Fischei Weiss, Rock on Top of Another Rock, Serpentine Gallery, London 2013
I’ve written about Rock on Top of Another Rock before but at the time I entirely failed to get round to the follow-up post about its London incarnation so I’m quite pleased to find myself back with it now by a somewhat circuitous route. A recent visit – on a rainy winter afternoon – reminded me quite how much I like the way this work pairs a simple idea with a complex and audacious challenge in terms of sourcing the materials and installing the work. The Ronseal nature of the title imparts a sense of playfulness to what is also in some ways quite a scary piece of sculpture. It’s all a matter of balance.
Herzog & de Meuron and Ai Weiwei, Serpentine Pavilion, 2012
Not that you’d know it to look out of the window, but it’s summer. And, amongst other things, summer means a new Serpentine Pavilion. In a fit of optimism, this year’s pavilion is open sided so it’s likely that for much of the summer those venturing to see it will find themselves staying close to the middle to avoid the driving rain and quite possibly huddling together for warmth. Ah well…
So, disregarding the disparity between building and climate, is it good architecture? Does it work as a social space? Is that even what it’s for?
Perhaps it’s just my preoccupation of the week (or perhaps I’m desperate to make links here, no matter how tenuous), but seeing Lygia Pape’s beautiful installation of gold thread at the Serpentine Gallery put me in mind of a forest. The space is disrupted by thread that sparkles in the space rendering it unnavigable. The thread seems to form beams of light through the darkness, like sunlight penetrating a forest. Though the whole of Magnetized Space, Lygia Pape’s installation at the Serpentine Gallery, is fascinating and though this may be the only work I’ve seen in real life before, Ttéia 1, C is definitely the highlight for me.