ISLAND at the Venice Biennale: new categories of conceptual architecture and architectural sculpture

Research output: Contribution to journalBook/Film/Article review

Abstract

ISLAND, Great Britain’s entry to the 16th International Architecture Biennale is underpinned by Alejandro de la Sota’s quote ‘architects should make as much nothing as possible’. Ostensibly, upon visiting the British pavilion it does indeed appear that this year’s representation of the best of British architecture is … nothing. The neoclassical building, which holds a dominant position within the Giardini, making it one of the first things visitors to the park see, has been left empty; seemingly abandoned following last year’s exhibition of Phyllida Barlow’s large-scale sculptural works for the Art Biennale. The vinyl text from Barlow’s show, titled ‘Folly’, is even still partly visible on the wall to the right of the entrance. There are also scuffs and scratches to the pavilion’s surfaces that t document the memory of Barlow’s sculptures, as well as dust piles gathering on the floor.
Original languageEnglish
Pages (from-to)109-111
Number of pages3
JournalJournal of Visual Art Practice
Volume18
Issue number1
Early online date7 Jan 2019
DOIs
Publication statusPublished - 2019

Fingerprint

Biennials
Pavilion
Architectural Sculpture
Venice Biennale
British Architecture
Art
Folly
International Architecture
Visible
Neo-classical Building

Bibliographical note

Article comprises a review of an exhibition

ASJC Scopus subject areas

  • Visual Arts and Performing Arts

Cite this

ISLAND at the Venice Biennale : new categories of conceptual architecture and architectural sculpture. / Dudley, Jennifer.

In: Journal of Visual Art Practice, Vol. 18, No. 1, 2019, p. 109-111.

Research output: Contribution to journalBook/Film/Article review

@article{69850c73fc1a4310815478659cc0178e,
title = "ISLAND at the Venice Biennale: new categories of conceptual architecture and architectural sculpture",
abstract = "ISLAND, Great Britain’s entry to the 16th International Architecture Biennale is underpinned by Alejandro de la Sota’s quote ‘architects should make as much nothing as possible’. Ostensibly, upon visiting the British pavilion it does indeed appear that this year’s representation of the best of British architecture is … nothing. The neoclassical building, which holds a dominant position within the Giardini, making it one of the first things visitors to the park see, has been left empty; seemingly abandoned following last year’s exhibition of Phyllida Barlow’s large-scale sculptural works for the Art Biennale. The vinyl text from Barlow’s show, titled ‘Folly’, is even still partly visible on the wall to the right of the entrance. There are also scuffs and scratches to the pavilion’s surfaces that t document the memory of Barlow’s sculptures, as well as dust piles gathering on the floor.",
author = "Jennifer Dudley",
note = "Article comprises a review of an exhibition",
year = "2019",
doi = "10.1080/14702029.2018.1549192",
language = "English",
volume = "18",
pages = "109--111",
journal = "Journal of Visual Art Practice",
issn = "1470-2029",
publisher = "Taylor & Francis",
number = "1",

}

TY - JOUR

T1 - ISLAND at the Venice Biennale

T2 - new categories of conceptual architecture and architectural sculpture

AU - Dudley, Jennifer

N1 - Article comprises a review of an exhibition

PY - 2019

Y1 - 2019

N2 - ISLAND, Great Britain’s entry to the 16th International Architecture Biennale is underpinned by Alejandro de la Sota’s quote ‘architects should make as much nothing as possible’. Ostensibly, upon visiting the British pavilion it does indeed appear that this year’s representation of the best of British architecture is … nothing. The neoclassical building, which holds a dominant position within the Giardini, making it one of the first things visitors to the park see, has been left empty; seemingly abandoned following last year’s exhibition of Phyllida Barlow’s large-scale sculptural works for the Art Biennale. The vinyl text from Barlow’s show, titled ‘Folly’, is even still partly visible on the wall to the right of the entrance. There are also scuffs and scratches to the pavilion’s surfaces that t document the memory of Barlow’s sculptures, as well as dust piles gathering on the floor.

AB - ISLAND, Great Britain’s entry to the 16th International Architecture Biennale is underpinned by Alejandro de la Sota’s quote ‘architects should make as much nothing as possible’. Ostensibly, upon visiting the British pavilion it does indeed appear that this year’s representation of the best of British architecture is … nothing. The neoclassical building, which holds a dominant position within the Giardini, making it one of the first things visitors to the park see, has been left empty; seemingly abandoned following last year’s exhibition of Phyllida Barlow’s large-scale sculptural works for the Art Biennale. The vinyl text from Barlow’s show, titled ‘Folly’, is even still partly visible on the wall to the right of the entrance. There are also scuffs and scratches to the pavilion’s surfaces that t document the memory of Barlow’s sculptures, as well as dust piles gathering on the floor.

UR - http://www.scopus.com/inward/record.url?scp=85059671338&partnerID=8YFLogxK

U2 - 10.1080/14702029.2018.1549192

DO - 10.1080/14702029.2018.1549192

M3 - Book/Film/Article review

VL - 18

SP - 109

EP - 111

JO - Journal of Visual Art Practice

JF - Journal of Visual Art Practice

SN - 1470-2029

IS - 1

ER -