Recently the interest in Brutalist architecture skyrocketed and found a new, younger fanbase. Associated with are normally large eponymous, most of the time public buildings, but that it also works subtly on smaller scales and private properties is often forgotten.
House Van Wassenhove
A pioneer in this sense was the Belgian architect Juliaan Lampens, who died this year aged 93. He was born in 1926 to a carpenter father in De Pinte. Before opening his own studio in 1950 in Enke, he studied architecture at the Higher Institute for Art and Vocational Training of the Sint-Lucas School in Gent.
A huge impact on his architectural practice had the World Fair 1958 in Brussels, where he was exposed to Modern architects like Le Corbusier, who showed his Philipps pavilion there. This inspired him to build his own house in 1960, where for the first time he applied his avant-garde style of living without barriers.
House Vandenhaute-Kiebooms 1967 Zingem, Belgium © Jan KempenaersFrom this turning point on, he focused on three main materials, concrete, wood and glass, which became his signature. His houses were built to be in harmony with the environment, often closed off from the public on the one side, and completely open towards nature on the other side. He is famous for private residencies, next to his own, like the Vandenhaute-Kiebooms House (1967), the Van Wassenhove House (1974) and public buildings like the Kerselare Chapel (1966) in Edelare or Eke's Library (1970).
Kerselare Chapel, Edelare, Belgium © Jessy van der Werff
Next to Le Corbusier, he was also inspired by Mies Van der Rohe, Oscar Niemayer and the bunkers along the Atlantic coast. As so often, it took decades for him to be appreciated and only got his international recognition in recent years, but throughout all of his career he stayed true to his architectural style and vision.
Artists, who force you to look twice and work on multiple levels, are the most compelling ones. A perfect example is the German artist Rosemarie Trockel and her success proves her right. At first it is very often her humor that grabs your attention, but in the end it challenges your point of view.
She was born in 1952 in Schwerte and initially started to study anthropology, mathematics, sociology and theology in 1971 before changing to art at the Werkkunstschule (Cologne University of Applied Sciences). She studied there from 1974 until 1978 under Werner Schriefers.
The upcoming scene in Cologne at the beginning of the 80s proved to be a fertile ground for her, especially her work with the artist group Müllheimer Freiheit and the gallerist Monika Sprüth. During that time she also traveled to the United States of America and was in contact with Cindy Sherman and Jenny Holzer.
She got international attention for her knitted drawings, taking a material seen as female and challenged the Male dominated art world. Similar was her use of hot-plates, which she put on large canvases, similar to the dots seen in the pop art movement. But her art can not only be described as Feminist, as her approach is broader, dealing with societal themes, which makes her art quite political. As she does not want to be categorized subject-wise, she also does not limit her to a few materials. She works with film, photography, wool, and found objects, among others.
Her position in the art world got fastened through her participation at documenta in 1997, where she together with Carsten Höller showed the Haus für Schweine und Menschen. Also she was the first female solo artist to so show at the German Pavillon at the Venice Biennale in 1999. Since 1998 she teaches at Kunstakademie Düsseldorf. Despite her success she is rather elusive, rarely gives interviews and lets her art do the talking.
Rosemarie Trockel, Cluster – One Eye Too Many, 2018. Installation view, Moderna Museet Malmö, 2018. Photo: Helene Toresdotter/Moderna Museet.
Artists have an urge to create, a drive that keeps them going, but often it is sad to see, that during their lifetimes they do not get the attention they deserved. Therefore it is even more interesting to see them in the spotlight at later years. This is the case for Beverly Glenn-Copeland, who has been creating beautiful music for nearly 40 years.
Born in 1944 in Philadephia, but raised in Canada, he learned to play the piano in young years and studied classical music at McGill University in Montreal. He performed at Montreal’s world’s fair in 1967. In the years after, his focus shifted more towards Folk music, releasing his debut album Beverly Copeland as Beverly Copeland in 1970.
In the same year he also released his second album Beverly Glenn-Copeland in the same musical vein as the first. At that time he also started to compose music for Kids Television shows like Sesame Street and the Canadian show Mr. Dressup, where he also acted.
He continued to work on personal music and as he was not a possibly to make personal statements, he recorded his third album Keyboard Fantasies. Musically it was inspired by the serene environment of Huntsville, Canada, where he was living at that time. The album was self produced, using only a Roland TR-707 drum machine and a Yamaha DX7 synthesizer.
It was this album, which drew the interest of audiophiles, especially a Japanese Gentleman, who bought all remaining tapes of the album. The album then got its first Vinyl release on Brandon Hocura's Invisible City Editions in 2016 and brought it to the attention of a broader audience. This interest kept on growing, and Beverly Glenn Copeland has been performing the album live and in 2019 released a new album entitled Primal Prayer.
Watching Wim Wenders' 1984 film Paris, Texas one is captured by the performance of the actors, the quality of the director, the sublime soundtrack by Ry Cooder, but also questions who shot these amazing pictures. The man behind the camera is Wim Wender's longtime collaborator, the Dutch cinematographer Roby Müller.
Born in 1940 in the Netherlands Antilles, now Curaçao, he moved a lot during his childhood as his father was working in the oil industry. His interest in filming and photography started early. His father was an avid hobby photographer and he regularly took his camera.
After moving to Amsterdam, he studied at the Netherlands Film Academy from 1960 until 1964. While working on a film in 1968 he met the young film student Wim Wenders, who later asked him to work with him on his final University assignment. This led to a long and fruitful collaboration with films like Alice in the Cities (1974), Kings of the Road (1976), The American Friend (1977) and the aforementioned Paris, Texas.
This work brought him international attention and led him to work with directors like Jim Jarmusch, William Friedkind, Peter Bogdanovich, Barbet Schroeder, Lars von Trier and also Steve McQueen. Despite his success and increased interest from Hollywood, he never completely gave in to its industry, always looking to work with directors that challenged the status quo.
His work is defined by his use of light, using mostly natural light. Thereby he also appreciated and cherished the flaws, that others tried to avoid, and made them his own. His work with light led to comparisons with Dutch master painters such as Vermeer. His work was defined by spontaneity, adapting to the situation on the set. For him it was possible to work on a set never have read the script.
Kensington Motel, Santa Monica, L.A, 1985 Polaroid 600 © Robby Müller Estate Courtesy Robby Müller Estate
Robby Müller died in 2018 after having suffered from vascular dementia for several years. Recently his Polaroid-photographs, taken between 1970 and 1990 of daily life situations were shown. These pictures also show his keen eye and his sensibility of light that he is known for.
Christmas is less than a month away, so time for a little update from us.
There will be of course our traditional Christmas calendar starting this Sunday. As every year we feature each day something interesting of the fields of Music, Art, Photography, Architecture, Design, Film, and of course our Christmas specials. All on view here, on Instagram and on Facebook.
For all the people stopping by our brick and mortar store in Hallein, the following Saturdays, 30.11., 7.12., 14.12. and 21.12., we are open until 5pm and serve you hot Punch. Would be lovely to see you there!
First of is a look with Our Legacy's interpretation of a puffer jacket, the Walrus Jacket in rust. It is accompanied by a beautifully textured cotton tweed shirt from Gitman Vintage and washed Jeans from Sunflower.
Second look features the Jesse Jacket from GOETZE with its typical hybrid sleeves. It is combined with Our Legacy's Classic Shirt in plum silk noil and Norse Project's Albin Corduroy Chino in beech green.