CAM in Motion: Narelle Jubelin

Albers, Seidler Establishing Shots, 2012-2013

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Gulbenkian Garden

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Between January and May, a shipping container located in the Calouste Gulbenkian Foundation's Garden will play host to a cycle of films from the CAM Collection, which is divided into four moments.

This video about Josef Albers and the Australian architect Harry Seidler was produced for the exhibition Plantas e Planos [Plans and Planes], held in the Calouste Gulbenkian Foundation in 2013.

The work comprises two different films, positioned side by side. The film on the left is composed of images of the interior of Jubelin’s house and excerpts of interviews with Penelope Seidler (in 1968) and Harry Seidler (in 2000), with the design of the house as the main theme. These images are interspersed with photographs of Seidler House, in Killara, Sydney (New South Wales, Australia) and close-ups of a painting from Josef Albers’ Homage to the Square series.

The video on the right includes photographs of artworks by Albers that were included in the exhibition Josef Albers in America. Painting on Paper (which took place in the CAM from 18 May to 1 July 2012), and of works by David La Rue and Patricia Leal. These images are interspersed with excerpts from the documentary The Responsive Eye, filmed by Brian de Palma in the Op Art exhibition, held in MoMA in 1966. Here, the director interviews the curator William Seitz, the theoretician Rudolf Arnheim and some of the artists featured in that exhibition.

In this cycle, we are presenting four films from the CAM Collection that allow us to evaluate and reflect on the structuring role of geometry, both in the precise drawing of its known and derivative forms – fixed in architecture, painting, sculpture and drawing, disciplines that lend themselves to animation and film composition – and in its capacity to symbolically embody characters and narratives.

We will link these four films to the following four modes of the work of geometry, varying in the degree of explicitness and, in some cases, more or less subterranean in nature:

It is important to note that geometry, as an ancient and banal concept of art, is far from being the main topic of these films, all of them containing a great wealth of historical, anecdotal, sociological and artistic concepts.


CREDITS

Curator

Leonor Nazaré


CAM IN MOTION

CAM in Motion is an ‘outdoor’ programme that brings together a series of site-specific interventions by artists and exhibitions with works from the Collection in different spaces in the city of Lisbon and its surroundings.

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