PABLO BRONSTEIN

Though Pablo Bronstein's particular visual language is diverse in medium and style, it is fundamentally rooted in the discipline of architecture. His drawings, sculptures, books, installations, and performances are all uniquely informed by period designs and quintessential historical buildings—the Italian baroque, French neo-classicism, and 20th century modernism and postmodernism are evidenced alike throughout Bronstein’s beautiful and subtle미묘한,절묘한 oeuvre. 오브하,모든 작품 Acting as artist-architect, Bronstein imagines and plans his structures with the specific intention of exploring not only the demarcation경계 of private and public spaces but also quietly critiquing the social and political elements that play into realizing magnificent feats of civil engineering.

Bronstein has had solo exhibitions at the Metropolitan Museum of Art in New York, the Institute of Contemporary Art in London, Kunsthal Charlottenborg in Copenhagen, Tate Britain in London, Galleria Franco Noero in Turin, Herald St in London, and Lenbachhaus in Munich. His work has also been included in London’s Tate Triennial, New York’s Performa 07, and Spain’s Manifesta 8.

     Pablo Bronstein is an Argentinian artist who lives and works in London. His work spans from drawing to choreography안무연출,코리아그래피 and performance; always with a focus on architecture. Bronstein’s illustrations of buildings resemble architectural plans of 18th Century France and the 1980’s, with much reference to Baroque. However, these are not drawings of real places, they have been dream up in Bronstein’s imagination.

    

I’m an immigrant; I was born in Argentina. I lived in a modern flat in Buenos Aires; then I found myself in a very old house in London. My grandmother’s house in Buenos Aires was spectacular and classical and grandiose거창한; the house we moved to in London was small and in a horrible neighbourhood. Perhaps that [gave me a] sense of loss … I’m not sure … or a sense of wanting to escape, or an aspiration to bigger things … 
Sanctuary: Britain’s Artists and their Studios published by Thames & Hudson

ese are not drawings of real places, they have been dream up in Bronstein’s imagination.

    

I’m an immigrant; I was born in Argentina. I lived in a modern flat in Buenos Aires; then I found myself in a very old house in London. My grandmother’s house in Buenos Aires was spectacular and classical and grandiose거창한; the house we moved to in London was small and in a horrible neighbourhood. Perhaps that [gave me a] sense of loss … I’m not sure … or a sense of wanting to escape, or an aspiration to bigger things … 

Erecting of the Paternoster Square Column 2008 demonstrates Bronstein’s ability to re-create structures from the past whilst reinventing them. As the architect Sam Jacob has observed, ‘The picture is drawn and framed in such a way as that one might almost believe it to be some kind of documentary evidence’ (Jacob 2013, p.12).

The drawing is one of a series which re-imagines the development of Paternoster Square by Goldman Sachs, thereby exploring the “political, social and visual effects of urban redevelopment projects.”

It is a mythical re-telling of the construction of one of the most important Postmodern set pieces in London. This sort of stage set piazza is really quite incredible. It’s basically like it’s been vacuum molded in this cheap reconstituted stone material to imitate whatever Baroque buildings, it is sort of Baroque, but cheapo Baroque, with bits of terracotta tiling, it’s a bit of a mess. 
Bronstein 2009, accessed 28 November 2014

For a BMW Tate Live: Performance Room series, Pablo Bronstein premiered his piece Constantinople Kaleidoscope만화경, an entirely new work made especially for Tate. Involving a group of dancers, Bronstein created a stage set that exaggerated과장된

 the perspective of the room with mirrored columns.

His most ambitious project to date, Historical Dances in an Antique Setting, will be on view at Tate Britain in the Duveen Galleries, until October 2016. The piece takes inspiration from the neo-classical surroundings of the Duveen galleries and the artist’s interest in the Baroque period to create a continuous live performance. Dancers will move through the galleries every day, interacting with the architectural elements of the installation.

One thing I like about architecture is its attempt at aspiration, its desperation. I’m not excited by good-quality, decent품위있는, sophisticated buildings. I like buildings that want to be seen as better than they are. 

My feeling is that if it looks too much like art then it probably isn’t art.

Instead of drawing traditional houses as a child “I drew castles, with carefully demarcated경계표시하다 bricks – and each brick would have a different motif carefully drawn upon it.