The MAK Center for Art and Architecture presents the exhibition catalog launch for Soft Schindler, published in collaboration with PIN-UP magazine. Artist Ian Markell interprets the works on view at the Schindler’s House in black and white photographs, accompanied by essays by writer Leslie Dick and journalist Susan Orlean.

Curator Mimi Zeiger will lead an exhibition walk-thru followed by a conversation between Ian Markell and Leslie Dick, moderated by PIN–UP editor/creative director Felix Burrichter.

Chilean curators and designers Pedro Ignacio Alonso and Hugo Palmarola join SCI-Arc faculty members Marrikka Trotter (History + Theory Coordinator) and Marcelyn Gow (MS Design Theory and Pedagogy Coordinator) in conversation about the role of cultural and material exchange in architectural history, curation, and design. In 2014, Alonso and Palmarola were awarded the Silver Lion 14th Venice Architecture Biennale for Chile Pavilion, Monolith Controversies. Choreographies, their video diptych that looks at the representation of building construction across the US-Soviet divide, is included in Soft Schindler, now on view at the MAK Center for Art and Architecture. Moderated by Soft Schindler curator and SCI-Arc faculty member and Alumna Mimi Zeiger (M.Arch, ’98).

Please join us for a picnic at the Schindler House to celebrate the release of artist Esther Choi’s new art/cookbook, Le Corbuffet: Edible Art and Design Classics. Held in conjunction with the MAK’s current exhibition, Soft Schindler, the event will take place in an installation designed by Laurel Consuelo Broughton of Welcome Projects. Le Corbuffet-inspired nibbles by chef Gina Correll and Casey Dobbins will be on offer, as well as corbooziers courtesy of Yola Mezcal. Books will be available for purchase and signing. Soft Schindler curator Mimi Zeiger will lead a discussion with Choi and Broughton, followed by Q&A.

Soft Schindler, curated by Mimi Zeiger, begins with traces of pink paint on redwood—faint evidence of when in late 1949 Pauline Schindler, estranged from her architect husband but living in half of the house they built together, painted her side of the interior salmon pink. To R.M. Schindler, her intolerable act violated a sanctum of modernism and his desire for honest expression of natural materials. This exhibition, however, interprets her act as softening our canonical understanding of house as manifesto—softness as resistance—and yields to plural narratives that lay interpretive ground for contemporary artworks and architectural installations.

Thea Djordjadze regularly addresses questions of architecture, design and methods of display through installations that combine everyday objects, unconventional substances, and art and industrial materials. Her exhibition at Sprüth Magers—the artist’s first solo exhibition in Los Angeles—extends the artist’s investigations into the legacies of twentieth-century modernism, and the ways in which context affects the viewing, understanding and experience of art.

A 2-day conference held at the MAK Center Schindler House, Neutra VDL House, and Hollyhock House, Los Angeles.