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 Hadid’s 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 Hadid’s 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 Hadid’s 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 Hadid’s 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 Serpentine’s 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 Hadid’s 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 Raven’s moving image installations, which reveal the structures and mechanisms of cinematic imagery, or Hadid’s visionary art and architecture. Hadid’s integration of innovative technologies into her practice, resulting in unexpected and dynamic forms, is paralleled in Raven’s exploration of technology, revealing the labour and processes behind the manufacture and distribution of images throughout the world.