• Published on

  • View

  • Download

Embed Size (px)


  • I have always been interested in the concept of fragmentation and with ideas of abstraction and explosion, de-constructing ideas of repetitiveness and mass production. My work first engaged with the early Russian avant-garde; in particular with the work of Kasimir Malevich he was an early influence for me as a representative of the modern avant-garde intersection between art and design. Malevich discovered abstraction as an experimental principle that can propel creative work to previously unheard levels of invention; this abstract work allowed much greater levels of creativity. Zaha Hadid, 2007 This winter, the Serpentine presents an exhibition of paintings and drawings by renowned architect Zaha Hadid (1950-2016). Zaha Hadid is regarded as a pioneering and visionary architect whose contribution to the world of architecture was ground-breaking and innovative. The Serpentine presentation, first conceived with Hadid herself, will reveal her as an artist with drawing at the very heart of her work and will include the architects calligraphic drawings and rarely seen private notebooks with sketches that reveal her complex thoughts about architectural forms and relationships. The show will focus on Hadids early works before her first building was erected in 1993 (the Vitra Fire Station in Germany), presenting paintings and drawings from the 1970s to the early 1990s.

    Press Release


  • The exhibition will take place at the Serpentine Sackler Gallery, renovated and extended by Zaha Hadid Architects in 2013. A select number of institutions and museums across the world will join in this timely homage to Zaha Hadid. Drawing and painting were fundamental to Hadids practice. Influenced by Malevich, Tatlin and Rodchenko, she used calligraphic drawings as the main method for visualising her architectural ideas. For Hadid, painting was a design tool, and abstraction an investigative structure for imagining architecture and its relationship to the world we live in. These works on paper and canvas unravel an architecture that Hadid was determined to realise in built structures, one that is seen in the characteristic lightness and weightlessness of her buildings. Conceived as Hadids manifesto of a utopian world, the show reveals her all-encompassing vision for arranging space and interpreting realities. Technology and innovation have always been central to the work of Zaha Hadid Architects, and many of Hadids paintings prefigure the potential of digital processes and the software required to render virtual reality. Connecting directly with the individual paintings in this exhibition, four experimental virtual reality experiences have been specially developed in collaboration with Google Arts & Culture. These in-gallery experiences will offer a dynamic and immersive insight into Hadids architectural vision. Hans Ulrich Obrist, Serpentine Galleries Artistic Director and Yana Peel, CEO said: We are honoured to be presenting this exhibition of our friend and long-term collaborator Zaha Hadid here at the Serpentine Sackler Gallery, designed by her practice in 2013. Her contribution to architecture as a pioneer and visionary cannot be overstated, and her declaration that there should be no end to experimentation has become a mantra for the Serpentine Galleries as it looks to the future. Brian Clarke, artist said: Zaha was both architect and artist. As she said: I get the same goose-bumps from Bacon as I get from Niemeyer." Nadja Swarovski, Member of the Swarovski executive board: said: We are pleased to be supporting the Serpentine Galleries for this exhibition. Swarovski was honoured to collaborate with Zaha for over a decade, creating an incredible body of work which ranged from lighting installations to sculpture, jewelry and home decor. Her vision always pushed us outside our comfort zone, and the results were breathtaking. I feel extremely privileged to have known her both as a friend and as a creative collaborator. Amit Sood, Director of Google Arts & Culture, said: "The opportunity to develop four experimental, virtual reality experiences that offer visitors new insights into Zaha Hadid's creative vision was a real privilege for us. We hope people enjoy connecting with Hadid's paintings in a new, immersive way." The Serpentine has had a long relationship with Hadid, which begun in 1996 when she joined as a Trustee of the Serpentine Gallery. Her first structure in London was the inaugural Serpentine Pavilion in 2000. It was followed by a light installation, Lilas, in 2007. In 2013, she completed the extension for the Serpentine Sackler Gallery, one of Zaha Hadid Architects first permanent buildings in central London. She also participated in the Serpentines Interview Marathon in 2006 and 89Plus Marathon in 2013.

  • The exhibition will coincide with the opening of Zaha Hadid Architects much anticipated Mathematics: The Winton Gallery at the Science Museum, which will explore how mathematicians, their tools and ideas have helped to shape the modern world. Serpentine Winter Season Zaha Hadids statement that there should be no end to experimentation is key to understanding her radical approach to architecture, as well as providing a useful perspective on the multi-faceted practice of Lucy Raven, showing concurrently at the Serpentine Gallery. Both artists are interested in drawing attention to the spaces that surround us, be it through Ravens moving image installations, which reveal the structures and mechanisms of cinematic imagery, or Hadids visionary art and architecture. Hadids integration of innovative technologies into her practice, resulting in unexpected and dynamic forms, is paralleled in Ravens exploration of technology, revealing the labour and processes behind the manufacture and distribution of images throughout the world. For press information contact: Nancy Groves,, +44 (0)20 7298 1544 V Ramful,, +44 (0)20 7298 1519 Press images at Serpentine Gallery, Kensington Gardens, London W2 3XA Serpentine Sackler Gallery, West Carriage Drive, Kensington Gardens, London W2 2AR Image Credit: Vision for Madrid, Spain 1992 Copyright Zaha Hadid Architects

    Notes to Editors About Zaha Hadid Born in Baghdad, Zaha Hadid (1950-2016) studied mathematics at the American University of Beirut before studying architecture in 1972 at the Architectural Association in London. By 1979 she had established her own practice in London Zaha Hadid Architects garnering a reputation across the world for her ground-breaking theoretical works, including The Peak in Hong Kong (1983), the Kurfrstendamm in Berlin (1986) and the Cardiff Bay Opera House in Wales (1994). Hadid was a Pritzker Laureate and had recently received the RIBA Gold Medal. Her first realised building was the Vitra Fire Station in Weil am Rhein, Germany, in 1993. Zaha Hadid Exhibition Partner: Swarovski Swarovski & Zaha Hadid Swarovski has been at the forefront of design for the past 120 years, collaborating with the best creative minds to push the boundaries of innovation. For more than a decade Swarovski partnered with Zaha Hadid on numerous projects: in 2007, they worked together on Fade, a sculpture presented in the gardens of the Serpentine Galleries; in 2008 on the Light Sculpture chandelier at Salone del Mobile as part of Swarovski Crystal Palace; and in 2013 on Prima, an outdoor installation and table-top collection to celebrate the 20th anniversary of Hadids Vitra Fire Station. Earlier this year, Hadid created Crista, a sculptural centrepiece for the debut Atelier Swarovski Home collection that made use of Swarovskis innovative Wave Cut technology, allowing curved forms to be cut in crystal for the first time.


  • Sweeping and architectural, it is a true reflection of Zahas pioneering spirit and visionary design aesthetic. Google Arts & Culture Google Arts & Culture is a new, immersive way to experience art, history, culture and world wonders from over a thousand organizations worldwide. Google Arts & Culture has been created by the Google Cultural Institute and it is available for free for everyone on the web, on iOS and Android.

  • ZAHA HADID: EARLY PAINTINGS AND DRAWINGS SERPENTINE SACKLER GALLERY 8 DECEMBER 2016 12 FEBRUARY 2017 LIST OF WORKS All works are Copyright Zaha Hadid Foundation Malevichs Tektonik, 1976 77

    Horizontal Tektonik, 2015 Acrylic on cartridge paper 177 x 244,4 cm

  • Museum of the Nineteenth Century London, UK, 1977 78

    Axonometric, 1978 Acrylic on cartridge paper 170 x 66 cm

    Longitudinal Section, 1978 Acrylic on cartridge paper 75 x 186 cm

  • Extension of the Dutch Parliament, The Hague, The Netherlands, 1978 79

    The Ambulatory and its Connection, 1991 Ink drawing on Mylar, mounted on linen 151,3 x 138,3 cm Irish Prime Ministers Residence, Dublin, Ireland, 1979 80

    Isometric Plan, 1980 Acrylic, watercolour and ink on paper 184 x 104,5 cm

  • The Peak, Hong Kong, China, 1982 83

    Blue Slabs, 1983 Acrylic on canvas 187,5 x 286 cm

    Confetti: Suprematist Snowstorm, 1983 Acrylic on cartridge paper 91 x 275 cm

  • Overall Isometric, Day View, 1983 Acrylic on cartridge paper 184 x 132 cm Series of 16 Sketches, 1983 Digital colour print on tracing paper 42 x 29 cm (each)

    Site Plan, 1982 Black ink on Mylar 133 x 77 cm

    Long Section, 1982 Black ink on Mylar 138 x 86 cm

  • Section of Club, 1982 Black ink on Mylar 137 x 86 cm

    Compiled Plans, 1982 Black ink on Mylar 103 x 132 cm

    Section through Studios, Apartments, Void and Penthouses, 1982 Black ink on Mylar 94 x 104 cm

    Section through Lobby and Lift, 1982 Black ink on Mylar 94 x 104 cm

  • Section through Club, Restaurant, Bar, Service Areas and Penthouses, 1982 Black ink on Mylar 94 x 104 cm

    Blue Slabs, Drawing, 1983 Ink on Mylar laminated to canvas 152,5 x 263 cm The World (89 Degrees) 1983

    The World (89 Degrees), 1983 Acrylic on canvas 189 x 220 cm

  • Grand Building, Trafalgar Square, London, UK, 1985

    Grand Buildings, 1985 Acrylic on canvas 250 x 140 cm

    Site Plan, 1985 Ink on Mylar 263,5 x 104 cm

    Grand Buildings, 1985 Ink on Mylar 266,5 x 130,5 cm

    Birds Eye View, 1985 Acrylic on cartridge paper 66,5 x 59 cm

  • Elevation towards Trafalgar Square (Night View), 1985 Acrylic on cartridge paper 68,5 x 62 cm

    View from Trafalgar Square, 1985 Acrylic on cartridge paper 63 x 61 cm Metropolis, 1988

    Metropolis, 2014 Acrylic on canvas 548 x 239 cm

  • Berlin 2000, 1988

    Berlin 2000, 1988 Acrylic on cartridge paper, mounted on gatorfoam 225 x 192 cm Victoria City Aerial, Berlin, Germany, 1988

    Aerial Perspective, 1988 Acrylic on cartridge paper 254,5 x 99,5 cm

    Blue Beam, 1988 Acrylic on cartridge paper 253,5 x 99 cm

  • Hafenstrasse Development, Hamburg, Germany 1989

    Yellow Perspectives, 1991 Acrylic on cartridge paper 177 x 100 cm

    Elevation Studies , 1990 Acrylic on cartridge paper 121 x 100 cm

    Corner Building Rotation, 1989 Acrylic on cartridge paper 240 x 125,5 cm Sketches and Drawings, 1989/2016 Colour print on white foamex

  • Hommage Verner Panton, 1990

    Hommage Verner Panton, 1990 Acrylic on black cartridge paper 220 x 115 cm Leicester Square, London, UK, 1990

    Blue and Green Scrapers, 1990 Acrylic on black cartridge paper 230,5 x 111,5 cm London 2066, London, UK, 1991

    London 2066, for British Vogue, 1991 Acrylic on cartridge paper 258 x 110,5 cm

  • Vision for Madrid, Madrid, Spain, 1992

    Vision for Madrid, 1992 Acrylic on cartridge paper 174 x 365,5 cm

    Painting Study of Linear Expansion, 1993 Acrylic on cartridge paper 82 x 59 cm

    Small Orange on White I, 1993 Acrylic on cartridge paper 82 x 59 cm

  • Small Grey on White III, 1993 Acrylic on cartridge paper 82 x 59 cm

    Black, White, Grey, Orange Beams on White, 1993 Acrylic on cartridge paper 82 x 59 cm

    City Grid on White, 1993 Acrylic on cartridge paper 82 x 59 cm

  • Small Grey on White II, 1993 Acrylic on cartridge paper 82 x 59 cm Sketches and Drawings, 1992/2016 Colour print on white foamex The Great Utopia: The Russian and Soviet Avant-Garde 1915 1932, New York, USA, 1992 93

    Tectonic, The Great Utopia, 1992 Acrylic and watercolour on cartridge paper 101,5 x 191 cm

  • Tatlin Tower and Tectonic "Worldwind", 1992 Acrylic and watercolour on cartridge paper 186 x 105 cm Sketches and Drawings, 199293/2016 Colour print on white foamex 29,7 x 29,7 cm Rheinauhafen Development, Cologne, Germany, 1993

    Isometric of the City Context, 1983 Acrylic on cartridge paper 256 x 101,6 cm Virtual Reality Virtual Reality Experiences, 2016 Zaha Hadid: Early Paintings and Drawings at the Serpentine Sackler Gallery, including the paintings The World (89 Degrees), 1983; The Great Utopia: Tatlin Tower and Tectonic Worldwind, 199293;

  • The Peak: Blue Slabs, 1983; Leicester Square: Blue and Green Scrapers, 1990 Zaha Hadid Foundation In partnership with Google Arts & Culture

  • structures created as individual dwellings by a thriving alternative community of architects, poets and mathematicians, amongst others. It is this social aspect of architecture that has informed our approach to curating and commissioning each Pavilion at the Serpentine Galleries. The ethos of the cultural commune inspired a collaborative approach that has made it possible to overcome the seemingly impossible challenges of a process that requires the flexibility of the architects as well as the courage of the team to develop each project in an unexpected way. The one for all, all for one spirit with which architect, client, engineers, fabricators and stakeholders work is something that the Serpentine Galleries embraces with great enthusiasm.

    Commissioning work to be installed on the Gallerys lawn is not new to the Serpentine. In 199697, while renovations to the Gallery were being carried out, five artists were invited to make works for Kensington Gardens in a project called Inside Out, which included Rasheed Araeens imposing scaffolding-like installation; Bill Culberts piece involving tip-trucks parked on the Gallery lawn and loaded with an ethereal blue light; a small-scale, tree-themed installation by Richard Deacon; Anya Gallaccios Keep Off the Grass, which involved cultivating seeds planted in areas left from the preceding commissions on the lawn in order to restore the grass; a...


View more >