The shadow is delimited by a clearly defined line against the cadaver’s chalk-white skin. In the background architectonical elements loom, clustered columns and gothic-styled striving arches, that lead one’s thoughts towards the space of a church. Anatomical spectacles of this kind were often given in chapels in which wooden structures reminiscent of an amphitheatre were housed.
It is as if the emerging “modern” science celebrates its triumph, or with the words of Dr. Tulp, “distil[s] truth from shadow” in the house of God. The ascending spirit of the clustered columns is conjoined with the descent towards the flesh of the world manifested by the corpse of Klint.
Excerpt from "Note on Rembrandt" by Staffan Lundgren.
Note on Rembrandt
By Staffan Lundgren
Edith
By Stina Högkvist
The Struggle Against the Tyranny of Populism Enters a New Phase
By Kim West
Invisible Cities
By Alexander Pock von Springer
The Utopia of Another Urbanity: Inga Svala Thórsdóttir’s Project Borg
By Jens Asthoff
Pierre Restany interviewed
By Beti Žerovc
Untitled a project
By Juan Pedro Fabra Guemberena
The Origins of the Modern Villa
By Jan Hietala
Soft- and Hardwares: E.A.T.’s Environmental Feedback
By Marcelyn Gow
Genealogies of Corporate Space
By Sven-Olov Wallenstein
Sven-Olov Wallenstein
Tim Anstey, Brian Manning Delaney, Power Ekroth, Jeff Kinkle, Trond Lundemo, Staffan Lundgren, Karl Lydén, Helena Mattsson, Meike Schalk, Susan Schuppli, Kim West.
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