Amira Gad Livres

Junya Ishigami gestaltete den Serpentine Pavilion 2019 aus einem Arrangement von Schieferplatten, die sich zu einer geschlossenen Überdachung fügen, und ließ ihn gleichsam aus dem Boden des umliegenden Parks herauswachsen. Das Innere des Pavillons bildet einen höhlenartigen Raum, gedacht als meditativer Rückzugsort. In der Gestaltung kommt Ishigamis Philosophie des „freien Raums“ zum Ausdruck, der es um eine Harmonie zwischen menschengemachten und in der Natur vorhandenen Strukturen geht. Text: Beatrice Galilee, Isabelle Gaudefroy, Richard J. Gnodde, Junya Ishigami, Hans Ulrich Obrist

In a rapidly changing world characterized by globalization and hyper-competition, organizations must adapt to leverage new tools for competitive advantage. The focus has shifted to intangible assets—such as knowledge, innovations, trademarks, and customer relationships—as vital components of intellectual capital. These assets are increasingly recognized as crucial for sustained success in the knowledge-based economy. The research highlights the necessity for companies to explore these non-traditional resources to remain competitive, moving beyond conventional tangible assets that are widely accessible.

This publication is released in conjunction with Julio Le Parc s exhibition at the Serpentine Galleries in London (25 November 2014 15 February 2015). It presents, for the first time, Le Parc s unseen series of drawings and sketches, making evident the links between his (light) installations and his drawings. The book also includes a new poem by Le Parc: Written for the book originally in Spanish, Mano, no me olvides (Hand, Don t Forget Me) reflects the idea of freehand drawings presented within the publication. The poem is also a reference to the role that artists may play in social engagement. Writer and filmmaker Edgardo Cozarinsky contributes to the publication with a fictional interview between Le Parc and the late Italian artist Lucio Fontana. Between 1943 and 1946 Fontana was Le Parc s professor at the Académie des Beaux-Arts and the text links their practices, references art movements that influenced them and situates Le Parc s work in a wider historical context.

Die Arbeit des britischen Konzeptkünstlers umfasst Skulpturen, Installationen, Malerei, Film, Land-Art, Fundstücke, den Bau von Maschinen, Assemblagen, Performances und theoretische Schriften, deren Vielfalt durch Lathams Verständnis vom Platz des Menschen im Universum geprägt ist. Der Katalog versammelt Archivmaterial - einschließlich dokumentarischer Fotografien, Texte, Schriftwechsel und verschiedener Ephemera -, und gibt Einblick in Leben und Arbeitspraxis des Künsters.

The Serpentine Architecture Programme expands for 2016, with four Summer Houses joining the Serpentine Pavilion. The Serpentine Pavilion, designed by Bjarke Ingels Group (BIG), is an ‘unzipped wall’ that is transformed from straight line to three-dimensional space, creating a dramatic structure that by day houses a café and free family activities and by night becomes a space for the Serpentine’s acclaimed Park Nights programme of performative works by artists, writers and musicians. Kunlé Adeyemi’s Summer House is an inverse replica of Queen Caroline’s Temple - a tribute to its robust form, space and material, recomposed into a new sculptural object. Barkow Leibinger were inspired by another, now extinct, 18th Century pavilion also designed by William Kent, which rotated and offered 360 degree views of the Park. Yona Friedman’s Summer House takes the form of a modular structure that can be assembled and disassembled in different formations and builds upon the architect’s pioneering project La Ville Spatiale (Spatial City) begun in the late 1950s. Asif Khan’s design is inspired by the fact that Queen Caroline’s Temple was positioned in a way that would allow it to catch the sunlight from The Serpentine lake.