Arkitektoner

Den russiske maler og kunstteoretiker Kasimir Malevich (1878-1935) fremstillede op gennem 1920′erne en række gipsmodeller, bestÃ¥ende af en masse sammenlimede firkantede gipsklodser i forskellige størrelser, de sÃ¥kaldte arkitektoner. Malevich’ arkitektoner er nogle sært uudgrundelige objekter, der ikke umiddelbart lader sig definere hverken som rene formalistiske skulpturer i deres egen skala, eller som arkitekturmodeller, der refererer til bygninger i en meget større skala. Arkitektonerne er ikke afhængig af skala, men handler udelukkende om proportion. De er som stumme bygningsmodeller uden døre og vinduer, uden direkte funktionel relation, men heller ikke kun skulpturelle, da de pÃ¥ sin vis minder om ydre bygningsvolumener, og tilsyneladende relaterer til strukturer for menneskelig adfærd. Desuden opererer flere af arkitektonerne gerne med en decideret for- og bagside, sÃ¥ledes at de formmæssigt kun udfolder sig pÃ¥ to af siderne, mens de to andre sider er stumpe eller blinde. Det giver dem et sætstykkeagtigt, scenografisk præg, der bl.a henvender sig til fotografiet. Denne ”halve” rumlighed skal bl.a. ses i lyset af, at flere af modellerne oprindelig var lavet som eksempler til undervisningsbrug, men ogsÃ¥ fordi Malevich selv yndede at arrangere dem i fotografiske opstillinger. Fotografier hvor arkitektonerne sÃ¥ at sige organiseres i en form for bymæssig struktur.

Gota-Grotte

Gota-grotte-installationen relaterer sig til et arkitekton udformet af Malevich omkring 1923 ved navn Gota: en 85 cm høj, massiv, vertikalt orienteret figur opbygget med gipselementer på alle fire sider. Et arkitekton med en udpræget hierarkisk struktur, der på mange måder henviser til en modernistisk, bymæssig formgivning. Gota-arkitektonet er blevet opmålt på basis af fotografier og arbejdstegninger, hvorefter det er skaleret op til en højde på 6,5 m, dernæst er det lagt ned og spejlvendt, og sluttelig er det konstrueret i sin negative form som et hulrum. I Gota-grotten optræder arkitektonet i den menneskelige krops skala. Det er nu muligt at bevæge sig ind i dets hulrum og de formalistiske elementer indtræder i en ny sammenhæng, betinget af kroppens udfoldelser, som en grotte med funktionelle, beboelsesagtige elementer som siddepladser, senge og hylder etc.

Architectones

During the 1920s, Kasimir Malevich (1878 – 1935) created a number of plaster structures, each consisting of many square; plaster blocks of different sizes glued together, his so-called ’architectones’. Malevich’s architectones are strangely impenetrable objects, definable neither as pure, formalistic structures on their own scale, nor as architectural models of buildings on a much larger scale. The architectones are independent of scale and concerned exclusively with proportion. They are like mute models of buildings without doors and windows, without any direct relation to function, but they are not just sculptural, since they do suggest architectural volume and seem to refer to structures related to human activity. In other words, they represent a sort of formalist architecture, in itself a meaningless paradox since architecture must always be related to function or to human activity and cannot be purely formalistic without letting go of its special characteristics. Furthermore, several of the architectones have a distinct front and back, thus unfolding formally on only two sides, leaving the other two truncated or blind. This gives them a set-piece, scenographic character that invites photography. Their ’semi-spatiality’ has to do with the fact that several of the models were originally made for use in teaching, and also with the fact that Malevich liked to arrange the architectones in photographic tableaux, organized as a sort of urban structure.

The Gota Grotto

The Gota Grotto installation is based on an architectone designed around 1923 by Malevich, entitled Gota – an 85-cm-high, massive, vertical sculpture built up with plaster elements on all four sides and with a distinctly hierarchical structure that in many ways suggests modernistic, urban, architectural design. The original Gota architectone was measured on the basis of photographs and preparatory sketches and enlarged to a height of 6,5 meters, then laid down, reversed, and finally constructed in its negative form as a hollow space. In the Gota Grotto the architectone appears on a human scale. It is now possible to move around inside its hollow space, and the formalist elements enter into a new context, conditioned by the physical actions of visitors. The grotto has functional elements resembling those of a habitation, with places to sit, beds and shelves.