Pablo Bronstein

Pablo Bronstein Exhibited at The Saatchi Gallery

Pablo Bronstein
Proposal For A Piazza In Turin


Ink, pencil & gouache on tracing paper in artist's frame

19.5 x 24 cm
Bronstein approaches his interest in architecture through a wide range of media – from drawing, sculpture and installation to performance. One of his key interests is how architecture has the ability to intervene in personal identity, inform our movements, behaviours, and social customs. Proposal For A Piazza In Turin is a draft plan for a public sculpture, an architectural intervention that would divide a traditional Italian square into segmented parts, redirecting how the space might be navigated and used.
Pablo Bronstein
Plaza Monument


Ink, gouache & coloured pencil on paper in artist's frame

33 x 41 cm
Bronstein’s Plaza Monument is a proposal for a classical piazza. Whilst drawing from the Italian traditions of perspective and geometric purity, his quotes range from Renaissance design to modern masters such as Aldo Rossi. Executed in watery ink, Bronstein’s plan conveys his monument with an ephemeral elegance, framing the imposing as delicate opus. Conceiving the public space as theatre, Bronstein curtains his edifice with a decorative frieze; the subtle angular shadow infringes on the arena with an impending drama reminiscent of De Chirico.
Pablo Bronstein
Elevation And Interior Of Historic Building


Ink & gouache on paper in artist's frame

33 x 40.5 cm

Bronstein uses architecture as a means to engage with power: of history, monuments, and the built environment. Using pen and ink on paper, his acutely drafted drawings capture an archival romance of a grand age, a nostalgic longing for the imposing and imperial. Adopting the styles of various architects and movements, his elaborate designs become plausible inventions, both paying homage to and critiquing the emblems of civil engineering. In Elevation and Interior of Historic Building, Bronstein’s plan borders on abstraction. Depicting the history of architecture from a simple hole in the ground to a hut, Byzantine temple, Baroque cathedral, enshrined in the cold industrial shell of a modernist shed, Bronstein dissects the lineage of ideas and ideologies, all pastiched together with a dandyish pomo flair.

Pablo Bronstein
Monument In The Style Of Michael Graves On The Debris Of The Bastille


Ink & gouache on paper in artist's frame

22 x 31 cm
Pablo Bronstein works primarily with 1980s postmodernist and 18th century post-revolutionary French architecture. Finding parallels between their decadent pretensions and their demonstration of precise moments in history via formalist structure, these periods, for Bronstein, define what it is to be a citizen, embracing the heroic as a uniting social value. Monument In The Style Of Graves On The Debris Of The Bastille is based on Jean-Pierre Louis Laurent Houel’s The Storm of the Bastille; Bronstein gives the famous painting a facelift à la pomo architect Michael Graves. Using Graves’ trademark pastel tones and stylized patterns, Bronstein authors an alternate history: breathtakingly impressive, and hauntingly crypt-like.
Pablo Bronstein
4 Facades


ink on paper in artist's frame 4 parts each: 22 x 26.3 cm

ink on paper in artist's frame 4 parts each: 22 x 26.3 cm
Pablo Bronstein’s 4 Facades is an original sketch for an architectural installation. Intervening with life-sized space, the installation posed a skyline physically cut out of a wall. Considering the drawings as ‘dress rehearsals’ to the final piece, Bronstein approaches architecture as a performative entity. Presenting popular buildings as pared down symbols, Bronstein plays with ideas of scale, his tiny blue prints framing the colossal as minimalist suggestion.
Pablo Bronstein
Intervention For A Piazza In Turin


Ink, pencil & gouache on tracing paper in artist's frame

42 x 131.5 cm

Intervention For A Piazza In Turin presents the same project design as Proposal, but from a more obscure angle that emphasises the dramatic scale and authoritarian power of Bronstein’s intersecting walls. Rendered on tracing paper, the distant city horizon and classical square are made passive and delicate, dominated by the opaque gouache barriers. By giving his intervention concrete form, Bronstein wittily claims the territory with an X, implicating a Machiavellian control in the way public space is conceived and developed.

Pablo Bronstein
Grand Hall Redecorated In The Early 19th Century


Ink & gouache on paper in artist's frame

94 x 122 cm

Bronstein’s architectural drawings explore both the functionality of civic space, as well as the inherent values associated with the styles of different times. His work often combines reference to a multiplicity of design aesthetics, ranging from the imposing authority of neo-classicism, the ornate dynamism of baroque, and the decadent pastiche of postmodernism. Through these ‘moshed up’ embellishments, Bronstein highlights the way building facades convey ideas of wealth, power, or grandeur. Though architectural fashion mirrors social values, it also represents the will or vision of the architects and commissioners who impose their ideas on the public – with the intent that their work will last for generations. Bronstein’s drawings critically examine this subjectivity.

Pablo Bronstein
Large Column


Resin column, paint and drawing in artists's frame

Column: 350 x 30 x 30 cm Drawing: 38 x 26.5 cm
Pablo Bronstein
Relocation Of Temple Bar


Ink, ink wash, gouache & pencil on paper in artist's frame

Framed: 149 x 222.5 x 14 cm Artwork: 148 x 168.5 cm

Though Pablo Bronstein’s Relocation Of Temple Bar looks like an aged document, it depicts an overlap between historical and current events. Temple Bar was one of London’s seven medieval gates and was located at the juncture of Fleet Street and The Strand. The building depicted is Christopher Wren’s design which replaced the original after The Great Fire. To accommodate increasing traffic, in 1878 the monument was dismantled for preservation. Its 2700 stones were purchased by Sir Henry Meux in 1880 and the gate was duly reconstructed at his Theobald Park house. In 2003, the building was reacquired by the City of London, and now stands at Paternoster Square. Bronstein imbues the Relocation of Temple Bar with the epic heroicism of legend.

Other artists in

Caroline Achaintre    Tasha Amini    Hurvin Anderson    Maurizio Anzeri    Jonathan Baldock    Anna Barriball    Steve Bishop    Karla Black    Lyn. Yiadom Boakye    Pablo Bronstein    Alan Brooks    Peter Linde Busk    Carla Busuttil    Nicholas Byrne    Gareth Cadwallader    Juliana Cerqueira Leite    Spartacus Chetwynd    Steven Claydon    Clarisse d'Arcimoles    William Daniels    Matthew Darbyshire    Graham Durward    Tim Ellis    Tom Ellis    Richard Evans    Tessa Farmer    Marcus Foster    Robert Fry    Ximena Garrido-Lecca    Jaime Gili    Nick Goss    Luke Gottelier    Kate Groobey    Anthea Hamilton    Anne Hardy    Gabriel Hartley    Nicholas Hatfull    Iain Hetherington    Alexander Hoda    Sigrid Holmwood    James Howard    Graham Hudson    Dean Hughes    Des Hughes    Mustafa Hulusi    Paul Johnson    Edward Kay    Idris Khan    Scott King    Ansel Krut    littlewhitehead    Christina Mackie    Alastair Mackinven    Goshka Macuga    Ryan Mosley    Rupert Norfolk    Arif Ozakca    Mark Pearson    Dan Perfect    Peter Peri    Olivia Plender    Henrijs Preiss    Ged Quinn    Clunie Reid    Barry Reigate    Luke Rudolf    Maaike Schoorel    Daniel Silver    David Brian Smith    Renee So    Fergal Stapleton    Clare Stephenson    Systems House    Caragh Thuring    Phoebe Unwin    Donald Urquhart    Jonathan Wateridge    John Wynne    Toby Ziegler

Pablo Bronstein's Biography

Pablo Bronstein
1977 Born in Buenos Aires, Argentina
Lives and works in London


Sculpture Court Commission, Tate Britain
Interim Event Commission, Chisenhale Gallery, London

Permanent Commission, Nottingham Contemporary
Pablo Bronstein at the Met, The Metropolitan Museum of Art, New York,

Palaces of Turin, Solo Show, Franco Noero, Turin, Italy
Paternoster Square, Herald St, London

Solo show, Franco Noero, Turin, Italy
Solo Show, Städtische Galerie im Lenbachhaus und Kunstbau
LuisenstraĂźe, Munich, Germany

Solo, Herald St, London, UK


Manifesta 8, Curated by Bassam El Baroni, Murcia, Spain
Bucharest Biennale 4, Curated by Felix Vogel, Hungary
Choreographing You, Curated by Stephanie Rosenthal, Hayward Gallery,

Characters, Figures and Signs: Choreography as "Doing" and "Saying”, Tate
Modern, London
Blinding the Ears: Action, Behaviour, Performance, Instant Theatre in Turin, Curated by Andrea Bellini, Italy
Farm Building (permanent commission), Grizedale Arts, Cumbria
Monument for Study, Herald St, London
Staging the Phenomenal Character, curated by Anna Craycroft, Tracy
Williams Ltd, New York

La Petite Histoire, Kunstraum Niederoesterreich, Vienna, curated by
Gyonata Bonvincini
T.I.N.A, conceived by Olivia Plender, The Drawing Room, London
Publish and be Damned, London
That Beautiful Pale Face is my Fate (for Lord Byron), curated by Alex
Farquharson, Nottingham Contemporary in partnership with Newstead
Abbey, Nottingham
Parallel Voices, curated by Isaac Julien, Siobhan Davies Studios, London

Performa 07, New York, USA
Erasing the Edge, curated by Uovo and Micaela Giovannotti, Miami Design District
The 53rd International Kurzfilmtage Oberhausen, Germany
The Present Order is the Disorder of the Future, De Hallen, The
You Have Not Been Honest, Naples, Italy (British Council/ Curated by Polly
Staple, Touring till 2009) (cat)
New Work Uk, You and Me, screening, Whitechapel gallery in association
with Lux, curated by Polly Staple
Prague Biennale, Prague, Czech Republic (cat)
Oberhausen Film Festival, Curated by Ian White

Falansterio, Supportico Lopez, Napoli
Bunch Alliance and Dissolve, contemporary art center, Cincinatti
Frieze Projects, frieze Art Fair, London, curated by Polly Staple
Becks Futures, ICA, London, Arnolfini, Bristol, CCA, Glasgow (cat)
Tate Triennale, curated by Beatrix Ruf, Tate Britain (cat)
Three Cities, London, curated by Gyonata Bonvicini, Anna Catharina-Gebbers and Paolo Zani
Scene One, curated by Jose Freire, Mary Boone gallery, NYC, USA
Publish and Be Damned, London

Publish and be Damned, curated by Emily Pethick & Kit Hammonds, London,
Herald St presents Pablo Bronstein, Cary Kwok & Djordje Ozbolt, Liste,
Basel, Switzerland
Modified Uniforms, Blum & Poe, Los Angeles, USA
Summer of Love: Art of the Psychedelic Era, curated by Eli Sudbrack, Tate
Liverpool, Liverpool, UK
Group Show, Whitechapel Project Space, London, UK
Theatre/Performance forum. Organized by Catherine Wood, Tate Gallery,
London, UK
Dance of the Seven Veils, Cooper Gallery, Dundee, Scotland
Inaugural, Herald St, London, UK
Herald St & The Modern Institute Present, GBE, New York, USA
Pestilence, curated by Laura Lord, Lime House Town Hall, London, UK
Other Peoples Projects, Herald St, White Columns, New York, USA
Centrefold pages, Untitled Magazine (publication), edited by Olivia Plender
and Mario Flecha, UK

Curb Your Enthusiasm, Millers Terrace, London, UK
Pilot 1, nominated by Celine Condorelli. Limehouse Town Hall, London, UK
In the Palace at 4am, curated by Catherine Wood, Alison Jacques Gallery,
London, UK
Publish and be Damned, curated by Emily Pethick and Kit Hammonds, Cubitt
Gallery, London, UK

Bootleg, curated by Pablo Lafuente, Spittalfields Market, London, UK
Centrefold artist pages, Guestroom (publication), edited by Maria Benjamin, UK

Gatsby, curated by Lali Chetwynd, The New Lansdowne Club, London,UK

Atelier Something, curated by Djordje Ozbolt, Dalston, London, UK