Post World War I design and architecture virtually rejected the natural world in favour of celebrating man-made forms. This predilection led to some extraordinarily complex and arguably beautiful works of engineering and architectural design which were in turn displayed to near perfection by a compatible photography equally obsessed with abstract geometric form, vast scale and starkly contrasted tones.In Framing Modernism - Architecture & Photography in Italy 1926-1965, the current exhibition of more than 100 images from the RIBA archives, this correlation of medium is analysed from a design perspective. In reviewing the exhibition for A World To Win, Corinna Lotz wonders why, particularly given the current political climate, the evident implications, inspiration and political issues that led to this world changing movement, have been underplayed.
From: Corinna Lotz, A World To Win, 7May09"...Framing Modernism offers a chance to widen debates over Modernism’s legacy ... This outing of vintage and new prints from original negatives could provide a new case study in how Modernism related to political power structures and the reality of people’s daily lives ... Angiolo Mazzoni’s Marine Colony seaside camp is dedicated to Mussolini’s mother Rosa Maltoni ... If you didn’t know it was built to glorify Hitler’s ally, you could be forgiven for seeing it as a great effort to provide masses of school children with the chance of a sea-side holiday. As David Crowley has noted: “The years after Mussolini’s consolidation of power in October 1926 were marked by a strong degree of cultural pluralism … at the same time, artists and designers of all stripes were keen to court power.”"
Read the full review here
Framing Modernism is on show at the Estorick Collection, Highbury until 21 June.
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