Style and Scale, or: Do You Have Anxiety?: A Conversation by Ken Adam, Katharina Fritsch, Hans Ulrich Obrist, Bice

By Ken Adam, Katharina Fritsch, Hans Ulrich Obrist, Bice Curiger

Der neue Band aus der Reihe artwork and structure in dialogue" präsentiert den Architekten Ken Adam und die Künstlerin Katharina Fritsch im Gespräch mit Kuratoren. Ken Adams geniale Setdesigns für die frühen Bondfilme sind legendär. Ebenso einprägsam sind Katharina Fritschs enigmatische Skulpturen, die kollektive Ängste thematisieren. Fritschs und Adams Bildfindungen weisen erstaunliche formale Parallelen auf. Im Gespräch werden viele weitere unerwartete Verbindungen zwischen der Künstlerin und dem dressmaker deutlich.

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Additional info for Style and Scale, or: Do You Have Anxiety?: A Conversation with Ken Adam, Katharina Fritsch, and Hans Ulrich Obrist. Moderated by Bice Curiger

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It’s a little bit like Fritz Lang. Bice Curiger Cristina Bechtler Bice Curiger Bice Curiger Ken Adam Or like Lionel Feininger’s paintings? Feininger is not so ‘unheimlich’ or uncanny. Das Licht auf der Karte und die kleinen Löcher, durch die das Licht dringt. Aber die waren getürkt. Wir hätten 36 Projektoren gebraucht, um die Flugbahnen der B52-Bomber auf die Karte zu projizieren, und Stanley sagte: „Wenn einer ausfällt, kann uns das stundenlang aufhalten. “ Also habe ich die Karten fotografisch auf diese Größe aufgeblasen und wir montierten sie auf Sperrholz.

Danach gehe ich ins 59 scale, sometimes one-to-one. I do a lot with models because I always have to see it in three dimensions. Ken Adam What time do you wake up? Katharina Fritsch Ken Adam Very early, six o’clock. m. Do you have anxiety? No, I just wake up. Not from anxiety. I am very fresh in the morning and very tired in the evening. I have had a strange rhythm for a few years now. Maybe because one gets older. When I was younger, I was more anxious, especially in the early hours, around four or five.

I also want special lighting to create different moods. Very light ones or darker ones. Katharina Fritsch You both relate to architecture, too. Like what you did at the Venice Biennale in 1995, Katharina. Hans Ulrich Obrist The piece for Venice was an architectural model for a museum in the scale of 1:10 – like a huge oversized architectural model for a building which can also be a sculpture. 60 meters tall, at my eye level, so basically you could only see it by going upstairs in the German Pavilion and looking down on it.

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