View of “Pia Rönicke,” 2012.

View of “Pia Rönicke,” 2012.

Pia Rönicke

gb agency

View of “Pia Rönicke,” 2012.

In Pia Rönicke’s recent exhibition “Dream and action find equal support in it,” everything was a matter of transparency—above all, that of the forms and ideas she assembled and borrowed from the Irish-born architect and designer Eileen Gray, whose oeuvre and precepts served as a script for what might be called an augmented or collaborative solo show. But transparency was also a matter of the Danish artist’s very approach, since she exhibited here, without restriction and without restraint, documents in the rawest, most straightforward form possible: photocopies, collage, low-resolution photographs. At the heart of the setup, however, was a video shot in the famous villa E.1027 in Roquebrune-Cap-Martin (on the Côte d’Azur, east of Monaco), one of the rare constructions that Gray realized, which she built in 1929 for her lover, the Romanian architect and critic Jean Badovici.

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