[Image: Haus-Rucker-Co, Grüne Lunge (Green Lung), Kunsthalle Hamburg (1973); photo by Haus-Rucker Co, courtesy of the Archive Zamp Kelp; via Walker Art Center].
I’ve got a short post up over at the Walker Art Center, as part of their new Hippie Modernism show featuring work by Archigram, Ant Farm, Haus-Rucker-Co, and many more. The exhibition, curated by Andrew Blauvelt, “examines the intersections of art, architecture, and design with the counterculture of the 1960s and early 1970s.”
A time of great upheaval, this period witnessed a variety of radical experiments that challenged societal and professional expectations, overturned traditional hierarchies, explored new media and materials, and formed alternative communities and new ways of living and working together. During this key moment, many artists, architects, and designers individually and collectively began a search for a new kind of utopia, whether technological, ecological, or political, and with it offered a critique of the existing society.
While the exhibition and its accompanying, very nicely designed catalog are both worth checking out in full, my post looks at a specific project by Haus-Rucker-Co called Grüne Lunge (Green Lung), seen in the above image.
Green Lung pumped artificially conditioned indoor air from within the galleries of Hamburg’s Kunsthalle to members of the public passing, by way of transparent helmets mounted outside; the museum’s internal atmosphere was thus treated as a kind of readymade object, “playing with questions of inside vs. outside, of public vs. private, of enclosure vs. space.”
[Image: Haus-Rucker-Co, Oase Nr. 7 (Oasis No. 7), installation at Documenta 5, Kassel (1972); via Walker Art Center].
Put into the context of Haus-Rucker-Co’s general use of inflatables, as well as today’s emerging fresh-air market—with multiple links explaining this in the actual post—I suggest that what was once an almost absurdist art world provocation has, today, in the form of bottled air, become an unexpectedly viable business model.