Ermanno Tedeschi Gallery in Tel Aviv, Architecture Exhibition Israel, Architectural Event
Ermanno Tedeschi Gallery in Tel Aviv Exhibition
Daniel Libeskind Architectural Drawings, Israel
30 Oct 2013
Ermanno Tedeschi Gallery in Tel Aviv
Daniel Libeskind Film Show at Ermanno Tedeschi Gallery in Tel Aviv, Israel
Thursday 31.10.13, 18:00 – 22:00 Loving Art TLV event at Ermanno Tedeschi Gallery Tel Avivi
Film Show: “PROJECT REBIRTH: DANIEL LIBESKIND” – projects and vision among his Drawings Exhibition
“”Never Say the Eye is Rigid – “לעולם אל תתקבע בהתבוננותך”
Exhibition of Daniel Libeskind’s Architectural Drawings Opens October 23 at Ermanno Tedeschi Gallery in Tel Aviv, Israel
October 23 to November 23, 2013
“Never Say the Eye Is Rigid” offers rare glimpse into renowned architect’s creative process
“[I]t’s only when they are drawing that architects have those Proustian moments – those instants in which they accidentally trip against the uneven stones of mind, triggering memories that magically unlock sorts of visions that underlie all great art.” – Daniel Libeskind, Breaking Ground: Adventures in Life and Architecture
NEW YORK, NY: On October 23, 2013, Tel Aviv’s Ermanno Tedeschi Gallery (3 Lilienblum Street, Neve Tzedek) will open its newest show, “Never Say the Eye Is Rigid: Architectural Drawings of Daniel Libeskind.” The exhibition, in collaboration with the Ermanno Tedeschi Gallery (Milan, Turin, Rome, Tel Aviv), which brings together 52 original drawings will include depictions of the architect’s signature work, the Jewish Museum Berlin (2001), and his 2003 master plan for Ground Zero in New York City.
The exhibition arrives in Tel Aviv after opening at the Ermanno Tedeschi Gallery in Rome and in Turin. From Tel Aviv the show will travel to the Ermanno Tedeschi Gallery in Milan then travel to London and to New York City (location and dates to be announced).
The exhibition in Tel Aviv will show some sketches exposed in Italy and other new projects.
The sketches reflect a wide range of styles and techniques and range from almost-classical line drawings to highly expressive watercolors and free-flowing ink sketches. All of the works reflect a connection between the philosophical ideas underlying the project depicted and that project’s unique aesthetics – its particular color, mood, posture and tension. From the extremely large scroll depicting the Ground Zero master plan to the intimate sketches of the Jewish Museum Berlin, the drawings offer a rare and intriguing glimpse into Mr. Libeskind’s approach to some of his most famous projects.
Those projects are:
• 18.36.54 House (Private house – Connecticut, USA – 2010)
• Fiera Milano (Residential complex, office tower, museum – Milan, Italy – 2015)
• Memory Foundations, Ground Zero (Master Plan – New York City, NY – 2003)
• Jewish Museum Berlin (Museum – Berlin, Germany – 2001)
• Military History Museum (Extension – Dresden, Germany – 2011)
• Victoria and Albert Museum (Proposed extension – London, UK – 1996)
• Zlota (Residential tower – Warsaw, Poland – 2014)
• Bar Ilan University (University Center, Ramat-Gan, Israel – 2005)
• Contemporary Jewish Museum (Extension – San Francisco, CA – 2008)
• Crystals at CityCenter (Retail complex – Las Vegas , NV – 2009)
• Extension to the Denver Art Museum, Frederic C. Hamilton Building (Extension – Denver, CO – 2006)
• Imperial War Museum North (Museum – Manchester, UK – 2001)
• Royal Ontario Museum (Extension – Toronto, Canada – 2007)
• ZHANG ZHIDONG AND MODERN INDUSTRIAL MUSEUM (Museum – Wuhan, China – 2014)
In his 2004 memoir, Breaking Ground: Adventures in Life and Architecture, Mr. Libeskind described the importance of drawing to his creative process:
[T]he physical act of drawing with one’s hand is an important part of the architectural process. An architect needs to know how to draw; unless there is a connection of eye, hand, and mind, the drawing of the building will lose the human soul altogether and become an abstract exercise. I also believe that it’s only when they are drawing that architects have those Proustian moments—those instants in which they accidentally trip against the uneven stones of mind, triggering memories that magically unlock sorts of visions that underlie all great art.
Well before starting work on his first building, the Jewish Museum Berlin, in 1989, Mr. Libeskind pushed the boundaries of what an architectural drawing could be. Micromegas and Chamberworks, an early series, from the 1970s and ‘80s, challenges the meaning of contemporary architecture and harkens back to the Renaissance idea of drawing as an end in itself – as the very heart, the lifeblood, of architecture rather than simply a means to an end.
Mr. Libeskind’s passion for the drawn form began in his childhood when his “obsessive drawing” worried his “brilliant and fearless” mother, Dora, who, he writes in Breaking Ground, profoundly influenced him:
One late night she poured us each a glass of tea and sat down across from me at the kitchen table, where I was compulsively drawing. ‘So you want to be an artist?’ she asked, as if about to make a joke – but she was serious this time. ‘You want to end up hungry in a garret somewhere, not even enough money to buy a pencil? This is the life you want for yourself? Be an architect. Architecture is a trade, and an art form.’ And then she said something that should gladden the heart of every architect: ‘You can always do art in architecture, but you can’t do architecture in art. You get two fish with the same hook.’
As the drawings in this illuminating exhibition reveal, he took her advice to heart.
Ermanno Tedeschi Gallery Tel Aviv, 3 Lilienblum St. Neve Tzedek, Tel Aviv
+972 3 5170344 / firstname.lastname@example.org / www.etgallery.co.il
photo © Bitter Bredt
Location:3 Lilienblum St. Neve Tzedek, Tel Aviv