'21st Century: Art in the First Decade' is an exhibition, publication, blog and series of public programs at the Queensland Art Gallery l Gallery of Modern Art that explore the art of the past ten years. As an expanded platform for the exhibition, the '21st Century Blog' functions as a source book of reference material and contributions provided by artists, curators and writers. Read more


GoMA level 3 Collection display

Tobias Putrih | Connection 2004 | Cardboard boxes on plywood ed. of 1 740cm (height) (variable to a maximum height of 800cm) | Purchased 2008 with funds from Tim Fairfax, AM, through the Queensland Art Gallery Foundation | Collection: Queensland Art Gallery

Tobias Putrih ‘Connection’ 2004

Tobias Putrih’s often concept-based work comprises drawings, illustrations, plans, sculptures and intricately designed constructions, which he has referred to as ‘intimate, proto-scientific and slightly ironic models.’ (1) His work engages with particular aspects of modernist history such as political and social utopianism, modernist architecture, the origins and evolution of cinema and the parallel development of utilitarian constructivism and aestheticism. Tobias Putrih’s Connection 2004 pays homage to a great modernist and utopian project of the twentieth century. Finnish–American architect Eero Saarinen completed a project known as the Gateway Arch in St Louis, Missouri, in the 1960s. Saarinen’s 192-metre-tall structure is a catenary arch, which is the ideal curvature formula for an arch to support its own weight. Putrih’s sculpture–model echoes this structure, while also introducing the element of irony of which he speaks: the work is constructed from cardboard boxes, which diminish slightly in size so that each box fits into the proceeding one. This playfully undermines the structural principle of an arch and its heroic dimensions associated with bridges, cathedrals and victory arches. The inherent paradox of a monumental and stable architectural form made of something so impermanent is typical of what has been referred to as ‘artworks haunted by calculated instability’. (2)

1. Tobias Putrih, quoted in Evence Verdier, ‘Putrih the anarchitect’, Art Press, issue no. 300, 2004, p.49.
2. Elena Filipovic, ‘Space of doubt’, in Tobias Putrih 99 07, Neuberger Museum of Art, Purchase College, State University of New York, 2007, p.121.

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