I want to talk about the approach I have to architecture. It is a different approach, because I (and a lot of people know this) but a long while ago I by chance started working in performance, and the sort of interregnum between being an architect... and performance artists were using the same material as architects: spaces, situations, people. They were using them, well they were looking at them through the lens of conceptual art, which meant that they could see political and social values and objects of use and something I understood that I could do. And I did the Lisson Gallery with that spirit, and it's been a prevailing tendency in all my works.
For example when I got to The Red House, The Red House I could handle, well it's always called history but it's not. What I felt I could do in The Red House so I could use any building from any time, that I liked, which I felt had relevance to the present moment. To make an argument, post rationalising argument for that, is that it is a modern building. Because if you think outside architectural modernism into paintings, literature, music; Stravinsky would use Russian motifs in contact with what he found in Debussy and the French school of writing, of modernist writing. And we know that James Joyce used the structure of the Ulysses myth for his book of same name, but actually added into that, or used in that, colloquial speech that he heard. And if you think of Picasso, he would very freely use motives from the history of painting in combination with cubism.
If you would like to view the whole talk please follow one of the following linksSubscribe
When you purchase a talk from Pidgeon Digital, you can watch it up to 10 times in a 72 hour period. You will receive an email with a link to your talk once it's been purchased. Please check your junk mail if you have not received it or contact us if you have any problems.
Do you want to purchase this talk for £5.00?