Sebastiaan Bramer, Florian Idenburg and Jing Liu (SO-IL)
SO-IL EXHIBITION DESIGN BY
Florian Idenburg and Max Hart Nibbrig
Lee Ann Custer and Dana Kopel.
Based on the exhibition Blueprint (1998) curated by Sebastiaan Bremer and Pieter Woudt.
PARTICIPATING ARTISTS AND ARCHITECTS
51N4E; Achim Menges; Adamo-Faiden; Alix Lambert; Barbara Visser, Blake Rayne; Bureau for Architecture and Design (BAD): Felix Monasakanian, Mohamed Sharif and Efren Soriano; Cameron Wu; chameckilerner (Andrea Lerner & Rosane Chamecki); Charlotte Dumas; Dana Hoey; Donald Baechler; Fred Tomaselli; Future Cities Lab / Jason Kelly Johnson + Nataly Gattegno; Gelitin; Gerben Mulder; Giancarlo Mazzanti; Go Hasegawa & Associates; Guy Richards Smit; Haas & Hahn; Iván Navarro; Jaime Lerner; Janaina Tschape; Jens Fänge; Jesser Reiser + Nanako Umemoto; Point Supreme: Joana Sá Lima, Marianna Rentzou, Konstantinos Pantazis; Johnston Marklee; Julian LaVerdiere; Jürgen Mayer H.; Laura Stein; Liza May Post; Marcos Rosales; Mariele Neudecker; MODU; MOS; OFFICE Kersten Geers David Van Severen in collaboration with Wonne Ickx; Pamela Fraser; Pascal Flammer; Paul Myoda; Paul Ramirez Jonas; Ricci Albenda; Richard Galpin; Richard Phillips; Robert Lazzarini; Sebastiaan Bremer; Serie Architects; SO – IL; Valeska Soares; Vik Muniz; Vito Acconci
GRAPHIC DESIGN BY
“BLUEPRINT at Storefront has its curatorial blueprint at a show Sebastiaan Bremer and Pieter Woudt put together in 1999 in a DIY gallery called Spark in Chelsea, New York. The show brought together a bunch of young artists, ambitious and broke, trying to find their voice and an audience for their work. The original Blueprint show was conceived foremost as an opportunity to present this group’ s work together as a whole. The only way to the work conceptually was, it seemed, to come up with a theme or constraint – for instance, that all the works had to be the same color. Blueprints were easy to make, quite beautiful, and cheap – an advantage, since money was an issue. This ‘concept’ gave the structure for the exhibition, which ran for a few months in the gallery. Fifteen years later, this old idea seemed newly relevant. The funding for art institutions in Europe is drying up at the same rapid speed at which prices are soaring at the auction houses, giving the low cost of producing blueprints new relevance. In the meantime, many of the artists included in the original show have gone on to impressive careers, making wonderful works in incredibly diverse media and environments—and many of them started to find their signature styles around the turn of the century, the time of Blueprint. A second iteration of BLUEPRINT took place at Kunsthal KAdE in the Netherlands and at MOCA Tucson where many of the original BLUEPRINT artists—as well as some others, and architects were selected by Florian Idenburg and Jing Liu of SO-IL—to look back at their practice and identify one “fundamental” work: the first piece that could serve as a blueprint of their mature work. Again, this extended group was only bound by the same constraint, yet one might be able to discover a set of affinities between the works. The exhibition at Storefront is born out of the same constraints: blueprints of or based on that “generative” work.”
Sebastiaan Bremer, Florian Idenburg, Jing Liu.