In late November Matthew Teismann will present in Denmark his detailed research on Le Corbusier’s artistic explorations. Part of a larger initiative of LIONarchitecture to become a design strategies firm, this presentation along with others this year are structured to open a dialogue about the nuances of design - independent of time. Through these discussions LIONarchitecture is furthering its commitment to furthering the discourse of design across the world. As such, Teismann was selected to give a presentation titled 'Closed Hands: Disembodiment in Le Corbusier’s Post-War Paintings, which will elucidate the corporeal changes in Le Corbusier's paintings during and immediately after the war.
Located in the archives at Harvard's Graduate School of Design is a water colour, which is considered to be part of a series titled after his late wife, Yvonne. The aim of this paper is to place this small series of paintings of his wife in New York in 1946 as a transition between the pre-war and post-war figures and their evolution. Focusing on the historical narrative of his times in Vichy, New York, and Paris, this paper will elucidate Le Corbusier's political affiliations, his relationship with his alcoholic and unstable wife, and the evolution of his art between 1943-1958.
The conference is titled LeCorbusier: What Moves Us?' and will take place at Arkitektskolen Aarhus (Aarhus School of Architecture) between November 19-20, 2015:
“The influence of Le Corbusier – the deus ex machina of 20th century architecture – on modern architecture worldwide is undeniable. But what do the Danish experimental artist and the notorious Swiss French architect have in common that would make such an investigation relevant? As a young art student in Paris, Jorn cooperated with Le Corbusier for the 1937 world exhibition. This short but crucial encounter led him to write a large number of texts and to practical cooperation with architects, and it even affected his paintings in the years to follow, which will be subject to investigation here.
Right after WWII he published the treatise: “L´espace indicible”, which indicates a radical change in direction. It is not machines and ocean liners anymore, but the observer, as the new “venustus”, that he chooses as the role model for a new architecture. How is this change of direction to be understood within the socio-political context of the post war era? What incidents and mechanisms caused this radical shift?” (From Conference Call for Proposals)