Art with Architecture

A Submersible's Art with Architecture 
showcases innovations in Contemporary 
Art with a foothold in the architectural.
It aims to draw together a global
community of artists, curators,
designers, gallerists, writers and 
others who share a critical interest 
in this area.

About A Submersible

Gabriele Beveridge's  In A Normal World I'd Be There 
at OUTPOST, Norwich

Gabriele Beveridge, In A Normal World I'd Be There, 2012.
Courtesy the artist and OUTPOST, Norwich.

Gabriele Beveridge, In A Normal World I'd Be There, 2012.
Courtesy the artist and OUTPOST, Norwich.

Gabriele Beveridge, In A Normal World I'd Be There, 2012.
Courtesy the artist and OUTPOST, Norwich.

Gabriele Beveridge, In A Normal World I'd Be There, 2012.
Courtesy the artist and OUTPOST, Norwich.

Gabriele Beveridge, In A Normal World I'd Be There, 2012.
Courtesy the artist and OUTPOST, Norwich.

Gabriele Beveridge, In A Normal World I'd Be There, 2012.
Courtesy the artist and OUTPOST, Norwich.

Gabriele Beveridge, In A Normal World I'd Be There, 2012.
Courtesy the artist and OUTPOST, Norwich.

Gabriele Beveridge, In A Normal World I'd Be There, 2012.
Courtesy the artist and OUTPOST, Norwich.

Gabriele Beveridge, In A Normal World I'd Be There, 2012.
Courtesy the artist and OUTPOST, Norwich.

Gabriele Beveridge, In A Normal World I'd Be There, 2012.
Courtesy the artist and OUTPOST, Norwich.

Gabriele Beveridge, In A Normal World I'd Be There, 2012.
Courtesy the artist and OUTPOST, Norwich.

Gabriele Beveridge, In A Normal World I'd Be There, 2012.
Courtesy the artist and OUTPOST, Norwich.

Gabriele Beveridge, In A Normal World I'd Be There, 2012.
Courtesy the artist and OUTPOST, Norwich.

Gabriele Beveridge, In A Normal World I'd Be There, 2012.
Courtesy the artist and OUTPOST, Norwich.

Gabriele Beveridge, In A Normal World I'd Be There, 2012.
Courtesy the artist and OUTPOST, Norwich.

Gabriele Beveridge, In A Normal World I'd Be There, 2012.
Courtesy the artist and OUTPOST, Norwich.

Gabriele Beveridge, In A Normal World I'd Be There, 2012.
Courtesy the artist and OUTPOST, Norwich.

Gabriele Beveridge, In A Normal World I'd Be There, 2012.
Courtesy the artist and OUTPOST, Norwich.

Visit http://www.norwichoutpost.org/artist_pages/91_gabriele_beveridge/ for further information.

Adrien Tirtiaux 
at Coup de Ville, Sint-Niklaas 

Adrien Tirtiaux, Bruggen bouwen (to build bridges), 
installation photograph, 2013. 
Courtesy the artist and Galerie Martin Janda, Vienna.

Adrien Tirtiaux, Bruggen bouwen (to build bridges), 
installation photograph, 2013. 
Courtesy the artist and Galerie Martin Janda, Vienna.

Adrien Tirtiaux, Bruggen bouwen (to build bridges), 
installation photograph, 2013. 
Courtesy the artist and Galerie Martin Janda, Vienna.

Artist's description: Building a bridge starting from a single point, and reinforcing it step by step to come further: a metaphor for the development of any artistic career. The bridge eventually connected the art school of Sint-Niklaas, built in an early brutalist style, with a flat roof on the other side of the street. When I reached that point the bridge was completed, and remained as a "performative sculpture“. 

Visit adrientirtiaux.eu and martinjanda.at/en/artists/adrien-tirtiaux/works/ for further information.

Adrien Tirtiaux 
at Ecole Supérieure des Beaux-Arts Tours Angers Le Mans, Tours  


  

Adrien Tirtiaux, MONUMENTALE ACADEMIE, 
installation photograph, 2012.
Courtesy the artist and Galerie Martin Janda, Vienna. Photograph credit: Fred Morin.

Adrien Tirtiaux, MONUMENTALE ACADEMIE, 
installation photograph, 2012.
Courtesy the artist and Galerie Martin Janda, Vienna. Photograph credit: Fred Morin.

Adrien Tirtiaux, MONUMENTALE ACADEMIE, 
installation photograph, 2012.
Courtesy the artist and Galerie Martin Janda, Vienna. Photograph credit: Fred Morin.

Adrien Tirtiaux, MONUMENTALE ACADEMIE, 
installation photograph, 2012.
Courtesy the artist and Galerie Martin Janda, Vienna. Photograph credit: Fred Morin.

Artists description: Monumentale Académie reacts to the forthcoming relocation of the École des Beaux-Arts de Tours and the future transformation of its main building, emptied of its floors, into a prestigious museum dedicated to the painter Olivier Debré.Initially invited to work in the exhibition space of the art school, I proposed to the teachers and students to build a ball of 10m diameter un- folding over three floors. For each of the ball fragments specific solutions were taken, according to the function of the occupied spaces. 

Visit adrientirtiaux.eu and martinjanda.at/en/artists/adrien-tirtiaux/works/ for further information.

Adrien Tirtiaux 
at Sign, Groningen 


   

Adrien Tirtiaux, It‘s a long way to the sea, slideshow, 2006. 
Courtesy the artist and Galerie Martin Janda, Vienna.

Adrien Tirtiaux, It‘s a long way to the sea, slideshow, 2006. 
Courtesy the artist and Galerie Martin Janda, Vienna.

Adrien Tirtiaux, It‘s a long way to the sea, slideshow, 2006. 
Courtesy the artist and Galerie Martin Janda, Vienna.

Adrien Tirtiaux, It‘s a long way to the sea, slideshow, 2006. 
Courtesy the artist and Galerie Martin Janda, Vienna.

Artist's description: For the residence Sign to Eutopia, eight sleeping cabins were set up for the artists in a gallery space. In the third week of the residence, I dismantled my sleeping cabin and transformed it into an autonomous floating capsule. It contained a toilet, a radio, an opening mechanism and provisions for one week. In six days, I drifted about 15 kilometres from the canal in front of the gallery, steered only by currents and wind.

Visit adrientirtiaux.eu and martinjanda.at/en/artists/adrien-tirtiaux/works/ for further information.

Ryan Conrad Sawyer 
at James Fuentes, New York

Ryan Conrad Sawyer, 14.00 Lbs, installation photograph, 2014. 
Courtesy James Fuentes, New York. Photograph credit: Jason Mandella.

Ryan Conrad Sawyer, 14.00 Lbs, installation photograph, 2014. 
Courtesy James Fuentes, New York. Photograph credit: Jason Mandella.

Ryan Conrad Sawyer, 14.00 Lbs, installation photograph, 2014. 
Courtesy James Fuentes, New York. Photograph credit: Jason Mandella.

Ryan Conrad Sawyer, 14.00 Lbs, installation photograph, 2014. 
Courtesy James Fuentes, New York. Photograph credit: Jason Mandella.

Ryan Conrad Sawyer, 14.00 Lbs, installation photograph, 2014. 
Courtesy James Fuentes, New York. Photograph credit: Jason Mandella.

Ryan Conrad Sawyer, 14.00 Lbs, installation photograph, 2014. 
Courtesy James Fuentes, New York. Photograph credit: Jason Mandella.

Ryan Conrad Sawyer, 14.00 Lbs, installation photograph, 2014. 
Courtesy James Fuentes, New York Photograph credit: Jason Mandella.

Ryan Conrad Sawyer, 14.00 Lbs, installation photograph, 2014. 
Courtesy James Fuentes, New York. Photograph credit: Jason Mandella.

Ryan Conrad Sawyer, 14.00 Lbs, installation photograph, 2014. 
Courtesy James Fuentes, New York; Photograph credit: Jason Mandella.

Ryan Conrad Sawyer, 14.00 Lbs, installation photograph, 2014. 
Courtesy James Fuentes, New York. Photograph credit: Jason Mandella.

Ryan Conrad Sawyer, 14.00 Lbs, installation photograph, 2014. 
Courtesy James Fuentes, New York. Photograph credit: Jason Mandella.

Ryan Conrad Sawyer, 14.00 Lbs, installation photograph, 2014. 
Courtesy James Fuentes, New York. Photograph credit: Jason Mandella.

Ryan Conrad Sawyer, 14.00 Lbs, installation photograph, 2014. 
Courtesy James Fuentes, New York. Photograph credit: Jason Mandella.

Ryan Conrad Sawyer, 14.00 Lbs, installation photograph, 2014. 
Courtesy James Fuentes, New York. Photograph credit: Jason Mandella.

Ryan Conrad Sawyer, 14.00 Lbs, installation photograph, 2014. 
Courtesy James Fuentes, New York. Photograph credit: Jason Mandella.

Ryan Conrad Sawyer, Fortune Metal, 2014, 
Framed receipt for metal sold after taken from James Fuentes.
Courtesy James Fuentes, New York. Photograph credit: Jason Mandella.

Ryan Conrad Sawyer, Fortune Metal, detail, 2014, 
Framed receipt for metal sold after taken from James Fuentes.
Courtesy James Fuentes, New York. Photograph credit: Jason Mandella.

Visit jamesfuentes.com for further information.

Allison Katz's Daymark
at 1857, Oslo

Allison Katz, Daymark, Interior photograph, 2012.
Image courtesy 1857, Oslo.

Allison Katz, Daymark, 2012,
 acrylic on glass 146 x 141 cm.
Courtesy 1857, Oslo.

Allison Katz, Daymark, 2012, 
acrylic on glass 146 x 141 cm.
Courtesy 1857, Oslo.

Allison Katz, Daymark Poster 1, 2012.
Courtesy 1857, Oslo.

Allison Katz, Daymark Posters, 2012.
Courtesy 1857, Oslo.

Allison Katz, Daymark, Exterior photograph, 2012.
Courtesy 1857, Oslo.

Visit 1857.no/1857/exhibits/daymark/20 for further information.

Telephone at 1857, Oslo

Telephone, Installation photograph, 2012. 
Courtesy 1857, Oslo.

Telephone, Installation photograph, 2012. 
Courtesy 1857, Oslo.

Telephone, Installation photograph, 2012. 
Courtesy 1857, Oslo.

Telephone, Installation photograph, 2012. 
Courtesy 1857, Oslo.

Telephone, Installation photograph, 2012. 
Courtesy 1857, Oslo.

Visit 1857.no/1857/exhibits/telephone/19 for further information.

Jens Nordmann's 0123456789
at Sox, Berlin

Jens Nordmann, 0123456789, 2011, 
Courtesy Sox, Berlin and the artist.

Jens Nordmann, 0123456789, 2011, 
Courtesy Sox, Berlin and the artist.

Jens Nordmann, 0123456789, 2011, 
Courtesy Sox, Berlin and the artist.

Jens Nordmann, 0123456789, 2011, 
Courtesy Sox, Berlin and the artist.

Jens Nordmann, 0123456789, 2011, 
Courtesy Sox, Berlin and the artist.

Visit sox-berlin.com/detail.php?detail=66 for further information.

Alexander Lieck's Last Summer 
at Sox, Berlin

Alexander Lieck, Last Summer, 2011, 
Courtesy Sox, Berlin and the artist.

Alexander Lieck, Last Summer, 2011, 
Courtesy Sox, Berlin and the artist.

Alexander Lieck, Last Summer, 2011, 
Courtesy Sox, Berlin and the artist.

Alexander Lieck, Last Summer, 2011, 
Courtesy Sox, Berlin and the artist.

Visit sox-berlin.com/detail.php?detail=68 for further information.

Matt Connors's Complaints III 
at Cherry and Martin, Los Angeles

Matt Connors, Complaints III, 2014, 
Powder-coated steel, 8-part Dimensions site specific.
Courtesy Cherry and Martin, Los Angeles. Photograph credit: Brian Forrest.

Matt Connors, Complaints III, 2014, 
Powder-coated steel, 8-part Dimensions site specific.
Courtesy Cherry and Martin, Los Angeles. Photograph credit: Brian Forrest.

Matt Connors, Complaints III, 2014, 
Powder-coated steel, 8-part Dimensions site specific.
Courtesy Cherry and Martin, Los Angeles. Photograph credit: Brian Forrest.

Matt Connors, Complaints III, 2014, 
Powder-coated steel, 8-part Dimensions site specific.
Courtesy Cherry and Martin, Los Angeles. Photograph credit: Brian Forrest.

Visit cherryandmartin.com/exhibitions/152 for further information.

Two photographs belonging to 
Bruno Zhu's Grass Warm Trifecta  
at Carlos/Ishikawa, London 

Bruno Zhu, Untitled, 2012, 
C-type print, 185 x 127 cm, Edition of 3.
Courtesy the artist and Carlos/Ishikawa, London.

Bruno Zhu, Untitled, 2012, 
C-type print, 185 x 127 cm, Edition of 3.
Curtesy the artist and Carlos/Ishikawa, London.

Visit carlosishikawa.com/exhibitions/grasswarmtrifecta/ for further information.

Stewart Uoo's Security Window Grill III 
at Galerie Buchholz, Berlin/Cologne

Stewart Uoo, Security Window Grill III, 2014,
steel, enamel, rust, silicone,
acrylic varnish, human hair
192 x 53 x 103 cm.
Image courtesy Galerie Buchholz, Berlin/Cologne.

Visit galeriebuchholz.de for further information.

Keef Winter's Apparatus For a Film 
at Chandelier Projects, London

Keef Winter, Apparatus for a film, 
Installation photograph, 2014. 
Image courtesy Chandelier Projects, London.

Keef Winter, Apparatus for a film, 
Installation photograph, 2014. 
Image courtesy Chandelier Projects, London.

Keef Winter, Apparatus for a film, 
Installation photograph, 2014. 
Image courtesy Chandelier Projects, London.

Visit chandelierprojects.com/London-Dust-Rut-Blees-Luxemburg-and-Keef-Winter-March-April-2014 
for further information.

Emma Rushton's and Derek Tyman's 
Fear of the Surplus
at The Tetley, Leeds

Emma Rushton and Derek Tyman, Fear of the Surplus, 
2013/14, public discussion series held on hand crafted stage structure. 
Image courtesy The Tetley, Leeds.

Emma Rushton and Derek Tyman, Fear of the Surplus, 
2013/14, public discussion series held on hand crafted stage structure. 
Image courtesy The Tetley, Leeds.

Emma Rushton and Derek Tyman, Fear of the Surplus, 
2013/14, public discussion series held on hand crafted stage structure. 
Image courtesy The Tetley, Leeds.

Emma Rushton and Derek Tyman, Fear of the Surplus, 
2013/14, public discussion series held on hand crafted stage structure. 
Image courtesy The Tetley, Leeds.

Emma Rushton and Derek Tyman, Fear of the Surplus, 
2013/14, public discussion series held on hand crafted stage structure. 
Image courtesy The Tetley, Leeds.

Visit thetetley.org/fear-of-the-surplus-2/ 
for further information.

Rey Akdogan's Untergerät
at Miguel Abreu Gallery, New York

Rey Akdogan, Untergerät, 2013,
tile flooring [extraction],
31 tiles x 0.11 m2 / 566 tiles x 0.11 m2.
Image courtsey Miguel Abreu Gallery, New York.

Rey Akdogan, Untergerät, 2013,
tile flooring [extraction],
31 tiles x 0.11 m2 / 566 tiles x 0.11 m2.
Image courtsey Miguel Abreu Gallery, New York.

Rey Akdogan, Untergerät, 2013,
tile flooring [extraction],
31 tiles x 0.11 m2 / 566 tiles x 0.11 m2.
Image courtsey Miguel Abreu Gallery, New York.

Charlotte Posenenske's
Series D Vierkantrohre (Square Tubes)
at Miguel Abreu Gallery, New York

Charlotte Posenenske,
Series D Vierkantrohre (Square Tubes), 1967/2009,
sheet steel, dimensions and configuration variable.
Image courtsey Miguel Abreu Gallery, New York.

Charlotte Posenenske,
Series D Vierkantrohre (Square Tubes), 1967/2009,
sheet steel, dimensions and configuration variable.
Image courtsey Miguel Abreu Gallery, New York.

Charlotte Posenenske,
Series D Vierkantrohre (Square Tubes), 1967/2009,
sheet steel, dimensions and configuration variable.
Image courtsey Miguel Abreu Gallery, New York.

Pleasure Island to Black Pleasure
at Eastside Projects, Birmingham

Heather and Ivan Morrison, Pleasure Island.
 Image courtesy Eastside Projects, Birmingham.

Until the Autumn of 2013, a stalwart of Eastside Projects had been Heather and Ivan Morison's Pleasure Island. Having originally been commissioned for the Wales Pavilion at the 2007 Venice Biennale, it was then adapted for Eastside Projects. During its five year stay there, the space was used primarily as an office and kitchen space. That is until it was brought into contact with another of the Morisons' works, Black Cloud. It then emerged reconfigured as a new and ongoing social space at the gallery in the form of Black Pleasure, a scorched wood canopy-like structure, that measures over five meters high.

Black Pleasure and Pleasure Island, like certain other works at the gallery reflect an innovative approach to the space's programming. Pleasure Island did and Black Pleasure does exist independently of any specific show. As longer term works like these are allowed to slip into the fabric of the space, they can be understood in varying ways against the flow of shows and events taking place. In addition though, Black Pleasure like Pleasure Island is a genuinely used space, a site for socialising and performance. The combination of this longevity and of the spaces' genuine use allows Pleasure Island and Black Pleasure to have their meanings determined over time, by and for those who actually use them. 

As such, both spaces focus on the gallery itself, specifically on the actual patterns of interaction and meaning making which take place within it. In Black Pleasure this focus on the gallery is increased by the structure's formal openness, which allows the rest of the gallery to always be visible from within the space. Furthering this, Black Pleasure was made from trees from the same wood as Pleasure Island, a connection that again foregrounds Eastside Projects via a reference to its past. The fact that traces of Pleasure Island clearly remain in the familiar scattering of the coloured windows overhead in Black Pleasure also adds to this emphasis. Also, Black Pleasure is linked to its predecessor by the way it is similarly situated at the back of the gallery. Therefore a situation is created where previous patterns of use now intermingle with current interactions in the space. One site is overlaid onto another and so the gallery is presented as a functional environment with its own immediate history made explicit. Furthermore, the act of transforming one structure into another like this evokes biological processes, offering naturalistic metaphors for the functioning of the gallery. 

Heather and Ivan Morrison, Black Pleasure.
 Image courtesy Eastside Projects, Birmingham.

There is here an interesting reflection on the performative qualities of everyday interactions in the gallery. The eccentric geometry of Pleasure Island and the fantastical dark spikiness of Black Pleasure gives the sense that to occupy the spaces is to occupy a theatrical stage-like environment. This suggests that in activities like talking, eating and meeting others, people play their own roles on the stage. 

However, this is not an examination that conceives the gallery as a bubble; Black Pleasure looks outwards just as much as it looks inwards. The way in which it sharply opposes its surroundings prompts imaginings of where it could have come from, what kind of place would make the structure look at home? This is enhanced because - as the gallery's website reveals - the shield-like Black Pleasure has its footing in various architectures from across the world. These are architectures that respond to emergencies or climactic events, making Black Pleasure resonate with today's environmental consciousness. These perspectives in turn reflect back on understandings of the gallery. Ideas of shelter resonate with the idea of an institution that is constantly and consciously reinventing itself to thrive in unforgiving conditions. 

Heather and Ivan Morrison, Black Pleasure. Courtesy Eastside Projects, Birmingham

The bold formal qualities of both structures also signal an optimistic look at the gallery. Through Pleasure Island and its subsequent transformation into Black Pleasure we see a microenvironment, and by association a whole gallery, which looks both inward and outward as it continues to evolve.

Heather and Ivan Morrison, Black Pleasure. 
Image courtesy Eastside Projects, Birmingham.

Visit eastsideprojects.org for further information.