cultural: my entire sensorium is attuned to the habits of buildings rising straight up, or on a simple incline. This one tips me as I try to align to it. But it is not aligned in the way that I’m used to. My sense of balance turns out to be polyvalent and some of those valences are at odds with other ones. My viscera hang down orienting me to gravity, my feet agree, so far. But the visual sensation of tipping building tips me. My feet are now weighted to ankles, my viscera are off. Using the words of my dance collaborator Nita Little, my attention oscillates between these facets of balance. All of these facets are cultural, trained, they can be retrained. But right now my attentional bricolage wavers, my balance wavers. Reflections on Fjordenhus by Joe Dumit, professor in anthropology at UC Davis

Connecting cross country with a line, 2013, on Doug Aitken’s Station to Station across the U.S. Next week in Munich as part of WASSERfarben, an exhibition about Olafur’s works on paper at Pinakothek der Moderne #drawingmachine


We all know a lot.
How does knowledge feel?
And how do you feel that you know?
How do you feel what you know?
How do your feelings feel?
Your felt feeling!

Consult your feeling of being disconnected and being connected,
Being indifferent or committed.
Does feeling connected make you more empathic?
Does empathy make your surroundings more tangible?
Are your feelings embodied knowledge?
Does your body drive action?
What space makes you want to act?
Does your felt knowledge make space for others?
Your felt space!

There is a difference between wanting to act and acting.
One is thinking, the other is doing.
Do you recognise the feeling of wanting to act but not acting?
Hold this feeling.
Then consult your own experience of empathic action.
Now pause.
How does the discrepancy between the desire to act and the experience of action feel?
Bring the pause to an end.

On June 6th the first exhibition about Olafur's work on paper - Wasser Farben - opens at Pinakotek der Moderne in Munich.