Dan Graham and Johanne Nalbach, Café Bravo, Berlin, 1999
Eduardo Chillida, Comb of the Wind, Peine del Viento, San Sebastián, 1976 (Photo: Francesc Català Roca)
Gertrude Bell, Bath House - detail of arches. Building near Jebel Sais - extinct volcano. Ground strewn with black lava basalt remains, December 1913
Gertrude Bell, Tombs of the Judges [Rock cut Sanhedrin Tombs in North Jerusalem, with Dr. Rosen’s (German Consul) children], December 1899
Good, F. M., The Theban west bank, the Memnon Colossi, c.1860 (Estimated date)
Aldo Rossi, San Cataldo Cemetery, Modena, 1978 - unfinished (Photo: Luigi Ghirri)
Jesse Treece, Untitled, 2010
Jesse Treece, The Meeting Place, 2013
Aldo van Eyck, Roman Catholic Church in Loosduinen, The Hague, 1964 - 1969
Emili Donato, Centro de primaria “Escola Teixonera”, Barcelona, 1978 - 1981
Eric Lusito, Private photograph printed from abandoned black and white roll film found inside a Soviet military base, date unknown
Vadim Shershenevich on The Rhythm of the Future
Every epoch differs from every other not in terms of individual episodes, anecdotes or facts, but in terms of its special rhythm.
We have lived through the age of foot transport, the age of horse transport and the age of the motor car (the twentieth century); soon we will have the age of the aeroplane.
If the rhythm of motion in the eighteenth century might be represented as a, then that of the nineteenth century might be represented as a + x, and that of the twentieth as a + x + y.
Accordingly, the rhythm of the art of those centuries will be equal to a, a + x, and a + x + y respectively.
Vadim Shershenevich, The Rhythm of the Future from Green Street, Moscow, 1915