Alexander Brodsky, Study for a Pavilion 101st km

Brodsky Pavilion

To mark the centenary of the Russian revolution, Pushkin House is breaking out into Bloomsbury Square with an artistic installation about Russian poetry in exile. This pavilion, by leading Russian artist and architect, Alexander Brodsky, celebrates the power of the word and the individual voice. The 101st km, a concept well known in Russia, refers to the distance that poets and others were forced to maintain from major cities, often after returning from the labour camps – a kind of internal exile and attempt by the authorities to suppress them. The pavilion creates a refuge for these voices: the poetic and mysterious announcement heard on local trains leaving from Moscow that conjures up the vast expanses of Russia, and the rest of the world beyond its borders; poems written in exile. Curated by Marcus Lähteenmäki, this is the first artistic pavilion to be built in Bloomsbury Square, and the first in this country by Alexander Brodsky.  

High Rise

Craig Dodd, High-Rise cover, 1975 IN SET

The cover artwork of the first edition of High-Rise, produced by Craig Dodd, establishes the primacy of the building in the imaginations of its inhabitants by depicting the towers in glorious isolation. Its close cropping cuts out all extraneous influences or hints at urban context, leaving the high-rise and its inhabitants dislocated from the rest of society. ... The illustrated building itself is reminiscent of Erno Goldfinger’s Balfron tower, which has been noted as a possible source of inspiration for Ballard. By drawing on the visual language of modernism with strip windows and exposed structure, and alluding to this particular building, this cover specifically locates the novel as a response to modernist high-rise developments. It also reflects the complexity of critique within the novel, the unresolved conflict between the noble utopian social intent embodied within the high-rise form, and the subsequent popular narrative of dystopian failure apparently evidenced through material and social decay. – Amy Butt

Sam Jacob, Blind Spots

Sam Jacob Blind Spot 1

As in politics, so too in architecture. I imagine these interventions into (and/or deletions of) the Prince’s paintings as a form of architectural representation that intervenes in an idea of landscape. Blind spots and black holes puncture the scene creating visual interruptions that remain obscure: UFO‘s, monumental structures, or are they holes in the Princes’ visual field? Abstract rather than representational, they disallow the original vision, countering the  sentimentality, the narrative and ideological ‘proposition’ they contain (which includes but is not limited to: a particular idea of nature, a false narrative of continuity and tradition, power ‘naturalised’ into the landscape, and so on).  – Sam Jacob

Drawing Matter
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