The Warmth of Death: Alexander Brodsky and the Necropolis in the Womb of the Metropolis

Moscow‐born artist and architect Alexander Brodsky's work is very much infused with its Russian context; its geography, landscape, climate and political regimes. For him, ‘penumbra is a permanent state of gaze’. Architect and researcher Susanna Pisciella looks at his continuous migration betwee...

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Veröffentlicht in:	Architectural design 2023-07, Vol.93 (4), p.38-45
1. Verfasser:	Pisciella, Susanna
Format:	Artikel
Sprache:	eng
Schlagworte:	20 Garbage Cans 95° Restaurant Alexander Brodsky Andrei Tarkovsky Anton Chekhov Aquarium Architects Architecture Brodsky, Alexander Canal Street Subway Project Carpet 1, 2, 3 Cisterna club Proliv Columbarium Habitabile Coma Finland Fondazione Sandretto Re Rebaudengo Georgia Guelman Gallery House in the Woods Ice Pavilion Ilya Utkin Installation art Klyazminskoe Reservoir library in Veretyevo Park Marina Tsvetaeva Moscow Nikola‐Lenivets Park, Kaluga Region October Morning at the Cemetery Osip Mandel’štam Pavilion for Cacha Ceremonies Pavilion for Vodka Ceremonies poet Joseph Brodsky PO‐2 Ranevsky family Rotunda I Russian culture Russia‐Ukraine war Seagull Swallow Soviet Communist regime St Petersburg Tbilisi The Cell The Cherry Orchard The Shed Turin Venice Biennale
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Beschreibung
Zusammenfassung:	Moscow‐born artist and architect Alexander Brodsky's work is very much infused with its Russian context; its geography, landscape, climate and political regimes. For him, ‘penumbra is a permanent state of gaze’. Architect and researcher Susanna Pisciella looks at his continuous migration between architecture and art installation, and suggests that he also finds inspiration in the shadow of language.
ISSN:	0003-8504 1554-2769
DOI:	10.1002/ad.2952