“‘The Museum of Disappearing Buildings’ features a pendulum wrecking ball looming in the upper third of its composition, threatening to destroy any unoccupied dwelling shelved on this enormous archive. All in the name of progress…”
‘I asked architects to send me important images that show the basis of their work. Images that are in their head when they think. Images that show the origin of their architecture. In this book we find 44 individual “musées imaginaires”. The most unique architects living today each present up to 10 images to explain the autobiographical roots of their oeuvre. The images are explanations, metaphors, foundations, memories and intentions. They are poetic and philosophical avowals. They reveal a personal perspective on thoughts. They show the roots of architecture and expectations concerning projects. Conscious and unconscious. This book has the format of a reader. As little as possible is said. The images are small, legible and interpretable as icons. As individual collections, they present a personal view of an individual world, while as a whole they provide a universal view of the perceptible origin of contemporary architecture.’
Plan for Beverly Hills, CA, c. 1930
Cartography of exclusion, mapping of repression, parcelization of racism.
Then the Lord rained upon Sodom and upon Gomorrah brimstone and fire from the Lord out of heaven;
And he overthrew those cities, and all the plain, and all the inhabitants of the cities, and that which grew upon the ground.
But his wife looked back from behind him, and she became a pillar of salt."
“The work consists of the removal of one square metre of ground and its replacement with a photograph of the removed section. In 1969 Van Elk replaced a piece of asphalt from the road in front of the Kunsthalle in Bern with a photograph on a hard sheet. He did this as part of the legendary exhibition Live in your head: When Attitudes become Form, organized by Harold Szeemann. The first work was soon lost due to the effects of weather and traffic. This second durable version from 2011 consists of the removal of one square metre from the concrete entry path to the Kröller-Müller Museum and its replacement with a digital reproduction. The photograph is mounted on a stainless steel frame and provided with an anti-slip coating. Van Elk’s work is about image and imagination. With his artistic interventions he tries to stay as close as possible to reality, in order to make us aware of how we look at things. He calls his Replacement Piece a form of ‘super-realism.’”