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12.2004

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In Rembrandt Harmenszoon van Rijn's (1606–1669) The Anatomy Lesson of Dr. Tulp, dated 1632, we can follow a dissolving line. The centre of the work is occupied by Dr. Tulp, his disciples and the corpse of Adrian Klint. Beginning at the cadaver’s right ear the line runs below its eye, over the bridge of its nose, forming a wave-like shadow. We realize that the shadow’s origin is the right shoulder of Jacob Janz de Witt.

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.

Contents

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


Publisher and Editor in Chief

Sven-Olov Wallenstein

Editors

Tim Anstey, Brian Manning Delaney, Power Ekroth, Jeff Kinkle, Trond Lundemo, Staffan Lundgren, Karl Lydén, Helena Mattsson, Meike Schalk, Susan Schuppli, Kim West.

Contact

info@sitemagazine.net

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