Charles V. Miller


    LUC DELEU'S “BARCELONA (TUMBLING) APARTMENTS,” the project for Artforum on the following two pages, is based on a submission this Belgian architect and urban designer made to a competition for Barcelona organized by the Colegio de Arquitectos de Cataluña in 1988. In many regards, the submission is a summation of ideas that Deleu has been developing over the last twenty years. More specifically, it relates to his experience of the World Trade Center in New York, which he visited in 1980, and to his subsequent architectural model “Principle of a lesson in scale with two buildings of identical

  • Domestic Science

    ERNST IST DAS Leben, heifer die Kunst” (Life is serious, art is frivolous). So read the placards of the villagers in Friedrich Dürrenmatt Der Besuch der alten Dame (The old lady’s visit, 1956, published in English as The Visit), and the work of Elaine Reichek almost suggests that she agrees: though she deals with the serious sciences of anthropology and ethnography, her art itself is always ironic, sometimes humorously—frivolously—so. Yet neither author nor artist is in the same position as the characters in the play. Applying the absolutes of myth to the morality of Europe’s postwar economic


    FALLING SOMEWHERE BETWEEN THE DESCRIPTION of static (but unidentifiable) objects and the animation of kinetic lines, John Monti’s images reduce a given reality—or unreality—into its constituent parts. Yet these are not the analytic geometries of earlier art in this century, for Monti’s reformulations evolve and expand into the world of living figures, eschewing the object-bound commentary on the commodification of the human sphere that is so prevalent in today’s art.

    The two drawings shown here, Stand In, opposite, and Tip-Off (each 62 by 27 inches, in charcoal and pastel, from 1988), bring to