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Grindbakken by Rotor. The Art and Architecture of Framing in Situ

(2017)
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Abstract
In 2012 architectural design and research collective Rotor was invited to make the inaugural exhibition for a new open air cultural event space in a former part of Ghent’s sea harbour that is being redeveloped. Architect Sarah Melsens and visual artist Roberta Gigante had designed the conversion of the 200 m. long series of concrete gravel containers – grindbakken in Dutch. Their most striking intervention was to paint over the entire surface of the obsolete harbour infrastructure with white road paint. Rotor in turn produced a site-specific architectural exhibition by intervening during the painting works: they covered specific zones of interest to keep them from being overpainted. These zones were then exhibited as fragments inside the newly whitened spaces. The exhibition produced at once a powerful aesthetic valorisation and a careful archaeological analysis of an unassuming piece of infrastructure, as well as a conceptual critique of the architectural reconversion upon which Rotor’s exhibition nevertheless depended in many ways. This paper maps and interprets the important variety of shapes, positions and constellations that Rotor used to frame in ‘finds’, and compares Rotor’s framings to selected artistic and architectural reframing projects, from Le Corbusier to Lawrence Weiner.
Keywords
Framing, Preservation, Exhibiting Architecture

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Citation

Please use this url to cite or link to this publication:

Chicago
Liefooghe, Maarten. 2017. “Grindbakken by Rotor. The Art and Architecture of Framing in Situ.” In .
APA
Liefooghe, M. (2017). Grindbakken by Rotor. The Art and Architecture of Framing in Situ. Presented at the Inside / Outside: Trading between Art and Architecture.
Vancouver
1.
Liefooghe M. Grindbakken by Rotor. The Art and Architecture of Framing in Situ. 2017.
MLA
Liefooghe, Maarten. “Grindbakken by Rotor. The Art and Architecture of Framing in Situ.” 2017. Print.
@inproceedings{8520216,
  abstract     = {In 2012 architectural design and research collective Rotor was invited to make the inaugural exhibition for a new open air cultural event space in a former part of Ghent’s sea harbour that is being redeveloped. Architect Sarah Melsens and visual artist Roberta Gigante had designed the conversion of the 200 m. long series of concrete gravel containers – grindbakken in Dutch. Their most striking intervention was to paint over the entire surface of the obsolete harbour infrastructure with white road paint. Rotor in turn produced a site-specific architectural exhibition by intervening during the painting works: they covered specific zones of interest to keep them from being overpainted. These zones were then exhibited as fragments inside the newly whitened spaces. The exhibition produced at once a powerful aesthetic valorisation and a careful archaeological analysis of an unassuming piece of infrastructure, as well as a conceptual critique of the architectural reconversion upon which Rotor’s exhibition nevertheless depended in many ways. This paper maps and interprets the important variety of shapes, positions and constellations that Rotor used to frame in ‘finds’, and compares Rotor’s framings to selected artistic and architectural reframing projects, from Le Corbusier to Lawrence Weiner.},
  author       = {Liefooghe, Maarten},
  keywords     = {Framing,Preservation,Exhibiting Architecture},
  language     = {eng},
  location     = {Gent},
  title        = {Grindbakken by Rotor. The Art and Architecture of Framing in Situ},
  year         = {2017},
}