The Gallery at Linosa Close

Assuming Asymmetries. Conversations on Curating Public Art in the 1980s and 1990s, 2022

2005

Photofile, Issue 70, 2004

During the 2000 Olympics, when squatters were facing eviction from their row of disused terraces on Sydney’s Broadway, a website called unReal Estate was launched by the Sydney Housing Action Collective (SHAC). Using the graphics and descriptive language of commercial real- estate listings, the site advertised several empty local properties as potential squats. Commercial TV stations were outraged and did their best to make the ‘bludger’ label stick to the squatting activists. SHAC, of course, felt differently. For them, the website was a direct action, linking DIY-inclined homeless people to unused empty buildings: a database for real-estate recycling. Often, in Sydney, perfectly inhabitable buildings are purchased by a development company with a view to future demolition, and left empty for years. SHAC urged people to use these empty buildings for shelter in the meantime, instead of joining the 90,000 people already waiting for public housing in NSW.

Using space syntax as its main analytical tool, this paper proposes a new way of considering the spatial context of wall paintings in the Neopalatial period. Instead of focusing on the formal and functional properties of the rooms usually adorned with frescoes or stuccoes, their structural properties are highlighted through qualitative description and quantitative analysis. Consequently, these rooms are considered as part of a whole complex which configuration deserved a thorough examination and have the potential to shed some light on the cultural practices related to wall paintings.

International Journal of Architecture and Urbanism

Some issues prove that the development of art in Medan is relatively slow and does not become a concern of the public because of the availability of minimal and inadequate space, while Medan is a multicultural city in terms of art, many artists in the city of Medan have great potential. The construction of contemporary art gallery aims to meet the needs and facilities of art activities in the city of Medan because Medan does not yet have a decent art gallery for art activities, from exhibitions, artwork making space, to fine arts training venues and also as a center for art development likeness of the City of Medan. This gallery plans to be a productive place or place to introduce and provide attractive insights or knowledge to local people and tourists and to be able to preserve and preserve the fine arts in the city of Medan. The methodology used in this project is by collecting data through from literature review and by doing a site surveys. This building design uses the theme of...

2016

It is the aim of this paper to explore the use of memory and temporality in a contemporary Swedish building by Wingårdh Arkitektkontor and in the Johannesburg example of Circa on Jellicoe by StudioMas. The Sven-Harrys Art Gallery is used as a case to understand the concepts of physical threshold, but also the thresholds of memory and the use of historical reference within contemporary architectural design. This example is compared to Circa on Jellicoe. Memory is related to both place and time. By remembering a past event in a specific setting, a temporal and spatial action takes place. The imagination projects into the past and images of places and events that no longer exist in the same way are brought forward in the mind’s eye. In line with the experiential quality implied in this, architecture often serves as a metaphor for memory. It becomes the place where memory is kept, the background to a remembered place, or represents the difficulties inherent in the act of remembering. In contemporary cinema, Christopher Nolan uses several architectural elements in the film Inception as it relates to psychology and the subconscious, and artist Rachel Whiteread creates a metaphor using a concrete cast in her work House. From here the following key question is explored: In which ways can memories of other spaces, such as the private space of the home inform current museum or gallery typologies? Keywords: memory, place, temporality, art gallery, phenomenology, Sven-Harrys Art Museum Stockholm

The following notes, have emerged from a personal and intuitive response to an apparent paucity of critical investigations into the development of gallery education in Britain, particularly in relation to developments in museology, art infrastructures and practices; and a desire to define gallery education as both a strategy and a practice. Although there are overlaps between gallery education, community arts practices, and museum education, in this paper I focus specifically on gallery education. I have drawn on memory, discussion, historical accounts, and original publications and artefacts. Importantly, I have drawn on my own and others’ experience of a particular practice; the practice of art and the practice of gallery education.