Strange Harvest
Architecture / Design / Art
StrangeHarvest is written and collated by Sam Jacob.


Jeff Koons, Rem Koolhaas, Hans Ulrich Obrist at the Serpentine



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Some thought it too dangerous to attempt under a helium filled balloon. Nevertheless, like a summit between the forces of good and the forces of evil (though which is which isn't entirely clear), Rem Koolhaas and Jeff Koons appeared together as the jewel in the crown of Koolhaas and Hans Ulrich Obrists Serpentine Pavilion lecture marathons.

It was a great event with the super-smooth, ex-Wall St trader prodded by - as Koolhaas described himself - 'a caricature of a critical European'.

Here are a few brief notes that I took - little opinion and less conclusion:

Koolhaas' interest in the mechanics of Koons Inc: How big is the enterprise? How does it produce work? Even: 'Is there a `CEO'?'

(Answer around 70 people, in office, sculpture, painting and painting/sculpture roles)

Images: Koons describing how as a seven year old taking art classes. After some Hawaiian punch his elderly teacher would take Koons' drawing saying 'Jeff - you can't take this home, it look like Frankenstein' Then she'd sit with him while she erased and then corrected his drawing. 'That's how I learnt to work with other people'

Koolhaas on the way that economics creates different programmes and timescales in the production of work, that inspiration is not immediately endorsed.

In response to a question about how the art market has changed:
Koons: Art is meeting a need of people - it is a way of understanding parameters.
Art is a hub connecting architecture with physics (etc)
It brings trancesdance into their life.

Koolhaas: Are collectors a fair representation of mankind?

Koons (in response to questions about artist as expert collector and seller): Eventually, I just become lost in my work

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Some drawings of a projected project titled 'Hulk Rock', a huge inflatable Hulk inside a Venetian Palazzo. The Hulk carries a rock on its back 'like Sisyphus', 'a guardian but with a sense of impending danger'

And if the proposed Palazzo falls through, then maybe it could be resitied
Koons: Maybe it's in the side of a mountain in a concave carved out space
Koolhaas: In Afghanistan? Where the Buddha's used to be?

Koons: See everything as an opportunity. Stay focused then amazing things can happen'

Obrist notes that unrealised projects have more currency in architecture than art

dictator.jpg

Koons shows 'Dictator': A replica of a civil war canon that can shoot a canon ball two and a half miles. Remarks upon its sexual power: 'It looks castrated, but if you are around it, its not'

Koolhaas talks about the scale of Koons projects, and the scale of art in general - Tate Moderns turbine hall as an amplifier of art.

Koons: Find the scale of an idea.

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'Train': a crane that suspends a steam train. Proposed for LACMA. A hanging puffing train that will have an orgasm. Speeding up, then 'woo! woo!'
Koons: Crane is a great readymade

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'Building Blocks' designed for a site in Manhattan, 160ft high. 5000 plants on an open framework grown hydroponically)
Koolhaas: 'Like a Trojan horse?'

Koolhaas: Always amazed at Koons' ability to be positive - does this even include contemporary architecture?

Koons on Manhattan: A place where once can be very focussed but still have information flowing in

Koons: The journey of art begins with self-acceptance. Objective art is about Love.

(Untaken photographic image - the look on Koolhaas' face when Koons starts talking about love)

Koons: When I use the word 'love' it means acceptance. Everything on the same level, no greater than you or less than you.

Obrist: How do you consider the audience?
Koons: The art is in the viewer. When the viewer leaves the room, the art leaves. The object is a transponder.

On the 'Sex' series: Koons: about the removal of guilt and shame, not to have the shame of the body, and letting acceptance in.
(Koolhaas blows his nose)

Koons on 'Cracked Egg' - inspired in part by Botticellis 'Birth of Venus' - the beauty is actually the shell.

Koolhaas: Living various artistic moments simultaneously.

Koons, on the production of 'Cracked Egg': When the viewer is looking at the piece, within the communication that is occurring, there is a suspension of disbelief'
''I don't care about craft, but it is showing a disrespect to the viewer. Not attending to detail is not attending to them.'
On casting ever perfection and imperfection of aqualung, on finding the base hadn't been cast with a concave dimple. 'Even though nobody would see it, only the guy installing it' meant that the base had to be reworked.

Koons: Art going beyond the gallery concerns the communication of the idea, not the media.



Posted by anothersam at October 15, 2006 1:18 AM.

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Contents:

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Eiffel X-Rays

Beyond: Values and Symptoms

Sub Plan

Shenzhen: Window of the World

White Power

Generic Powerpoint Template: Delivering Bad News

Duplicate Array

The Best New Building In London

Book Review: The Infrastructural City

A Balloon in the Pantheon

Letters From The Pantheon

Henry Moore in Motion

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Obscure Design Typologies: Life Guard Chairs

Osama bin Laden Cigarette Lighter: Novelty Products as Congealed Culture

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Candy Pistol

Now Showing: Dan Grahams 'Rock My Religion'

This Concrete 'O': On Serotonin, the M25, and the Motorik Picturesque

Church of the Literal Narrative

Philadelphias Floating Architecture

Now Viewing: Married To The Eiffel Tower

Le Corbusiers Image Hoard: Poeme Electronique

Giant American Signs: Original Learning from Las Vegas Footage

Giant Soviet Signs Cut Into Forests

Bricks Melted Into Icicles: Napalm Decorative

C-Labs 'Unfriendly Skies' & 'Bootleg' Volume

2 The Lighthouse: Self Storage & Architectural Hallucinations

Ceci N'Est Pas Une Pipe: Infrastructure as Architectural Subconcious.

Viva Sectional Cinematography!

Now Showing: The Installation of an Irreversible Axis on a Dynamic Timeline

Plug: Junk Jet

Sim Seasons Greetings! The Rise of Neo-Winter

Geography in Bad, Festive Drag.

The Ruins of the Future

High Tech As Steampunk ...

On The Retro Infrastructural

Simulations of Industry: High Tech Architecture and Thatcherism

David Greene: The Big Nothing

From The Factory to the Allotment: Tony Wilson, Urbanist

Koolhaas HouseLife / Gan Eden: The Revenge of Architectural Media

Ruburb-ric: The Ecologies of the Farnsworth House

The Architecture of Divorce

Flagrant Delit: The Movie

Landscape as Clothing

Telly Savalas Looks At Birmingham Redux

Acts of Un-Building: Timelapse Demolitions

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Stonehenge: A Black Hole At The Heart Of British Architecture

The Popemobile: Mechanised Robes & Motorised Architecture

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The Secret Language of Surface

Some Housekeeping

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Form Follows Dysfunction: Bad Construction & The Morality of Detail

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Vintage Tradeshow Surrealism: International Grune Woche

Moving Houses: Buildings In Motion

Desktop Study: The Strange World of Sports Studio Design

Married to the Eiffel Tower: More Objectum Sexuals

60 Years of The Crazy Horse Memorial

Married to the Berlin Wall: "The Best and Sexiest Wall Ever Existed!"

Inflatable Icebergs: Sublimated Guilt Has Never Been So Fun

The Cinderella Effect: Phantom Architectures of Illumination

Two Deaths and a Retirement: The Strange Shape of British Architecture

If London Were Like New York: Antique Schizo-Manhattanism

If London Were Like Venice: Antique Geo-Poetic Speculations and Hydro-Fantasy

41 Hours in an Elevator: The Movie

NASA: Mapping the Moon with Sport

Lemon Squeezy: Design Tendencies after the Juicy Salif

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The Nihilistic Beauty of Weapons Arranged in Patterns

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Hollow Inside: Starbucks Foam and the Rise of Ambiguous Materials

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