Nairobi — A State of Mind Cooperation Goethe-Institut Nairobi ...

Nairobi — A State of Mind Cooperation Goethe-Institut Nairobi ... Nairobi — A State of Mind Cooperation Goethe-Institut Nairobi ...

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03.12.2012 Views

Studio Propolis Nairobi – A State of Mind Statement Exhibition Architecture The architecture of the exhibition introduces spatial relationships between the works. In occupying the gallery space, (as opposed to only using the wall space) our intervention begins to explore the liminal spaces that some of the works inhabit. Moving through the exhibition one occupies both the inside and outside of the structures and one experiences a tension of compression and release between the pieces. Formally this draws reference to inhabited edges of cities that are constantly changing. This is the architecture of temporary structures, stage sets, hoarding around building sites, billboards and informal shelters. The idea of representing a city of transience suggests an anti- monumentality that is played out in the material and tectonic expression of the structures. There is an honesty in which raw unfinished timber frames and panels connect with simple lap and butt joints. These are locally available materials which are readily used and adopt a language that is common with such temporary architectures. Spatially our concept played off ideas of the ephemeral| transient, the static|dynamic and the contemporary| historical. Page 12 | 14

Partners and Sponsors The Kunsthaus Bregenz would like to thank its partners for their generous financial support and the cultural commitment that goes along with it. Page 13 | 14

Studio Propolis<br />

<strong>Nairobi</strong> – A <strong>State</strong> <strong>of</strong> <strong>Mind</strong><br />

<strong>State</strong>ment Exhibition Architecture<br />

The architecture <strong>of</strong> the exhibition introduces spatial<br />

relationships between the works. In occupying the gallery<br />

space, (as opposed to only using the wall space) our<br />

intervention begins to explore the liminal spaces that some<br />

<strong>of</strong> the works inhabit. Moving through the exhibition one<br />

occupies both the inside and outside <strong>of</strong> the structures and<br />

one experiences a tension <strong>of</strong> compression and release<br />

between the pieces.<br />

Formally this draws reference to inhabited edges <strong>of</strong><br />

cities that are constantly changing. This is the architecture<br />

<strong>of</strong> temporary structures, stage sets, hoarding around<br />

building sites, billboards and informal shelters. The idea<br />

<strong>of</strong> representing a city <strong>of</strong> transience suggests an anti-<br />

monumentality that is played out in the material and<br />

tectonic expression <strong>of</strong> the structures. There is an honesty<br />

in which raw unfinished timber frames and panels connect<br />

with simple lap and butt joints. These are locally available<br />

materials which are readily used and adopt a language that<br />

is common with such temporary architectures.<br />

Spatially our concept played <strong>of</strong>f ideas <strong>of</strong> the ephemeral|<br />

transient, the static|dynamic and the contemporary|<br />

historical.<br />

Page 12 | 14

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