I’ve started to look at the thematic of performance and exhibition as a thread through my grains. Starting from Weizmans literal re-enactment of Loo’s Baker house as a ‘memorial’ of both the architect and Baker to Keaton’s performative of the static catalogue Sear’s house and finally to the legacy of Pink Floyd’s theatrical performances. To explore this thread further I decided to borrow two other grains:
- Frida Kahlo and Diego Rivera meet in Detroit and become Mexico City’s power couple in love and art.
- Fashion imitates architecture in 2014 when Chanel turns a photograph of Barkow Leibinger’s Trutek building in Seoul into suit.
- Lina Bo Bardi works for magazines in Italy but builds in Brazil.
In both Kahlo’s and Bo Bardi’s cases I decided to look at the way the artists and architects lives and work have been initially exhibited and then also interpreted. With Frida I was particularly interested in looking at the Casa Azul (her home with Diego) and the partial re-enactment of this in the exhibition at the New York Botanical gardens. I also started looking at one exhibition in particular: Appearances Can be Deceiving: The Dresses of Frida Kahlo where her wardrobe was juxtaposed to her paintings forming an interesting dialogue between her image of herself and the way she presented herself to the world. As such I then am looking at how contemporary designers have interpreted her style both on the runway and for editorials.
When analysing fashion performances and power couples no one exceeds the marriage between Prada and OMA. From shop designs to fashion shows to installations OMA has revolutionised the way we interact with the garment. This is particularly evident in fashion shows where the typical linear flow of models is disrupted with large foam seating blocks or doing away with raised platforms altogether or the New York shop where a “wave” on the interior serves as seating, display, and as a performance space as it dips into the building’s basement activating the garments and accessories. As such the fashion show becomes an active performance for both object and visitor.
In a similar way one of Bo Bardi’s major legacy’s is that of her interior installation at MASP where she moved the paintings out into the exhibition space, rejecting the walls as a mechanism for exalting space and content. I am interested in viewing the effects of this on contemporary exhibition methods as well as understanding her legacy through both magazines as Domus : which she established and travelling exhibitions.