FILM (HÔTEL WOLFERS)
Dora García’s Film (Hotel Wolfers) portrays the relationship between art and architecture as a search for clues and a reflective exercise: While the camera slides through the rooms of the Henry van de Velde building, the sound track follows Samuel Beckett’s 1965 film. The next film is about the social aspect of architecture: A cultural centre in Bordeaux is followed by high-rise prefab buildings in East Berlin, and street organ music is followed by The Clash’s Punk classic “Should I Stay or Should I Go”. In Ulla von Brandenburg’s Singspiel, the camera also travels through an icon of Modernity, Le Corbusier’s Villa Savoye, in a single, long move. Here the house is the playground of an obscure family history that gyrates around remembrance and oblivion, yesterday and today. On the other hand, the camera in Mark Leckey’s Made In ‘Eaven circles around Koon’s sculpture “Rabbit”, which mirrors an empty study. Tamar Guimarães relates the past in the present: In Canoas, Oscar Niemeyer’s architecture reflects some aspects of the social history of Brazil.