‘Unfixed Concrete Ideal’ exhibit at 3S Artspace
By Michael Witthaus
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In an April 2020 episode of her 99% Invisible podcast, design critic Avery Trufelman said that concrete is exceeded only by water as the most consumed product in the world. In architecture, it’s also one of the most divisive. Trufelman noted that James Bond creator Ian Fleming named his Goldfinger supervillain after a real architect just because he disliked his buildings so intensely.
On the other hand, at least one of Ernő Goldfinger’s concrete creations has received landmark status.
“Unfixed Concrete Ideal,” opening April 5 at 3S Artspace in Portsmouth, explores the role of concrete in civic architecture, and the many conflicting passions it can inspire. The exhibition includes mixed media works, photography, sculpture and even a couple of etchings done on drywall by co-curator Ben Sloat.
In a recent phone interview, Sloat noted the egalitarian nature of concrete. He’s an Asian-American who grew up in New York City; his mother is from Taiwan. Under-resourced as it grew in the 1960s, the country relied heavily on concrete. “It could modernize without deforesting,” Sloat said. “That felt like a really amazing thing that concrete can do.”
Sloat also likes that “concrete has a really significant impression in our cultural language; like, ‘my plans aren’t concrete yet.’ At the same time, concrete poetry looks like a shape. Other definitions are about amalgams or accumulations or abstraction; concrete photography is actually a form of non-representational photography. So I like that concrete has a very almost elastic presence in our cultural context.”
Running through June 2, the exhibition began as a response to the planned demolition of the Government Services Center (GSC) in Boston’s West End. Many of the works on display in the show are images of the building, which was built in 1971 and designed by Paul Rudolph, a well-known Brutalist architect.
Brutalism isn’t derived from the word “brutal.” “It’s actually related to ‘béton brut,’ which means raw concrete,” Sloat said. He called the style “quite the mixed bag; some people hate it. It’s one of those things — really good Brutalist buildings are amazing and knock-offs are terrible.”
This duality is at the center of “Unfixed Concrete Ideal,” which was shown first in Boston last July, and later in Fall River, Mass. An exhibition statement reads, “In some spaces, concrete can be seen as a modern and democratic material, while in others it can be quite hostile and oppressive. In many ways, concrete itself represents the ideals of the modern era, but also how incomplete those ideals often became.”
Joining the version in Portsmouth is “Heap,” a sculpture by Boston artist Tory Fair that consists of piled up cast objects that, curator Susan L. Stoops writes, “bear the memories of absent originals” — mugs, boots, cameras and other pieces. The two etchings from Sloat share Fair’s nostalgia. One shows an amphitheater that was originally part of the GSC; the other is a detail of Rudolph’s creation as it is today.
A series of sculptures by Finnish artist Anssi Taulu depict concrete’s stages of decomposition. “There’s a parallel between concrete being unfinished and being alive with the kind of natural cycles that we witness in the organic world,” Sloat said. “Certainly, Anssi is thinking about that … he uses a very lightweight concrete, and he adds more water and other binders, so it’s not super heavy.”
Other pieces reflect the social nature of concrete architecture, including excerpts from (Un)finished, a book of photographs that documents pending structures in modern Athens, from Greek artist and researcher Maria Lalou and Danish architect Skafte Aymo-Boot. Lalou’s work constantly questions “the relations between perception, space, material-object and an observing subject, with a central focus to the politics of the viewer,” according to her catalog bio.
Rudolph spoke of his work in similar terms while discussing a bench in the GSC plaza that was at one time a focal point of the structure.
“Civic architecture means assigning a proper role to each building so it works in concert with its neighbors,” he said. “The benches are curved for sociability; they are my social statement.”
Unfixed Concrete Ideal opening reception
When: Friday, April 5, 5 p.m.
Where: 3S Artspace, 319 Vaughan St., Portsmouth
More: 3Sarts.org
Featured Photo: “Heap” by Tory Fair. Courtesy Photo.
