Friday, 14 October 2011
The architecture and the Heritage
Excerpts from the book of Jean-Yves Andrieux
"Heritage and History" chez Belin.
Chapter 2: Memory and artistic creation.
The emotional charge in principle contained in the monument, should preserve the amateur strange feeling to feel out the place visited, along with hearing a pious contemplation.
paragraphe; The heritage and public space:
The engagement of the visual arts and heritage, sometimes celebrated under the auspices of the city, now inside the monument, now in his court, have deepened over the past ten years, the paths of a relationship that could, from there point of resistance, lead to a lasting marriage. This relationship breaks with the museum project, complete it and relays without introducing historicist vision.
Indeed, it is architectural or sculptured monument "transmits and makes visible the memory of individuals, events" in a form acceptable to the community.
Another way to see architecture:
The monument against the fascism, says the Harburg monument.
The monument that was developed in 1986 with Esther Shalev-Gerz, in Harburg district of Hamburg and is a column of one meter wide and 12 meters high, covered with a thin layer of lead. Next to this column there were four pens and an inscription in seven languages on this monument against fascism, inviting passersby to sign. As soon as the available area was completely written, the column should be lowered to hide this piece. In the design, the artists wanted a monument where the interaction with men should be born by a list with names engraved, and which disappeared at the same time in the soil. It is only through a small window that should be possible for a portion of the column whose entries appear as similar to the long lists of names referring to the Holocaust, with the crucial difference here, men are alive in contrast to lists of names of victims. Jochen Gerz talking about works of this "new type of monuments where the traditional short disruption of the viewer is replaced by its participation as co-author and co-responsible sustainable."
Instead of the invisible monument
In Saarbrücken, Parliament Square is paved with stones more than 8000 2000 dealing with the hidden name of the cemeteries of Germany before 1933. On this place, apparently unchanged, but renamed "square monument invisible", it no longer works at the same pace leisurely.
The web site of the artist:
La description des oeuvres:
Les deux Oeuvres de Jochen Gerz
Karavan and Ricardo Bofill:
The major axe:
A view of major axe
Just the desire to help the artist "to go his way so that museums do not close such tombs on great projects. Jean-Yves Andrieux
Center of National Monuments: