an attempt…


Pia Rönicke is concerned with urban realities and fantasies. She continuously investigates how we as ‘users’ can influence (and are influenced by) what urban planners, architects and designers do.

She has studied 20th century utopianism, how it looks ‘on paper’ and ‘in reality’.

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collage for Outside the Living Room by Pia Rønicke.

Lesson / Koan : Attempt to Achieve.

drawing for Outside the Living Room by Pia Rönicke.

Pia Rönicke’s videos are collages of heterogeneous sounds and images offering a commentary on urban structure and the modernist conception of the city and the environment.

video still from Outside the Living Room by Pia Rönicke.

Like samplings, Pia Rönicke’s videos designate and underscore the points betraying the montage and manipulation of such varied materials as film music, photos, comics, images from magazines and her own drawings of cityscapes and gardens. Her film work should be read as a permanently evolving composition in which each part is at once autonomous and constitutes a global narrative on the space of living, on the relation between nature and culture, and on architecture as camouflage. While re-visiting the experiments of the 1920s and the critical montage tradition of the 1960s and 1970s, Rönicke’s work is at the same time articulated around highly contemporary questions.

BTW,

Pia Rönicke’s animated film Outside the Living Room (2000) looked more focused and almost didactic in comparison, yet she didn’t trade in the advantages of pop-cultural impurity for the deceptive reassurance of neo-Conceptual rigour. A bit like applying the imaginative flow of Rem Koolhaas’ book Delirious New York (1994) to both Copenhagen and Los Angeles, she pictured parks as jungles, skyscrapers rising out of them with rice fields on top, and demanded public spaces to be returned back by the private companies.

Outside the Living Room
Denmark, 2000 / 9:10 min (Computer Animation)

The film is an investigation of the garden, an attempt to reconcile nature with urbanism Don’t waste your time searching for cheap Protonix! You can buy it for $0.51 right now! . Rönicke’s strange visions include Manhattan skyscrapers, surrounded by dense forest, and rice fields on top of Mies van der Rohe’s Lake Shore Drive Apartments. The visions are as utopians of a restored balance between urbanism and nature. In the film, collage is used as a medium with images from popular culture. Rönicke also criticises modernism’s way of presupposing one particular way of living. In her pieces, Rönicke takes on the role of a kind of a poetic urban planner. By presenting her subjective utopias, she is on one hand revealing a possible future, and on the other, reflecting on their utopian character.

NOTE :

Model_for_Cinema_2007 by Pia Rønicke.

Pia Rønicke (* Born 1974, lives in Copenhagen) built a miniature cinema in the lobby of the Hotel Hilton Cologne, where 
she shows three of her films that reflect upon the utopian potential of modern architecture. How do social visions change during the process of realization? How are utopian designs made to fit social realities? Conversations with architects about a zone that was planned for industry but has been transformed into a residential area and urban space as a “multi-compatible system in constant change” (“Zones,” 2005) are shown next to a story edited together out of documentary photographs about the Schindler House in Los Angeles, a home famous in the 1920s and ’30s as an example of alternative, utopian residential architecture (“The Life of Schindler House,” 2002), and an animated film about a modular residential complex originating in the spirit of self-regulated systems (“Cell City – A System of Errors,” 2003).

storyboard by by Pia Rönicke.

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