Modern, provocative, rebellious. The new entrance of the Musée du Louvre is this and much more. Criticism has built its reputation, making it the most talked about pyramid in the world. Eternal in volume and modern in material, it represents the architecture of two millennia in a single structure: from the pyramids of Giza to new, innovative technologies. From the first, it inherits the proportions and the form. From the second, the lightness and the transparency.
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Yayoi Kusama. Pumpkin Magic
19 February 2018
words: Natalie Donat-Cattin
photos: Jian Yong Khoo
“I, Kusama, am the modern Alice in Wonderland” – Yayoi Kusama
The pumpkin often has a connection with the magical world. In Cinderella, it turns into a beautiful white carriage, darting towards the dance. In the same way, it could easily be one of the strange and wonderful inhabitants of the Lewis Carroll world – out of scale, context and with no apparent purpose. If the pumpkin could talk it would ask non-sensical questions while giving absurd non-answers.
Kusama uses this object to provoke us, to create a reaction, to remind us that the world should be looked at with children’s eyes – with a sense of curiosity and of overturning conventions. It indulges us to shape it in our dreams: change it in size, exaggerate it, enlarge it, shrink it. Her works offers us carte blanche: they are endless fairytales, objects abandoned in nature and space in order to stimulate our imagination.
The pumpkin comes from the earth and eventually detaches from it. In Naoshima it sits on a pier, between the beach and the sea. As every man, it yearns to the horizon, still tied to its roots. It stands out on the blue background thanks to its bright yellow colour, shining between the sky and the sea. It is a small point in the universe, reminding us of our humanity yet inviting us to dare, to go further.
“In a Wonderland they lie, Dreaming as the days go by, Dreaming as the summers die: Ever drifting down the stream- Lingering in the golden gleam- Life, what is it but a dream?” – Lewis Carroll, Through the Looking Glass
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The Convent de la Tourette hovers weightlessly on a hill overlooking the nearby town, uncannily reminiscent of a temple atop the Athenian Acropolis. Visitors willing to make the pilgrimage are initially met with a visual field of low intrinsic interest – but the beauty of the architecture slowly reveals itself the more one looks.
Buildings by nature seek to dominate space. At the Salk Institute for Biological Studies, the experience is wholly different – in this isolated picturesque setting: space dominates building. At first sight, the architecture appears anonymous, sculptural and silent. Lost along the Californian coast, it is situated a stone’s throw away from San Diego in La Jolla. We can imagine it as an untouched gem in a post war scenario: a living ruin, capable of projecting worlds of its own.
Guggenheim Museum by Frank Lloyd Wright, an inverted zigurrat within the urban metropolis of Manhattan – the unconventional layout of the museum makes for a playful visual experience.
In Praise Of Shadows – “…what strikes the eye is the massive roof of tile or thatch and the heavy darkness that hangs beneath the eaves. Even at midday cavernous darkness spreads over all beneath the roof’s edge, making entryway, doors, walls, and pillars all but invisible.”