Star of David, opening
Glass pavilion
Stainless steel, 25% mirrored glass, concrete, water, grating
Length: 420 cm, height: 240 cm
Planning and execution: Fritsch-Stiassny-Glastechnik, Stahlbau August
Filzhammer
Design 1988, execution 1995/96
Site: former ornamental garden
DAN GRAHAM’s pavilion project Star of David was the first artwork
to be conceived for the exterior of Buchberg Castle and is also the first work
that visitors notice when they approach the castle via the bridge that leads to
the entrance. For its location, GRAHAM chose a lawn fenced off by walls and
rock faces below and to the side of the bridge, the former site of an
ornamental garden and before that the castle moat. Without knowing the site’s
history, he positioned the pavilion exactly where the initials of a previous
owner of the castle had been written in flowers until the 1960s. The Star of
David itself is comprised of two equilateral triangles laid on top of one
another, one of which is a tank of water sunk in the ground and the other is a
2.4 metre taller, covered pavilion made of 25 per cent-mirrored glass. […] An
almost invisible door in one of the corners of the triangle leads into the
interior of the pavilion: the central hexagonal area under which the water tank
stands is covered with steel grating and can be accessed by visitors; likewise,
the ‘corners’ can also be accessed, which are not filled with water but covered
with a stone floor. The first design sketch for the pavilion dates from 1988. The
following year, an architectural model was made at a scale of 1:6, which three-dimensionally
visualizes GRAHAM’s ideas and was on display at Buchberg Castle until the final
realization of the project in 1996. […]
DAN GRAHAM’s first pavilion projects – described by the artist himself as
‘provisional exterior spaces in the Arcadian tradition’ – emerged in the late 1970s/early
1980s and combine analyses of psychological and sociological aspects of
perception – previously undertaken in performances, films and videos – with issues
from architectural history. References can be found on the one hand in baroque horticultural
art, in which the pavilion assumed a key role as a mediating element between
inside and outside, between architecture and nature. On the other hand, the concept
of the ‘primitive hut’ postulated by the architectural theorist Marc-Antoine
Laugier in the mid-18th century as well as the greenhouse structures of the
19th century offer possible reference points. However, in his choice of
material and design vocabulary, GRAHAM builds a bridge to the urbanistic
developments of the 20th century, in whose beginnings glass architecture was
laden with almost utopian significance on account of its promise of functionalism
and transparency. Yet the increasing use of one-way plate glass in the 1980s, which
makes it possible to look out while preventing anyone from looking in on the
one hand but whose mirror effect makes entire buildings ‘disappear’ into their
surroundings on the other, undermined the idea of openness: glass office
buildings became a symbol of the opaqueness of global commercial enterprises and
the increasingly hazy boundaries between private and public.
When DAN GRAHAM uses the rhetoric of urban and modern office
architecture, it undergoes a revaluation due to his recourse to the tradition of
the garden pavilion.
The dimensioning of his works and their – undefined – usability speak of
a human-architecture ratio that differs fundamentally from that of urban
settings. With proportions clearly based on the human body, the pavilions potentially
serve as shelters, meeting places, playgrounds, the subject of photos, etc.,
depending on the weather conditions and individuals’ wishes. Unlike traditional
buildings, which have a specific purpose, the pavilions accordingly function as
a kind of catalyst: their role largely entails making relationships between
their surroundings and the people who use them. […] The significance of the
reception process, the simple geometric design vocabulary and the use of
industrially produced materials recall works of minimal art. However, GRAHAM’s focus
is not limited to the relationship between viewer and object but comprises the
complex interplay of perception and social interaction within a specific
context. This is expressed particularly clearly in the way in which the
pavilions reference the specific place where they are situated by picking up on,
reflecting and commenting on characteristic elements.
In the case of the Star of David, this is on the one hand the element of
water, which is integrated in the interplay of reflecting surfaces. Not only is
the pavilion situated in the former moat, but the landscape around Buchberg
Castle is structured by a river – the Kamp – whose course frames the castle
grounds in a semicircle and which feeds a nearby, environmentally efficient,
small power station. Furthermore, the Star of David features a symbolism
that has both historical and political implications and takes into account its Austrian
setting. When viewing the pavilion from an elevated position, for example from
the bridge that leads to the castle, it becomes immediately clear that the
arrangement of the two equilateral triangles refers to the iconography of the
Jewish Star of David. On this, DAN GRAHAM said the following in June 1996: ‘Eight
years ago, when I conceived the piece, being Jewish, I didn’t want to have an
exhibition or do a large piece in Austria, thinking of Kurt Waldheim; and I was
also thinking of all the Arnulf Rainer paintings of crosses. So I thought from
a serious, and also from a humorous point of view, a Jewish star would be very
good.’ DAN GRAHAM’s exploration of the symbolic content of geometric shapes and
the decidedly humorous reference to the then smouldering Waldheim Affair assume
a special position in the context of the spatial concepts developed for
Buchberg Castle. Thus, the Star of David pavilion designed in 1988 continues
the discussion around the theoretical dimensions of constructivist and
conceptual art nascent in the early 1980s, as represented for example by the
works of PETER WEIBEL and JOHN HILLIARD in the Bogner collection.
(Excerpt from the text by Manuela Ammer, in: Leidenschaftlich exakt.
Sammlung Dieter und Gertraud Bogner im mumok, Vienna/Cologne 2012)
Opened in 1996 by CHRIS DERCON. An initial inspection of the future installation
site takes place as early as 1989 in the context of the Buchberger Sommer [Buchberg Summer], in which DAN GRAHAM, who was then a visiting professor at
the Städelschule in Frankfurt, participated. In the Dieter and Gertraud Bogner collection
at the mumok, there is a 1:6 scale model made by GARY WOODLEY and a design
drawing by a student of DAN GRAHAM, both from 1989.