In the catalogue to Zaha Hadid's 2006 exhibition at the Guggenheim Museum, the late historian and professor of modern architecture Detlef Mertins stated that "Hadid's paintings bring mathematical and geological geometries into greater alignment."
If you want to check out if Mertins was right and you happen to be in Berlin, pop in at the Buchmann Galerie where the third Zaha Hadid exhibition has just opened, launching also Gallery Weekend.
The event mainly focuses on eight "Silver Paintings", three "Dot Paintings", and large furniture-sculptures such as "Iceberg" and "Gyre".
The term "Silver Paintings" refers to Hadid’s architectural works, digitalised, photographed in their virtual state, printed and hand-painted with water-based paint, ink, and chrome-polyester.
The "Dot Paintings" move from the same concept, but they are executed using the pointillist techniques. Both are in a way equally important as they represent modern architectural possibilities rather than real buildings.
Interior design sculptures such as the "Iceberg" bench and the "Gyre" chair for example are characterised by dramatic shapes in mutation and forms in motion and bring to an indoor environment the idea of liquid territories.
While the dynamic shapes of her furniture pieces and objects flow in a futuristic and pleasant way, Hadid's paintings have a chaotic fluidity and immediately reveal why her critics defined Hadid "brilliant but unbuildable".
Hadid's early architectural experiments somehow moved from Malevich’s geometrical Suprematism, but, as the years passed, her will to explore modern spatial possibilities and her fascination with utopian moods and gravity-defying structures in which sharp, convex and concave lines meet and combine, led her to find a method and a system to align complex geometries, as Mertins suggested.
"Zaha Hadid" is at the Buchmann Galerie, Charlottenstrasse 13, Berlin, Germany, until 23rd June; the Berlin Gallery Weekend is on until today, from 11.00 am to 7.00 pm.
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