Amos' World
In the world of self-regarding architect Amos, there’s really only one thing that matters—Amos. There he is, sensibly chic in a black roll-neck sweater and neat gray trousers: “I want to build something important. I want to change the world. I want to express myself.” Amos is Cécile B. Evans’s amalgam of the twentieth-century starchitects who shaped the post-war built environment. Conceived as a mock TV series set in a Brutalist housing estate, her exhibition at Glasgow’s Tramway comprises three separate videos (or “episodes”). Made between 2017 and 2018 and collectively titled “Amos’ World,” each is screened concurrently in accompanying installations with soundtracks played on headphones. Dotted around the space are props and sets used on screen: scale-model shelves of colored binders, a miniature forest. As “Amos’ World” suggests, the egoistic visionaries Amos parodies were not ultimately in control of their designs. Evans emphasizes this point by rendering Amos as a jerky puppet.
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In the world of self-regarding architect Amos, there’s really only one thing that matters—Amos. There he is, sensibly chic in a black roll-neck sweater and neat gray trousers: “I want to build something important. I want to change the world. I want to express myself.” Amos is Cécile B. Evans’s amalgam of the twentieth-century starchitects who shaped the post-war built environment. Conceived as a mock TV series set in a Brutalist housing estate, her exhibition at Glasgow’s Tramway comprises three separate videos (or “episodes”). Made between 2017 and 2018 and collectively titled “Amos’ World,” each is screened concurrently in accompanying installations with soundtracks played on headphones. Dotted around the space are props and sets used on screen: scale-model shelves of colored binders, a miniature forest. As “Amos’ World” suggests, the egoistic visionaries Amos parodies were not ultimately in control of their designs. Evans emphasizes this point by rendering Amos as a jerky puppet.
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