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are you a garden person?

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best show garden | the telegraph garden | designed by andy sturgeon | 2016 chelsea flower show

photo credits jonathan brady/pa | irish times, rhs, and the telegraph

or, a plant person?

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diamond jubilee award | great pavilion | ashwood nurseries | 2016 chelsea flower show

photo credits ashwood nurseries, ashwood nurseries, and michael perry | plantgeek

financial times newspaper columnist, robin lane fox, thinks that even though the show gardens receive more press coverage, the real chelsea flower show occurs in the plant pavilions.

of the four case museo di milano (milan house museums), the casa museo boschi di stefano and the villa necchi campiglio are the most exceptional.

the casa museo boschi di stefano has the best salon style art installations that i have ever seen.

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salon style installation of works from the spazialisti (spatialist) and nucleari (nuclear) art movements

casa museo boschi di stefano | milan, italy

photo credit lisa walsh | innerspace

architecture

both the necchi campiglio villa and the boschi di stefano apartment building were designed by architect piero portaluppi (1888-1967) during the 1930’s.

click here to read my previous post about the villa necchi campiglio.

portaluppi designed the apartment building in 1929-1931 for property developer, francesco di stefano.  at the time, di stefano was building a new development of apartment buildings in the neighborhood surrounding corso buenos aires.  as part of the development, di stefano built a five-story apartment building for his family.  the building included a one floor apartment for each of his five children.  his daughter, marieda di stefano (1901-1968), and her husband, antonio boschi (1896-1988), lived in the apartment on the second floor.

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piero portaluppi (1888-1967) | staircase in the di stefano family’s apartment building | via giorgio jan, 15 | milan, italy

photo credit lisa walsh | innerspace

furniture

most of the furniture was purchased by the fondazione boschi di stefano, and is not original to the apartment.  consequently, most of the rooms are no longer furnished according to their original function.  instead, they are furnished with pieces from the same time period as the architecture and the art collection.

the foundation considers the credenza, dining table, and six chairs, designed by italian artist mario sironi (1885-1961) for the 1936 triennale di milano exhibition, as their most important acquisition.  other notable purchases include an art deco desk, bookcase, table, and bar (circa 1930), designed by sicilian architect ernesto basile (1857-1932), and six chairs (circa 1930), designed by portaluppi.

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mario sironi (1885-1961) | credenza, dining table, and six chairs | walnut, bronze, parchment, and ebony | designed for the 1936 triennale di milano exhibition

room 5 | sironi room | originally a study | casa museo boschi di stefano | milan, italy

photo credit lisa walsh | innerspace

lighting

 the light fixtures acquired by the foundation for the apartment include the ‘who’s who’ of the italian glass industry.  most are classic murano glass light fixtures from 1925-1940 by barovier, giacomo cappelin (1887-1968), venini, or napoleone martinuzzi (1892-1977) for venini.  some are more modern, but from the same time period, such as the ceiling light in the sironi room by piero chiesa (1892-1948) for fontana arte.

art collection

boschi and di stefano collected over 2000 works of twentieth century italian art, which they donated to the city of milan in 1974 and 1988.  part of the boschi di stefano collection is on exhibit at the museo del novecento, a contemporary art museum established by the city of milan in 2010.

about 300 works of art from the boschi di stefano collection are chronologically displayed in their apartment, according to art movement.  there are entire rooms filled with works by novecento (1900’s) movement co-founder mario sironi (1885-1961) and spazialisti (spatialist) movement co-founder lucio fontana (1899-1968).

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lucio fontana (1899-1968) | concetto spaziale, attese | 1958-1960

lucio fontana (1899-1968) | concetto spaziale, attese | 1958-1960

lucio fontana (1899-1968) | concetto spaziale | 1956

lucio fontana (1899-1968) | concetto spaziale, crocifissione | 1956

photo credits massi_most via instagram, massi_most via instagram, lisa walsh | innerspace, and lisa walsh | innerspace

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salviati | 14 light chandelier | glass | 20th century

piero portaluppi (1888-1967) | six chairs | walnut | 1930

room 9 | fontana room | originally antonio boschi’s study | casa museo boschi di stefano | milan, italy

photo credit lisa walsh | innerspace

the boschi di stefano collection includes works by other well known artists, such as giorgio morandi (1890-1964) and giorgio de chirico (1888-1978).

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giorgio de chirico (1888-1978) | la scuola dei gladiatori: il combattimento | 1928

giorgio de chirico (1888-1978) | facitori di trofei | 1925-1928

photo credits sauvage27.blogspot.com via arte.it and lisa walsh | innerspace

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napoleone martinuzzi (1892-1977) for venini | 11 light chandelier | pagliesco (mercury) glass | 1925-1930

barovier | pair of floor lamps | pulegoso (bubbled) glass | 1935-1940

modern suite of upholstered furniture based on a design by piero portaluppi (1888-1967)

room 7 | paris school room | originally the living room | casa museo boschi di stefano | milan, italy

photo credit lisa walsh | innerspace

plus, works from the gruppo di corrente (current group), the scuola di parigi (paris school), and the chiaristi (clear), nucleari (nuclear), and informale (informal) art movements.

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salon style installation of works from the spazialisti (spatialist) and nucleari (nuclear) art movements

giacomo cappelin (1887-1968) | six light chandelier | glass | 1925-1930

room 10 | spatialist and nuclear room | originally marieda di stefano’s studio | casa museo boschi di stefano | milan, italy

photo credits lisa walsh | innerspace

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salon style installation of works from the informale (informal) art movement

gino levi montalcini (1902-1974) | table | oak with ceramic top | 1950

room 11 | informal room | originally the master bedroom | casa museo boschi di stefano | milan, italy

photo credits lisa walsh | innerspace

aren’t the salon style art walls exceptional?

visiting the fondation louis vuitton (flv) was a highlight of our recent visit to paris.  the private contemporary art museum was created at the initiative of bernard arnault, the chairman and chief executive officer of luxury business group moët hennessy louis vuitton (LVMH), for his personal and corporate art collections.  the museum is located in the jardin d’acclimation, an amusement park in the bois de boulogne, which was converted from a royal hunting ground into a public park in 1860.

arnault collaborated with american architect, frank o. gehry, who also designed the guggenheim museum in bilbao, spain and the walt disney concert hall in los angeles, CA, to design a museum that epitomized the corporate image of LVMH as a patron of the arts, culture, and heritage.

the architecture of the museum was inspired by 19th century glasshouses, such as le palmarium that was built in the jardin d’acclimation in 1893, and demolished in 1934.

‘the idea of using glass…was essential in making the fondation a true bois de boulogne building, in the spirit of a children’s park.’  -frank o. gehry

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frank o. gehry | sketch of the fondation louis vuitton building preceding the initial architectural models | april 2006

photo credit (c) gehry partners, llp and frank o. gehry via fondation louis vuitton

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gehry partners, llp | architectural model | fondation louis vuitton | paris, france

photo credit (c) fondation louis vuitton via archdaily

 architectural digest (ad) magazine compared gehry’s architectural masterpiece to one of the masterpieces of hellenistic sculpture.

‘the structure alights in the park with the delicacy of the ‘winged victory’ perched at the head of the daru staircase in the louvre.  -mayer rus, architectural digest

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the winged victory of samothrace | parian marble and gray lartos marble | samothrace, greece | circa 190 BC

louvre museum | paris, france

photo credits lisa walsh | innerspace

the current chinese contemporary art exhibition at the fondation louis vuitton, bentu: chinese artists in a time of turbulence and transformation, even includes a replica of the winged victory of samothrace.

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xu zhen | eternity-tianlongshan grottoes bodhisattva, winged victory of samothrace | fiberglass, steel, cement | 2013

a replica of the winged victory of samothrace balanced on top of a buddha from the tianlongshan grottoes (21 buddhist cave temples from the eastern wei-tang dynasties (534-907), located in shanxi province, china)

bentu: chinese artists in a time of turbulence and transformation | fondation louis vuitton | paris, france | 27 january-2 may 2016

photo credits lisa walsh | innerspace

along with a sculpture by ai weiwei, who reportedly visited the fondation louis vuitton while he was in paris for the installation and opening of er xi: air de jeux (child’s play or playground), his recent exhibition at le bon marché department store, which is also owned by by LVMH.

click here to read my previous post about ai weiwei @ le bon marché.

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ai weiwei | tree | fragments of dead wood | 2010

in the background:  huang yong ping | fifty buddha arms | metal, terra cotta, resin, various objects | 1997-2013

 the structure of the museum is actually a building within a building.  the ‘iceberg’, the interior core of 11 irregularly shaped art galleries, is clad in 19,000 panels of white fiber-reinforced concrete.  a network of steel trusses and wood beams support the verrière (canopy), the exterior shell of twelve sails constructed from 3600 glass panels.

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the ‘iceberg’ and the verrière (canopy) | fondation louis vuitton | paris, france

photo credits lisa walsh | innerspace

you can see the structure of the canopy more closely from the west, east, central, and high terraces, which are accessible from the second, third, and forth floors of the museum.

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verrière (canopy) | fondation louis vuitton | paris, france

photo credit lisa walsh | innerspace
the panoramic views of paris from the rooftop terraces are spectacular!
to the west, la défense, one of the major business districts in paris.

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views of la défense from the fondation louis vuitton | paris, france

in the background:  la défense | under construction in the foreground:  the location for the louis vuitton women’s autumn/winter 2016 fashion show

photo credits lisa walsh | innerspace

and, to the east, the eiffel tower.

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view of the eiffel tower from the fondation louis vuitton | paris, france

the building is brilliantly sited not only to capture the views, but also to comply with local zoning ordinances.  to comply with height restrictions, the site was excavated so that the lower ground floor of the museum could be built below grade.  the fondation louis vuitton commissioned inside the horizon, a site specific installation, from danish-icelandish artist olafur eliasson for the grotto behind the underground reflecting pool.

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olafur eliasson | inside the horizon | stainless steel, aluminum, LED light system, colored glass, mirror, sound | 2014

photo credit lisa walsh | innerspace

the terraced waterfall flows into the subterranean reflecting pool.

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the terraced waterfall | fondation louis vuitton | paris, france

photo and video credits lisa walsh | innerspace

going to a department store isn’t usually our highest priority when we visit paris.  but this time, our visit coincided with an art exhibition by chinese contemporary artist, ai weiwei, at le bon marché.  so, my husband, bob, and i made an exception.

ai weiwei: er xi, air de jeux (child’s play or playground)

le bon marché rive gauche | 24, rue de sèvres | paris, france

16 january-20 february 2016

photo credit lisa walsh | innerspace

le bon marché commissioned the art exhibition as a promotion for their annual winter white sale.

does that seem surprising to you?

did you know that le bon marché is owned by luxury business group moët hennessy louis vuitton (LVMH)?  LVMH, who is a corporate patron of the arts, culture, and heritage, recently opened the the fondation louis vuitton, a private contemporary art museum in paris.  so, it doesn’t seem unusual for them to sponsor an art exhibition.  their only requirement of ai weiwei was the white color scheme.

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exhibition program | ai weiwei: er xi, air de jeux | le bon marché rive gauche | paris, france | 16 january-20 february 2016

the exhibition, which was his first exhibition in a retail environment, included five installations:  windows 1 to 10, ten narratives installed in the ten windows along rue de sèvres; dragon in four pieces, a silk and bamboo sculpture installed in the gallery on the ground floor; selfie wall, a video installation on the first floor; and escalating dragon, drawings in the style of chinese ink paintings applied to the railings of the central escalator.

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ai weiwei | escalating dragon

ai weiwei: er xi, air de jeux | le bon marché rive gauche | paris, france | 16 january-20 february 2016

photo credits lisa walsh | innerspace

the song of white, the atrium installation, was the most fantastic with 22 kites of mythological characters from the ancient chinese text, classic of mountains and seas (shan hai jing), suspended like mobiles over the cosmetics department.

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ai weiwei | the song of white

ai weiwei: er xi, air de jeux | le bon marché rive gauche | paris, france | 16 january-20 february 2016

photo credit lisa walsh | innerspace

for the entire exhibition, ai, along with a master kitemaker and his team of artisans from shandong province, china, hand crafted about 100 kites.  they left the bamboo frames of some kites uncovered.  and, covered the bamboo frames of other kites with white silk, which is less fragile than rice paper, the traditional material.  they illuminated some of the silk covered kites from the interior, so that they glowed like lanterns.

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ai weiwei | the song of white | heluo

heluo | a fish with one head and ten tails | barks like a dog

ai weiwei: er xi, air de jeux | le bon marché rive gauche | paris, france | 16 january-20 february 2016

photo credits lisa walsh | innerspace

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ai weiwei | the song of white | shuyu

shuyu | a fish with four heads, three tails, six chicken feet, and red feathers | chirps like a magpie

ai weiwei: er xi, air de jeux | le bon marché rive gauche | paris, france | 16 january-20 february 2016

photo credits lisa walsh | innerspace

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ai weiwei | the song of white | chunaio

chunaio | the ‘sixheadrook bird’ | a green bird with a yellow body, red feet, and six heads

ai weiwei: er xi, air de jeux | le bon marché rive gauche | paris, france | 16 january-20 february 2016

photo credits lisa walsh | innerspace

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ai weiwei | the song of white | tianwu

tianwu | ‘sky cry’, the lord of the waters | a diety with eight human heads, eight feet, and eight tails

ai weiwei: er xi, air de jeux | le bon marché rive gauche | paris, france | 16 january-20 february 2016

photo credits lisa walsh | innerspace

according to women’s wear daily (wwd), one of the kites may be acquired by the fondation louis vuitton (FLV).  if you were the curator, which one would you choose?

click here to read my post about the fondation louis vuitton.

have you ever noticed that people are mesmerized by movement?

alexander calder: performing sculpture, an exhibition at the tate modern museum in london from 11 november 2015 – 3 april 2016, could be described as mesmerizing.  it’s the largest calder exhibition ever shown in great britain, with eleven galleries displaying approximately 100 works.

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alexander calder: performing sculpture | tate modern museum | london, united kingdom | 11 november 2015 – 3 april 2016

saint paul’s cathedral and the millenium bridge in the background

photo credit lisa walsh | innerspace

american sculptor, alexander calder (1898-1976), may be best known for transforming sculpture into a kinetic art form.

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alexander calder (1898-1976) | antennae with red and blue dots | hanging mobile | aluminum and steel wire | circa 1953

collection of the tate modern museum | london, united kingdom

photo credit (c) 2015 calder foundation, new york / DACS, london via BBC

his kinetic sculptures could also be described as performance art.

at the beginning of his career, calder gained fame, received introductions, and made friends through cirque calder, the miniature mechanical circus that he created and performed in paris and new york from 1926-1931.

calder’s friends included artists joan miró (1893-1983) and fernand léger (1881-1955), as well as composer edgard varèse (1883-1965).  my husband, bob, and i were captivated by calder’s three dimensional wire caricatures of them.

‘i think best in wire.’  -alexander calder

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alexander calder (1898-1976) | joan miró | wire | circa 1930

on loan from a private collection

photo credit courtesy of the calder foundation via the new centrist

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alexander calder (1898-1976) | varése | wire | 1930

on loan from the whitney museum of american art | new york, NY

photo credit (c) calder foundation via the whitney

Fernand Legersmall

alexander calder (1898-1976) | fernand léger | wire | 1930

on loan from a private collection

photo credit (c) calder foundation, new york / DACS, london via the arts desk

at the tate modern, the installation and the illumination capture the shadows cast by the suspended sculptures.

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room 3 | alexander calder: performing sculpture | tate modern museum | london, united kingdom | 11 november 2015 – 3 april 2016

photo credit joe humphrys, tate photography / courtesy: calder foundation, new york / DACS, london via wallpaper

calder began creating abstract sculptures, most commonly made from wire and sheet metal, following a visit to the paris studio of dutch painter piet mondrian (1872-1944) in 1930.  he began suspending his abstract sculptures, and using airflow or touch, instead of mechanics or motorization, to generate movement.  another one of his friends, artist marcel duchamp (1887-1968), called calder’s suspensions mobiles, a pun on the french words for movement and motive.

like other viewers, bob and i were magnetized by the movement of the mobiles.

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room 9 | alexander calder: performing sculpture | tate modern museum | london, united kingdom | 11 november 2015 – 3 april 2016

photo credit joe humphrys, tate photography / courtesy: calder foundation, new york / DACS, london via wallpaper

some mobiles move silently.

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alexander calder (1898-1976) | snow flurry I | hanging mobile | painted steel sheet and steel wire | 1948

on loan from the collection of the museum of modern art | new york, NY

photo credit (c) 2016 calder foundation, new york / artists rights society (ARS), new york via MOMA

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alexander calder (1898-1976) | gamma | hanging mobile | painted sheet metal and steel wire | 1947

on loan from the collection of jon a. shirley | seattle, WA

photo credit calder foundation, new york / DACS, london via wsj

while, the movement of other mobiles creates sound.

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alexander calder (1898-1976) | triple gong | hanging mobile | brass, sheet metal, wire and paint | circa 1948

on loan from the collection of the calder foundation | new york, NY

photo credit calder foundation, new york / art resource, new york / ARS, new york / DACS, london via wsj

does silence somehow seem more eloquent?

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alexander calder (1898-1976) | black widow | hanging mobile | wire and painted metal | circa 1948

on loan from the institute of architects of brazil | säo paulo, brazil

photo credit joe humphrys, tate photography / courtesy: calder foundation, new york / DACS, london via wallpaper

our visit to london conveniently coincided with the post war and contemporary art auctions, which prominently featured works by alexander calder.

the auction previews provided an opportunity to view calder’s hanging and standing mobiles more closely.

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alexander calder (1898-1976) | untitled | hanging mobile | painted sheet metal and wire | 1967

sold for £962,500 (US$ $1,396,588) | lot 2 | sale 11795 | post war and contemporary art evening auction | 11 february 2016 | christie’s king street | london, united kingdom

photo credit lisa walsh | innerspace

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alexander calder (1898-1976) | crag with yellow boomerang and red eggplant | standing mobile | painted sheet metal and wire | 1974

sold for £1,874,500 (US$ 2719,900) | lot 3 | sale 11795 | post war and contemporary art evening auction | 11 february 2016 | christie’s king street | london, united kingdom

photo credit lisa walsh | innerspace

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alexander calder (1898-1976) | the black mountain | oil on canvas | 1945

sold for £602,500 (US$ 874,228) | lot 1 | sale 11795 | post war and contemporary art evening auction | 11 february 2016 | christie’s king street | london, united kingdom

photo credit lisa walsh | innerspace

you could say that calder performed rather well…