The London architect Zaha Hadid designed the Mobile Art pavilion, which has already made a stop in Tokyo. The structure is made of lightweight panels that are packed in 51 shippable containers.A rectangular patch of sand in Central Park may be the last place you’d expect to find a gleaming “Star Trek”-style spacecraft. But an art pavilion that resembles just that will make a temporary landing there this fall.
Called Mobile Art, the structure itself was designed by the renowned London architect Zaha Hadid and will occupy the Rumsey Playfield, midpark at 70th Street, from Oct. 20 to Nov. 9. (It is Ms. Hadid’s first New York building, albeit temporary, and has already made stops in Hong Kong and Tokyo and is headed later for London, Moscow and Paris.)
Yet beyond its artistic mission, the pavilion is a provocative advertisement. Chanel, the fashion brand, commissioned Ms. Hadid to create the traveling structure to house works by about 15 hot contemporary artists. Each was asked to create a work that was at least in part inspired by Chanel’s classic 2.55 quilted-style chain handbag, so named because it was first issued in February 1955.
Maureen Chiquet, Chanel’s global chief executive, declined to give specifics on financial arrangements. But officials familiar with the project, requesting anonymity in deference to Chanel, said that the fashion house was donating a sum “in the low seven figures” to the Central Park Conservancy. Chanel will also pay the city a “use fee” of $400,000.
Artists recruited for the project include Sophie Calle of France, Sylvie Fleury of Switzerland, Subodh Gupta of India and the Russian collective Blue Noses. The resulting works in the show, organized by Fabrice Bousteau, editor in chief of Beaux Arts magazine, include sculpture, photographs, videos and installation pieces.
Many of the artists explored the notion of the handbag as a cultural symbol, often with a dash of irreverence. Mr. Gupta produced “All Things Are Inside,” a video installation that is a meditation on people in transit, like an Indian laborer who returns from Dubai. It also includes clips from Indian films in which the handbag emerges as an element in a human drama.
Blue Noses created “Fifty Years After Our Common Era or Handbags Revolt,” an installation of packing boxes in which videos show satirical moments in the life of a handbag. Ms. Fleury created a giant Pop Art-style quilted handbag lined with pink fur; inside is a makeup compact in which you can view a video of women shooting handbags with guns.
The genesis for the project was the handbag’s 50th anniversary in 2005, when Chanel’s designer, Karl Lagerfeld, issued a new version of the purse, Ms. Chiquet said. The project took several years to come to fruition.
Admission to the exhibition in Central Park will be free, although visitors are advised to book timed tickets at chanel-mobileart.com.
With the weakened dollar New York has become a magnet for European and Asian visitors, and city officials are hoping that the art pavilion will be a draw for tourists. They cited precedents like Christo and Jeanne-Claude’s “Gates,” in which 7,500 gates festooned with saffron-colored fabric panels were positioned along Central Park’s pathways for 16 days in 2005, or the four waterfalls designed by the artist Olafur Eliasson that grace the shores of Brooklyn, Manhattan and Governors Island this summer.
“Right now Central Park is one big international duty-free zone,” said Adrian Benepe, the city’s parks commissioner. “You can’t walk through it without hearing lots of different languages.”
Douglas Blonsky, president of the Central Park Conservancy, said the pavilion would fit perfectly on the 1.5-acre playfield. “It’s low enough so it won’t disturb people,” he said. “We wouldn’t use the Great Lawn or Sheep Meadow. It’s not taking over someone else’s space. It’s a neat little surprise.”
He and Mr. Benepe described Chanel’s donation as a windfall for the park. The money will go toward enhancing its horticulture, particularly in the area from 85th Street to the Harlem Meer.
Asked whether he anticipated criticism for allowing Chanel to advertise one of its products in the park, Mr. Benepe countered, “Everything has a sponsor.”
“Artists in 17th-century Italy wouldn’t have been in business were it not for their patrons,” he added, noting that ING lends its name to the New York City Marathon, which generates millions of dollars in tourist revenue each year.
The convergence of art, architecture and fashion is commonplace these days. A Louis Vuitton bag designed by the artist Richard Prince is constantly spotted on the streets of New York, Basel and London. The Japanese artist Takashi Murakami’s creations for Louis Vuitton were sold in a special shop that formed part of a Murakami retrospective at the Brooklyn Museum and the Los Angeles Museum of Contemporary Art. The architect Rem Koolhaas has helped define the look of Prada shops, and Frank Gehry recently designed a line of jewelry for Tiffany & Company.
“Art is art. Fashion is fashion,” Mr. Lagerfeld said. “However, Andy Warhol proved that they can exist together.”
Noting Ms. Hadid’s star status — she won the architecture profession’s highest honor, the Pritzker Prize, in 2004 — he suggested that “the most important piece of art is the container itself.”
In an interview in her London office, Ms. Hadid said that even though she has not yet designed a permanent building in New York, she liked the idea that the pavilion “lands, creates a buzz and disappears.”
The challenge, she said, was to create a pavilion that was both visually compelling and could be easily transported. Each piece had to fit together like a giant jigsaw puzzle.
Using computer software Ms. Hadid designed a 7,500-square-foot doughnut-shape structure with a central courtyard. Its lightweight panels can be packed in 51 shippable containers; no panel is wider than 7.38 feet.
Skylights admit natural light, and computer-generated lighting casts a rainbow of colors around the base of the exterior that glows day and night.
Visitors entering the pavilion will be given MP3 players. On a track created by the sound artist Stephan Crasneanscki they will hear the French actress Jeanne Moreau discussing everything from sex and love to the secrets at the bottom of a woman’s handbag.
After “Mobile Art” makes its last stop in Paris in 2010, Chanel will have the option to buy all the art. As for Ms. Hadid’s pavilion, Ms. Chiquet said, Chanel owns it but is not yet sure what it will do with it.
Its transitory nature, everyone agreed, will be part of the allure. “It’s like an alien spacecraft that lands in the park and, before you know it, takes off again,” Mr. Benepe said.
@Source: http://www.nytimes.com/2008/07/24/arts/design/24zaha.html
沒有留言:
張貼留言