Published in Espace Magazine #117, Fall 2017
Disputing Le Corbusier’s assertion that a house is merely a “machine for living in”, 20th century designer and architect Eileen Gray posited that a house should rather be viewed as “the shell of a man, his extension, his release, his spiritual emanation”. While Gray passed away in 1976, her sentiment is still relevant in our increasingly globalized world. It is echoed in the premise of Korean artist Do Ho Suh’s Passage/s on view at the Victoria Miro gallery (1 February to 18 March 2017). The show marks the first exhibition of the artist’s work in London since Staircase III was presented at Tate Modern in 2011. It also constitutes the most comprehensive display of Suh’s oeuvre since his retrospective at the Serpentine Gallery in 2002.