If you could travel anywhere in the world, where would you go? Why?
If you could travel anywhere in the world, where would you go? Why?
Joep Van Lieshout
BarRectum, 2005
BarRectum, Arsch Bar, Asshole Bar, Bar Anus. While the translations sound different, the form is universally recognizable. The bar takes its shape from the human digestive system: starting with the tongue, continuing to the stomach, moving through the small and the large intestines and exiting through the anus. While BarRectum is anatomically correct, the last part of the large intestine has been inflated to a humongous size to hold as many drinking customers at the bar as possible. The anus itself is part of a large door that doubles as an emergency exit.
BikiniBar, 2006
A meeting point for elderly people: beautiful, cruel and sensual, with a nice interior space. Both art and architecture, BikiniBar represents a building as a sculpture and a sculpture as a building. There is a place to rest inside, where people can withdraw from the busy beach life or bad weather. BikiniBar is the only female body you can enter without permission.
Cradle to Cradle, 2009
Cradle to Cradle, a mixed media installation is a self-sufficient system to recycle humans. These sculptures show the inside interior of SlaveCity at the entrance of the Welcoming Center. This ecological design shows the production system that emulates natures model to recycle.
Old, cripple, sick and bad tasting people will be recycled in the biogas digester. Healthy, not so clever people will be recycled in the meat processing factory. Young and very healthy people will be able to take part in the organ transplant program.
Alcoholator, The Technocrat, 2003
In The Technocrat, the Alcoholator keeps people happy with 1800 litres of alcohol a day, every day of the week, Monday through Sunday. The alcohol is made with waste products from the kitchen and other sites. After the distilling process, 600 litres of 40 per cent alcohol remain and are distributed three times a day. Like the other parts of The Technocrat, Alcoholator has a specific style: red, sexy, voluptuous.
Big Funnel Man, 2004
Big Funnel Man is 10 m long and rests alongside the A27 highway near Breda, where there are always traffic jams at rush hour. People sitting in their cars, going to and from work every weekday, might feel just like the force-fed man.
L'Absence, 2009
For the new School of Architecture in Nantes Atelier Van Lieshout has made l'Absence. As a sculpture, l'Absence fits into the architectural constraints of the site. The result is a moving and living mass, with multiple protuberances, incarnation of an instinctive gesture, without any delimitation or any function. A living space where we wish discussions will happen. L'Absence is in turn a bar, a sculpture, a comment on today's architecture that will, without a doubt, fuel students' imagination.
Satellite des Sens, 2003
Satellite des Sens was commissioned when the city of Lille carried the annual title of Cultural Capital of Europe in 2004. Eager to include children in the celebrations, the organizers asked AVL to create a mobile unit, which could travel around to different schools. Once parked, the unit welcomed 12 children - aged three to six - along with an adult companion, and invited them to take another kind of trip: an artistic discovery tour of the five senses. The children can hear, see, feel, smell and even taste their way through the spacious green caravan to become conscious about the body's senses in a fun and informative way. The caravan's exterior - which looks like a bright green, friendly monster – is an experience in itself, stimulating the 5 senses. Created in close collaboration with a team of specialists – trailer builders, engineers, sculptors, sound artists and pedagogues – AVL's Satellite des Sens is a surrealistic dream object on wheels.
Sensory Deprivation Skull, 2007
This small skull is inspired by the Study Skulls and other Skulls Joep van Lieshout made in the late nineties. Making use of the minimal space needed for the body to relax this unit opens out to reveal a room in which the user can escape the sensory clutter of modern life.
The Feeder, The Technocrat, 2003
The Feeder has a nostalgic design – a rounded and heavy shape that evokes German and other totalitarian designs from the 1930s. The Feeder is a multipart installation with containers, silos, storage for liquids, scales, steam boilers, cookers, water tanks and machines for cleaning vegetables like beets and potatoes and for cutting them.
Modular AVL Man, 1999
The AVL Man as a modular man. This simplified design is based on standard materials and sizes. The AVL Man appears to be the ideal employee, because he never eats, nor does he ever complain. Yet he doesn’t have hands and feet with which to perform work. He does, however, have a screw-on penis.
Self-Portrait, 2002
Self-portrait of a man sitting at a table, drawn as an architect would draw a building: with a plan, a view, a section and in 3D.
Alfa & Omega, 2009
The two busstops Alfa & Omega in the shape of an egg and a skull are commissioned by Gemeente Dordrecht and placed at the beginning and end of the scolars bus route if not only symbolizing the beginning and end of life but also the process of learning and the scholars career
Fossil, 2009
The fossil series consists of several chairs, chaise longues and sofas. The fossils are reminiscent or recall a primitive shape, half natural, half manmade.
They have an outline that vaguely looks like a remnant of a human shape or a body. Like a fossil, these nomadic pieces reveal the identity of the pre-historic host but also resemble and may be seen as rocks or volcanic stone.
The fossils are provocative and thoughtful sculptures, which function as sitting places or pieces of furniture, inspiring visitors to nestle and offer an interesting place to gather, read, have a pick-nick, and dream away with the movement of the clouds or the sounds of the city.
Darwin, 2008
This large purple sperm is blown up to extreme proportion. The head of the sperm can be entered, inside a bed and a small desk are placed. Darwin implies power, status, expansion and reproduction. It reflects social Darwinism ideas and the need for survival in all aspects of our lives, whether biological or corporate. The work was first installed at Scape Biennal, the biennal in public space, Christchurch, New Zealand autumn 2008.
Wombhouse, 2004
Wombhouse is a utility unit that acts as the technical core for a house. The womb is not only every human’s first dwelling, but also the only human body part that can be inhabited by another individual. Prefabricated, the technical core contains all of the essential functions of a building: sanitation, kitchen, heating, ventilation. Normally, this core is an anonymous, square object. By contrast, Wombhouse has an exciting, poetic and enchanting shape. The womb contains a bedroom in the uterus – the safest place in the mind of human beings – along with heating, air-conditioning, electrical systems, a kitchen and a shower. One ovary contains the minibar; the other the toilet. Wombhouse can make any space function as a home; the structure requires only a roof and walls to protect it from the climate. Put the plug in the socket, and everything will work.
Bonnefantopia, 2003
Inspired by Sportopia, Bonnefantopia was made for Bonnefanten Museum in Maastricht. Despite the similarities with its noble predecessor, Bonnefantopia is more domestic and features both a kitchen sink and a cosy bed. Three fibreglass Michelangelo figures inhabit the installation: one is vomiting in the kitchen sink, another is hanging over the scaffolding, and the third is lying on the floor. While the historical Michelangelo slaved away on the Sixtine Chapel, these fallen followers show what happens when men become the slaves of machines or systems.
Victory Light Pole, 2005
Victory was made for a new business park in Nieuw Vennep. An office worker’s utopia, the business park has an idyllic garden with a duck pond and bronze sculptures where employees can linger during lunch hour to be happier and more productive in the afternoon. AVL’s sculpture shows a herd of managers, trying to get to the top of a lamp-post.
The Company, 2002
The Interpolis Insurance company asked AVL to design a half-open meeting place for 14 people; the company did not want to build a separate room. AVL’s solution was to create a central table, surrounded by a sculpture group. The sculpted fibreglass figures represent the employees of an average company and their lives: businessmen shaking hands and discussing a portfolio; a hard-working manager, a good director pushing a disabled person in a wheelchair; gossiping office assistants; a family and a depressed worker.
Huize Organus, 2008
For the Zuiderzeemuseum in Enkhuizen Atelier Van Lieshout made Huize Organus. This multi-functional unit is placed on a small dyke in the museumpark. The unit consists of several elements of which the large part houses the complete digestive system from tongue to rectum. The largest part of this 'microworld' is blown up to massive proportion so that people can enter. Grown out of this sculpture is the clip-on compost toilet. On the other side the female reproductive organs are attached. In this Wombhouse you will find a small bedroom, where one can sleep in the most save place one can imagine on earth, the womb.
Wellness Skull, 2007
The Wellness Skull is
an impressive large skull. Just like Wellness centers it has a few places to
relax. In the neck of the skull is a small bath. The head of the Skull contains
a sauna. When it is working the hot steam pears out of the eye sockets.Joep van Lieshout about the
Wellness Skull: “The heavenly power is
the big unknown, the death of the hereafter, the skull of physical shell of the
mind. The earthly power is a economical power, money plays an important role on
our contemporary society. Gradually the faith loses all importance and is
replaced by an alternative ‘self experience’, through travelling, sporting and
wellness centres.”
Presentation Notes
Born 1963 – Ravenstein, Netherlands
1995 founded Atelier Van Lieshout in Rotterdam
- Field of architecture, design, contemporary craft
Described as always having a juxtaposition of Rational and Irrational, Good and Bad, Beautiful and Ugly
- Contradiction always present
Art with a function, or a kind of relation to a function
Makes “Sculpture”
- Changes to “Functional Object”… pillow or installing a lampshade
Art with usefulness
Relevance: Want to do sculpture – physical expression and communication of ideas’
Lean more towards Art rather than Product, Expression rather than Functionalism
I don’t believe you can have Art without having an idea to express
At the same time, No problem with putting a functional aspect behind the work, as long as it had that depth.
Durable, Cheap, Practical, Freedom in making form
Likes the colours, Material, Surface
“I also like the fact that it’s an artificial material. I use wood too… There’s a contradiction between natural and synthetic elements: Wood vs. Fiberglass, an Ecological form vs. a Sex Robot. Everything lies between Rational and Non Rational decisions; that’s the theme of the work.”
Relevance: Not that I’ve used fiberglass… as far as preferences go I seem to be more drawn to works along those similar lines.
Not 100% sure why… maybe it is the pretty colours or the surface etc…
Or maybe I’m just eager to explore more areas of craft than feeling the desire to be confined to a particular area such as wood or metal…
Although like Lieshout, I am under the impression that plastics seem to allow more freedom towards form… and that is very attractive. Not having to stick to possibly more restricting traditional forms.
Looking at the work it’s obvious to see attention to aspects of the human form and life itself.
Alfa and Omega – Beginning and end of life
Other works like the Fossil seats and Darwin explore primitive aspects – of high interest to me
- The idea of resorting to the primary instincts… living for the sake of living.
In the Womb house, Joep states
“You will find a small bedroom, where one can sleep in the most save place one can imagine on earth, the womb.”
- Basically the womb is the ultimate sense of comfort and security
… A lot of things around us that do comfort us make a reference to the mother’s womb
From beds, to spa’s, to swings.
Joep has cut through all the bullshit and gone straight to the one true primary ideal form
- To me the primitive aspect Referential of Truth.
- It’s the point of origin in which has been built up on to point of losing sight and all conscious awareness of
Not a fan of Euphemisms and Deluded perspectives. I like to cut the core and reveal the reasoning behind things.
Works such as the Victory Pole and The Company look into the way of societies and sorts of Situations that are created through or for them
Joep stresses “I do not like the word Utopia”… instead these works are the furthest away from Utopia's, brought up through socialism and lack of morality
- To me the works seem very ironic, as if the piss is being taken out of them through the generic interpretations.
- I’m always for analyzing subjects or situations to gain an understanding of the true meaning. Whether it is to bring it down, bring into awareness, or maybe even just provide an alternative perspective.
Following an
exploration into society comes other works based on the aspect of an escape
from it.- More organic biological forms
Bibliography
Atelier Van Lieshout. http://www.ateliervanlieshout.com/. 12 September. 2009
Design Boom. Interview with Joep Van Lieshous. April 18th. 2007. Web.
http://www.designboom.com/eng/interview/vanlieshout.html.
13 September. 2009.
Allen, Jennifer. Art Forum. April, 2001. Web.
http://findarticles.com/p/articles/mi_m0268/is_8_39/ai_75830817/pg_2/?tag=content;col1.
13 September. 2009.
The 60’s were enriched with a sense of making history. The United States was in a state of acting out. In Europe as well, every point of authority or institution were being challenged by the workers and students. Protests including anti-war and civil rights had become a week end regularity. Along with the baby boom, the world had an economy that was now thriving, stemming forth the irrepressible optimism in which this new generation was carrying.
Piero Gatti, Cesare Paolini and Franco Teodoro – three men, who in 1968 brought forth “one of the most important expressions of Italian creativity”. Conceived in Italy, The Sacco stands as the original “bean bag” under Zanotta's name. The pear shaped form consists of a PVC bag, three quarters full of polystyrene balls. The chair itself, when of vacancy, takes on a curious impression of “a shapeless heap, left there by chance, or almost, like something out of place: an element of aleatory disorder, a breath of freedom in the furnishings, a pause in the rigor of functional objects”. When you do sit in it, an activity takes place. Sinking into the absorbent matter, the Sacco immediately clings to each of the body’s resting curves, leaving an entire imprint of the occupant’s position, along with an instant alteration following his or her movement. Unlike conforming to the rigid structure of a traditional chair, the occupant communicates with the seat as it listens and conforms to his or her own unique and individual form and ideal.
It only makes sense that the Sacco’s
concept would be so successful and appeal to the 60’s generation. The casual
social behavior of the time was met, through an endless variety of lounging
positions made possible due to the seating being so low to the ground. It’s
hard to imagine a free-loving, free-thought, protest attendee coming back to
sit up-right, let alone be told how to sit in their own home! “They lolled,
they lounged, they unwound, they let their hair down. They sprawled on the
floor and ate with their hands.” With the Sacco there was an absence of constraints,
allowing the body to follow the current ideology’s language: the primacy of
comfort, softness, and most importantly, the freedom of movement.
“Professional decorators liked the lightweight, mobile nature of the furniture. Therapists discovered that the bean bag chair helped children with sensory-integration problems. And, doctors recommended beanbag chairs for patients recovering from back surgery.”
“This most amorphous seating piece brilliantly mocked
the basic tenet of modernism. Form still followed function, but not the way
Bauhaus founders had intended. The original notion was that the proper form
would emerge in the design process. Yet here is a chair whose form changes with
each shift of occupant’s position – design process that never ends.”
Bibliography
Fiell, Charlotte and Peter. “Modern Chairs.” Benedikt Taschen Verlag GmbH Hohenzollernring 53, D50672 Koln, 1993. Print.
Greenberg, Cara. “Op to Pop: Furniture of the 1960s.” A Bulfinch Press Book, Little, Brown and Company, Boston, New York, London. 1999. Print.
Cawthorne, Nigel. “Sixties Source Book.” Planet Books, 44 Hill St. London, Great Britain. 1989. Print.
Garceau, Yvette. “What is the History of the Bean Bag Chair?” 7/20/2006 12:29:18 PM
http://searchwarp.com/swa79831.htm
08/09/09
Restany, Pierre. “Zanotta Design for Passion” 1986
http://modern-atlanta.org/ma/40-years-of-sacco-and-still-very-cool/
08/09/09

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