Hearing from an exhibition which focused on the terms of experience and atmosphere and mostly sensing, I had to buy a ticket to go the the Sensing Spaces exhibition at the Royal Academy as soon as possible, as the senses have been a particular interest in my practice since my dissertation and because I am about to start a self–directed project on the subject of the space and how we interact with it. So when I went there at the end of February, I went there with a lot of expectations. Going there on a Saturday was probably not the best idea in the world, as there were a lot of families around. On the other hand it also meant that there were a lot of different people present that each reacted differently to the architecture/artwork on display. Each room had their individual architecture so the different settings were very well separated and didn’t interfere too much with each other. But in terms of sensing the space, I found the impacts of the architectures not as striking as I had imagined. It didn’t take me a lot of time to go through the exhibition which is not how I normally visit shows, it normally takes me a very long time. But it was also very different from other exhibitions. Instead of offering loads of information and input to take up, the main aim of this exhibition seemed to be the experience of the space (which makes sense according to the name) maybe not necessarily in a conscious way as you would interpret a painting or photograph. Considering that the installations were made by actual, practicing architects working in real life and contributing to skyscapes and landscapes for real people, it is also understandable why they were filled with more subtle details rather than yelling information. There was space for a lot of breathing inside the rooms. The work that stuck with me the most were the twigs by Kengo Kuma which triggered different atmospheres and senses through smell as well as sight and you could feel the room. Another installation that had an impact on me was Li Xiaodong’s zen garden and labyrinth, even though I didn’t see it as such until after I watched the projected video as there were a lot of children running through the stones who created the opposite of a quiet space. It felt to me like Hansel and Gretel’s walk through the forest. I also enjoyed the light atmosphere installation by the Grafton architects as I treasure light very much and it reminded me of the importance of it in our life.
There was one room which was used to project documentation films. I found it to be the most useful to be able to understand the work, even though you have a station with a lot of Ipads int the first room where you can explore the architects and installations in detail. Overall I think that I went into the exhibition with a lot more expectations and probably influences for my project in the start position, so I didn’t have a good start for it. It was interesting to see on the side, but I also find it a shame that it isn’t something that can be put in a public space (even if only temporary) instead of people having to enter and enjoy as well as revive their senses and awareness, especially since the material used (in most cases) seemed to be quite resisting. But then again it could not have been at this time of year or it would have needed to be waterproof…


The exhibition of Swiss artists Andres Lutz & Anders Guggisberg at Mudam is called The Forrest. An accumulation of a variety of techniques, materials and subjects, it is like a playful promenade through a colourful world. The installation is full of different details telling a variety of narratives that seem light as well as profound.Mudam_34491

Their exhibition at Mudam consists of a combination of more recent works which are assembled into a complex composite ensemble enclosed by a wall painting which embraces the whole room and resists the orderliness of the typical museum white cube concept. Full of irony and cryptic humour, the works of Lutz & Guggisberg contain an abundance of subtle references to art, literature and science and present themselves as a loose but not always coherent narrative.

(source: Mudam)


The temptation is great. The work of Andres Lutz and Anders Guggisberg is over-the-top. It explodes boundaries, ignores genres and combines categories. Rhizome-like configurations invade the terrain of contemporary art, pointing forward and backward with narrative glee. At their exhibitions, viewers find themselves reeling with delight. Which tentacles should they take up, which paths should they follow, where should they let themselves drift? It is extremely seductive and tempting to find that everything is related to everything else. Such cognitive super redundancy is obviously useless. What’s left? Tout court, the need and the bid to isolate aspects of Lutz & Guggisberg’s imagery, though only to render them again as a whole.


Nothing that has already been said, only this much: Lutz & Guggisberg offer something society cannot do without, an anarchic drive toward freedom. What’s more, they question encrusted patterns of order. They excite an interest in productive detours and border crossings. Forever boisterous and ebullient, they show us what the world is really about.

(Exploring the Meanders of Lutz & Guggisberg, Andreas Baur)



Happy New Year! Here is another extract from the current Mudam Luxembourg exhibition set which are relevant to my next project (the first self-directed project of Unit 10, starting in January). ‘J’ouvre les yeux et tu es là‘ (I open my eyes and you are there) is part of the Mudam internal collection, and consists in a set of 15 of different artworks from Mac Adams, Tony Conrad, Marie Cool Fabio Balducci, Michel François, Melvin Moti, John Murphy, Damir Očko, Francisco Tropa and Rémy Zaugg.

The title of the exhibition is derived from one of Swiss artist and curator Rémy Zaugg called ‘Le monde voit‘ (the world sees) from 2000 and is exhibited with other typographic work from the artist.

‘[…] a series which generates questions about the gaze, appearance and visibility through a succession of phrases addressed to the ‘world’. The title evokes the original moment of the image, the instant of walking when the contours of the world still appear to be imprecise, floating and vaporous. In the inversion of the gaze it presents, it also highlights in the works on show the central role attributed to the experience of the viewer: the snippets, snatches and sketches that make up these works are like the gaps through which other images, such as mental images, evocations and memories, are filtered.’

(source: Mudam)

Rémy Zaugg : N.T.45a, 1998 - 2000, Collection Mudam Luxembourg © Photo : Rémi Villaggi

Rémy Zaugg : N.T.45a, 1998 – 2000, Collection Mudam Luxembourg © Photo : Rémi Villaggi

As mentioned in the explanatory brochure

‘[the art exhibited] contain something of the ‘riddle’ that art historian Hans Belting locates at the very origin of the notion of the image: the mystery of ‘the presence of an absence’ (An Anthropology of Images: Picture, Medium, Body, Princeton 2011). The central role played by the phenomena of shadows, projection, reflection and disappearance in the exhibition could also be discussed in terms of the place they occupy in stories about the image passed down from Antiquity’


A quote from Gerhard Mack (Swiss Art Critic):

‘[…] on the question of our perception of the world and the genesis in which the world appears as a result of that perception’

Language to invest a pictorial space

perception and illusion

adress – challenge – communicate
(between piece and viewer)

narrative void (Mac Adams)
silence (Damir Očko)

I finally managed to go visit a few of our Luxembourgish museums, even though it being at the end of the year only, where I found a few artists that could be relevant to my first self-initated project starting at the beginning of January 2014.
One of the artists currently exhibiting at the Mudam, the Muxeum of Modern Art of Luxembourg, is Lee Bul. The sculptor and performance artist from South Korea works around society, urban values, utopia and culture amongst other subjects. The exhibition is divided into two areas: installations in a few different rooms and a sort of research/studio area with research, drawings, mockups, essays etc.

View of the exhibition LEE BUL from 05/10/2013 to 09/06/2014 at Mudam Luxembourg - Musée d'Art Moderne Grand-Duc Jean © photo : Rémi Villaggi

View of the exhibition LEE BUL from 05/10/2013 to 09/06/2014 at Mudam Luxembourg – Musée d’Art Moderne Grand-Duc Jean © photo : Rémi Villaggi

View of the exhibition LEE BUL from 05/10/2013 to 09/06/2014 at Mudam Luxembourg - Musée d'Art Moderne Grand-Duc Jean © photo :  Eric Chenal

View of the exhibition LEE BUL from 05/10/2013 to 09/06/2014 at Mudam Luxembourg – Musée d’Art Moderne Grand-Duc Jean © photo : Eric Chenal

The main room of the building is taken up with Lee Bul’s installations consisting in the hanging human-like ‘monsters‘ and ‘Cyborgs‘ and the floor-construction out of wood and iron, Diluvium, walkable, which gives the visitor a different perspective and attention to where/how they walk while observing the hanging sculptures.

Another noticeable room is a room downstairs filled with three different areas, as labyrinths, through which the artist suggests going barefoot. The floor, layered with mirroring material (a repeated material throughout the work), cold and slippery, and entering is only possible going through a low contruction out of iron and reflecting, holding the head low. Passed through, the visitors find themselves in a large, nearly empty, room with two other constructions. A black ‘hill’ (which my mother compared to an iglo) which is hollow inside so possible to be entered, but so small only two adult people could be inside, and again bending in order to fit inside. The inside is filled with mirroring mosaic and repeat the angular forms of the outside, and a pair of headphones hanging from the construction’s roof, on which one could hear what is being said, but echo’ed and repeated over and over again. The third constructions consist in reflective panels of various sizes, situated as a labyrinth only giving a narrow path to walk, as in a mirror labyrinth, with edges and corners.

Screen Shot 2014-01-02 at 17.37.37

All in all I found the installations very engaging and encouraging the visitors to participate with the work, which is why I am very happy to have been able to experience the installations first hand (remember my thesis?). The repeated use of mirroring material and illusions with repetitions translate into different kinds of utopias and the studio exhibition part shows a nice insight into the artist’s experimentation and research through testing and repetition.

View of the exhibition LEE BUL from 05/10/2013 to 09/06/2014 at Mudam Luxembourg - Musée d'Art Moderne Grand-Duc Jean © photo :  Eric Chenal, source from Mudam's flickr page

View of the exhibition LEE BUL from 05/10/2013 to 09/06/2014 at Mudam Luxembourg – Musée d’Art Moderne Grand-Duc Jean © photo : Eric Chenal, source from Mudam’s flickr page

A few more photos:

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more information and photos are available on Mudam’s website.