Rachel Whiteread's monumental projects - castings, such as House (1993, the casting of a whole house), The Water Tower (1998-99, New York), Judenplatz Memorial (1995-2000, Vienna), Monument (2001, Trafalgar Square) penetrate the possibilities of architecture. The artist's work is often explained with Foucault's term heterotopy - the place where the order and cohesion of function are disturbed. She is also interested in obsolescent places. But her transparent, light castings are also a symbol of new order - foretoken of revolutionary inversion, a different spirituality, without opposing the inside to the outside and humiliating the body. The "new" emerges slowly in Whiteread's work, as each of the consecutive rejected forms is laid to the grave, as the beginning is always besmirched, instead of offering crystal-clear utopianism, and as challenges are issued to the newest technologies, and old ideologies deconstructed. Her work can, therefore,help us reflect on what architecture stands for today.
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