Gilda Williams @ ICA ::::Gothic Art: Beyond Motif

Sunday , 12/6/11 , 5:00PM

This is a recording of part 1 of 3  in the panel discussion.

Quotes from introduction

“I am also interested in the art historical origins. Not so much really looking in dept in presenting here those theories, but I am interested in the idea that is gained from the art historical origins which the renaissance talked about; medieval architecture as Gothic, as being a cultural force that is out of one’s control. It is a cultural force that is forced upon you, that is inherited from the past and that you need to somehow cope with. “

“Just because no one is expecting it I think I’ll just take a few ideas around the Gothic. The Gothic is a really interesting word because it not only gains new meanings, but it loses others over history and there are some wonderful meanings that it has had in the past that are kind of fantastic. Of course the Gothic was really important for Bauhaus for example. Not the Gothic, the literary Gothic, the way we think of it now, but the idea of a Gothic cathedral is taken as a symbol for this new community of artisans for Ruskin, who is to this day, I think, one of the most interesting theorists surrounding the Gothic.

He said that what is interesting about the Gothic; the reason the Gothic cathedral is so wonderful, is not the stained glass. It’s because it is a wonderful model of a community of artists. Everybody is working on their glass, their carvings, and their floors and it is what you see embodied in this building. He is not even interested in the Christianity and so forth; he is interested in this place for being a place where artisans can come and join and work. There are different varying levels; there is this good carving and the not so good; it doesn’t matter. If you’re an artist you can find a place there. Beautiful! Beautiful idea around the Gothic, which is of course the one that has sort of been shed today. And of course this is the symbol, the idea of Gothic, which made it beautiful to the Bauhaus, which is, I repeat, is lost.”


ArtReview’s ThinkTank DrinkTank at the ICA

Artist Pablo Bronstein in conversation with Tom Emerson and Stephanie Macdonald from 6a Architects for the first of an ongoing series of informal talks programmed by ArtReview Magazine in collaboration with the ICA, 26 June 2011

“London is not a city that was designed, like Paris. It’s a city that just continues accumulating stuff… London just resists being organized.” Tom Emerson, 6a Architects

The evening’s visitors cuddled together in the ICA studio, designed by 6a Architects. Not so much cuddling perhaps, but a very pleasant and chilled-out atmosphere accompanied by a live orchestra outside (lucky chance).

Topics discussed were of course Pablo Bronstein’s work – 6a Architects work – Purpose and consequence of space/architecture/design – Silly trends in architecture & art and Bronstein’s dealer’s sudden weakness for retro furniture -The wet digital dream not which is not so wet anymore – Bronstein’s desire: a Bungalow

[“The Regency style of architecture refers primarily to buildings built in Britain during the period in the early 19th century when George IV was Prince Regent, and also to later buildings following the same style. The style corresponds to the Biedermeier style in the German-speaking lands, Federal style in the United States and to the French Empire style.” Wikipedia]

The ArtReview crowd is cool, down to earth and funky, so it is worth attending again and again. On top of that, a free issue of the latest number of ArtReview was handed out at the end. I lost mine half way through the reading thanks to an old lady with a plastic bag full of liquid coffee… But fortunately a digital archive of ArtReview Magazine can be found on: www.artreviewdigital.com

Further, there are many layers to Pablo Bronstein’s exhibition at the ICA to explore.
Conclusion: Personal, Inspiring & Educating