Rozenstraat 59 / NL–1016 NN Amsterdam Stedelijk Museum Bureau Amsterdam www.smba.nl Newsletter No 115 28-3 16-5 JAKOB

KOLDING

5-7 PM 5-7

HIGH IS

OPENING: 27-3 SATURDAY STAKES SMBA Stakes is High SMBA Newsletter Nº 115 -

Jakob Kolding Kolding Jakob is High Stakes 28 maart t/m 16 mei Opening: Zaterdag 27 maart 17–19u. De opening wordt verricht door Ann Goldstein, directeur Stedelijk Museum de individuele ervaring negatief als positief ervan, die zowel niet alleen de discrepanties kenmerken kan uitvallen. Zulke maar bijvoorbeeld al langer bekritiseerde naoorlogse wijken, zijn aan gentrification ook binnensteden die onderhevig en worden weggedrukt bevolkingsgroepen sommige (waar het openbare karakter ingrijpend verandert door middel en economische van architectonische ingrepen en politieke slogans die een Ook de ronkende ontwikkeling/speculatie). implice kantorenwijk als Zuidas verleidelijk moeten maken, tegenstrijdigheid. ren een zekere De tentoonstelling ‘Stakes is High’ van Jakob Kolding is Kolding is High’ van Jakob De tentoonstelling ‘Stakes op basis van een verblijf van de mede tot stand gekomen Deense kunstenaar aan de Amsterdamse Zuidas. Hij is de dat SMBA sinds derde kunstenaar in dit residency-project, drie jaar organiseert in samenwerking met het Lectoraat Ruimte van de Gerrit Rietveld Academie en & Publieke Kunst het Virtueel Museum Zuidas. zijn de achtergronden van het werk van Kolding Belangrijke idealistische motivaties en de sociale implicaties van de naoorlogse in Europa. stedenbouwkundige ontwikkelingen hun De discrepantie tussen urbane planningsconcepten, realisatie en daaropvolgend gebruik vormt de rode draad in opgroeide in een die zelf zijn werk. De interesse van Kolding, geldt met name de spanning nieuwbouwwijk bij Kopenhagen, ruimte van stedelijke en tussen de algemene verwachting - - - -

2010

Collage,

director of the Stedelijk Museum Stedelijk the of director Opening: Saturday 27 March 5 – 7p.m. – 5 March 27 Saturday Opening: Goldstein, Ann by opened be will exhibition The 28 March – 16 May 16 – March 28 Stakes is High is Stakes Jakob Kolding Kolding Jakob

Untitled, Untitled,

by means of architectural interventions and political, eco interventionsarchitectural political, of and means by and the public character of these areas are radically altered radically are areas these of character public the and specific groups in the population are being pushed aside pushed being are population the in groups specific in city centres that are subject to gentrification, in which in gentrification, to subject are that centres city in have been criticised for years now, but for instance also instance for but yearsnow, for criticised been have not only in the post-war residential neighbourhoods which neighbourhoods residential post-war the in only not as negative or positive. Such discrepancies are to be seen be to are discrepancies Such positive. or negative as eral expectations of space, whether these are conceived of conceived are these whether space, of expectations eral the discrepancies between individual experiences and gen and experiences individual between discrepancies the interest in space and urban space in particular, and so have have so and particular, in space urban and space in interest continuous investigation in his work as partgeneral workas a his of in investigation continuous realization and subsequent use has been the subject of a of subject the been has use subsequent and realization Copenhagen. The discrepancy between planning ideas, ideas, planning between discrepancy The Copenhagen. who himself grew up in a new residential development near development residential new a in up grew himself who have formed an important background for Kolding’s work, work, importantKolding’s formedan for background have World War II urban planning and development in Europe in development and planning urban II War World The idealistic background and social implications of post- of implications social and background idealistic The

Museum Zuidas. Museum lic Space at the Gerrit Rietveld Academie and the Virtualthe and Academie GerritRietveld the at Space lic years in cooperation with the Research Group of Artof Pub Group & Research the with cooperation yearsin which has been organised by the SMBA for the past three past the for SMBA the by organised been has which Netherlands. He is the third artist in this residency project, project, artistresidency third this the in is Netherlands.He dam’s Zuidas quarter, the new financial center of the of center financial new the quarter, Zuidas dam’s the result of a residency by the Danish artistDanish Amster the in by residency a of result the The exhibition ‘Stakes is High’ by Jakob Kolding is in partin is Kolding Jakob by High’ is ‘Stakes exhibition The Stakes is High SMBA Nieuwsbrief Nº 115 ------

Koldings collages, vaak minutieus en gedetailleerd, soms vaak minutieus en gedetailleerd, collages, Koldings montagestijl beperkttot ingelijste colla Koldings zich niet Palais de Tokyo in Parijs, Museum of Contemporary Art in San Diego, Contemporaryof Museum ArtDiego, San in Parijs, in Tokyo de Palais leeft Kolding Almere. in Paviljoens de en Stockholm in ModernaMusseet Berlijn.in momenteel werkt en door stand tot kwam High’ is Stakes – Kolding ‘Jakob tentoonstelling De en Ruimte Publieke & Kunst Lectoraat SMBA, tussen samenwerking de Danish de door gemaakt mogelijk mede is en VirtueelZuidas, Museum ArtsAgency. Jeroen Boomgaard is lector Kunst & Publieke Ruimte; Publieke & Kunst lector is Boomgaard Jeroen Amsterdam Bureau Museum Stedelijk curator is Bouwhuis Jelle Koninklijke de aan studeerde DK) Albertslund, (1971, Kolding Jakob solotentoonstellingen meer onder had Hij Kopenhagen. in kunstacademie Gal Londen; Cubitt, York; New Gallery, Team Hamburg, Kunstverein de in Overgaden het en Wenen MartinBerlijn;Galerie Janda, Wallner, Nicolai leri realiseerde FrankfurterKunstverein de Contemporary of Institute Art. Voor vertegenwoordigdmeer onder in was Kolding semipermanentwerk. een hij Vene in Station’ ‘Utopia en Biënnale Busan de Kwangju, van Biënnale de Francisco, San in Institute Wattis het in andere onder exposeerde en tië, van zijn verblijf aan de Zuidas maakte Kolding een viertal een van zijn verblijf aan de Zuidas maakte Kolding posters en bedrukte T-shirts: media die een sociaal gebruik van ruimte van de tentoonstelling impliceren. Bezoekers De posterskunnen gratis een exemplaar meenemen. zijn in het gebied daarnaast ook te zien op openbare plakplekken kantorenwijk zelf, rondom de Zuidas; niet in de financiële geen omdat deze ruimteingericht dat er vrijwel zodanig is posters kunnen worden geplakt. publieke muren zijn waarop aan zijn tentoonstelling daarom de bezoekers vraagt Kolding de T-shirts Zuidas gaan. te dragen als zij naar de In deze nieuwsbrief introduceert nog een andere Kolding vorm van collage: een montage van tekstfragmenten die de achtergronden van zijn werk verheldert, in de vorm van een samengesteld in samenwerking met kunsthisto conversatie, ricus Luca Cerriza. de moderne verenigt hij met uiteenlopende architectuur aspecten van en politieke die wijzen op sociale elementen ruimtedie vaak surrealistisch – elementen maar aandoen de modellen steevast in wat datgene aandragen daarom juist de tegen contradictie, de het onvoorspelbare, is uitgesloten: kortom menselijke. het beweging, suggereren visionaire gebouwde en direct, ook eenvoudig geperverteerd die als het ware omgevingen worden door het met architecten met mensen, Zijn steden zijn bevolkt leven. voetballers en meer hiphoppers, met skaters, en zakenlui; zich soms ongecontroleerd verwijzingen naar de van zulke en maar ook met lianen cultuur, manifesterende populaire met de meest uit organische overwoekeringen, grillige, de stad hebben ontdekt als ideale eenlopende dieren die uitbundige gedisciplineerde als en dit alles in even habitat, combineert hij ze met woorden en zinnen composities. Vaak urbane managementprocessen en gebaseerd op die van stedenbouwkundig marketingjargon. is afgeleid is High’, ‘Stakes De titel van de tentoonstelling, De La Soul, van de titel van een album van hiphopgroep gemoeid zijn met maar verwijst ook naar de belangen die stedelijke van de economische en sociale (her)ontwikkeling door allerleigebieden – belangen die worden verdedigd pro invloedssfeer. cessen binnen en buiten de democratische Museum Bureau ges alleen. In de tentoonstelling in Stedelijk dat het opgenomen, Amsterdam is ook een sculpturaal werk en een midden houdt tussen een miniatuur theaterdecor imaginaire architectuurmaquette. Speciaal naar aanleiding Kolding biedt geen alternatieve modellen, al refereren zijn refereren al alternatieve geen biedt modellen, Kolding ste waarmee impressies aan de fantasievolle soms collages Zijn werk worden gevisualiseerd. plannen denbouwkundige benadrukt heroverwegen continu van het het belang veeleer van ruimte. van bestaande noties en uitdagen Beelden van ------

Kolding’s montage style is not limited to just framed just to limited not is style montage Kolding’s ArtsAgency. Theexhibition Kolding‘Jakob Stakes– isHigh’ wasmade possible in partthrough the collaboration between SMBA, the Research Group inArt Public& Space and the Zuidas Virtual Museum, and the Danish amongmany other venues. Kolding presently lives and works inBerlin. Station’inVenice; his work has been shown thein Wattis Institute in Sanfrancisco, Palais inParis,deTokyo Museum ofContemporary Art SanDiego, Moderna Museet Stockholm and the Paviljoens inAlmere, herealised semi-permanenta installation. Kolding has also been representedinthe Kwangju Biennale, the Busan Biennial and ‘Utopia Cubitt,Galleri Nicolai Wallner, Galerie Martin Janda and Overgaden InstituteofContemporary Art. Forthe Frankfurter Kunstverein JakobKolding 1971,(b. Albertslund, Denmark) studied atthe Royal AcademyofFine Arts inCopenhagen. Among his solo exhibitions havebeen appearances atthe Kunstverein inHamburg, Gallery, Team JelleBouwhuis iscurator ofStedelijk Museum Bureau Amsterdam JeroenBoomgaard isProfessor ofArt andPublic & Space;

Jakob Kolding together with artCerriza.with Luca together historian Kolding Jakob text fragments in the form of a conversation, assembled by by assembled conversation, a formof the in fragments text of Kolding’s work, this newsletter features a montage of montage a features newsletter this work, Kolding’s of As another form of collage that explains the subject matter subject the explains that collage formof another As tors to wear the t-shirts on a visit to Zuidas. to t-shirtsvisit the a on wear torsto public posters can be hung. Instead Kolding asks the visi the asks Kolding hung.Instead be posterscan public been designed so that there are almost no walls on which on walls no almost are there that so designed been cial office parks themselves, because the space there has there space the because parksthemselves, office cial poster sites in the area around the Zuidas: not in the finan the in not Zuidas: the around area the in sites poster copy with them. The posters are also to be seen in public in seen be to also postersare The them. with copy space. Visitors to the exhibition are welcome to take a free a take to welcome are exhibition Visitors the space. to

t-shirts: media that in themselves imply the social use of use social the imply themselves t-shirts:in that media in Zuidas, Kolding made a quartetprinted a and postersmade of Kolding Zuidas, in Bureau Amsterdam. As a special response to his residence his to response special a As Amsterdam. Bureau els, is also included in the exhibition in Stedelijk Museum Stedelijk in exhibition the in included also is els, theatre stage settings and imaginaryand mod settings architectural stage theatre collages. A sculptural work, somewhere between miniature between somewhere work, sculptural A collages.

of democratic influence. democratic of different courses of action inside and outside the spheres the outside and inside action coursesof different political and social – and to protect that stake seek veryseek stake that protect to and – social and political (or redevelopment) of urban areas, economic as well as as well as economic areas, urban of redevelopment) (or refers to the interests that have a stake in the development development the in stake a have that interests the refersto the title of an album by hip-hop group De La Soul. It also also It Soul. La De group hip-hop by album an of title the The title of the exhibition, ‘Stakes is High’, is derived from derived is High’, is ‘Stakes exhibition, the of title The ing jargon. ing processes of urban change and urban development market development urban and change urban of processes them with words and sentences based on management on based sentences and words with them as disciplined as they are richly varied. Often he combines he Often varied. richly are they as disciplined as city as an ideal habitat – and all of this in compositions in this of all and – habitat ideal an as city with the most diverse animals that have discovered the discovered have that animals diversemost the with but also with lianas and fantastic, organic overgrowth, and overgrowth, organic fantastic, and lianas with also but sometimes uncontrolled manifestations of popular culture, culture, popular of manifestations uncontrolled sometimes ers, hip-hoppers, footballers and other such references to references such other and footballers hip-hoppers, ers, with people, with architects and businessmen, with skat with businessmen, and architects with people, with perverted with life, as it were. His cities are populated populated are cities His were. it pervertedas life, with and direct, suggest visionary built environments that are that visionary suggest environments built direct, and lages, often minutely detailed and sometimes also simple also sometimes and detailed minutely often lages, counter movements – in short, the human. Kolding’s col Kolding’s human. the short, in – movements counter in the models: the unpredictable, the contradictory, the the contradictory, the unpredictable, the models: the in carry with them precisely that which is invariably excluded invariably is which carrythat precisely them with ments that often strike one as surrealistic, but therefore but surrealistic, as one strike often that ments that refer to social and political aspects of space – ele – space of aspects political and social to refer that images of modern architecture with all sorts all elements with of modernarchitecture of images and challenging existing notions of space. His work unites His space. of notions existing challenging and are emphasizing the importancere-thinking the continuously emphasizing of are urban development plans are visualised. Rather the worksthe Rather visualised. are plans development urban his collages refer to the imaginative impressions in which in impressions imaginative the to refer collages his Kolding offers no alternative models, although sometimes sometimes although alternativemodels, offersno Kolding the Zuidas attractive. attractive. Zuidas the slogans which are intended to make an office centre like like centre office an make to intended are which slogans nomic development/speculation, as well as in the boastful boastful the in as well as development/speculation, nomic Stakes is High SMBA Newsletter Nº 115 Collage, 2010 Collage, Poster, 2010 Poster, Polemic for a structural revolution, structuralrevolution, a for Polemic Untitled, Untitled, Collage, 2010 Collage,

Poster, 2009-2010 Poster,

Confused Beats, Beats, Confused Untitled, Untitled, Stakes is High SMBA Nieuwsbrief Nº 115

places, move freely about, on or in the surface, but Conversation Piece without the power of rising above or sinking below it, Luca Cerizza and Jakob Kolding very much like shadows – only hard and with lumi- nous edges – and you will have a pretty correct notion of my country and countrymen. Alas, a few years ago, You will rejoice to hear that no disaster has accom- I would have said “my universe”: but now my mind panied the commencement of an enterprise which has been opened to higher views of things.12 you have regarded with so evil forebodings. I have arrived here yesterday; and my first task is to as- The realized utopia is a new topos, which will pro- sure my dear sister of my welfare, and increasing voke a new critique, then a new utopia. The instal- confidence in the success of my undertaking.1 – Access to a new Amsterdam, where your perfume lation of utopia passes through a (total) urbanism. is French, your tailor is British, the cooks are Italian, And that is the complete process. the cars German and everything is organised by the Topos (conservative) – critique/utopia/revolution Dutch.2 – urbanism/topos (revolutionary and conserva- tive)/new utopia etc.13 – The music is different here. The vibrations are Only simulacra of conflict and carefully circum- different. Not like Planet Earth. Planet Earth sounds scribed stakes remain.3 – With its forty floors and thousands apartments, its of guns, anger, frustration. There will be no one from supermarket and swimming-pools, bank and junior Planet Earth we could talk to who would understand. school – all in effect abandoned in the sky – the We’ll set up a colony for black people here. See what high-rise offered more than enough opportunities for they can do on a planet all their own, without any violence and confrontation.4 white people there. They would drink in the beauty of this planet. It would affect their vibrations, for the bet- ter, of course. Another place in the universe, up in the Stakes is High.5 – Space is (...) political, inseparable from the different stars. That would be where the alter-destiny conflictual and uneven social relations that structure would come in. Equation-wise – the first thing to do specific societies at specific historical moments.6 is to consider time as officially ended. We’ll work on the other side of time. We’ll bring them here through House isn’t so much a sound as a situation. There either isotopic teleportation, transmolecularization of must be a hundred records with voice-overs better still, teleport the whole planet through music.14 asking, “What is house?” The answer is always some greeting card bullshit about “life, love, Welcome to the pleasuredome – an alternative to happiness....” …House is not universal. House reality is hyper-specific… The contexts from which the How to retake the world at forty-five revolutions deep house sound emerged are forgotten: sexual per minute in stereo “please sure...”. and gender crises, transgendered sex work, black How to blend the world at forty-five revelations per market hormones, drug and alcohol addiction, minute in stereo “blend it retake it anyway...”15 – Thus plunderphonics as a practice radically loneliness, racism, HIV, ACT-UP, Tompkins Square undermines three of the central pillars of the art Park, police brutality, queer-bashing, underpay- music paradigm: originality (it deals only with copies), ment, unemployment and censorship – all at 120 individuality (it speaks only with the voice of others), beats per minute.7 – It’s all about reconfiguring and pulling bits and and copyright (the breaching of which is a condition of pieces of other things and putting them together and its very existence).16 creating new text that you then send out. So, to me (using) language is being a DJ.8 any number can play yes any number can play anyone with a tape Assemblages are passional, they are compositions recorder controlling the sound track can influence of desire. Desire has nothing to do with a natural and create events (…) this invisible generation and spontaneous determination; there is no desire he looks like an advertising executive a collage but assembling, assembled, engineered desire…9 – Logical reasons induce us to reject Morel’s hopes. student an American tourist doesn’t matter what The images are not alive. But since his invention has your cover story is so long as it covers you and blazed the trail, as it were, another machine should leaves you free to act you need a Philips compact be invented to find out whether the images think and cassette recorder handy machine for street record- feel (or at least if they have the thoughts and feelings ing and playback… – …Functionalists ignore the psychological function that the people themselves had when the picture of surroundings…18 was made; of course the relationship between their consciousness and these thoughts and feelings can- Living in high-rises required a special type of not be determined).10 behaviour, one that was acquiescent, restrained, even perhaps slightly mad. A psychotic would Clouds out of control decoct anticipation. What have a ball here, Wilder reflected. Vandalism has use can any of us have for two moons? The miracle plagued these slab and towers blocks since their of order has run out and I am left in an un-miracu- inception. Every torn-out piece of telephone equip- lous city where anything may happen.11 – I call our world Flatland, not because we call it ment, every handle wrenched off a fire safety door, so, but to make its nature clearer to you, my happy every kicked-in electricity meter represented a readers, who are privileged to live in Space. stand against decerebration.19 – Mmm skyscraper I love you.20 Imagine a vast sheet of paper on which straight Lines, Triangles, Squares, Pentagons, Hexagons and other figures, instead of remaining fixed in their Stakes is High SMBA Newsletter Nº 115

In The New Babylon, where no ‘order’ is respected, “I see. Have you any notion how that fear got star- community life takes shape within dynamic of ted? Or what it is you’re afraid of, wish to avoid?” permanently changing situations. This dynamic As Orr did not reply at once, but sat looking down at activates forces which in utilitarian society are his hands, square, reddish hands lying too still on repressed or at best tolerated.21 – Quality of life: 12 schools, 1 university. 2 football his knee, Haber prompted just a little. “Is it the irra- clubs. 3 sport/fitness clubs, rowing on the river tionality, the lawlessness, sometimes the immorality Amstel and in the Amsterdamse Bos. 24 restaurants, of dreams, is it something like that that makes you cafés and sandwich shops. 2 hotels (Q Bic and Holi- uncomfortable?” day Inn). 6 child care nurseries. 2 after-school relief “Yes, in a way. But for a specific reason. You see, centres. 6 culture/art institutions.22 here... here I...” Here’s the crux, the lock thought Haber, also watching (The) denationalization, which to a large extend those tense hands. Poor bastard. He has wet materializes in global cities, has become legiti- dreams, and a guilt complex about ‘em. Boyhood mate for capital and has indeed been imbued with enuresis, compulsive mother... positive value by many government elites and “Here’s where you stop believing me.” The little fellow their economic advisers. It is the opposite when was sicker than he looked. it comes to people, as perhaps most sharply illus- “A man who deals with dreams both awake and trated in the rise of anti-immigrant feeling and the sleeping isn’t too concerned with belief and disbelief, renationalization of politics. (…) Mr. Orr. they’re not categories I use much. They don’t This is a politics that lies at the intersection of apply. So ignore that, and go on. I’m interested.” Did 1) the actual economic participation of many that sound patronizing? He looked at Orr to see if the disadvantaged workers in the global economy statement had been taken amiss, and met, for one, and 2) political systems and rhetorics that can the man’s eyes.” only represent and valorize corporate actors as (....) participants. (…) “Well,” Orr said, speaking with some determination, Global cities are sites for the overvalorization of “I have had dreams that... that affected the... non- corporate capital and the further devalorization of dream world. The real world.” disadvantaged actors, both firms and workers. (…) ”We all have, Mr. Orr.” Orr stared. The perfect straight The new city users have made an often immense man. claim on the city and have reconstituted strategic “The effect of the dreams of the just prewaking spaces of the city in their image: their claim is d-state on the general emotional level of the psyche rarely examined or challenged. 23 – May I slash my wrists tonight, can be -” On this fine Conservative night tonight But the straight man interrupted him. “No, I don’t I was looking for a job so I came to town mean that.” And stuttering a little, “What I mean is, I I easily adopt when the chips are down dreamed something, and it came true.”26 I read the ad about the private schemes I liked the idea but now I’m not so Keyne.24 The most ambitious of Las Vegas’s ‘off worlds’ is Summerlin. Jointly developed by the Summa and An extraordinary thing happened today — I saw Del Webb corporations (…) it boasts complete Richard for the first time since he left. I was out on self-sufficiency (it’s a ‘world within itself’, accord- the beach for my morning jog when there he was, ing to one billboard slogan) with its own shopping sitting by himself under an umbrella. He looked centers, golf courses, hospitals, retirement com- very tanned and healthy, but much slimmer. He munity, and, of course, casinos.27 – Despite the growing chaos around them the resi- calmly told me a preposterous story about the en- dents showed less interest in the external world.28 tire Canaries being developed by the governments of Western Europe, in collusion with the Spanish …a twist in the fabric of space where time be- authorities, as a kind of permanent holiday camp comes loop, where time becomes loop, where time for their unemployables, not just the factory becomes loop...29 – Such statements are usually called delusions, but if workers but most of the management people too. they are delusions, they are delusions which contain According to Richard there is a beach being built existential truth. They are to be understood as for the French on the other side of the island, and statements that are literally true within the terms of another for Germans. And the Canaries are only reference of the individual who makes them.30 one of many sites around the Mediterranean and Caribbean. Once there, the holiday-makers will At first Laing found something alienating about the never be allowed to return home, for fear of start- concrete landscape of the project – and architec- ing revolutions. I tried to argue with him, but he ture designed for war, on the unconscious level if casually stood up and said he was going to form no other.31 – ...a blurring of boundaries between public or private a resistance group, then strode away along the life... Intentionally or not, this blurring serves the beach. The trouble is that he’s found nothing with interest of greater but less confrontational social which to occupy his mind — I wish he’d join our control... the sophisticated solution has been the theatre group, we’re now rehearsing Pinter’s The evaporation of sites of what formerly passed as a Birthday Party.25 – “I don’t have nightmares more than most people, public world. Urban fortresses now encompass not I think,” Orr was saying, looking down at his hands. just single buildings (Bunker Hill, Battery Park City) or “Nothing special. I’m.... afraid of dreaming.” downtowns (Atlanta), and their fortress character is “Of dreaming bad dreams.” not immediately apparent, having melted innocuously “Any dreams.” into the city plan, the glorified facade, or the palm court with it’s invisible crowd-control techniques...32 Stakes is High SMBA Nieuwsbrief Nº 115

A simple idea blinds us, and under the cover of Notes darkness, much happens that most of us would reject if any of us looked. So uncritically do we 1 Mary Shelley, Frankenstein, 1816 accept the idea of property ideas that we don’t 2 Billboard advertisement, Zuidas (Amsterdam), even notice how monstrous it is to deny ideas to 2009. people who are dying without them. So uncritically 3 Jean Baudrillard, Simulations, 1983. do we accept the idea of property in culture that 4 J.G. Ballard, High-Rise, 1975. we don’t even question when the control of that 5 De La Soul, Stakes is High, 1996. property removes our ability, as people, to develop 6 Rosalyn Deutsche, introduction, Evictions, our culture democratically. Blindness becomes our 1996. common sense.33 – Global cities today seem to be governed and 7 DJ Sprinkles, Midtown 120 Blues, 2009. structured more by privatized initiatives than they 8 DJ Spooky, 1995. were in modernist and Fordist times, in which the 9 Gilles Deleuze and Félix Guattari, A Thousand nation state was the central actor in both Europe and Plateaus, 1980. America and in colonized South. (…) In these global 10 Adolfo Bioy Casares, The Invention of Morel, cities, an increasing number of improvised practices 1940. have become key forces shaping the urban landscape 11 Samuel R. Delany, Dhalgren, 1974. by creating new possibilities and realities for making 12 Edwin A. Abbott, Flatland – A Romance of Many life a but easier for the individual as well as for the Dimensions, 1884. community. (…) These practices are therefore extre- 13 Jean Baudrillard, ‘Dialectical Utopia’, 1967. mely contemporary, and almost anarchist in nature.34 14 Sun Ra, Space Is the Place, 1974. 15 Inscription on Frankie Goes to Hollywood, Wel- Deadzone communities, moreover, are surprisingly come to the Pleasuredome, 12” single, 1985. species-rich. The old bomb site at Lutzowplatz 16 Chris Cutler, ‘Plunderphonia’, 1994. in Berlin, for example, hosted over 100 different 17 William S. Burroughs, The Ticket that Exploded, plant and more than 200 insect species in the 1968. early 1980s. The carefully tended parklands of 18 Asger Jorn, Potlatch # 15, 1954. Tiergarten, by contrast, supported a mere quarter 19 J.G. Ballard, High-Rise, 1975. of this diversity.35 – Oooh, why do my actions have consequences?36 20 Underworld, Dubnobasswithmyheadman, 1993. 21 Constant, New Babylon, 1974. To be alive is to be a futurist of one sort or another, 22 Zuidas Amsterdam, A world class location, because life necessarily entails expectation, 2009. projection, desire of things to come and memory. 23 Saskia Sassen, Globalization and its discon- The last necessity, memory, is the irreducible truth tents, 1998. from which the conservative starts to make his 24 The Style Council, Come to Milton Keynes, claims on the future.37 – The biggest developments of the immediate future 1985. will take place, not on the Moon or Mars, but on 25 From J.G. Ballard, ‘Having A Wonderful Time’, Earth, and it is inner space, not outer, that needs to Myths of the Near Future, 1982. be explored.38 26 Ursula K. Le Guin, The Lathe of Heaven, 1971. 27 Mike Davis, ‘Las Vegas Versus Nature’, 1998. Reality is that which, when you stop believing in it, 28 J.G. Ballard, High-Rise, 1975. doesn’t go away. That’s all I could come up with. 29 Orbital, The Moebius, 1991. That was back in 1972. Since then I haven’t been 30 R.D. Laing, The Divided Self, 1960. able to define reality any more lucidly. (...) So I 31 J.G. Ballard, High-Rise, 1975. ask, in my writing, what is real? Because unceas- 32 Martha Rosler, ‘Fragments of a Metropolitan ingly we are bombarded with pseudo-realities Viewpoint’, 1991. manufactured by very sophisticated people using 33 Lawrence Lessig, Free Culture. How big media very sophisticated electronic mechanisms. I do not uses technology and the law to lock down distrust their motives; I distrust their power. They culture and control creativity, 2004. have a lot of it. And it is an astonishing power: 34 Marion von Osten, ‘Architecture Without Archi- that of creating whole universes, universes of the tects – Another Anarchist Approach’, 2009. mind. I ought to know. I do the same thing. It is my 35 Mike Davis, ‘Dead Cities: A Natural History’, job to create universes, as the basis of one novel 2001. after another. And I have to build them in such a 36 Homer Simpson, The Simpsons, 2009. way that they do not fall apart two days later. Or 37 Charles Jencks, Architecture 2000, 1971. at least that is what my editors hope. However, I 38 J.G. Ballard, ‘Which Way to Inner Space?’, will reveal a secret to you: I like to build universes 1962. which do fall apart.39 – He had bought a large map representing the sea, 39 Philip K. Dick, ‘How to Build a Universe That Without the least vestige of land: Doesn’t Fall Apart Two Days Later’, 1978. And the crew were much pleased when they found it 40 From Lewis Carroll, The Hunting of the Snark, to be 1876. A map they could all understand “What’s the good of Mercator’s North Poles and Equators, Tropics, Zones and Meridian Lines?” So the Bellman would cry: and the crew would reply “They are merely conventional signs!”40 Stakes is High SMBA Newsletter Nº 115 Met dank aan / With thanks to thanks With / aan dank Met / Translation: Colophon / / Printing: die Keure, Brugge Keure, die Printing: / Co-ordination and editing: and Co-ordination Bouwhuis Jelle Vertaling Mader Don Deursen Van & Mevis Design: Druk (curator), Bouwhuis Jelle SMBA: manager), (office Meijer Jan curator), (assistant Winking Kerstin Bromander Marie Botter, Marijke Geraedts, Marjolein (receptionists), OorthuizenSanne Vos, Caroline (interns) Colofon redactie en Coördinatie

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28 May - 11 July 11 - May 28 /

28 mei – 11 juli 11 – mei 28 Stedelijk Museum Bureau Amsterdam Bureau Museum Stedelijk het van activiteit een is Amsterdam Museum Stedelijk Amsterdam Bureau Museum Stedelijk Museum Stedelijk the of activity an is Amsterdam www.stedelijk.nl tentoonstelling Volgende exhibition: Next Harskampvan Nicoline Business Other Any /

, 2009-2010. Courtesy2009-2010. Dabbeni Studio , / [email protected] /

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