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Art & Design Gallery based in Copenhagen

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The Plinth Project

 

Anton Alvarez | FOS | Fredrik Paulsen | Hilda Hellström | James Shaw

Jenny Nordberg | Kueng Caputo | Maria Lenskjold | Matt Olson/OOIEE | Pettersen & Hein

Soft Baroque | Studio Vit

 

An exploration in the demystification of the plinth shaped by artists & designers of the gallery

18th November - 21st January 2017

 


 
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Plinth Project is an examination of the parameters of plinths as typology and our cultural conceptions of them. Popularised in Greek antiquity, a plinth is an structural object that bridges sculpture and architecture. In opposition to classic styles, it was standardised into a generic series of white monolithic boxes with no ornamental connection to its guest. Along with modernism it has been reduced to an extension of the white walls, a supporting element,
a servant to art work, a presentation aid for the objects that cannot bare to be on the ground.

This exhibition commissioned designers to produce a plinth in the same manner they would design any object. The pieces are viewed under the same criteria as other furniture modes, with the same aesthetic and practical principles that have defined their practice. Without an artwork to display however, the plinths are free to be promiscuous and experimental, questioning and refining current styles and methods of display.

 

Text by Soft Baroque
 


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	mso-fareast-language:EN-US;}    TTWMP 071116     Anton Alvarez        Materials:  Polyester thread, PVA glue, plywood from crates of Taiwan show (2016), plastic bag, OSB, Pine wood, black painted steel, Ash wood, Osmo oiled Ash wood, felt pads, blue paint.   Dimensions:  40 x 45 x 112 cm   2016     Price upon request    About:    
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	mso-fareast-language:EN-US;}    Anton Alvarez (b. 1980, Sweden) spent two years developing a machine that spins thounds of metres of brightly coloured thread around pieces of wood and metal to join them, at first producing solid furniture and objects like stools, benches and lamps, and later expanding his process to include large-scale architectural installations.         Please click here for more images of making process.     

TTWMP 071116

Anton Alvarez

 

Materials: Polyester thread, PVA glue, plywood from crates of Taiwan show (2016), plastic bag, OSB, Pine wood, black painted steel, Ash wood, Osmo oiled Ash wood, felt pads, blue paint.

Dimensions: 40 x 45 x 112 cm

2016

Price upon request

About: Anton Alvarez (b. 1980, Sweden) spent two years developing a machine that spins thounds of metres of brightly coloured thread around pieces of wood and metal to join them, at first producing solid furniture and objects like stools, benches and lamps, and later expanding his process to include large-scale architectural installations. 

 

Please click here for more images of making process.

 

  THE HURRICANE HASN'T PASSED     FOS        Materials:  concrete, OSB, stone   Dimensions:  55 x 45 x 95 cm   2012    Price upon request

THE HURRICANE HASN'T PASSED

FOS

 

Materials: concrete, OSB, stone

Dimensions: 55 x 45 x 95 cm

2012

Price upon request

  OPDIUM     Fredrik Paulsen        Materials:  MDF, paint   Dimensions:  90 x 40 x 34.5 cm   2016    Price upon reques    About:  Flexible MDF is mounted inside-out on a double curved surface. This reveals the material's milled groves creating a vibrating pattern.

OPDIUM

Fredrik Paulsen

 

Materials: MDF, paint

Dimensions: 90 x 40 x 34.5 cm

2016

Price upon reques

About: Flexible MDF is mounted inside-out on a double curved surface. This reveals the material's milled groves creating a vibrating pattern.

  THE BIG BANG AND OTHER EXPLANATIONS     Hilda Hellström        Materials:  Polymer modified plaster, pigment   Dimensions:  25 x 25 x 90 cm   2016    Price upon request    About:  For the Plinth Project, Hellström has worked with her seminal Sedimentation technique. When applied to the cubic shape of a plinth, Hellström discovered the similarities it had to schematic diagrams over the structure of the earth. To play along with these associations, she used a technique o finales to create figurative icon-like images within the cube. The images tell three stories explaining the origin of the earth. There's the Midgard serpent from Norse Mythology surrounding the earth, the hand of God looking over the creation of the mountains and lastly the Big Bang.       Please click here for more details and making process images of the work.

THE BIG BANG AND OTHER EXPLANATIONS

Hilda Hellström

 

Materials: Polymer modified plaster, pigment

Dimensions: 25 x 25 x 90 cm

2016

Price upon request

About: For the Plinth Project, Hellström has worked with her seminal Sedimentation technique. When applied to the cubic shape of a plinth, Hellström discovered the similarities it had to schematic diagrams over the structure of the earth. To play along with these associations, she used a technique o finales to create figurative icon-like images within the cube. The images tell three stories explaining the origin of the earth. There's the Midgard serpent from Norse Mythology surrounding the earth, the hand of God looking over the creation of the mountains and lastly the Big Bang.

 

Please click here for more details and making process images of the work.

  OH GEE     James Shaw        Materials:  Digitally printed carpet   Dimensions:  150 x 73 x 0.5 cm/180 x 46 x 0.5 cm/120 x 120 x 0.5 cm   2016    Price upon request    About:  The Carpet is a hybrid object between architecture and furniture. In mass-culture away from salons of design it is a key area of expression where people interact with the appearance of their homes.  The plinth emerged through classical antiquity: a box decorated with the language of architecture, comings, moldings et al. merging sculptures with their surrounding.  Essentially moulding are simple devices to hide junctions between materials and planes, but they have developed their own mystique. A mainstay of DIY superstores - the mass-market venue for dissemination of architecture - is the polystyrene architrave, pediment and ceiling rose ready to glue onto your living room wall.    Please click here for more images of the work.

OH GEE

James Shaw

 

Materials: Digitally printed carpet

Dimensions: 150 x 73 x 0.5 cm/180 x 46 x 0.5 cm/120 x 120 x 0.5 cm

2016

Price upon request

About: The Carpet is a hybrid object between architecture and furniture. In mass-culture away from salons of design it is a key area of expression where people interact with the appearance of their homes.

The plinth emerged through classical antiquity: a box decorated with the language of architecture, comings, moldings et al. merging sculptures with their surrounding.

Essentially moulding are simple devices to hide junctions between materials and planes, but they have developed their own mystique. A mainstay of DIY superstores - the mass-market venue for dissemination of architecture - is the polystyrene architrave, pediment and ceiling rose ready to glue onto your living room wall.

Please click here for more images of the work.

  TIN PLINTH     Jenny Nordberg        Material:  Tin   Dimensions:  50 x 50 x 50 cm   2016    Price upon request    About:  Jenny Nordberg created the Tin Plinth with the cubical geometry of the classical gallery plinth in mind. The material in the plinth however - tin, is maybe less classical. Often working with the tension between the hand made and the machine made Nordberg wanted the explore the production of a sheet material that could be used to create a plinth. To do this she used the limitations of a studio environment as her framework, and developed a method to make sheet metal by casting tin in large molds. The outcome is an uneven and rough, almost brutal expression. This is the first object within a coming series of several industrial processes adapted for studio production.    Please click here for more images about this work.

TIN PLINTH

Jenny Nordberg

 

Material: Tin

Dimensions: 50 x 50 x 50 cm

2016

Price upon request

About: Jenny Nordberg created the Tin Plinth with the cubical geometry of the classical gallery plinth in mind. The material in the plinth however - tin, is maybe less classical. Often working with the tension between the hand made and the machine made Nordberg wanted the explore the production of a sheet material that could be used to create a plinth. To do this she used the limitations of a studio environment as her framework, and developed a method to make sheet metal by casting tin in large molds. The outcome is an uneven and rough, almost brutal expression. This is the first object within a coming series of several industrial processes adapted for studio production.

Please click here for more images about this work.

  ANYWAY PART OF IT     Kueng Caputo        Materials:  Rubber Granulate   Dimensions:  190 x 90 x 25 cm   2016    rice upon request     About:  The point of view | approaching | taking distance | changing it as much as possible | to see more precise.  What is it | without a viewer? | is an object the same without an interaction? 

ANYWAY PART OF IT

Kueng Caputo

 

Materials: Rubber Granulate

Dimensions: 190 x 90 x 25 cm

2016

rice upon request

About: The point of view | approaching | taking distance | changing it as much as possible | to see more precise.

What is it | without a viewer? | is an object the same without an interaction? 

  UNTITLED     Maria Lenskjold        Materials:  Earthenware, stoneware   Dimensions:  23 x 35 x 48 cm   2016    Price upon request    About:  From top to bottom. Round and blue base, two hollow packages of red clay(terra-cotta), sculpture vase with blue curvaceous line. Black vase or pedestal, terra-cotta plate with crack, repairs using Japanese technique.

UNTITLED

Maria Lenskjold

 

Materials: Earthenware, stoneware

Dimensions: 23 x 35 x 48 cm

2016

Price upon request

About: From top to bottom. Round and blue base, two hollow packages of red clay(terra-cotta), sculpture vase with blue curvaceous line. Black vase or pedestal, terra-cotta plate with crack, repairs using Japanese technique.

  IT CAME THROUGH ME THROUGH YOU (NO   SEPARATION)     Matt Olson/OOIEE        Materials:  Aluminium, MDF   Dimensions:  69 x 203 x 284 cm   2016    Price upon request    About:  Everything is always changing all the time and thus a plinth is always in motion. Rather than focussing on what a plinth “is” in the moment and trying to define it, we’re more interested in how a plinth behaves over time. Then we see that a plinth seems to embrace humility, exists in a role of service to many different things from sculputres to architecture and sometimes becomes a photo that delivers a ghost.     Please click here for extended text about the work.     

IT CAME THROUGH ME THROUGH YOU (NO SEPARATION)

Matt Olson/OOIEE

 

Materials: Aluminium, MDF

Dimensions: 69 x 203 x 284 cm

2016

Price upon request

About: Everything is always changing all the time and thus a plinth is always in motion. Rather than focussing on what a plinth “is” in the moment and trying to define it, we’re more interested in how a plinth behaves over time. Then we see that a plinth seems to embrace humility, exists in a role of service to many different things from sculputres to architecture and sometimes becomes a photo that delivers a ghost. 

Please click here for extended text about the work.

 

  UTILIZATION AND DENSITY     Pettersen & Hein        Materials:  Concrete, pigment, black steel, PVC, dirt and earth   Dimensions:  80 x 55 x 45   2016    Price upon request    About:  Numerous unrealistic possibilities of the occupation of space appear in the utopian urban schemes of recent years. The technical feasibility of many of these proposals is unquestioned since prototypes such as...... already exist. Taking into account the mass needs in the next decades, however, our proposals are deliberately confined to those which we may expect greater economy from in comparison to present day procedures, by no means excluding those of today but, hopefully, improving on them. Thus, the urban system is simply a set of technical, production and organizational improvements on present conditions, with their various social implications. 

UTILIZATION AND DENSITY

Pettersen & Hein

 

Materials: Concrete, pigment, black steel, PVC, dirt and earth

Dimensions: 80 x 55 x 45

2016

Price upon request

About: Numerous unrealistic possibilities of the occupation of space appear in the utopian urban schemes of recent years. The technical feasibility of many of these proposals is unquestioned since prototypes such as...... already exist. Taking into account the mass needs in the next decades, however, our proposals are deliberately confined to those which we may expect greater economy from in comparison to present day procedures, by no means excluding those of today but, hopefully, improving on them. Thus, the urban system is simply a set of technical, production and organizational improvements on present conditions, with their various social implications. 

  PRIMITIVE PROGRESSIVE PLINTH     Soft Baroque        Materials:  Aluminum dancing shelf and air hardening clay   Dimensions:  40 x 44 x 115 cm   2016    Price upon request    About:  The primitive aesthetic has permeated into contemporary design language as a way of reconnecting ourselves to basic forms of craft in the modern environment. The dancing shelf, the donor skeleton, is the antithesis of this, a gimmick condensed out of the Chinese manufacturing industry, with little relation to the handcrafted. Primitive Progressive plinth is a dynamic display that re-animates and anthropomorphizes the idea of the standardized white cube plinth. The ambition of a plinth is to appreciate the beauty of an artwork, this is a hyper-real version of this function and arguable more high performance. Its twisting and shifting frame makes it mesmerizing and hypnotic.

PRIMITIVE PROGRESSIVE PLINTH

Soft Baroque

 

Materials: Aluminum dancing shelf and air hardening clay

Dimensions: 40 x 44 x 115 cm

2016

Price upon request

About: The primitive aesthetic has permeated into contemporary design language as a way of reconnecting ourselves to basic forms of craft in the modern environment. The dancing shelf, the donor skeleton, is the antithesis of this, a gimmick condensed out of the Chinese manufacturing industry, with little relation to the handcrafted. Primitive Progressive plinth is a dynamic display that re-animates and anthropomorphizes the idea of the standardized white cube plinth. The ambition of a plinth is to appreciate the beauty of an artwork, this is a hyper-real version of this function and arguable more high performance. Its twisting and shifting frame makes it mesmerizing and hypnotic.

  2 PLINTH     Studio Vit        Materials:  Matt lacquered blue black steel and gradient dark blue steel, individually marked by hand   Dimensions:  27.5 x 37.5 x 50 cm / 31 x 31 x 50 cm   2016    Price upon request    About:  2 PLINTH are two objects which are based on archetypal form that has been altered. Classical proportion has been changed and so has material and color. As a result what used to be a generic white cylinder takes on new meaning. 2 PLINTH are objects in their own right but can also have a function, they can be used to sit on or things can be placed on top of them. Ultimately they are for others to explore and infuse meaning into.             

2 PLINTH

Studio Vit

 

Materials: Matt lacquered blue black steel and gradient dark blue steel, individually marked by hand

Dimensions: 27.5 x 37.5 x 50 cm / 31 x 31 x 50 cm

2016

Price upon request

About: 2 PLINTH are two objects which are based on archetypal form that has been altered. Classical proportion has been changed and so has material and color. As a result what used to be a generic white cylinder takes on new meaning. 2 PLINTH are objects in their own right but can also have a function, they can be used to sit on or things can be placed on top of them. Ultimately they are for others to explore and infuse meaning into.