Botanical Frottage (Lauren)

2013 - Photography (Photography)

200 x 160 x 13 cm

Adrien Missika


Adrien Missika follows in the footsteps of the Brazilian landscape architect and artist Roberto Burle Marx (1909-1994), a designer of gardens, parks and promenades who introduced modern landscape architecture to Brazil. Marx’s work is characterized by the use of native tropical vegetation as a structural element of design. He worked with Oscar Niemeyer and Lucio Costa, the architects of Brazilia, and with them, the tropical plant became a motif in urban architecture. His garden in Guaratiba or the Copacabana mosaic walk in Rio, are some of his well-known interventions. Like the Brazilian landscape architect and artist Roberto Burle Marx who, sensitive to the temporal and ephemeral nature of architecture and civilizations, readily recycled architectural elements for his creations, Adrien Missika recovered the windows of a 60s Geneva building to be demolished and used them in a new context. On some of them, he placed images of palm, banana and pineapple leaves were placed, which the artist had scanned with a hand scanner, as a radical hyper-technological and manual way to record the reality and to bring back images from his travels. Using the figure of the 19th century explorer and scientist, the leaf isn’t kept for a collection but recorded to become an architectural motif. Here, the window doesn’t offer a perspective on a landscape but is only serves as memorabilia of what Nature was.


Adrien Missika (1981, Paris, France) studied and developed his career in Lausanne where he founded 1m3 artspace. Adrien Missika uses a wide range of media (photography, video, installation) to share his findings from travels in the USA, Hawaii, Turkmenistan, India, Lebanon, Brazil, to name a few. Missika portrays himself as a ‘professional tourist’ and his work plays on the idea of an exotic representation of these localities. There, he would look for natural elements (rocks, plants, lava) as much as iconic architecture such as Niemeyer’s dome in Tripoli (Lebanon), that he sometimes activates, records and transforms for the mediated experience of the gallery space.


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