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Shared art - Elevator door in Hotel Lebua at the State Tower, Bangkok, Thailand.
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Experts. National Museum of China in Beijing. Photo by Gerhard Guffler
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The german Masterpainter Philipp Weber in New York City
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Spectacular location: The Thyssen-Bornemisza Museum in Madrid, Spain
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Preparing for the photoshooting - young model in Seoul, South Korea
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Art that lives. Spanish children in front of a work of the master Antonio Castello Avilleira. Photo by Martin Llamedo
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Ad Reinhardt: Blue Paintings - David Zwirner Gallery, New York City
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Art, well-dosed. Devotional items at the Guggenheim Museum in Bilbao.
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Contemporary Art at the National Museum of China in Beijing
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Street Art. Bordeaux/France. New harbour area. Photo by Nyx
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Fantastic multi-media presentation by TeamLab (Japan) at Pace Gallery in Beijing · Photo by Erik Olsson
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The triple Helnwein. Discovered at Modernism, San Francisco · Photo by Jon Kim
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Hidden view to North Korea? Youngeun Museum - Gyeonggi-do, South Korea. Photo by Takashi Moto
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Exciting neighborhood: street art and commerce - discovered in Santa Cruz de Tenerife.
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Escape · Fondation Maeght · Photo by Takashi Moto
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Discovery in a gallery in Stockholm: The daughter of the famous ceramist Leo Grilli from Gubbio, Umbria.
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Impressive typography in Seoul-Jikhalsi, South Korea · Photo by Takashi Moto
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In search of identity. Detail of Alexander Timofeev "Beginning" · Oil on canvas, 100 x 100 cm, 2015.
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What does Marylin think? Impression from the Halcyon Gallery, London
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A wedge? Outstanding architecture! The new area in the Hermitage. Photo by Takashi Moto.
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Grandiose swing: Church of St. Michael, Hamburg. Photo by Gerhard Guffler.
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Sculpture of sitting men, France. Photo by Anja Helmchen.
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Lively streets in New York City. Photo by Mick Rogers.
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Accord. Städel-Museum, Frankfurt/Germany · Photo by Takashi Moto
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The truck. Christmas. New York City. Photo by Vince Ryan
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Currently out of Malaga/Spain: masterful sensitive drawing of the artist Aurelio Rodriguez Lopez.
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West meets east. Shopping in Guangdong, South Korea. Photo by Kwon KyungYep
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A touristic reminiscent of a great artist. Discovered at Central Park in New York City. Photo by Danielle Lemond
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Re-use: Work aid for the German painter Philipp Weber. Photo: Johannes Mencke
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Art project with refugees in Munich: motif from "Peace of paper".
image of the week

Kloosterboer on Glorious Color

The Premise

When Didi Menendez, publisher of PoetsArtists Magazine, invited me back to curate a special edition for the second time, I jumped at the opportunity without hesitation. Curating Idiosyncratic Monochromes in 2017 was a tremendously enriching experience for me, especially because that issue was so well received.

This time, to juxtapose the previous monochromatic theme, I chose Glorious Color as the starring leitmotif and published a call for submissions asking for paintings and drawings created in vivid, bright, intense colors. My objective: To publish a spectacular anthology of realist artwork expressed in vivaciously flamboyant color schemes that will show the artists’ bold and intrepid use of a variety of polychrome palettes that will wow the reader.

Espen Vatn Et Al: In Hannes Meyer Pockets: 12 Life Factories, 2014

I had the pleasure of meeting Norwegian architect Espen Vatn in Chicago at his lecture at the UIC School of Architecture in 2018.

Among the many brilliants projects he showed in this occasion, this one realized with Andrea Pinochet, James Hamilton, Richard Øiestad and Børre Mølstad, simply stood out. The 12 plans and models of In Hannes Meyer Pockets: 12 Life Factories, are in fact an interpretation of Swiss architect and Bauhaus director’s famous requirements for building a house.

Meyer‘s 12 points were a constructed series of parameters that implied the dismantlement of a purely artistic and formal process and the identification of the architect as an “organiser of collective life beyond the constraints of tradition and the nation state”, as brilliantly stated by Amir Djalali (see the further reading section for source). Djalali adds: “The sheer reductionism of Meyer’s ‘building’ has the precise scope of liberating the intrinsic richness of life in all its forms: ‘Because this doctrine of building is close to life’s realities, its theses are constantly changing: because it finds concrete existence in life, its forms are as rich in content as life itself. “Richness is all”.’”

Espen Vatn and his collaborators read each one of Meyer’s points (read the statement for the list) as single architectural projects. In a metaphorical process, the authors seem to reintroduce artistic composition and formal autonomy into play. Rational designs, reductionist in their formal vocabulary (all plans and models are combinations of simple geometrical shapes such as the square, the circle, the triangle), seem to contrast with what is implied in Meyer’s project in the first place: the progressive detachment between the designer and the architectural project, a tendency that is visibly accentuated today by the introduction of digital technologies and parametrization into the design and fabrication process.

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