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Iannis Xenakis, Le Corbusier Philips Pavilion Expo 58 Brussels, Belgium 1958

From Hans Arp and El Lissitzky’s Kunstismen / The “Isms” of Art 1924 [x]

Ettore Sottsass Jr. Metafore 1972-1979 “Sottsass was questioning the act of building as well as the underpinnings of industrial culture. He then abandoned this artistic production to focus on writing and design. His “constructions” are a sort of “study of the language of architecture” (Barbara Radice), on the link between oneself and the physical environment. These temporary structures are composed of humble and fragile elements, bits of string, wood, ribbons, leaves, rocks, bits of clothing, etc., referring to the precariousness of things. Sottsass wrote: “I felt a deep necessity to visit deserted places, mountains, to establish a new physical relationship with the cosmos, which is the only environment there is, precisely because it cannot be measured, anticipated, controlled or known...” [x]

Richard Long Nomad Circle Mongolia, 1996 [x]

Marcello Morandini Progetti, Disegni, Strutture, sculture / Projets, Dessins, Structures, Sculptures Nicolini Editore, Gavirate 1986

Bruno Munari Drawings from Design As Art 1966

Variation of Incomplete Open Cubes Joachim Koester 2011 “Variation of Incomplete Cubes shows a close-up of two hands attempting to form the shape of cubes. The film pays homage to the American minimalist artist Sol LeWitt, whose 1974 work Incomplete Open Cubes explores the permutations of a cube through a variety of sculptures, photographs and drawings.” [x]

Variations of Incomplete Open Cubes Sol LeWitt 1974

Armor plate, ca. late 8th–late 7th century B.C. Metropolitan Museum of Art: Ancient Near Eastern Art

Ugo Mulas Jasper Johns 1964

Otto Steinert Claude 1952 [x]

There’s a peaceful land of maidens crystal-pure, where children are as unbreakable as steel where snake-victors kneel and drink the wine of angels in silent, frozen halls.   There’s a peaceful land of grasses where the dragon sings for eternal hours. He waits, his wise head bowed, powerful wings embroidered with flowers.   Monks dwell in cells among burgundy rocks. Fire burns inside their stone bowls. And the wine of angels can’t been tasted or seen like tears in a river or in our dead souls.   Here no victories or failures prevail. The scorpion sleeps at the foot of the rhododendron. And in the window’s light—a sacred darkness, like writing on a scorpion’s scales. Natalka Bilotserkivets, from Eccentric Days of Hope and Sorrow, Dzvinia Orlowsky (Ukrainian translation), Lost Horse Press

Unfold Artefacts of a New History 2016 “The limited edition Artefacts of a New History (2016) is a collector box featuring nine different intricate ceramic 3d prints produced using Unfold’s finest printing capabilities. The collection resembles a set of artefacts like those you might find in a natural history museum, on one hand they look ancient, like fossils, but on closer inspection they reveal their strange technical nature…” [x]

Andrea Cascella Monumento al Pescatore 1987

Amadeo Ferroli Giuseppe Balbo 1931

Alexander Calder Hourglass 1941

Andy Goldsworthy, Ice points, held upright in muddy pond bottom, Helbeck, Cumbrial. January 1983 “Crystalline shards of ice, precariously poised beside a pond, form an arch that glistens and sparkles in the sunlight. Soon each face melts, shards slip past each other, and the whole crashes into a chaos of scattered fragments that slowly seep into the earth. On the next day, thin sharp shards project as a cluster of small translucent sails from the cold waters into which they are steadily dissolving. In another season, coloured leaves or petals stuck by spittle form chains or patches of contrasting colours that soon break up as the parts curl up or blow away. A chain of leaves slides slowly over the still surface of a pond, or even floats away in a conga dance on the surface of a stream, casting a shadow that leaps over pebbles and bright winking wave patterns in a self-destructive and frenzied fandango.” — Peter Buchanan, The nature of Andy Goldsworthy, for The Architectural Review [x]

“…Though Andy Goldsworthy has made enormous and relatively durable works such as those in Grizedale Forest (AR September 1985), some of his sculptures are tiny, even inconspicuous, and the vast majority - like those described above - are ephemeral. For most of us they exist only second hand in photographs. Originals lodge only in the memory of the artist, and maybe of a few fortunate others. Some sculptures are so ephemeral - such as rainbowed splashes, or loose clusters of thrown sticks - that they can be appreciated fully only in a prolonged instant frozen on film.” — Peter Buchanan, The nature of Andy Goldsworthy, for The Architectural Review [x]