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Allan Sekula from June 14 to September 25, 2017
www.fundaciotapies.org no.5 Allan Sekula from june 14 to september 25, 2017 Allan Sekula. Collective Sisyphus draws a straight line between Fish Story (1989–95), one of his better-known photographic essays, and his last work project Ship of Fools / The Dockers’ Museum (2010–13). Along this trajectory, we findDeep Six / Passer au bleu (1996/98) and the film Lottery of the Sea (2006). In all of them Sekula laments the loss of the sea due to a global economy that favors a connected world. Sekula’s work will be remembered as one of modern photography’s biggest efforts to erect a monument – a far from grandiloquent one – to the cosmopolitan proletariat. LeveL 1 p.2 LeveL 1 p. 3 l components, the worldly belongings of military de- Fish Story, 1989–95 Growing up in a harbor predisposes one to retain pendents, cocaine, scrap paper (who could know?) quaint ideas about matter and thought. I’m speak- hidden behind the corrugated sheet steel walls em- ing only for myself here, although I suspect that a blazoned with the logos of the global shipping cor- Chapter 1 certain stubborn and pessimistic insistence on the porations: Evergreen, Matson, American President, primacy of material forces is part of a common cul- Mitsui, Hanjin, Hyundai. ture of harbor residents. This crude materialism is underwritten by disaster. Ships explode, leak, sink, 4 collide. Accidents happen every day. Gravity is Space is transformed. The ocean floor is wired for recognized as a force. By contrast, airline compa- sound. Fishing boats disappear in the Irish Sea, nies encourage the omnipotence of thought. -
The Architecture of Deconstruction: Derrida's Haunt
The Architecture o f Deconstruction: Derrida’s Haunt Mark Wigley The MIT Press Cambridge, Massachusetts London, England Fifth printing, 1997 First M IT Press paperback edition, 1995 © 1993 M IT Press Ml rights reserved. No part o f this book may be reproduced in any form by any elec tronic or mechanical means (including photocopying, recording, or information stor age and retrieval) without permission in writing from the publisher. This book was printed and bound in the United States o f America. Library of Congress Cataloging-in-Publication Data Wigley, Mark. The architecture of deconstruction : Derrida’s haunt / Mark Wigley. p. cm. Includes bibliographical references and index. ISBN 0-262-23170-0 (H B ), 0-262-73114-2 (PB) 1. Deconstruction (Architecture) 2. Derrida, Jacques—Philosophy. I. T itle . NA682.D43W54 1993 720'. 1—dc20 93-10352 CIP For Beatriz and Andrea Any house is a fa r too com plicated, clumsy, fussy, mechanical counter feit of the human body . The whole interior is a kind of stomach that attempts to digest objects . The whole life o f the average house, it seems, is a sort of indigestion. A body in ill repair, suffering indispo sition—constant tinkering and doctoring to keep it alive. It is a marvel, we its infesters, do not go insane in it and with it. Perhaps it is a form of insanity we have to put in it. Lucky we are able to get something else out of it, thought we do seldom get out of it alive ourselves. —Frank Lloyd Wright ‘The Cardboard House,” 1931. -
The Abuse of Architectonics by Decorating in an Era After Deconstructivism
THE ABUSE OF ARCHITECTONICS BY DECORATING IN AN ERA AFTER DECONSTRUCTIVISM DECONSTRUCTION OF THE TECTONIC STRUCTURE AS A WAY OF DECORATION PIM GERRITSEN | 1186272 MSC3 | INTERIORS, BUILDINGS, CITIES | STUDIO BACK TO SCHOOL AR0830 ARCHITECTURE THEORY | ARCHITECTURAL THINKING | GRADUATION THESIS FALL SEMESTER 2008-2009 | MARCH 09 THESIS | ARCHITECTURAL THINKING | AR0830 | PIM GERRITSEN | 1186272 | MAR-09 | P. 1 ‘In fact, all architecture proceeds from structure, and the first condition at which it should aim is to make the outward form accord with that structure.’ 1 Eugène-Emmanuel Viollet-le-Duc (1872) Lectures Everything depends upon how one sets it to work… little by little we modify the terrain of our work and thereby produce new configurations… it is essential, systematic, and theoretical. And this in no way minimizes the necessity and relative importance of certain breaks of appearance and definition of new structures…’ 2 Jacques Derrida (1972) Positions ‘It is ironic that the work of Coop Himmelblau, and of other deconstructive architects, often turns out to demand far more structural ingenuity than works developed with a ‘rational’ approach to structure.’ 3 Adrian Forty (2000) Words and Buildings Theme In recent work of architects known as deconstructivists the tectonic structure of the buildings seems to be ‘deconstructed’ in order to decorate the building’s image. In other words: nowadays deconstruction has become a style with the architectonic structure used as decoration. Is the show of architectonic elements in recent work of -
Six Canonical Projects by Rem Koolhaas
5 Six Canonical Projects by Rem Koolhaas has been part of the international avant-garde since the nineteen-seventies and has been named the Pritzker Rem Koolhaas Architecture Prize for the year 2000. This book, which builds on six canonical projects, traces the discursive practice analyse behind the design methods used by Koolhaas and his office + OMA. It uncovers recurring key themes—such as wall, void, tur montage, trajectory, infrastructure, and shape—that have tek structured this design discourse over the span of Koolhaas’s Essays on the History of Ideas oeuvre. The book moves beyond the six core pieces, as well: It explores how these identified thematic design principles archi manifest in other works by Koolhaas as both practical re- Ingrid Böck applications and further elaborations. In addition to Koolhaas’s individual genius, these textual and material layers are accounted for shaping the very context of his work’s relevance. By comparing the design principles with relevant concepts from the architectural Zeitgeist in which OMA has operated, the study moves beyond its specific subject—Rem Koolhaas—and provides novel insight into the broader history of architectural ideas. Ingrid Böck is a researcher at the Institute of Architectural Theory, Art History and Cultural Studies at the Graz Ingrid Böck University of Technology, Austria. “Despite the prominence and notoriety of Rem Koolhaas … there is not a single piece of scholarly writing coming close to the … length, to the intensity, or to the methodological rigor found in the manuscript -
Allan Sekula En Galicia: Dos Series Fotográficas Sobre Trabajo, Capitalismo Y Crisis
Allan Sekula en Galicia: dos series fotográficas sobre trabajo, capitalismo y crisis Allan Sekula in Galicia: two photograpy series on work, capitalism and crisis Miguel Anxo Rodríguez González Universidad de Santiago de Compostela Fecha de recepción: 2 de enero de 2020 Anuario del Departamento de Historia y Teoría del Arte Fecha de aceptación: 10 de julio de 2020 vol. 32, 2020, pp. 137-159 ISSN: 1130-5517, eISSN: 2530-3562 https://doi.org/10.15366/anuario2020.32.007 RESUMEN ABSTRACT Allan Sekula, uno de los principales referentes de la Allan Sekula, one of the main referents in documentary fotografía documental, realizó dos series en Galicia: photography, carried out two series in Galicia: Mensa- Mensaxe nunha botella (1992) y Black Tide/Marea xe nunha botella (1992) and Black Tide/Marea negra negra (2002-2003), resultado de dos encargos, el pri- (2002-2003), as a result of commissions from the mero de la Fotobienal de Vigo y el segundo del periódi- Fotobienal de Vigo and from a newspaper, La Van- co La Vanguardia. El fotógrafo centró su atención en guardia. He focused on works and people related to trabajos y personas relacionados con el mar, desde esti- the sea, from dock workers to volunteers and sailors badores hasta voluntarios y marineros involucrados en involved in the cleaning of the coast after the accident la limpieza de la costa tras el accidente del petrolero of the oil tanker Prestige. This investigation aims at Prestige. Esta investigación se propone analizar las analysing the photoworks, explaining the circumstan- series, explicar las circunstancias de su realización y ces of their production and answering the question of responder a la pregunta de hasta qué punto, tratándose how far, in the case of commissions, the photographer de encargos, el fotógrafo se mantuvo fiel a su programa remained faithful to his programme for a “new docu- para la “nueva fotografía documental”, establecido en mentary photography”, established in the early years los primeros años de su trayectoria. -
Judith Barry: Untitled: (Global Displacement: Nearly 1 in 100 People…) on View: January 17, 2018- June 27, 2018
FOR IMMEDIATE RELEASE Judith Barry: untitled: (Global Displacement: nearly 1 in 100 people…) On View: January 17, 2018- June 27, 2018 Artist rendering on the Anne H. Fitzpatrick Facade BOSTON, MA (Dec. 2017) – For her forthcoming installation on the Isabella Stewart Gardner Museum’s Anne H. Fitzpatrick Façade, American born artist Judith Barry explored hundreds of drone images circulating the internet that depict people fleeing their homes and seeking a new life elsewhere. Her installation, untitled: (Global Displacement: nearly 1 in 100 people worldwide are displaced from their homes. Source: http://www.pewresearch.org/fact-tank/2016/10/05/key-facts-about-the-worlds- refugees/), is a collage of asylum seekers from around the world in an inflatable boat and will be on view beginning Jan. 17. “These images shot by drones are poignant reminders of the trust and hope that, even in the most dire circumstances, abiding human qualities remain”, says Barry. “Looking up, these asylum seekers greet the effortlessly hovering drone with a mixture of relief and elation – even though the drone is unmanned and not human, and even though the resulting encounter is no guarantee of a rescue or of entry into another country.” “There are hundreds of these images circulating on-line,” says Pieranna Cavalchini, Curator of Contemporary Art. “The refugee crisis is on-going and shows no sign of abating. For so many of these people, there is still no place that will welcome them. The crisis exists in this country, as well, as we witness the countless natural disasters displacing residents from their homes.” In thinking about a façade project for the Gardner Museum, the artist was struck by its shape. -
Flow, Process, Fold: Intersections in Bioinformatics and Contemporary Architecture
FLOW, PROCESS, FOLD: INTERSECTIONS IN BIOINFORMATICS AND CONTEMPORARY ARCHITECTURE Timothy Lenoir and Casey Alt History of Science Program Stanford University This paper traces shared terms –– metaphors –– in two registers of discourse, bioinformatics and architecture, with the goal of teasing out the mutually informing contexts of each. We are becoming immersed in a growing repertoire of computer-based media for creating, distributing, and interacting with digitized versions of the world. Computer-mediated communication has already been significant in biology and medicine. In this essay we want to juxtapose several developments –– not all of them integrally connected –– in fields of computational biology, bioinformatics, robotics, and computer-aided design, which are significant for other areas in which computers have begun to mediate processes of work and creativity. We are particularly concerned with architects' engagement with information technology in their own work. Oft-noted features of the growth of computer-mediated forms of work and communication –– particularly evident in the biomedical areas with which we are concerned – are the acceleration of nearly every aspect of design and production, along with the high degree of both modularity and adaptability of processes. IT workers have responded to the explosion of data created by digital technology by generating dynamic systems for facilitating the information flow, replacing static forms with fluid architectures for extracting meaning. We want to suggest ways in which some architects are using information technology to address critical contemporary issues of philosophical, ethical, and social concern. Many have found philosophical resonance in the writings of Deleuze and Guattari, particularly in their effort to displace key modernist notions of difference as other, lack, or negative, with difference as a positive source. -
Simon Penny Professor, Electronic Art and Design Department of Art, University of California, Irvine Resume April 2018
Simon Penny Professor, Electronic Art and Design Department of Art, University of California, Irvine Resume April 2018 Simon Penny is an Australian artist, researcher, scholar and teacher whose work over 40 years has focused on the intersection between electronic/digital systems and embodied and materially engaged practices. This work has taken the form of technical R+D for innovative systems directed at embodied interactive experiences, culminating in new interactive art forms. He has published extensively on interactive and media art, has edited volumes, curated and produced exhibitions and directed and produced major conferences. Penny curated and produced Machine Culture - the first international survey of interactive installation- at SIGGRAPH 93 in Anaheim, CA - and edited the associated catalog and anthology. He edited the anthology Critical Issues in Electronic Media (SUNY Press 1995). He has spoken widely on Digital Cultural Practices around the world. His essays have been published in seven languages. Documentation and publications at simonpenny.net. His critical analysis of computer culture and AI engages phenomenology, cognitive science and philosophy of mind, anthropology and cognitive archeology. His current theoretical focus is on application of post-cognitivist theories of cognition to theorisation of art, design and cultural practices. This work culminated in the publication of Making Sense – Cognition, Computing, Art and Embodiment (MIT press 2017). In 2014, he began a new major project Orthogonal – the construction of an experimental 30’ (10m) asymmetrical outrigger sailcraft based in the design and dynamics of Micronesian voyaging canoes. The slogan of Orthogonal is design, build, sail, with a dash of anthropology. sites.uci.edu/orthogonal He teaches (and has taught) in a wide range of modalities, from studio/shop/lab classes (Gizmology and Kinetics, Mechatronic Art) to STS-oriented historical classes (From Steam to Steampunk – 200 years of Technoculture) to graduate seminars in Embodied cognition and the Arts. -
Modern Architecture and Luxury: Aesthetics and the Evolution of the Modern Subject
arts Book Review Modern Architecture and Luxury: Aesthetics and the Evolution of the Modern Subject Joanna Merwood-Salisbury School of Architecture, Victoria University of Wellington, Wellington 6140, New Zealand; [email protected] Received: 30 July 2019; Accepted: 31 July 2019; Published: 6 August 2019 Abstract: A book review of Robin Schuldenfrei, Luxury and Modernism: Architecture and the Object in Germany 1900–1933 (Princeton: Princeton University Press, 2018). This book challenges the canonical interpretation of two of the most revered institutions in the history of modern architecture—the Werkbund and the Bauhaus—and presents a critical interpretation of the relationship between modern architecture and luxury, which first appeared a generation ago. Keywords: architecture; design; luxury; AEG; Werkbund; Bauhaus; Germany; modernism Luxury and Modernism: Architecture and the Object in Germany 1900–1933 challenges the canonical interpretation of two of the most revered institutions in the history of modern architecture—the Werkbund and the Bauhaus—and presents a critical interpretation of the relationship between modern architecture and luxury, which first appeared a generation ago. In the founding documents of the modern movement, architecture and luxury were framed as irreconcilable opposites. To be modern was to reject ornament—the traditional aesthetic signifier of social status (Veblen [1899] 1994; Sombart [1913] 1967; Massey 2004). Cheapened by thoughtless application, ornament was seen as wasteful and excessive—a superfluous excrescence to be sloughed off through purifying processes of subtraction and elimination. Framed in terms of social evolution, to take pleasure in ornament was evidence of a primitive or retarded stage of racial development (Loos [1908] 1970; Muthesius [1903] 1994). -
Biographies Randy Chan Randy Chan Is an Award-Winning Architect
YEO WORKSHOP Gillman Barracks SG +65 67345168 [email protected] www.yeoworkshop.com 1 Lock Road, S (108932) Biographies Randy Chan Randy Chan is an award-winning architect and artist. Chan’s architectural and design experience crosses multiple fields and scales, all guided by the simple philosophy that architecture and aesthetics are part of the same impulse. Chan is the principal of Zarch Collaboratives - one of Singapore’s leading architectural studios established in 1999. The objective of the studio is to practice and fulfil architectural projects but also cross disciplines and approach the means of spatial design. They have worked on a series of exhibition spaces, stage set designs, art installations, world expositions and catered for private and public housing plans. Additionally, Chan is the creative director of Singapore: Inside Out, an international platform featuring a collection of multi-disciplinary experiences created by practicing artists. It is a platform with a global intention. It accommodates and presents the creative talents of Beijing, London, New York and Singapore. Artistically it combines the varying disciplines of architecture, design, fashion, film, food, music, performance and the visual arts. Hubertus von Amelunxen Professor Dr. Hubertus von Amelunxen was born in Hindelang, Germany in 1958. He lives in Berlin and Switzerland. After studies in French and German Literature and in Art History at the Philipps- Universität, Marburg and the École Normale Supérieure de Paris, he wrote his Ph.D. on Allegory and Photography: Inquiries into 19th Century French Literature. He was professor of Cultural Studies and the Founding Director of the Center for Interdisciplinary Research at the Muthesius Academy of Architecture, Design and Fine Arts in Kiel between 1995 and 2000. -
ALLAN SEKULA: OKEANOS Art Contemporary 21 February – 14 May 2017 Köstlergasse 1, 1060 Wien +43 1 513 98 56 48 [email protected]
PRESS INFORMATION Thyssen-Bornemisza ALLAN SEKULA: OKEANOS Art Contemporary 21 February – 14 May 2017 Köstlergasse 1, 1060 Wien +43 1 513 98 56 48 [email protected] Ausstellungen / Exhibitions “Most sea stories are allegories of authority. In this sense alone politics is Scherzergasse 1A, 1020 Wien +43 1 513 98 56 24 never far away." — Allan Sekula [email protected] tba21.org facebook.com/tba21 twitter.com/tba21 instagram.com/tba_21 Allan Sekula, Middle Passage, chapter 3, Fish Story, 1994 Photo: The Estate of Allan Sekula, 1994 Allan Sekula: OKEANOS is a monographic exhibition that explores the legacy of Allan Sekula (American, 1951–2013) by charting the artist’s research into the world’s largest and increasingly fragile hydrosphere: our oceans. The exhibition title is a reference to the figure of Okeanos – the son of Gaia, the mythical goddess of the earth – who ruled over the oceans and water. His aquatic perspective – from and of the oceans – represents a shift of focus that counters the terrestrial narratives of even the most advanced contemporary discourses on the environment. Drawing from the Thyssen-Bornemisza Art Contemporary (TBA21) collection, the exhibition features a selection of seminal works from Sekula’s multi-faceted oeuvre. Three chapters from Sekula’s magnum opus “Fish Story” evocatively document maritime spaces and the effects of globalization. By describing shifting labor locations and relations, complexities of containerization, shipping logistics and economic pressures, “Fish Story” weaves observations of global socio-political and economic configurations and explores histories of the seas. Other important works featured in the exhibition include two films: “Tsukiji” 2001, and “Lottery of the Sea” 2006, as well as photographic works from Sekula’s series “Black Tide / Marea negra” 2002–03: “Large and small disasters” (Islas Cíes and Bueu, 12-20-02), 2002–2003 and “Self-portrait” (Lendo, 12-22-02), 2002–03. -
Morgan Fisher
Morgan Fisher Born 1942, Washington, D.C. Lives and works in Los Angeles, CA Education 1964 Harvard College, A.B. (1965) in Fine Arts; specialization in the history of 19th and 20th century art 1965 University of Southern California; work toward M.A. in Cinema. 1966 University of California, Los Angeles; work toward M.F.A. in Motion Picture Division, Department of Theater Arts. Selected Solo Exhibitions/Screenings 2014 Interior and Exterior Color Beauty, China Art Objects Galleries, Los Angeles, CA Maureen Paley, London, UK 2013 Interior Color Beauty, Bortolami, New York 2012 The Frame Beyond, Generali Foundation, Vienna, Austria Morgan Fisher: Conversations, Aspen Museum of Art, Aspen, CO 2011 Raven Row, London, England BFI Southbank Gallery, London, England Abteiberg Museum, Monchengladbach, Germany 2009 Portikus, Frankfurt, Germany 2008 China Art Objects Galleries, Los Angeles, CA 2007 Galerie Daniel Buchholz, Cologne, Germany 2005 China Art Objects Galleries, Los Angeles, CA “Standard Gauge: Film Works by Morgan Fisher”, Whitney Museum of American Art, New York, NY “Edge and Corner paintings,” Adamski, Gallery for Contemporary Art, Aachen, Germany The Films by Morgan Fisher, Tate Modern, London, England 2004 Galerie Daniel Buchholz, Cologne, Germany Städelschule, Frankfurt, Germany San Francisco Cinematheque, San Francisco, CA; films and lecture Cubitt, London, England Pacific Film Archive, Berkeley, CA Filmforum, Los Angeles, CA Greene Naftali, New York, NY 1 2002 “To See Seeing,” Neuer Aachener Kunstverein, Aachen, Germany (catalogue)