A selection of drawings from the Sheds: Palaces of Nothing exhibition at Hauser & Wirth.
I remember what he (Alexander Brodsky) said. He said something along the lines that the most important thing about the shed is that you never know what is inside, and that it is mysterious and that this mysterious quality was present in the selection process too.
– Markus Lähteenmäki
James Wines (*1932), Best Products Showroom, 1978. Pen and ink on paper, 463 × 743 mm.
Jean Aubert (*1935), Abris figuratifs: Tortue molle, 1972 – 1973. Diazo print in red ink, 295 × 420 mm.
Haus-Rücker-Co. (*1967), 'Cover' installation project, Museum Haus Lange, Krefeld, Germany, 1971. Photographic printed reproduction, 295 × 397 mm.
Anon. (French), Design for a Fantastic Railway Carriage, 1878. Pencil, watercolour and bodycolour on wove paper, 288 × 470 mm.
Anon. (English), Reliquary of St Aidan, c. 1820. Pen and brown ink, pencil and watercolour on paper.
Cassius Goldsmith, Design for a Gate Lodge, End Elevation, c. 1827. Pen, ink and watercolour on wove paper, 245 × 370 mm.
Ludwig Mies van der Rohe (1886–1969), German Building Exposition, 1931. Photograph, 148 × 212 mm.
Cedric Price (1934–2003), Design for shed structure as model framework, c. 1959. Print, 260 × 230 mm.
Paul Robbrecht (*1950), Study for Blokhut, 2000. Red ink on wove paper, 210 × 295 mm.
Barthélémy Duchesne (*1751), Design for Trellis, 1782. Pen, ink and green wash, 197 × 355 mm.
Anon. (French), Perspective de la Grand Pyramide d'Egypte, after 1700. Pen and ink on laid paper, 400 × 520 mm.
Aldo Rossi (1931–1997), Cabina / Armadia Studio, 1980. Pen, ink, pencil and crayon, and printed numbering on paper, 540 × 387 mm.
D. Labouré, La Cité des Sports de Paris, 1930. Gouache over black pencil on cardboard, 587 × 476 mm.
Pierre-François-Léonard Fontaine (1762–1853), Page from a sketchbook, date unknown.
Charles Robert Cockerell (1788–1863), Survey of the Parthenon Pavement, 1813. Pen and ink with pencil and grey and orange wash on paper, 820 × 420 mm.
On the Line of Enquiry developed around Sheds and the exhibition at Hauser & Worth, replete with installation shots and the video on curating the show, with Robert Mull and Alexander Brodsky; on Seven Farmyards, which sheds often populate; and then an eighth, the Shatwell Project, with the Cowshed by Steven Taylor Architects and the Pavilion by David Grandorge, among others.