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Format: 02/20/2017

Wednesday, March 12 2014

Pablo Bronstein: 'Enlightenment Discourse on the Origins of Architecture' at REDCAT

January 24, 2014 - March 15, 2014
Friday, January 24, 2014 - 6:00pm - Saturday, March 15, 2014 - 6:00pm

Pablo Bronstein, Primitive facade variations (2014), ink and watercolour on paper 6 parts, each part: 115 x 200 cm / 45.2 x 78.7 in approx (unframed). | Courtesy of Herald St, London and Franco Noero, Turin

REDCAT: Opening reception: Friday, January 24, 6–9pm

Daily performances: 3–6pm, or through intermission
Exhibition hours: Tuesday–Sunday 12–6pm

The work of London-based artist Pablo Bronstein (Buenos Aires, 1977) is distinguished by a series of projects and public interventions in which he assumes the roles of art historian, architect and choreographer as he reconstructs historical moments and mimics them in tableaux vivants. Camouflaged within the guise of history and imitating architectural forms or urban lifestyles from a certain era, Bronstein reinvents the past with great subtlety and perception.

The newly commissioned project that Pablo Bronstein creates at REDCAT functions as a "staged essay" where the artist articulates, by means of a series of drawings and furniture, the origins of architecture from the naturalistic perspective of the Enlightenment. In a certain way, Bronstein satirizes the insistence with which the architectural culture of the Enlightenment sought to guarantee a "nature" uncontaminated by historical events.

In the gallery, a series of drawings and furniture/buildings appear and together create a traditional 18th-century room. Each unit changes shape and location by means of a set choreography, transforming the suite into an urban plaza reminiscent of the idealized view of a city in traditional Renaissance painting. The intricate setting is activated by a performer who opens, closes and rearranges the objects in the exhibition, and then returns them to their initial state. In their open position, these objects create a complex pattern, imitating the possible uses of a bourgeois city. In their closed position, they return to the rigid and symmetrical grid of the room, an abstract representation of State power and order. Each of these pieces also functions as a sign that refers indirectly to the search for the first building or an architectural model of universal validity. By exaggerating their decorative and constructive morphology, these pieces seem to have an essential and practical function of creating a "real architecture" that emphasizes not the mythological or religious perspectives that dominated in the past, but the archeological interests of Enlightenment thinkers and the historical research into the era.

However, the inherent contradictions that Pablo Bronstein establishes between the drawings and furniture/buildings—the shapes they refer to, their irreducibility to pure theory or mere physicality, functionality or artifice—are also ironic comments about the role of art historians, highlighting the pleasure but also the danger of historical discourse. Pablo Bronstein establishes processes that enable fissures between the past and present, the human and inanimate and, above all, between the practice of history and lived experience. He also questions the common ground between the construction of discourse and the subject of study, as well as our own body and the way we look through objects, involuntarily searching for their capacity to reveal a history to us. As in any historical discourse, Pablo Bronstein creates a temporary, incomplete setting, one that can always change shape, demonstrating to us that there is no single origin, and that the original always seems to be preceded by its copy.

Pablo Bronstein (b. 1977, Buenos Aires) lives and works in London. Solo shows include Centre d’Art Contemporain Genève (2013); Institute of Contemporary Art, London (2011); Kunsthal Charlottenborg, Copenhagen (2011); Sculpture Court, Tate Britain, London (2010); The Metropolitan Museum of Art, New York (2009); and Städtische Galerie im Lenbachhaus und Kunstbau, Munich (2007).

Pablo Bronstein has participated in numerous group exhibitions, including Tate Live: Performance Room at Tate Modern, London (2012); MOVE: Choreographing You at Hayward Gallery, London, Haus der Kunst, Munich, and K20, Dusseldorf (2010–2011); and The Garden of Forking Paths at Migros Museum für Gegenwartskunst, Zurich. Pablo Bronstein has participated in Manifesta 8 (2010–2011); Performa 07; The Second Biennial of Visual Arts, New York (2007); and at the Tate Triennale, Tate Britain, London (2006).

His books Postmodern Architecture in London (2007), Ornamental Designs (2008), and Gilded Keyholes (2013) have been published by König Books.

The exhibition will be accompanied by a small publication with an essay from Ellis Woodman (architecture critic and executive editor of BD, London, UK.)

Last edited by rsdavid on Jan 21, 2014

Hamster Style

February 27, 2014 - March 17, 2014
Thursday, February 27, 2014 - 6:00pm - Friday, February 28, 2014 - 1:00am
Sunday, March 16, 2014 - 6:00pm - Monday, March 17, 2014 - 1:00am

CalArts, Coffeehouse Theater

THEATER: An improvisational dancetastic electronic/DJ audiovisual extravaganza.

Last edited by rsdavid on Feb 13, 2014


March 7, 2014 - March 15, 2014
Friday, March 7, 2014 - 8:30pm - 9:30pm
Saturday, March 8, 2014 - 2:00pm - 3:00pm
Saturday, March 8, 2014 - 8:30pm - 9:30pm
Tuesday, March 11, 2014 - 8:30pm - 9:30pm
Wednesday, March 12, 2014 - 8:30pm - 9:30pm
Thursday, March 13, 2014 - 8:30pm - 9:30pm
Friday, March 14, 2014 - 8:30pm - 9:30pm
Saturday, March 15, 2014 - 8:30pm - 9:30pm

CalArts, Modular Theater

THEATER: Too little, too much, too late? An immersive multimedia performance installation by Allison M. Keating.

Purchase Tickets:

Mar. 7

Mar. 8, matinee

Mar. 8

Mar. 11

Mar. 12

Mar. 13

Mar. 14

Mar. 15

Last edited by rsdavid on Mar 06, 2014

Art School Gallery Exhibitions

March 10, 2014 - March 14, 2014
Monday, March 10, 2014 - 9:00am - Friday, March 14, 2014 - 5:00pm

D300 Gallery: Weng San Sit MFA 2 PHOTO/MEDIA

D301 Gallery: Nicholas Johnston MFA 2 ART

L-Shape Gallery: CLOSED

Main Gallery: Mary Beltran MFA 1 PHOTO/MEDIA

A402 Gallery: Svetlana Romanova MFA 2 ART

Lime Gallery: Kate Kendall MFA 1 ART

Mint Gallery: Jennifer Remenchik MFA 1 ART

Last edited by Belmer on Mar 07, 2014

Paul Brach Visiting Artist Lecture Series: Paul Pfeiffer

March 12, 2014
Wednesday, March 12, 2014 - 6:30pm - 8:30pm

CalArts, F200

ART: Paul Pfeiffer was born in Honolulu, Hawaii in 1966, but spent most of his childhood in the Philippines. Pfeiffer relocated to New York in 1990, where he attended Hunter College and the Whitney Independent Study Program. Pfeiffer’s groundbreaking work in video, sculpture, and photography uses recent computer technologies to dissect the role that mass media plays in shaping consciousness. In a series of video works focused on professional sports events—including basketball, boxing, and hockey—Pfeiffer digitally removes the bodies of the players from the games, shifting the viewer’s focus to the spectators, sports equipment, or trophies won. Presented on small LCD screens and often looped, these intimate and idealized video works are meditations on faith, desire, and a contemporary culture obsessed with celebrity. Many of Pfeiffer’s works invite viewers to exercise their imaginations or project their own fears and obsessions onto the art object. Several of Pfeiffer’s sculptures include eerie, computer-­‐generated recreations of props from Hollywood thrillers, such as “Poltergeist,” and miniature dioramas of sets from films that include “The Exorcist” and “The Amityville Horror.” Pfeiffer is the recipient of numerous awards and fellowships, most notably becoming the inaugural recipient of The Bucksbaum Award given by the Whitney Museum of American Art (2000). In 2002, Pfeiffer was an artist-­‐in-­‐residence at the Massachusetts Institute of Technology and at ArtPace in San Antonio, Texas. In 2003, a traveling retrospective of his work was organized by the MIT List Visual Arts Center and the Museum of Contemporary Art, Chicago.

Related links:

Last edited by rsdavid on Mar 10, 2014

Conal Ryan: Splay

March 12, 2014
Wednesday, March 12, 2014 - 8:00pm - 9:15pm

CalArts, The Wild Beast

MUSIC: Experimental music workshop performs splay for ensemble.

Last edited by dstears on Mar 05, 2014

The Merchant of Venice

March 12, 2014 - March 17, 2014
Wednesday, March 12, 2014 - 8:00pm - 10:00pm
Thursday, March 13, 2014 - 8:00pm - 10:00pm
Friday, March 14, 2014 - 8:00pm - 10:00pm
Saturday, March 15, 2014 - 2:00pm - 4:00pm
Saturday, March 15, 2014 - 8:00pm - 10:00pm
Sunday, March 16, 2014 - 8:00pm - 10:00pm
Monday, March 17, 2014 - 8:00pm - 10:00pm

CalArts, E407

THEATER: Is any risk worth a pound of flesh? Hovering between comedy and utter tragedy, Shakespeare's The Merchant of Venice is a dark disturbing love story that explores the crisis that results when man's hunger for an object or person exceeds reasonable risk; when the human heart is blinded by its own desires.

Purchase Tickets:

March 12

March 13

March 14

March 15, matinee

March 15

March 16

March 17

Last edited by rsdavid on Mar 05, 2014

Emile Martinez El MFA Mid-Residency Performance

March 12, 2014
Wednesday, March 12, 2014 - 8:00pm - 10:00pm

CalArts, Roy O. Disney Music Hall

MUSIC: MFA mid-residency jazz studies performance. Original compositions and arrangements of modern jazz works.

Last edited by dstears on Mar 05, 2014
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