The Florentine architecture group Superstudio enjoyed the penultimate moment on the world architecture stage at the 1972 MoMA exhibition, The New Domestic Landscape. However, by the end of that decade with worldwide radical politics on the wane and postmodernism on the rise, the Florentines found their radicale arguments and practice marginalized and they began to move away from architecture towards other sorts of design initiatives. But before the group left the international stage, they created one last potent architectural statement: La Moglie di Lot and displayed it at the 1978 Venice Biennale of Art.
The piece consisted of an iron frame with a table on which were placed four basic architectural forms constructed of salt, like a round Coliseum (see below). The frame has a taller high-rise like armature that help up plastic tubes that dripped water down on the forms. Each mass slowly disappeared or eroded into nothingness like Superstudio’s careers and hopes for radical change in culture and the architecture profession.
The frame from Moglie disappeared after 1978 but now a gallerist from Genoa has reconstructed a new frame (in fact, he built three of them for sale), and it is on display the 2014 Venice Biennale in the Moditalia Arsenale.
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