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Fotografi, Film Och Den Postapokalyptiska Ruinen Av Walead Beshty

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Fotografi, Film Och Den Postapokalyptiska Ruinen Av Walead Beshty Innehåll Sidan 2 Staden utan egenskaper: fotografi, film och den postapokalyptiska ruinen Av Walead Beshty Sidan 4 Santiago Sierra: Konstnären som arbetsgivare Av Kim West Sidan 5 Innovativ politik i den vita kuben? Av Power Ekroth Sidan 6 Liberté, Égalité, Fraternité,Visibilité Av Jennifer Allen Sidan 7 Platsens modaliteter Av Staffan Lundgren Sidan 8 Förnuftets gränser: Immanuel Kant 200 år Av Sven-Olov Wallenstein Sidan 10 –11 Katarina Löfström Unfolded Flying Object (UFFO) Sidan 12 Bilder av Japan Av Sven-Olov Wallenstein Sidan 12 Tokyo: En överlevnadsguide Av Natsuko Odate Sidan 13 Alkemiska nätter Av Chie Sumioshi Sidan 14 Den japanska konsten i den globala tidsåldern Av Kentaro Ichihara Sidan 14 Från urban metabolism till den symbiotiska filosofin. En intervju med Kisho Kurokawa Av Meike Schalk Sidan 16 Från centrum till periferi: samtida förortsbyggande i Japan Av Meike Schalk, Kenta Kishi och Kaoru Suehiro Sidan 17 Laglig squatting i centrala Tokyo Av Tetsuya Ozaki Sidan 17 Auteur-kritik och den pornografiska filmtradi- tionen; influenser i samtida japansk film Av Kimura Tatsuya Sidan 19 Tokyo og monumentet Av Trond Lundemo 7–8.2004 40 SEK /4 Euro / 4 USD Site, Åsögatan 176, SE-116 32 Stockholm, Sweden.Web: www.sitemagazine.net. E-mail: [email protected]. Publisher and editor: Sven-Olov Wallenstein. Editorial board: Brian Manning Delaney,Power Ekroth,Trond Lundemo, Staffan Lundgren, Helena Mattsson, Carsten Höller,Meike Schalk, Kim West. Advisory board: David Elliott, Erik van der Heeg, Carl Fredrik Hårleman, Lars Raattamaa, Ivo Nilsson, Fredrika Spindler.Design: Carlsson/Neppelberg. Printing:Trydells Tryckeri. © All rights reserved. No part of this publication may be used or reproduced in any manner without permisson. Prenumeration 150 SEK 4 nummer Postgiro 29 88 68 -1 / Subscriptions 4 issues Europe 30 Euro Overseas 30 USD, payable by International Money Order.ISSN 1650-7894. Contents Page 2 The City Without Qualities: Photography, Cinema and the Post Apocalyptic Ruin By Walead Beshty Page 4 Santiago Sierra: The Artist as Employer By Kim West Page 5 Creative Politics in the White Cube? By Power Ekroth Page 6 Liberté, Égalité, Fraternité,Visibilité By Jennifer Allen Page 7 Modalities of Place By Staffan Lundgren Page 8 The Limits of Reason: Immanuel Kant 200 Years By Sven-Olov Wallenstein Page 10 –11 Katarina Löfström Unfolded Flying Object (UFFO) Page 12 Images of Japan By Sven-Olov Wallenstein Page 12 A Survival Guide for Tokyo By Natsuko Odate Page 13 Alchemical Nights By Chie Sumioshi Page 14 Japanese Art Sent into the Global Age By Kentaro Ichihara Page 14 From Urban Metabolism to the Philosophy of Symbiosis. Interview with Kisho Kurokawa By Meike Schalk Page 15 From the Centre to the Periphery: Contemporary Surburbanism in Japan By Meike Schalk, Kenta Kishi and Kaoru Suehiro Page 16 Legal Squatting in Central Tokyo By Tetsuya Ozaki Page 17 Auteur Criticism and the Tradition of Pornographic Movies: Influences in Contemporary Japanese Cinema By Kimura Tatsuya Page 19 Tokyo and The Monument By Trond Lundemo i en av de begränsningar han ålade dessa bil- tade sig direkt till drömmen om att undfly det iscensättning av ett historiskt trauma som til- liknande pose. Den ende kvarlevan från den resulterande bilden ger oss ett dokument Staden utan egen- der: att bilder bara skulle tas av tomma plat- moderna livets begränsningar. De sargade in- låter det att sublimeras till säljbara paket och en gång kokande metropolen utplånas till- över denna momentana samexistens av fan- ser. Hans flygbilder av dessa vardagliga men nerstäderna och den vardagliga säkerheten i oss att fly in i ett tillstånd av minnesförlust. Det sammans med minnet av dess siste hängivne tasin och stadens verklighet. Det förefaller skaper: fotografi, nödvändiga beståndsdelar i den moderna bil- suburbia inspirerade en längtan efter den var förmodligen den distinkt amerikanska ver- invånare. Med honom utraderas den gamla som invånarna i Shores vision, likt Hestons an- film och den post- kulturen erbjuder oss ett expansivt landskap öppna vägens frihet och enkelheten i små- sionen av detta fenomen som inspirerade Jean stadens symboliska ordning. gripare, hade utvecklat en allergi mot dags- av övergivna, vilt växande mellanrum: en änd- stadslivet. Denna reträtt kunde emellertid Baudrillards bok Amerika. Baudrillard beskri- Sommaren 1972, mitt under Vietnamkriget ljus. apokalyptiska lös labyrint av övergivna parkeringsplatser, inte garantera den lycka den utlovade. Karak- ver den amerikanska västern som en öken och vid botten av en av de största recessio- Det är stadslivets frenetiska nöjen och sam- tomma genomfartsleder och öde köpcentra. tärerna i dessa filmer blev ofta alienerade och som innehåller ”städer som inte är städer”:3 nerna i USA:s historia, vågade sig Stephen spelet mellan dess fotgängare som traditio- ruinen Ruschas bilder inbjuder oss till att se dessa utstötta, och de fann bara en tillfällig fristad i Irvine: ett nytt Silicon Valley. Elektroniska Shore för första gången, i bil, utanför de fåtal nellt associeras med storstadens drag- Av Walead Beshty platser med en kuslig blick; som en värld där territorierna mellan de urbana naven. Vad de fabriker som inte har några öppningar utåt,som kvadratkilometer som utgör New York City. ningskraft, och som har dragit oräkneliga det vardagliga har tömts på liv, återför de den mer än sällan fann, och som till sist medförde integrerade kretsar… Genom en fasansfull iro- Hans projekt att fotografera sig igenom landet människor till New York City. Denna möjlighet Jag kunde inte låta bli att tänka på den scen minimalistiska estetikens kalla rätvinklighet deras undergång, var mer skrämmande än niskt twist måste det bara vara här, på Irvines förde honom genom de tomma platser som till flanerande har också gjort dessa gator till där den stackars Gregor Samsa med skakan- till en urban miljö, och tvingar den esoteriska det de försökte fly ifrån. Bortom normerna, kullar,som man spelade in Apornas planet…4 han senare skulle beskriva som ”platta platser ämne för många fotografer, inklusive en av de de ben kliver upp på en fåtölj och tittar ut ur undersökningen av serialiteten och rutnätet sederna och kontrollen i det moderna samhäl- Men det förefaller som om simulationens fi- ingenstans på jorden”.5 Istället för att fotogra- mest prominenta av Shores samtida, Gary Wi- sitt rum, och inte längre kan minnas (så är ut i det sociala fältet. let, blev livet just så som Hobbes hade antagit: losof missade det nära sambandet mellan fera landskapet eller dess exotiska motiv som nogrand. Hans förkärlek för de anonyma mas- Kafkas berättelse) den känsla av befrielse han Trots sin underfundighet är denna samling ”vidrigt, brutalt och kort”. landskapet och den fantasi vars bakgrund det så många fotografer före honom, vände han sornas rörelser är förmodligen vad som fått tidigare känt då han tittade ut genom fönst- av fotografier helt beroende av ett speciellt Det mest anmärkningsvärda är att det tidi- utgjorde. Det var inte så mycket ironi som fick sin uppmärksamhet mot staden. Bortom många kritiker att referera till Winogrands ret. Och på samma sätt som Gregors dimmiga faktum vad gäller livet i Los Angeles. Trots sin ga 70-talet också var återkomsten för den se- filmplats-scouterna att välja södra Kalifornien Manhattans kaotiska kulturella miljö blev de gatufotografier som vittnesbörd om det urba- ögon inte kunde känna igen den lugna gata storlek och skenbara rikedom, var centrala Los dan länge bortglömda genren katastrof-film. för Franklin J Schaffners apifierade vision om tomma avenyerna och vägkorsningarna han na livets karaktär, ”en genomgång av rollbe- där han och hans familj hade bott under år, Angeles i princip tomt på helgerna när dess Dessa filmer gav oss tillfälle att fly bort genom framtiden som en förståelse för fantasins eget fann på sin resa hans huvudsakliga fotografis- sättningen i den moderna erfarenhets centra- och såg Charlottenstraße som ett grått öde- pendlande befolkning återvände till sina hem i det vardagligas kataklysmiska kollaps, att åte- ursprung. De kunde lika lite återge de exakta di- ka intresse. En typisk bild av en korsning, 6th la stad”.6 Winogrands bilder innehåller en land, så uppfattade också jag den välkända förorten. Detta fenomen gjorde Los Angeles till ruppleva historiska katastrofer (som i The Hin- mensionerna hos detta kulturella fenomen and Throckmorton St., Fort Worth,Texas, June nästan typologisk samling av karaktärer som staden, som sträckte sig från sjukhusgården den perfekta platsen för att spela in den första denburg, 1973) och fantisera om framtida som själva ställa sig utanför det; de kunde bara 13, 1976, är laddad med karakteristiska spök- fungerar som stand-ins för den urbana be- till horisonten, som en helt främmande plats. postapokalyptiska 70-talsfilmen, The Omega (Earthquake, 1970). Även om katastroferna skapa ett narrativ för denna övergivenhet, re- lika tecken för frånvaro. Trafikljus och skyltar folkningen som helhet. Vi kan identifiera Jag kunde inte tro att det fortfarande fanns liv Man (1971). Vid denna tid kunde ingen annan hade olika form (naturliga eller beroende av presentera den som metafor. I detta fall förstod skickar ut meddelanden till trafikanter och ”direktören på Madison Avenue, krymplingen, i virrvarret av byggnader där nere; snarare var stad tillåta de svepande bilderna på Charlton människan, framtida eller förflutna), förblev filmplats-scouterna vad den alienerade frans- fotgängare som inte finns där. En busstation, den gamla damen, tiggaren, kändisen, konst- det som om jag stod på en klippa och såg ned Heston som glider runt i ett helt tomt centrum budskapet detsamma: människosläktets mannen inte förstod, att även i simulationer- något som liknar ett stadshus och en kon- nären … och hopen”.7 Som Tod Papageorge, på ett hav av sten eller ett fält av skärvor, från och pumpar ut Henry Mancinis klassiska The- hybris skulle ofrånkomligen innebära dess un- nas sjukligt förstorade värld finns det reellas torsskrapa omger platsen, där vi förväntar oss fotograf och under lång tid vän till Winogrand vilket parkeringshusen i flera våningars mör- me from a Summer Place.
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