Nikola Knežević

Harold Haliday Costain, Stack of Sugar Sacks

Venice Clock Tower - Building as an artwork, a diagram of earthly hierarchies, nature and moving of the universe

'Prometheus. Tragedy of Listening' is a musical work by Luigi Nono, first presented in the church of San Lorenzo in Venice during the 1984 Music Biennale. The stage structure used for the performance, a laminated wooden ark, was conceived by Renzo Piano as a large sound box, which can be disassembled and transported. Techniques borrowed from violin making and shipbuilding were used in its design, which was highly innovative for the time.

Lina Bo Bardi, Brazilian pavilion, World Expo Seville 1992

Source: Teatro del Mondo: An Odyssey

Lawrence Weiner, A 36” X 36” Removal to the lathing or support wall of plaster or wallboard from wall, 1968

"Turner now works primarily in sculpture often involving the creation or transformation of materials, objects and environments into architectural or ephemeral forms. His sculptures are often characterized by a specific response to site under a controlled set of processes. As the artist says “I work specific to the site because the site itself is very important to me. I’m speaking in terms of exhibition context (site) as well as the extraction of material from a given provenance (site). Site activates work and of course work activates site. There is a harmonious marriage between the two and when in tune, a particular lift occurs”. This approach has enabled Turner to base form on transposition, preserving a sensory link to geographical locations, cultural associations and human contact. These elements are present in works where an entire waiting room is cast into a series of solid bars, a former psychiatric facility burnished to a darkened stain against a wall, or a cafeteria dissolved across the expanse of a floor. In 2019, Turner extracted one metric ton of hospital beds from The Vinnitsa Regional Psychoneurological Hospital in Vinnitsa Ukraine which were archived, melted and recast into two solid forms. For “Three Sites” his first institutional solo exhibition in Switzerland, he is creating a new body of site responsive sculptures. Each is made from elements extracted from sites in the Basel region that triangulate between architecture and psychology, including a former psychiatric care facility as well as chemical and pharmaceutical industry buildings. Present and past overlap ceaselessly. These two temporalities are never still, as the artist strives to entangle them even further through various degrees of object metamorphosis, sometimes intervening himself directly in situ. These artefacts are made all the more elusive by the fact that they belong to a standardised, industrial and ready-made universe, devoid of warmth, almost clinical; at first glance, they seem affectless, enabling nothing to transpire of their autobiographical resonance. It is the case with the burnishes on wooden panels produced with stainless steel wool applied by hand. As evanescent as they are informal, the subtle chromatic traces composing blurred masses with erratic outlines betray nothing of the repurposed material’s true genealogy. And yet, this steel wool was produced out of metallic chairs gleaned from an American psychiatric institution. A way of reinjecting meaning, all the while retaining a sense of reserve, in materials that wouldn’t be suspected of harbouring such energy."

Cy Twombly, Bacchus, Eiserner Vorhang (Iron Curtain), Vienna State Opera, 2010-11.jpeg

One Year Performance 1983–1984 (also known as Rope Piece) was a performance by Hsieh and the artist Linda Montano

Heidi Bucher

Mike Kelley 'Repressed Spatial Relationships Rendered as Fluid, No. 6: St. Mary's Church and School (Cry Room in the Sky'), 2002

Wolfgang Flatz - Demotage XV

Though set apart from the community at large by stone walls and specific spiritual precepts, the anchorite lay at the very centre of the community. The anchorhold has been called a communal "womb" from which would emerge an idealized sense of a community's own reborn potential, both as Christians and as human subjects

Santiago Sierra, Removal of a museum’s glass windows, 3 October through 7 November 2004 in Museum Dhondt-Dhaenens, Deurle, Belgium. – Photo Guy Braeckman

“A nation is actually nothing; countries don’t exist. When astronauts went into space they did not see a line between France and Spain; France is not painted pink and Spain blue. They are political constructions, and what’s inside a construction? Whatever you want to put there. And in fact the pavilion wasn’t empty: there were leftovers there from previous shows. It was an act of respect to the history of the place. But the work was also the people who were passing by it. The piece was not the empty space but rather the situation.“

“for the opening of this gallery, new space built in the area in the former East Berlin, that has undergone a strong process of reurbanisation, these forms very constructed out of wood plaster and asphalt. They were installed through the windows and protruded a metre and a half which meant they had to be dismantled. Furthermore, one of the rooms had a different number of windows to the other and two holes had to be made in the wall at the same height where the windows would have been. Another room didn’t have enough space for these forms and holes also had to be made in the wall. In general, the order decided upon for these forms involved intrusive installation for each of the rooms.“

Inside the Galleria Civica di Arte Contemporanea, Trento, Italy, a 300m long, 70cm wide, 190cm high corridor was erected.