Glenn Walls – SUPER CREATIVE GRID

I never can say goodbye (Part 2)

Posted in I never can say goodbye (Part 2) by Super on November 15, 2021

Glenn Walls. At the end of the day, people are just really disappointing. Black sequin material, mirror perspex letters, white frame 2021.

Glenn Walls. Remember the future is not yet written. Black sequin material, mirror perspex text, white frame 2021.

Glenn Walls. “If you are not too long, I will wait here for you all my life”. Quote from Oscar Wilde. Mirror ball, black sequin material, and mirror perspex text.

Glenn Walls. “If you are not too long, I will wait here for you all my life”. Quote from Oscar Wilde. Mirror ball, black sequin material, and mirror perspex text. Detail.

Architecture preoccupation with ‘normality’ has left little room for queer domestic space to come to the fore. This body of work contributes to public acknowledgment of queer space in the built environment, highlighting queer injustices. Few artists have broached this subject. I am interested in creating a personal definition of queer space that is not hidden and is a reaction against normative symbols of masculinity and the ‘heterosexual assumption’ presented by 1960s Italian architectural group Superstudio anti-design grid. Inspired by Cuban artist Felix Gonzalez-Torres’s work “Untitled” (Death by Gun), 1990, these works are based on research conducted on the gay and trans killings that took place in Sydney and worldwide in the late 1970s till now. 

I never can say goodbye

Posted in I never can say goodbye by Super on November 2, 2021

Glenn Walls. I never can say goodbye. Wood board, laser cut mirrored letters, sequin material. 2021. Words are from the Gloria Gaynor song. “Never can say goodbye”, 1974.

Glenn Walls. I never can say goodbye (After Felix). Digital print, paper stack. 2021. This work contains an image of American LGBTQI rights activist Marsha P. Johnson who was murdered in 1992.

Glenn Walls. I never can say goodbye (After Felix). Digital print, paper stack. 2021. This work contains an image of Superstudio -Supersurface, 1971.

Glenn Walls. I never can say goodbye (After Felix). Digital print, mirror ball, paper stack. 2021. Text on the mirror ball is a quote from Oscar Wilde, “If you are not too long, I will wait here for you all my life”. This work contains an image of Ross Warren who was murdered in July 1989 at the Bondi headlands, a well know gay beat.

Glenn Walls. I never can say goodbye. Mirror tiles, mirror plinth, skateboard wheels, red sequin, 2021. Based on Superstaudio, “Continuous Monument”, 1969.

Glenn Walls. I never can say goodbye. Mirror tiles, mirror plinth, skateboard wheels, red sequin, 2021. Based on Superstaudio, “Continuous Monument”, 1969.

Architecture’s preoccupation with ‘normality’ has left little room for queer domestic space to come to the fore. This body of work contributes to public acknowledgment of queer space in the built environment, highlighting queer injustices. Few artists have broached this subject. I am interested in creating a personal definition of queer space that is not hidden and is a reaction against normative symbols of masculinity and the ‘heterosexual assumption’ presented by 1960s Italian architectural group Superstudio anti-design grid. Inspired by Cuban artist Felix Gonzalez-Torres’s work “Untitled” (Death by Gun), 1990, these works are based on research conducted on the gay and trans killings that took place in Sydney and worldwide in the late 1970s till now. 

“I can never say goodbye Part 1 & 2” is a continuation of research conducted from the 2018 exhibition “Massacre: Bodies that matter” held at Kings ARI, which is found further down on this website.

The text below is from “Massacre: Bodies that matter”.

‘Our blood runs in the streets and in the parks and in casualty and in the morgue…. ‘Our own blood, the blood of our brothers and sisters, has been spilt too often….

‘Our blood runs because in this country our political, educational, legal and religious systems actively encourage violence against us…

‘We are gay men and lesbians.’

From the ‘One in Seven’ Manifesto, Sydney Star Observer, 5 April 1991

During the 1970s, 80s & 90s in Sydney, Australia a high number of LGBTIQ people were violently bashed, murdered or disappeared entirely. Although some of these incidents were reported in the gay press and the NSW Anti-Discrimination Board[1] at the time many remained unreported to the authorities[2] due to cultural and societal attitudes with and within the NSW police force and the wider community tolerance of homosexuality. With the advent of AIDS in the 80s, “a significant media and social response of gay alienation within the context of ‘moral panic’ occurred” (Strike Force Parrabell 2018, p. 13).  ‘Beats’ such as toilet blocks, public parks and beaches (Bondi Headlands) where men met other men for sex or social contact became the target of gangs that felt it was their duty to rid and protect the community of such ‘intolerable’ behaviour [3].

By the late 90s, early 2000s with a growing acceptance within the wider community of homosexuality a series of media reports and research papers emerged within the mainstream press highlighting both the injustice caused to the LGBTIQ community and the entrenched homophobia and failure within the NSW police force that allowed a ‘killing and bashing spree” to take place with little repercussion to the perpetrators[4].

In 2018 the NSW Police Force released “Strike Force Parrabell”. Listed are the findings of the review of 88 deaths between 1976 and 2000. During this period “it is clear and beyond question that levels of violence inflicted upon gay men, in particular, were elevated, extreme and often brutal” (Strike Force Parrabell 2018, p. 14). The document acknowledges and highlights the unwillingness and inadequacies of the NSW Police Force, due to entrenched homophobia entwined with perceptions of Australian identity and masculinity, to investigate these crimes fully. However, this does not negate the trauma, anger, frustration and grieving for those left behind. “These people’s lives were taken prematurely and whilst we might consider the individual a victim, in reality, there are many other victims left behind to ask unanswered questions of why” (Strike Force Parrabell 2018).

American Ph.D. candidate Scott Johnston was only 27 when he died. “It was December 10, 1988, when Scott’s naked body was found by two rock fishermen at the base of the cliff, near Blue Fish Point, just south of Manly, on Sydney’s northern beaches. Scott’s clothes had been found neatly folded on the clifftop above” (Kontominas 2017) including his pair of Adidas sneakers. This is shown in the exhibition as a wood carving. The police deemed it a suicide. Three months later, Coroner Derrick Hand came to the same conclusion. His brother Steve Johnson and boyfriend of five years, Michael Noone is still today not convinced that this is the case. All failed to acknowledge that the location was a well know beat where anti-gay gangs operated and where other gay/hate murders had occurred previously.

The main research question addressed in this exhibition is:

Through sculptures, architectural models, and digital prints, in what ways can I reconfigure the masculine/heterosexual dominance of Superstudio’s anti-design grid to a personal interpretation of queer space?

My reading and understanding of this grid argue a social, philosophical, and identity position in which to interpret my works, giving the audience a greater understanding of the power of things to form a narrative for the object or space. My aim is to think through these processes via practice, critiquing Superstudio’s anti-design grid to produce work that re-evaluates masculine/heterosexual dominance of architectural space by highlighting an injustice done to a minority.

Research contribution

Architecture’s preoccupation with ‘normality’ has left little room for queer domestic space to come to the fore. I argue that ‘the “normality” of heterosexuality is so deeply ingrained in Western culture that it is not even seen’ (Myslik 1996, p. 159). So entrenched is this understanding that I have found little evidence of the public acknowledgment of queer space in the built environment, let alone one highlighting queer injustices. Few artists have broached this subject. I am interested in creating a personal definition of queer space that was not hidden and is a reaction against normative symbols of masculinity and the ‘heterosexual assumption’ presented by Superstudio anti-design grid.

Inspired by Cuban artist Felix Gonzalez-Torres work “Untitled” (Death by Gun), 1990, this exhibition will be based on research conducted on the gay killings that took place in Sydney in the late 1970s till 2000. This was a period of extreme distrust by the LGBTQI community in the NSW Police Force who symmetrically failed to acknowledge, protect, report, or simply dismiss community concerns. This will result in a series of works highlighting the high number of victims and the fact that a number of murders are unsolved. Although there is conjecture as to whether some of these murders are gay/hate crimes, the fact that were not properly investigated at the time is a dark stain on our history.

What is Strike Force Parrabell?

On 30 August 2015 Strike Force Parrabell commenced a thorough investigative review to determine whether 88 deaths originally listed in a submission to the Australian Institute of Criminology[5], and commonly referred to by media representatives, could be classified as motivated by bias including gay-hate (Strike Force Parrabell 2018).

NOTES

[1] While the onset of HIV/AIDS has been seen as 
a motivating factor for some of the violence, the start of the violence predates that. A report by the NSW Anti-Discrimination Board in 1982 already highlighted the issue, and over that decade, there was ongoing and increasing violence. In 1990 the Surry Hills police noted a 34% increase in reports of street bashings during that year alone (Wotherspoon 2017).

[2] The Gay and Lesbian Rights Lobby and later, the AIDS Council of NSW (now ACON) kept records, usually comprising self-reported incidents of gay-hate violence, that on several occasions amounted to more than 20 entries per day. Unfortunately, fear associated with anti-gay attitudes of officers within the NSW Police Force at the time prevented these reports being formally recorded, which in turn meant that crimes were not investigated (Strike Force Parrabell 2018, p. 14 & 15)

[3] This inherent lack of consequences or accountability meant that perpetrators were given a kind of ‘social license’ to continue inflicting violence upon members of the gay community. This phenomenon has been associated with what some perpetrators believed was their moral obligation, driven by poor societal expectations. The Bondi incidents together with similar disappearances and deaths of men in and around beats attracted heightened levels of violence and were often associated with a victim’s sexuality or perceived sexuality (Strike Force Parrabell).

[4] During the 1970s, there were ongoing demonstrations in Sydney focusing on what needed to be changed to give homosexuals equal civil rights with their heterosexual counterparts. One of the catchcries of the time was ‘stop police attacks, on gays, women, and blacks’. And this catchcry highlights an important fact: that the police were seen as the enemy by many of these emerging social movements. As for gays, the police had never been sympathetic to their parading through Sydney’s streets. And this antipathy culminated in the notorious first Mardi Gras, on the night of Saturday 24 June 1978; it started out as a peaceful march down Oxford Street from Taylor’s Square to Hyde Park and ended in Kings Cross with police wading into the marchers with their batons, leading to 53 arrests (Wotherspoon 2017).

[5] In 2002, a list of 88 deaths of gay men between 1976 and 2000, potentially motivated by gay hate bias was compiled by Sue Thompson, the then NSW Police Gay and Lesbian consultant. There has been significant media coverage of presumed facts associated with gay hate motivation for each of these 88 deaths.

Reference List

In the Pursuit of Justice. Documenting Gay and Transgender Prejudice Killing in NSW in the Late 20th Century 2017, ACON. viewed 11th November 2018, https://www.acon.org.au/wp-content/uploads/2018/05/In-Pursuit-of-Truth-and-Justice-Report-FINAL-220518.pdf.

Kontominas, B 2017, Scott Johnson: Inside one brother’s 30-year fight to find the truth, ABC News, viewed 11 November 2018, https://www.abc.net.au/news/2017-11-30/scott-johnson-inside-brothers-fight-to-find-the-truth/9211466

Strike Force Parrabell 2018, New South Wales Police Force. viewed November 11 2018, https://www.police.nsw.gov.au/safety_and_prevention/your_community/working_with_lgbtqia/lgbtqia_accordian/strike_force_parrabell

Wotherspoon, G 2017, Gay Hate Crimes in New South Wales from the 1970s, viewed 11th November 2018, https://www.acon.org.au/wp-content/uploads/2018/05/In-Pursuit-of-Truth-and-Justice-Report-FINAL-220518.pdf.

Super Spreader

Posted in Super Spreader by Super on September 8, 2021

Glenn Walls. Super Spreader No 2. Mirror balls and chains. 2021. Dimensions variable

Super – Perfect Lovers

Posted in Super - Perfect Lovers by Super on August 17, 2021

Glenn Walls. Perfect Lovers. Mirror tiles, paint, vinyl floor, and chains. 2021

Glenn Walls. Perfect Lovers. Mirror Tiles, paint, vinyl floor, and chains. 2021

Super – Overwhelming

Posted in Super - Overwhelming by Super on August 17, 2021

Glenn Walls. Yeah its overwhelming, but what else can we do. Mirror perspex on board, painted wall. 2021

Words taken from MGMT song “Time to Pretend”.

Super – Barcelona Pavilion.

Posted in Super - Barcelona Pavilion by Super on July 18, 2021

Glenn Walls. Air dancer filmed on location at Ludwig Mies Van der Rohe & Lilly Reich, Barcelona Pavilion located in Barcelona, Spain.

Music: Donna Summer

Glenn Walls. Air dancer filmed on location at Ludwig Mies Van der Rohe & Lilly Reich, Barcelona Pavilion located in Barcelona, Spain.

Music: Donna Summer

Super – Queer City

Posted in Super - Queer City by Super on July 12, 2021

Glenn Walls. Super – Queer City (Superstudio – The Continuous Monument, 1969). 2020/21. Colour mirror tiles, wheels & mirror plinth.

Glenn Walls. Super – Queer City (Superstudio – The Continuous Monument, 1969). 2020/21. Colour mirror tiles, wheels & mirror plinth.

Glenn Walls. Super – Queer City (Superstudio – The Continuous Monument, 1969). 2020/21. Colour mirror tiles, wheels & mirror plinth.

Glenn Walls. Super – Queer City (Superstudio – The Continuous Monument, 1969). 2020/21. Colour mirror tiles, wheels & mirror plinth.

Glenn Walls. Super – Queer City (Superstudio – The Continuous Monument, 1969). 2020/21. Colour mirror tiles, wheels & mirror plinth.

Glenn Walls. Super – Queer City (Superstudio – The Continuous Monument, 1969). 2020/21. Colour mirror tiles, wheels & mirror plinth.

Super Pride (Superstudio – The Continuous Monument, 1969)

Posted in Super Pride (Superstudio – The Continuous Monument by Super on April 26, 2021

Glenn Walls. Super Pride (Superstudio – The Continuous Monument, 1969). 2020. Colour mirror tiles, skate wheels & mirror plinth.

Installation view at Uro Bookshop at Collingwood Yards. This work was included in the exhibition”A Strange Space” held at Collingwood Yards.

Glenn Walls. Super Pride (Superstudio – The Continuous Monument, 1969). 2020. Colour mirror tiles, skate wheels & mirror plinth.

Installation view at Uro Bookshop at Collingwood Yards. This work was included in the exhibition”A Strange Space” held at Collingwood Yards.

Glenn Walls. Super Pride (Superstudio – The Continuous Monument, 1969). Mirror tiles and skate wheels.

Glenn Walls. Super Pride (Superstudio – The Continuous Monument, 1969). Mirror tiles and skate wheels.

Glenn Walls. Super Pride (Superstudio – The Continuous Monument, 1969). Mirror tiles and skate wheels.

Super – Nothing for Me

Posted in Super - Nothing for Me by Super on February 13, 2021

Nothing for Me centres on redefining the masculine/heterosexual dominance of modernist and not so modernist structures and spaces and present and realigns it with a sexual minority and citizens who would never have access to these forms of architecture. By utilizing the language of modernism that created clean, clinical spaces, free of interpretation, this photographic series counteract the seemingly accepted view of modernist design and continues my interest in how society continues to humanise modernist/minimalist theory and practice to reflect an interpretation of the individual relating to identity and sexuality. 

The photographic works consist of images of my father in front of his house. These images were taken over various years starting in 2011 and is an ongoing project. Each image is juxtaposed with an image of famous modernist houses.  

Glenn Walls. Le Corbusier designed nothing for me. Archival inkjet print. 2011 – 2020. Photographed on location in Australia.

Glenn Walls. Le Corbusier designed nothing for me. Archival inkjet print. 2013. Photographed on location at Le Corbusier Villa Savoye 1928, Poissy (near Paris), France

Glenn Walls. Harry Seidler designed nothing for me. Archival inkjet print. 2019. Photographed on location in Australia

Glenn Walls. Modernist architecture is a lie. Archival inkjet print. 2019. Photographed on location at Ludwig Mies van der Rohe & Lilly Reich, Barcelona Pavilion 1929, Barcelona Spain.

Glenn Walls. Robin Boyd designed nothing for me. Archival inkjet print. 2019. Photographed on location in Australia

Glenn Walls. Ludwig Mies van der Rohe designed nothing for me. Archival inkjet print. 2019. Ludwig Mies van der Rohe Farnsworth House 1949 – 51, Plano, Illinois United States.  

Glenn Walls. A dollop of Modernism does everyone good. Archival inkjet print. 2019. Photographed on location at Melton, Victoria Australia

Glenn Walls. A dollop of social justice does everybody good. Archival inkjet print, 2017. Photographed on location at Palace of the Parliament 1984 -1997, Bucharest Romania.

Glenn Walls. A dollop of architectural madness does everyone no good. Archival inkjet print, 2017. Photographed on location at Palace of the Parliament 1984 -1997, Bucharest Romania.

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Super – Safety in Queer Architecture

Posted in Uncategorized by Super on December 27, 2020

Glenn Walls. Safety in Queer Architecture. Digital print. 2020

Glenn Walls. Safety in Queer Architecture. Ludwig Mies van der Rohe & Lilly Reich – Barcelona Pavilion, 1929.

Digital print. 2020

Glenn Walls. Safety in Queer Architecture. Digital print. 2020

Pink triangle “Queer Spaces” signs were placed by RepoHistory at several NYC locations in the early 1990s to highlight sites of LGBT significance.

SUPER – THANK YOU

Posted in Uncategorized by Super on December 27, 2020

It has been an insane year, but I wanted to send out a massive thank-you to all

you wonderful people who have shown me massive support throughout this year.

Your kindness and generosity has been spectacular and at times genuinely

overwhelming. I am humble by how many of you take the time to read about the work to

gain a better understanding of its purpose. Creating art is a challenge at the best of times.

Creating art that participates in critical discourse focused on queer space, sexuality,

masculinity and the rejection of heteronormative modernist architectural space opens

up an exciting and thought- provoking process that I will continue to develop in 2021.

Thanks to you both LGBTQI+ Persecuted and Pandemic Architecture have sold out.

LGBTQI+ Persecuted is a ongoing series of book covers devoted to queer creatives.

There will be new works coming in 2021.

I am participating in group exhibitions in New York, Sydney and Melbourne in early 2021.

I will keep you posted.

Wishing you all the very best for 2021. xx

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Super – I keep dancing on my own

Posted in Super: I keep dancing on my own by Super on November 20, 2020

Glenn Walls. I keep dancing on my own. Wood, mirror perspex & paint. 2020

Glenn Walls. I keep dancing on my own + mirror cube. Wood, mirror perspex, paint, mirror tiles and chain. 2020

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Super Mobile (Superstudio: The Continuous Monument 1969)

Posted in Super Mobile (Superstudio: The Continuous Monument 1969) by Super on September 28, 2020

Glenn Walls. Super Mobile 1 (After Superstudio, The Continuous Monument, 1969). Mirror perspex & skate wheels. 2020

Glenn Walls. Super Mobile 2 (After Superstudio, The Continuous Monument, 1969). Mirror perspex & skate wheels. 2020

Glenn Walls. Super Mobile 3 (After Superstudio, The Continuous Monument, 1969). Mirror perspex & skate wheels. 2020

Glenn Walls. Super Mobile 4 (After Superstudio, The Continuous Monument, 1969). Mirror perspex & skate wheels. 2020

Glenn Walls. Super Mobile 5 (After Superstudio, The Continuous Monument, 1969). Mirror perspex & skate wheels. 2020

Glenn Walls. Super Mobile construction (After Superstudio, The Continuous Monument, 1969). Mirror perspex & skate wheels. 2020

Pandemic Architecture

Posted in Pandemic architecture by Super on September 25, 2020

Glenn Walls. I think we fucked up. (Theo Van Doesburgh, Contra-Construction: project for a private house. Axonometric. 1923). Pencil on paper. 2020. 21 x 29 cms

We don’t embroider cushions here

Posted in We don't embroider cushions here by Super on June 9, 2020
Glenn Walls. We don’t embroider cushions here. Bauhaus Carpet. Dimensions variable. 2020.
Glenn Walls. All power to you. (Based on Eileen Gray, Rivoli Table, 1928). Steel and wood. Dimensions variable. 2020. Contains Le Corbusier mural that he painted on Gray’s E1027 house between 1938 – 39.

Eileen Gray Vs Le Corbusier

E1027 was the first architectural work of the designer Eileen Gray, completed in 1929 when she was 51 years old. Gray talked of creating “a dwelling as a living organism” serving “the atmosphere required by inner life”. “The poverty of modern architecture,” she said, “stems from the atrophy of sensuality.” She criticised it for its obsession with hygiene: “Hygiene to bore you to death!”

E1027, which was built for Gray and her lover, Jean Badovici, grows from furniture into a building. She created a number of pieces of loose and built-in furniture for the house and installed others that she had previously designed, always with close attention to their interaction with the senses and the human body. She created a tea trolley with a cork surface, to reduce the rattling of cups, another trolley for taking a gramophone outside, and the E1027 table, whose height can be adjusted to suit different situations

Long after Eileen Gray left the villa in 1932, Le Corbusier spent a few days there in 1937, 1938 and 1939. In April 1938, encouraged by Jean Badovici, he painted two murals in the villa and returned the following year to paint another five. He said, “I am dying to dirty the walls: ten compositions are ready, enough to daub the whole lot”. According to her biographers, Eileen Gray didn’t think much of these paintings. In 1949 Badovici threatened to remove them. Several paintings that had been damaged during the war were restored by Le Corbusier himself in 1949 and again in 1963. Three of them, however, have disappeared. Those that have been preserved have since been restored or are under restoration.

Reference: https://capmoderne.com/en/lieu/la-villa-e-1027/ https://www.theguardian.com/artanddesign/2015/may/02/eileen-gray-e1027-villa-cote-dazur-reopens-lost-legend-le-corbusier

Gray Rivoli 1
Eillen Gray Prefect companion

Left: Eileen Gray. Rivoli table, 1928.
Glenn Walls. Perfect lovers. (Based on Eileen Gray, Rivoli Table, 1928). Steel and wood. Dimensions variable. 2020.

LGBTQI+. Persecuted.

Posted in LGBTQI+. Persecuted. by Super on December 3, 2019

Glenn Walls. Fierce bitch seeks future ex-husband – David McDiarmid – Lost. Perspex on board. 29 x 42 cms (Book cover). 2019. From David McDiarmid, Rainbow Aphorisms digital print series, 1994.

Glenn Walls. The most common way people give up their power is by thinking they don’t have any – Alice Walker. Perspex on board. 29 x 42 cms (book cover). 2020.

Glenn Walls. For most of history, anonymous was a woman. Virginia Woolf. Cut short. Perspex on board. 29 x 42 cms. (Book cover). 2019.

Glenn Walls. To live is the rarest thing in the world. Most people exist, that is all. Oscar Wilde. Jailed. Perspex on board. 29 x 42 cms (Book cover). 2019.

Glenn Walls. If a bullet should enter my brain, let that bullet destroy every closet door. Harvey Milk. Murdered. Perspex on board. 29 x 42 cms. (Book cover). 2019.

Glenn Walls. LGBTQI+. Persecuted. 9 x Perspex on board. 29 x 42 cms. (Book cover). 2019 – 2020.

Reworking of book covers from my 2012 exhibition “Life Without Objects” held at TCB.

Death by Apple

Posted in Death by Apple by Super on June 30, 2019

Glenn Walls. Death by Apple. iMac, axe handle, mirror perspex. 2019

Glenn Walls. Death by Apple. iMac, axe handle, mirror perspex. 2019

Philip Johnson

Posted in Philip Johnson by Super on March 31, 2018

Philip Johnson 2

Glenn Walls. Philip Johnson. Pencil on Paper. 2018

Philip Johnson 1

Glenn Walls. Philip Johnson. Pencil on Paper. 2018

National Pride

Posted in National Pride by Super on October 1, 2017

Indigenous 6

Glenn Walls.  National Pride – Indigenous Flag. Acrylic Perspex. 59 cms diameter, 2017.

“Tell him he’s dreaming” is taken from the 1997 Australian movie, “The Castle”.

 

 

Why Bother

Posted in Why Bother by Super on April 23, 2017

AA 26.jpg

Why Bother. (Woman’s Nike Sky Dunk Hi Essential). Jelutong wood, mirror perspex, yellow paint. 2017

The Death of Architecture (Superstudio: The Continuous Monument)

Stapler Monument 1Glenn Walls. The Death of Architecture (Inspired by Superstudio, The Continuous Monument). Metal staples & Skateboard wheels. 2016

Stapler Monument 2 Glenn Walls. The Death of Architecture (Inspired by Superstudio, The Continuous Monument). Metal staples & Skateboard wheels. 2016

Continuous MonumentSuperstudio, The Continuous Monument. Never constructed 1969 – 71

On top of the world… Il Monumento Continuo, a gridded structure that the Superstudio architects suggested would eventually cover the planet (Glancey, J. 2003).

 

The Death of Architecture (Part 4)

Posted in Uncategorized by Super on July 26, 2016

Death 36

The Death of Architecture (Part 4) . Based on Superstudio, The Continuous Monument. Mirrors, mirrored perspex on wood, skater wheels

The Death of Architecture 1

The Death of Architecture (Part 4) Mirrored perspex on wood.

The Death of 3

The Death of Architecture (Part 4) Mirrored perspex on wood.

The Death of Architecture (Part 3)

Posted in The Death of Architecture (Part 3), Uncategorized by Super on July 26, 2016

Death 50

The Death of Architecture (Part 3). Mirror perspex, Jelutong and wool rug

1

The Death of Architecture (Part 3). Development work. Jelutong

2

The Death of Architecture (Part 3). Development work. Jelutong

4

The Death of Architecture (Part 3). Development work. Jelutong

Death of Architecture: Farnsworth House (Part 2)

Posted in Death of Architecture: Farnsworth House (Part 2), Uncategorized by Super on March 14, 2016

Farnsworth House Final

Death of Architecture: Ludwig Mies van der Rohe, Farnsworth House (Part 2)

The Death of Architecture. Superstudio (Part 1)

Superstudio Cite 5

Super Suspended 2. Mirrored tiles, skate wheels, various materials. 2016

Based on the Continuous Monument by Superstudio. Background taken from Cite de I’Architecture et du Patrimoine.

Architects

Posted in Architects by Super on April 21, 2014

Architects 3

Architects 2

Architects 4

Architects 5

Architects, 2014

Humanising

Posted in Humanising Le Corbusier by Super on March 2, 2014
Humanise Le Corbusier 2
Glenn Walls. Humanising Le Corbusier. Plan Voisin for Paris. 2014

Le Corbusier

Le Corbusier (Charles-Édouard Jeanneret). Plan Voisin for Paris. 1925.

LC 3.1

Glenn Walls. Humanising Le Corbusier. Plan Voisin for Paris. 2014

The Plan Voisin is a solution for the center of Paris, drawn between 1922 and 1925 by Le Corbusier. 
The plan for 1925 seems to be a direct transposition of the diagram of Contemporary City for three million 
drawn in 1922. Included are buildings available in a regular orthogonal grid occupying a very important part 
of the right bank of the Seine. The space is highly structured with two new traffic arteries pierced through 
the city, one on the east-west, the other on a north-south. Their role is not limited to the organization of 
Paris, as were the advances of Haussmann: they pass through the fortifications and the suburban area. They 
have the ambition to link the capital to the four corners of the country, the major French and European cities. 
The crossroads at the intersection of these two avenues is the center of the plan, the center of the city 
in central France. (http://densityatlas.org/casestudies/profile.php?id=99)

How to avoid everything

Posted in Uncategorized by Super on February 6, 2014

How to avoid everything booklet

How to yellow 2

How to avoid everything booklet 1

How to avoid everything booklet 2

Glenn Walls, How to avoid everything, Yellow booklet, Perspex,

10 x 15 cms, 2014

I am Australian

Posted in I am Australian by Super on November 21, 2013

I am Australian Final 2

I am Australian. I will wear black until something blacker comes out. Perspex on wood. 2014 (study for larger work).

I am Australian. I will wear white until something whiter comes out. Perspex on wood. 2013/14 (study for larger work).

I am Australian is based Marcel Duchamp cover design for the Surrealist oriented publication Minotaure No 6, 1934. Minotaure was published between 1933 and 1939. The magazine focused on articles relating to Surrealist principles and theories, architecture and also contained the first published essays of the famed French psychiatrist and philosopher, Jacques Lacan (Vol. 1 & 4). Duchamp cover utilizes modernist principles of simplicity and lent itself to the redesign of the aboriginal flag. Alfred Deakin was Australia’s second prime minister and instrumental in the writing of the White Australia policy.

How to Avoid Everything. Theoretical Book Covers 2013

Posted in How to avoid everything by Super on April 17, 2013

 

How to avoid 3

How to avoid being you. Hiding your being in the built environment. Perspex on wood. 2013

How to Avoid Modernism – Ulises Carrión

Posted in How to Avoid odernism -Ulises Carrión by Super on December 3, 2012

Carrion 6

How to Avoid Modernism – Ulises Carrión

Pencil on Graph paper. 2012

Ulises Carrión is credited with being one of the first artists to write a general theory about artists’ books. His influential essay, ‘The New Art of Making Books,’ written in 1975, analyzes the traditional form of books in the context its tactile, visual, and intellectual merits. Carrión’s work with visual and concrete poetry expanded the use of the book as a medium for artistic expression that uses the page as an alternative gallery space.

The above information is taken from the following website:

http://www.library.vcu.edu/jbc/speccoll/davidetcarrion.html

Posted in Life without Objects by Super on January 29, 2012

LIFE WITHOUT OBJECTS

TCB Inc, MELBOURNE

15 February – 3 March, 2012

12 Waratah Place,  Melbourne VIC 3000.

Website: https://tcbartinc.org.au/content/tag/glenn-walls/

 

Glenn Walls. All art is quite useless. Oscar Wilde. Perspex on board. Bitch Architecture. Perspex on board. 29 x 42 cms (A3).

 

Glenn Walls. Prototype for Sophisticated Living No 1 (Version 2). Mirror tiles, skateboard wheels. 65 x 65 x 45 (approx.). 2007/2012

 

Glenn Walls. Installation view. TCB Inc. Untitled (Baseball Bats). Baseball bats and mirror tiles. Dimension variable. 2012

 

Glenn Walls. Hoodwink (after Sean). Jelutong, Mirror perspex, Mirror tiles, white tape. 2012 (Prototype)

 

The Grid. Le Corbusier, Unite d’Habitation 1946 – 52. 2011 & 2012

Posted in The Grid by Super on February 20, 2011

Glenn Walls. The Grid. Le Corbusier, Unite d’Habitation 1946 – 52 Vs Superstudio. Ink on paper. 2012