Year 2225 - AP exhibits at La Biennale di Venezia
The Lift -Bettina Hutschek
Triptych of Films: The Lift by artist Bettina Hutschek / The Girl Upstairs by director Francis Ghersci / 62 Stanhope Gardens by AP and architect Kyveli Anastasiadi
Triptych of Paintings by artist Darren Tanti
Triptych of Drawings by architect Riet Eeckhout
Year 2225 – a triptych
Architecture Project (AP) has been invited to take part in the Venice Biennale’s 14th International Architecture Exhibition, from the 7th of June to 23rd of November 2014.
Forming part of the prestigious cultural institution; La Biennale di Venezia, the Architecture Biennale was first set up in 1975, relatively recent when comparing to the Biennale’s century-long history. Today, the Venice Biennale captures a multitude of interest from around the globe and attracts over 370,000 international visitors.
Under the directorship of renowned architect Rem Koolhaas, and entitled Fundementals the 14th edition of Architecture Biennale will consist of three interwoven exhibitions – Absorbing Modernity 1914-2014, Elements of Architecture and Moditalia – that collectively illuminate the past, present and future of architecture as a discipline. After several architecture Biennales dedicated to the celebration of the contemporary, Fundamentals will look at histories, and is an attempt to reconstruct how architecture finds itself in its current situation, and to speculate on its future.
Invited by the Dutch non-profit Global Arts Affair Foundation, AP will join a diverse group of 100 architects from over 40 countries to participate in the Biennale’s Collateral Event – Time Space Existence.
The exhibition will take place in the Foundation’s two Venetian Plazzi; Palazzo Bembo and Palazzo Mora.
Norman Foster, Ricardo Bofill, and Eduardo Souto De Moura are among the many participants, who through their work will add commentary about the current state of architecture, as well as highlight philosophical questions and concepts regarding time, space and existence.
The event documents the wide and varied perspectives of the participants from six continents. Through the diversity of exhibits (models, concepts, research results, dreams, hopes and ideas) the curators’ intention is to elicit discussion and understanding about our existence as human beings within time and space.
AP will present their multi-disciplinary piece, Year 2225-a triptych at Palazzo Mora. By exploring other forms of expression, such as painting and film, AP encourages the investigation of space. Year 2225-a triptych revolves around the transitory moments of architecture. Around the ephemeral moments between the erecting and demolishing of a building; when the building is utilised; not in its intended manner, but rather in the most unorthodox of ways.
With this in mind AP commissioned and curated a series of films and paintings to portray three realised projects: The Barrakka Lift in Valletta, the double-helix staircase of St. Barbara Bastion and the Super-Furniture of Stanhope Gardens in London.
The project protagonists in the films and paintings (a lift, a staircase, and a cupboard) were selected for the intensity of experience and memory, which is derived from the spaces they create. These are both physical and metaphorical, distant or hidden, inaccessible or overlooked, like the forgotten apartment that Tancredi and Angelica discover in Giuzeppe di Lampedusa’s book Il Gattopardo. The films record the existence of lives that unfold in the shadow of these constructions which, invariably, hail from the past: chance encounters, missed opportunities, routine displacements. The small oil paintings, on the other hand, are designed to become objects stemming from the life of the buildings that they depict, extending it into domestic interiors, galleries, cabinets of curiosities and other depositories of memory.
To this end the exhibits are placed at different heights on the wall, further participating in the exploration of space(s) and accentuating the dichotomy between contemporary experience and the influence of its re-experience through the plurality of media.