SO-IL has completed an installation on the Storefront façade, ‘shrink wrapping’ the structure in a film of taught, white material. The layer is pierced by apertures built into the Holl's façade, canvassing the city’s corner in a semi-transparent shell. By night, light from Storefront appears as luminous geometries, visible through the semi-transparent film.

‘Blueprint’ is the site’s latest exhibition — curated by Sebastiaan Bremer, Florian Idenburg and Jing Liu of SO-IL, the show invites visitors to survey 50 collected blueprints from architects, artists and designers dating from 1961 to 2013.
 

“Now, however long a time may pass, according to the eternal laws governing the combinations of this eternal play of repetition, all configurations that have previously existed on this earth must yet meet, attract, repulse, kiss, and corrupt each other again...” H. Heine.


Venue.- Storefront for Art and Architecture. 97 Kenmare Street. New York, NY 10012. USA
Dates.- January 24 - March 21, 2015.

 

Curated by Sebastiaan Bremer and Florian Idenburg & Jing Liu of SO – IL
SO-IL Exhibition design by.- Florian Idenburg and Max Hart Nibbrig.
Curatorial Assistants.- Lee Ann Custer and Dana Kopel.
Based on the exhibition Blueprint (1998) curated by Sebastiaan Bremer and Pieter Woudt.

 

BLUEPRINT text by Eva Franch i Gilabert

"The origin, the place of departure, is a place only identifiable in a journey of return. As a fiction or a fact, the beginning of things, the source, that place of origination, has been a recurring concept in the development and construction of cultures throughout time. BLUEPRINT is an exhibition that asks individuals from the world of art and architecture to embark on a trip of self-reflection to identify a place of origination for their work in the literal and metaphorical form of a blueprint.

Presented as an attempt to understand a series of artistic practices from the subjective to the collective, the exhibition can not only be seen as a collection of blueprints but also as a collection of anecdotes.

As a curatorial metonym, the medium in BLUEPRINT works as frame, format and content. The 50 pieces, dating from 1961 to 2013, are presented as traces willing to bring clarity to a work, a practice and a context. Far from literal readings, there is a flickering nature to the works constantly drawing vectors outside of the gallery walls. Each blueprint is charged and punctuated with a double or triple temporality. Not complete in themselves, each of the pieces is relative to the point in time that the work was created, in relation to the trajectory of each one of the artists, and to the point in time the artist selected it as a blueprint of their past or contemporary work. The exhibition is filled with contradictions and paradoxes.

The works are at once self-referential and representational, present and past. From early traces of sustainable thought in Jaime Lerner’s Maringá stadium to the cloud-cotton-rower of Vik Muniz to the Bikini Brawl by Dana Hoey exploring the concept of “female” to the angelical MOS diagram (presented at Storefront previously two years ago), all works participate in a diachronic fashion in the construction of multiple narratives, rarely overlapping in content or scope.

While usually it is the role of the critic to identify the relevance of a work of art in relation to a trajectory or a historical moment, in this exhibition the curators, Sebastiaan Bramer, Florian Idenburg and Jing Liu as provocateurs or journalists, have asked the artists and architects to create a space of intimacy, to identify and create a space of legibility to let the viewer see behind the mind of the artists from where to start reading an entire body of work. Similarly to a televised intimate interview series, the exhibition is simultaneously serious and frivolous.

With an installation by SO-IL, BLUEPRINT leaves the gallery totally open, yet perpetually closed and fixed. Wrapped in time and in space, the Acconci-Holl façade opens its doors permanently to the works that –while present in the show by reference– are outside the gallery walls. The space looses its literal operational transparency to become a white, translucent icon of its curatorial aspirations. Rendering everything on either side as a world of shadows, the installation denies the spatial properties and the implications of the processional exit of the platonic cave towards a world of truth.

In BLUEPRINT, the quest for truth takes you into two equally shadowed sides."
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Solid Objectives – Idenburg Liu (SO – IL) is an internationally recognized architecture and design firm established in New York in 2008 by Florian Idenburg and Jing Liu. Diverse in origin, their team of collaborators speaks a dozen languages. They are informed by global narratives and perspectives while deeply grounding our research and design in the specificities of local social and cultural contexts. In addition to innumerable awards and publications, their work has been acquired by institutions like the MoMA in New York, the Carnegie Museum of Art in Pittsburgh, and the Art Institute of Chicago.

With their progressive and ambitious private, public, and institutional clients, they explore how built environments inspire lasting positive intellectual and societal engagement. Holding universal participation and ethical construction practices as core standards within their office and projects, they are a proudly certified M/WBE and certified B-Corporation.

In a digitized world that increasingly draws one inward, their architecture is outward-looking, engendering meaningful dialogue with that which is materially and psychologically outside of theirselves. Their work incorporates innovative physical materials that follow each project’s unique scale and specificity, from stretched chainmail enveloping an entire gallery building to an elegant array of glass tubes forming a museum facade. Independent of budget and location, they infuse their projects with craft and material tactility.

With the firm now in its second decade, their work has spread onto four continents. From a collection of industrial heritage buildings housing three cultural institutions in northern France, to a contemporary art center inserted into an office tower in Shanghai, their scope is international. Current projects include a new gateway museum for Williams College in Massachusetts, aiming to be the most sustainable museum in the country.

In 2022, practice leaders Jing Liu and Florian Idenburg were awarded the American Academy for Arts and Letters Award in Architecture and were named United States Artist Fellows.

Florian Idenburg is an internationally renowned architect with over two decades of professional experience. After learning the ropes in Amsterdam and Tokyo, he founded SO – IL in New York in 2008 together with Jing Liu. His years of working in cross-cultural settings make Florian a thoughtful, enthusiastic partner. With a joyous demeanor, he pursues innovation through collaboration. His particularly strong background in institutional spaces has seen him lead the office on such projects as Kukje Gallery in Seoul, the Manetti Shrem Museum of Art at UC Davis, and Amant Arts Campus in Brooklyn. His strength lies in generating imaginative ideas and transforming them into real-world spaces.

Idenburg has a strong intuition for the orchestration of form, material, and light. He is passionate about developing projects to a level where these elements converge into superbly crafted physical space. He combines a hands-on approach with a theoretical drive, sharing this creative spirit with clients, collaborators, and students.

A frequent speaker at institutions around the world, he has taught at Harvard, MIT, Columbia, and Princeton University and is currently Professor of the Practice at Cornell University. In 2010, Idenburg received the Charlotte Köhler Prize of the Prince Bernhard Culture Fund. He is a registered architect in the Netherlands and an International Associate of the American Institute of Architects.

Jing Liu co-founded SO – IL with Florian Idenburg in 2008 in New York City after receiving her education in China, Japan, the United Kingdom, and the United States. Over 20 years of practice, Jing has brought an intellectually open, globally aware, and locally embedded sensibility to her work spanning a wide range of mission-driven cultural projects.

Through building practice and interdisciplinary collaborations, Jing has led SO – IL to explore new fabrication techniques, such as in Kukje Gallery, Las Americas Housing project, and K11 Museum — and to engage with the socio political conditions of contemporary cities — in projects like Martin Luther King Library in Cleveland, Neighborhoods Now initiative in New York, and the Melbourne Arts Precinct Transformation.

In each case, Jing carefully considers the feedback loop between the cultural, social, economic, and political systems unique to the place and its material practices and seeks to make positive contributions toward transformation. As a past and present board member of several non-profit institutions, including the Van Alen Institute and the Urban Design  Forum, Jing furthers these endeavors in the broader public sphere.

Jing has written on a number of topics, including housing, design culture, and female practices. She has contributed to Solid Objectives: Order, Edge, Aura published by Lars Müller, The Fabricated Landscape published by Carnegie Museum of Art and Inventory Press, Home Futures: Living in Yesterday’s Tomorrow published by the Design Museum, and the Avery Review by the Office of Publications at the Columbia University Graduate School of Architecture, Planning, and Preservation.

In previous years, the studio has included partners such as lias Papageorgiou and associates such as Sooran Kim and Ted Baab on its team.


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> 2013.          > 2022.

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Published on: January 28, 2015
Cite: "BLUEPRINT. SO-IL wraps NY's Storefront" METALOCUS. Accessed
<http://www.metalocus.es/en/news/blueprint-so-il-wraps-nys-storefront> ISSN 1139-6415
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