Ephemeral Structures
Focusing upon urban ruins and condemned buildings, Thomas Jorion reinvigorates abandoned spaces and forgotten architecture.
Aesthetica Magazine Issue 59
June / July 2014
Aesthetica Issue 59 explores the idea of the unexpected and the notion that what actually happens is different from what was originally planned. Inside this issue, we start with Barbara Kruger’s new major site-specific installation at Modern Art Oxford, alongside her iconic 1980s paste-ups that continue to critique our consumerist culture.
Unedited History, Iran 1960 -2014 is currently on in Paris at Musée d’Art Moderne and looks at over 50 years of contemporary Iranian artwork through the lens of revolution and war. Meanwhile, Art Expanded at the Walker Art Center in Minneapolis examines artworks, films, archival materials and ephemera from the so-called “expanded arts” scene of the 1960s and 1970s, highlighting some of the most important works of the 20th century. At London’s Design Museum a major exhibition surveys the lasting influence of architect Louis Kahn. In photography, a major retrospective of American landscape photographer Robert Adams opens at Fotomuseum Winterthur, Switzerland. We also look at the Stan Douglas show at Haus der Kunst, Munich, showcasing the Canadian artist’s hybrid approach. Elsewhere, we introduce the work of Matt Henry, a British photographer who plays with the sense of place and cultural tropes. Thomas Jorion’s haunting images capture beauty in decay. Finally, our cover photographers, the duo JUCO, create a dynamic mix of narrative and fashion.
In film, we speak with Michel Gondry about his latest release Mood Indigo as it dives into the surreal and considers the lengths you will go to for the person that you love. We also chat with Hany Abu-Assad about Omar, which tells the gripping story of personal conflict in Palestine. In music, we look at how audiences engage with artists who perform in a second language. On stage, David Rosenberg and Frauke Requardt’s immersive The Roof will open later this summer at the National Theatre. Finally, the last words go to Anna Vogel, who discusses her experimental photography techniques.
