tag:blogger.com,1999:blog-19357461398853921742024-03-13T16:05:40.309-07:00me llamaron arquitecto y me hice curadorexposiciones de arquitectura, arquitectura de exposiciones, arquitectos que se adentran en el arte y artistas que trabajan con la arquitectura.
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architecture's exhibitions, exhibition's architecture, architects who go into art and artists who work with architecture.cmchttp://www.blogger.com/profile/00821409110804883315noreply@blogger.comBlogger40125tag:blogger.com,1999:blog-1935746139885392174.post-34955841090643237662012-03-22T07:00:00.001-07:002012-03-22T07:00:54.366-07:00AVANT GARDE INTERNATIONAL GALLERIES IN LONDON IN T...<a href="http://centrefortheaestheticrevolution.blogspot.com/2012/03/avant-garde-international-galleries-in.html?spref=bl">CENTRE FOR THE AESTHETIC REVOLUTION: AVANT GARDE INTERNATIONAL GALLERIES IN LONDON IN T...</a>: exhibition view Signals corner, vitrine with archival material in the front, Alejandro Otero's Shutter and Label, 1962 and Sergio Cama...<br />
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via <a href="http://centrefortheaestheticrevolution.blogspot.com/">Center for Aesthetic Revolution</a>cmchttp://www.blogger.com/profile/00821409110804883315noreply@blogger.com0tag:blogger.com,1999:blog-1935746139885392174.post-41659540608844696322011-11-12T08:32:00.000-08:002011-11-12T08:33:22.744-08:00Formalismo Puro - David Bestué<div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/tVGltrhIUcs?feature=player_embedded' frameborder='0'></iframe></div>cmchttp://www.blogger.com/profile/00821409110804883315noreply@blogger.com0tag:blogger.com,1999:blog-1935746139885392174.post-57658090162961405592011-04-24T16:48:00.000-07:002011-04-24T16:49:24.132-07:00Las cosas no salieron como esperábamos - Jose Luis de Vicente<iframe allowfullscreen="" frameborder="0" height="390" src="http://www.youtube.com/embed/WS5GBXlZJh4" title="YouTube video player" width="640"></iframe>cmchttp://www.blogger.com/profile/00821409110804883315noreply@blogger.com0tag:blogger.com,1999:blog-1935746139885392174.post-11622091964937312422011-04-03T08:36:00.000-07:002011-04-03T08:41:12.626-07:00RAM_Trip [De la "nueva historiografía" a la literatura trastornada], Miguel Á. Hernández-Navarro<h3 style="font-size: small; line-height: 22px; margin-bottom: 10px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: left; text-shadow: rgb(153, 153, 153) 2px 2px 2px;"><span class="Apple-style-span" style="font-weight: normal;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><span class="Apple-style-span" style="background-color: white;">desde </span><a href="http://salonkritik.net/10-11/2011/04/ram_trip_de_la_nueva_historiog.php#more"><span class="Apple-style-span" style="background-color: white;">salonkritik</span></a></span></span></h3><div style="color: black; font-family: Verdana, Arial, sans-serif; font-size: 11px; font-weight: normal; line-height: 16px; margin-bottom: 10px; text-align: justify;"><a href="http://salonkritik.net/10-11/Rotatingsaturnhexagon.gif" style="color: #0066ff; text-decoration: none;"><img alt="Rotatingsaturnhexagon.gif" height="310" src="http://salonkritik.net/10-11/Rotatingsaturnhexagon-thumb.gif" style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; float: left; height: auto; margin-bottom: 5px; margin-left: 0px; margin-right: 10px; margin-top: 10px; width: auto;" width="310" /></a></div><div style="color: black; font-family: Verdana, Arial, sans-serif; font-size: 11px; font-weight: normal; line-height: 16px; margin-bottom: 10px; text-align: right;"><br />
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“El mundo de las últimas cosas, ahora convertidas en <em>imagen</em>”. José Luis Brea</div><div style="color: black; font-family: Verdana, Arial, sans-serif; font-size: 11px; font-weight: normal; line-height: 16px; margin-bottom: 10px; text-align: right;">“Un lugar en el que el tiempo se expande elásticamente sin dejar de ser un solo tiempo”. Agustín Fernández Mallo</div><div style="color: black; font-family: Verdana, Arial, sans-serif; font-size: 11px; font-weight: normal; line-height: 16px; margin-bottom: 10px; text-align: justify;">En una serie de artículos recientes, Ernst van Alphen ha acuñado el término “nueva historiografía” para referirse a la inclinación de un gran número de artistas visuales contemporáneos a trabajar sobre la historia y el pasado. Como un paso más dentro de las poéticas del archivo y la reflexión sobre la memoria –cuestiones centrales del arte en los noventa y principios del nuevo siglo–, esta actitud pretende activar el pasado a través de la actualización de lo histórico mediante un trabajo de “postproducción” de la realidad heredada. De este modo, los artistas trabajan como historiadores en el sentido benjaminiano del término: como traperos de la historia, reuniendo fragmentos y construyendo –nunca reconstruyendo– un nuevo vestido –un nuevo presente– con los “desechos de la historia”.</div><div style="color: black; font-family: Verdana, Arial, sans-serif; font-size: 11px; font-weight: normal; line-height: 16px; margin-bottom: 10px; text-align: justify;">Sin lugar a dudas, esta actitud ante la historia constituye uno de los centros de tensión en torno al que se arremolina toda una faz del arte contemporáneo. Una tendencia que supone un paso más en las estrategias de trabajo sobre la memoria, pero también sobre la realidad dada. Es el lugar, podríamos decir, en el que se dan la mano el arte de la memoria y el arte de la apropiación. Y lo hacen para dar lugar a una construcción del tiempo que parte tanto del montaje y la postproducción de realidades previas –ready mades históricos– como de un sentido particular de la historia en tanto que tiempo abierto y activo que se proyecta en el presente con una presencia tangible y material.</div><div id="a005694more" style="font-family: Verdana, Arial, sans-serif; font-size: 11px; line-height: 22px;"><div id="more"><div style="color: black; font-family: Verdana, Arial, sans-serif; font-size: 11px; font-weight: normal; line-height: 16px; margin-bottom: 10px; text-align: justify;">Entre las varias vías de trabajo con la historia, Mark Godfrey, otro teórico de estas prácticas, ha llamado la atención sobre lo que él denomina “performances históricas”: estrategias de reactualización y reactivación del pasado a través de la reelaboración de acontecimientos singulares. Se refiere Godfrey a obras como <em>The Green Line</em> (2004) de Francis Alÿs, en la que, a través de una caminata por Jerusalén dejando tras de sí un rastro de pintura verde, el artista belga recrea de modo irónico y poético la línea dibujada en 1948 por Moshe Dayan para delimitar los bordes del Estado de Israel. Se trata de formas de conmemoración, de recuerdo, que ya no tienen que ver con el monumento o con la memoria osificada, sino con la activación del pasado, poniendo de nuevo la realidad en circulación, sacándola al registro de lo visible, visualizando algo que, “de hecho”, afecta al presente. Recordar, por tanto, como re-mover, re-hacer, re-elaborar, pero nunca para re-construir o para re-producir, sino para problematizar y tambalear la artificialidad del tiempo-presente, mostrando la porosidad de los diversos estratos del tiempo, poniendo en contacto –y en colisión– tiempos y lugares diferentes.</div><div style="color: black; font-family: Verdana, Arial, sans-serif; font-size: 11px; font-weight: normal; line-height: 16px; margin-bottom: 10px; text-align: justify;"><em>El hacedor (de Borges), Remake</em>, el último libro de Agustín Fernández Mallo (AFM), es un ejemplo paradigmático de cómo este trabajo con la historia y con la memoria acontece también en el ámbito de la literatura. De hecho, no es descabellado entenderlo como parte de esa de “nueva historiografía” tal y como ha sido establecida por van Alphen, como una manera de construir el presente a través del pasado, una reconsideración y relectura de la historia –social, política, pero también artística y literaria–. Y, aun más, quizá haya que hablar de este libro como una forma de literatura “prepóstera” en el sentido entendido por Mieke Bal en su <em>Quoting Caravaggio: Contemporary Art, Preposterous History</em>. Una forma que revuelve y trastoca el tiempo, que lo pliega y lo retuerce, pero también una forma ilógica, absurda e incluso irreverente. Y es que el término inglés “<em>preposterous</em>” tiene precisamente esos dos sentidos: uno temporal, de inversión de la cronología; y otro, relacionado con la irracionalidad y la locura, que es el de uso común. Cuando Bal ser refiere a la “<em>preposterous History</em>” lo hace utilizando la polisemia del vocablo. Por eso quizá sea necesario traducir su formulación según lo ha hecho Remedios Perni, como “historia trastornada”: tiempo revuelto y desorientado. Tiempo desviado o, mejor, desquiciado.</div><div style="color: black; font-family: Verdana, Arial, sans-serif; font-size: 11px; font-weight: normal; line-height: 16px; margin-bottom: 10px; text-align: justify;">A pesar de su título, y de su propuesta, <em>El hacedor</em> de AFM no es un <em>remake</em>, al menos en el sentido tradicional del término, ese dado por Frederic Jameson en su célebre estudio sobre la posmodernidad. Jameson advirtió que el pastiche y el remake eran estrategias claves del cine –pero también del arte– postmoderno, que reproducía y replicaba modelos e historias establecidas. Recientemente, Jorge Carrión ha observado cómo esta tendencia también es central en el campo literario, y ha definido el remake de AFM como “reescritura artesanal y actualización histórica y tecnológica”. En este sentido, más que con un remake, nos encontramos con una reelaboración total. Lo que hace AFM con Borges no es exactamente un remake, sino una actualización. Es, ciertamente, una recontextualización de Borges. En algún caso concreto, como ocurre con “Del Rigor de la Ciencia” –el célebre cuento sobre el mapa de que ocupa todo el territorio–, AFM apenas introduce una palabra –Google Earth– para cambiar todo el sentido del cuento, que directamente replica del original, como el “Pierre Menard, autor del Quijote” –por cierto, uno de los textos fetiches del arte de la apropiación; introducido en la edición fundacional de Brian Wallis, <em>El arte después de la modernidad</em>–. Pero salvo este ejemplo de recontextualización y mínima postproducción, el resto de <em>El hacedor</em>de AFM es un texto que difiere absolutamente de<em> El hacedor</em> de JLB, pero en todo momento lo “trae al presente”, lo “hace suyo”, lo activa y lo dota de la fuerza necesaria para ser efectivo en el mundo contemporáneo.</div><div style="color: black; font-family: Verdana, Arial, sans-serif; font-size: 11px; font-weight: normal; line-height: 16px; margin-bottom: 10px; text-align: justify;">La relectura que hace AFM de Borges es, de este modo, una actualización histórica. Una actualización <em>preposterior</em>: trastornada y absurda, en el sentido temporalmente subversivo del término. En particular, la “realización” del viaje de Robert Smithson por los Monumentos del Río Passaic, me parece una de las formas más lúcidas y certeras de traer al presente el sentido último de la obra de Smithson. Un “hacer presente” que, sin duda, pertenecería a eso que Godfrey llamó “performances históricas”. Volver a hacer el viaje, pero ahora sin la necesidad de ir al lugar físico. AFM vuelve a realizar el viaje, pero lo hace desde la imagen, a través de Google Earth, sentado frente a la pantalla del ordenador, experimentando una modalidad contemporánea del viaje, pero también apuntando el camino para un nuevo arte de la cartografía. Una cartografía afectiva y una nueva experiencia del viaje que denomina “psicoGooglegeografía”.</div><div style="color: black; font-family: Verdana, Arial, sans-serif; font-size: 11px; font-weight: normal; line-height: 16px; margin-bottom: 10px; text-align: justify;">El viaje de Smithson era el de un renovado <em>flâneur</em> de la contemporaneidad. Igual que Walter Benjamin observaba los pasajes parisinos como las catacumbas de la modernidad, Smithson ve en las ruinas industriales del mundo contemporáneo un tiempo mítico, percibiendo las excavadoras como dinosaurios, observando cómo el tiempo se condensa y se retuerce. Los monumentos de Passaic aparecen así como una ruptura con el tiempo-presente y una introducción de un tiempo extraño que se ajusta mejor al tiempo de los sueños tal y como lo definió Freud. Tiempo condensado y alterado. Tiempo conflictivo en el que la cronología pierde su sentido. El pasado en el presente. O, mejor, el presente como pasado. Tiempo ruinoso.</div><div style="color: black; font-family: Verdana, Arial, sans-serif; font-size: 11px; font-weight: normal; line-height: 16px; margin-bottom: 10px; text-align: justify;">Smithson percibió las ruinas de su presente. ¿Cómo serán las ruinas de nuestro tiempo? En <em>Homo Sampler</em>, Eloy Fernández Porta ha hablado con lucidez de la sensación siniestra que tendríamos al enfrentarnos a la obsolescencia de la cultura de masas contemporánea: Ur-Pop o Ikea Sumergida. AFM nos habla ahora de otro tipo de ruina, la ruina digital. ¿Cuál es la modalidad de la ruina en el universo de Google Earth? ¿Cómo se olvida en la era de la imagen del mundo?</div><div style="color: black; font-family: Verdana, Arial, sans-serif; font-size: 11px; font-weight: normal; line-height: 16px; margin-bottom: 10px; text-align: justify;">Escribe Borges en el texto original de “Mutaciones” –el que Fernández reelabora para su reactualización del viaje de Smithson–: “Cruz, lazo y flecha, viejos utensilios del hombre, hoy rebajados o elevados a símbolos; no sé por qué me maravillan, cuando no hay en la tierra una sola cosa que el olvido no borre o que la memoria no altere y cuando nadie sabe en qué imágenes lo traducirá el porvenir”. Esta es la pregunta que intenta responder AFM con su viaje. El ha llevado las ruinas de la contemporaneidad a las grietas del código binario.</div><div style="color: black; font-family: Verdana, Arial, sans-serif; font-size: 11px; font-weight: normal; line-height: 16px; margin-bottom: 10px; text-align: justify;">Fernández Mallo actualiza el viaje de Smithson, como también lo hace con otra serie de viajes y momentos célebres. Recorrer lo recorrido, emular el célebre viaje del escritor, del artista, revivir la experiencia del acontecimiento… es parte de la experiencia nostálgica moderna. En este caso, sin embargo, la experiencia no es puro remake nostálgico y fetichista, sino actualización. Y eso es lo realmente relevante. Porque lo que hace AFM es darle sentido al viaje de Smithson y reactivarlo. No repetirlo paródicamente, sino, en cierto modo, darle su sentido último –un sentido en sí mismo contradictorio y paradójico–, casi como si estuviese trabajando en “acción diferida”.</div><div style="color: black; font-family: Verdana, Arial, sans-serif; font-size: 11px; font-weight: normal; line-height: 16px; margin-bottom: 10px; text-align: justify;">El remake, por tanto, no como farsa o parodia –como decía Hegel que se repetía la historia–, sino como cumplimiento, como revitalización, como verdadera puesta en juego de la memoria. Memoria que, por supuesto, acontece ahora como <em><a href="http://www.joseluisbrea.net/" style="color: #0066ff; text-decoration: none;">Memoria RAM</a></em>, memoria de proceso, de flujo constante, que moviliza y ofrece energía a la memoria muda y desconectada del archivo ROM. Ésa es la memoria que hace presente <em>El hacedor</em> de AFM, procesando –en todos los sentidos del término– <em>El hacedor</em> de JLB.</div><div style="color: black; font-family: Verdana, Arial, sans-serif; font-size: 11px; font-weight: normal; line-height: 16px; margin-bottom: 10px; text-align: justify;">Viaje en el tiempo. Viaje tiempo a través. Viaje de la imagen. Viaje en la memoria. <em>Ram_Trip</em>, habría que escribir. Y volver a recordar entonces, también en modo <em>ram</em>, a otro JLB</div></div></div>cmchttp://www.blogger.com/profile/00821409110804883315noreply@blogger.com0tag:blogger.com,1999:blog-1935746139885392174.post-60949474495699782542011-02-04T10:29:00.000-08:002011-02-04T10:30:23.978-08:00performance delegada<a href="http://salonkritik.net/10-11/2011/02/_cuaderno_performance_delegada.php#more">http://salonkritik.net/10-11/2011/02/_cuaderno_performance_delegada.php#more</a>cmchttp://www.blogger.com/profile/00821409110804883315noreply@blogger.com0tag:blogger.com,1999:blog-1935746139885392174.post-90107018286623306352010-10-20T12:24:00.000-07:002010-10-20T12:24:23.544-07:00My head, Michel Foucault<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8HNyDgzIN_9PMtYAHmnhM5Db1WP49iIXwQ0LZRpdG8Uv8r_6T1831jUWqZbYWWkS8NCjBDTLywfq8iCJgva3eB4jRP4oPWkePV2kQqX5dzRLQS4CABNMa9oweOBFWowhJI8uboEcHJBU/s1600/4970788575_5fb1f0d7af_o.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8HNyDgzIN_9PMtYAHmnhM5Db1WP49iIXwQ0LZRpdG8Uv8r_6T1831jUWqZbYWWkS8NCjBDTLywfq8iCJgva3eB4jRP4oPWkePV2kQqX5dzRLQS4CABNMa9oweOBFWowhJI8uboEcHJBU/s320/4970788575_5fb1f0d7af_o.jpg" width="217" /></a></div><br />
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"My head, for example, my head: what a strange cavern that opens onto the external world with two windows. Two openings -I am sure of it, because I see them in the mirror, and also because I can close one or the other separately. And yet, there is really only one opening- since what I see facing me is only one continuous landscape, without partition or gap."<br />
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Michel Foucault, "Le corps utopique" (1966)cmchttp://www.blogger.com/profile/00821409110804883315noreply@blogger.com0tag:blogger.com,1999:blog-1935746139885392174.post-40613454682416306172010-10-04T12:07:00.001-07:002010-10-04T12:09:12.984-07:00Ugo La Pietra "La grande occasione"<object height="300" width="400"><param name="allowfullscreen" value="true" /><param name="allowscriptaccess" value="always" /><param name="movie" value="http://vimeo.com/moogaloop.swf?clip_id=11273164&server=vimeo.com&show_title=1&show_byline=1&show_portrait=1&color=&fullscreen=1&autoplay=0&loop=0" /><embed src="http://vimeo.com/moogaloop.swf?clip_id=11273164&server=vimeo.com&show_title=1&show_byline=1&show_portrait=1&color=&fullscreen=1&autoplay=0&loop=0" type="application/x-shockwave-flash" allowfullscreen="true" allowscriptaccess="always" width="400" height="300"></embed></object><br />
<a href="http://vimeo.com/11273164">La grande occasione</a> from <a href="http://vimeo.com/user3613681">ugo la pietra</a> on <a href="http://vimeo.com/">Vimeo</a>.cmchttp://www.blogger.com/profile/00821409110804883315noreply@blogger.com2tag:blogger.com,1999:blog-1935746139885392174.post-83044483444894195332010-09-30T07:44:00.000-07:002010-10-04T12:09:49.965-07:00Jorge Otero-Pailos, The Ethics of Dust, 2009<object height="295" style="background-image: url(http://i1.ytimg.com/vi/xLkTAJIqzTs/hqdefault.jpg);" width="480"><param name="movie" value="http://www.youtube.com/v/xLkTAJIqzTs?fs=1&hl=en_US"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/xLkTAJIqzTs?fs=1&hl=en_US" width="480" height="295" allowscriptaccess="never" allowfullscreen="true" wmode="transparent" type="application/x-shockwave-flash"></embed></object>cmchttp://www.blogger.com/profile/00821409110804883315noreply@blogger.com0tag:blogger.com,1999:blog-1935746139885392174.post-77022877616446108952010-09-23T12:37:00.000-07:002010-09-27T11:31:18.826-07:00Anthony Vidler<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjW86V-B6Nq75OtcPnmLMx-BhAE3WaTW-Qmi-8SJcbboQVmGiuEXtLmL92pRgg7e-oit7Izp-k_LmEebVy7BSQ7641rfhFuE82AZPg-sV39y6llMPmE8su6NqzpMQ2nj0wUd4xzRtQ2zsw/s1600/33.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="210" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjW86V-B6Nq75OtcPnmLMx-BhAE3WaTW-Qmi-8SJcbboQVmGiuEXtLmL92pRgg7e-oit7Izp-k_LmEebVy7BSQ7641rfhFuE82AZPg-sV39y6llMPmE8su6NqzpMQ2nj0wUd4xzRtQ2zsw/s320/33.jpg" width="320" /></a></div><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br />
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<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">“How do we define, and thereby ensure the individual integrity of each art as a practice when there no longer seems to be any division between the spatial and the textual, or more problematically in the case of sculpture and architecture , between the aesthetically constructed spatial and the functionally constructed spatial?”</span><br />
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<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">“ When artists like Vito Acconci are experimenting with architecture and architects like Frank Gehry seem as preoccupied with the sculptural form of building as with its functional role, it seems that what Rosalind Krauss once termed the “expanded field” of sculpture as involved architecture, or, as the experimental constructions of Dan Graham and others demonstrate, architecture has invaded sculpture.”</span><br />
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<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">“This ambiguity has been present at least since the 1960’s when it was equally possible to see Dan Graham taking his inspiration from architectural theory and practice as it was to see Louis I. Kahn constructing a “minimalist” aesthetic akin to that developed by Donald Judd and his peers. But with the current exploration of digital form common to the architecture of Frank Ghery and his younger contemporaries and to sculptors like Richard Serra, the distinction seems to have come to rest in the narrow territory of “use” versus “uselessness”.</span><br />
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<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 3.5in 280.0pt 308.0pt 336.0pt; text-autospace: none;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Anthony Vidler. </span><i><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Architecture's expanded field </span></i><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"> in: </span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Anthony Vidler, ed., </span><i><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Architecture between spectacle and use</span></i><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">, </span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Williamstown, Mass. : Sterling and Francine Clark Art Institute ; New Haven : Distributed by Yale University Press, 2008.</span><br />
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<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><span class="Apple-style-span" style="font-size: small;">The image is from: </span></span><span class="Apple-style-span" style="font-size: 13px;"><span class="highlight"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><span class="Apple-style-span" style="background-color: white;">Haus</span></span></span></span><span class="Apple-style-span" style="font-size: 13px;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><span class="Apple-style-span" style="background-color: white;">-</span></span></span><span class="Apple-style-span" style="font-size: 13px;"><span class="highlight"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><span class="Apple-style-span" style="background-color: white;">Rucker</span></span></span></span><span class="Apple-style-span" style="font-size: 13px;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><span class="Apple-style-span" style="background-color: white;">-</span></span></span><span class="Apple-style-span" style="font-size: 13px;"><span class="highlight"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><span class="Apple-style-span" style="background-color: white;">Co</span></span></span></span><span class="Apple-style-span" style="font-size: 13px;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"> </span></span><span class="Apple-style-span" style="font-size: 13px;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">live again : Lentos-Kunstmuseum Linz, 16.11.2007 - 16.03.2008 / Ausstellung und Katalog Andrea Bina.</span></span></div>cmchttp://www.blogger.com/profile/00821409110804883315noreply@blogger.com0tag:blogger.com,1999:blog-1935746139885392174.post-66431140991284802462010-07-21T16:59:00.000-07:002010-07-21T17:04:10.526-07:00WORK LINESAfter spending almost two months in New York working, reading and over all thinking in what I am going to study [or at least try to] during the next two years, I think I can write it down. Next week I will return to Spain for a short time and I don't want to leave without saying it.<br />
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WORK LINES<br />
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1. PERFORMANCE IN ARCHITECTURE<br />
or <br />
From the use of action in architecture to the use of Internet as the new battlefield.<br />
<br />
I am interested in how the architectural field have used the performance as a means of stating discourse. I would like to know who used this format and how it was developed. I am thinking in people such Vito Acconci, Ant Farm, Haus-Rucker-Co, and so forth. This line will force me to study what exactly means "performance" in architecture. Performance could be an experiment at the street, a self-made prototype or a video record of a lonely action in a laboratory. <br />
I want to link that research to the use of internet as a new public space and how contemporary experimental architecture uses that space. The study of actions on the web.<br />
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2. THE EXHIBITION AS A MANIFESTO<br />
This work lines is related to how the exhibition has been used as a way to show new ideas and to produce a direct communication within the society. I would study witch architects have used the exhibition as a way to show their projects. In that sense, I am interested in the exhibition as a rehearsal of experimental practices. The exhibition hall as a production space instead of an exhibition space. The idea is to connect this concepts to the curator figure. How an architect could become a curator, focusing its role in the idea of cultural producer. In conclusion, this work line aim is the reappraisal of the exhibition of architecture and the redefinition of the curator of architecture.<br />
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3. EDGE CHARACTERS BETWEEN ART AND ARCHITECTURE.<br />
I am interested in architects who work in the field of art and artists who work over architecture. Or simply I am interested in the collision of this two different fields and the people who work on this subtle line.<br />
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Let's see what I can do.cmchttp://www.blogger.com/profile/00821409110804883315noreply@blogger.com0tag:blogger.com,1999:blog-1935746139885392174.post-21673190083724208732010-07-15T08:37:00.000-07:002010-07-15T08:46:31.217-07:00Arthur Drexler"There are different ways of discussing architecture," he explained. "There is the chore of the journalist, the task of the academic historian or critic; people expect different things." There were also multiple institutional prerogatives for a curator which "Transformations" "refuses to gratify": "The first is that father or mother will tell you what to do.: the missionary role" Second was the expectation that the museum will validate great achievement" by presenting only the best recent work. Third was the role of reappraisal, a role he believed more easily accomplished for work of 1920s than of the present. Distancing his position, he proclaimed: "The missionary role is expressly disavowed; the validating role is disavowed. The reappraisal role is not entirely disavowed. It does occur in the manner in which the material is presented, in the juxtapositions and the quality which do result in a reappraisal."<br />
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Arthur Drexler "Response",6.<br />
In: Felicitty D.Scott <i>Architecture or Techno-Utopia</i> (Cambridge: MIT Press, 1980)cmchttp://www.blogger.com/profile/00821409110804883315noreply@blogger.com0tag:blogger.com,1999:blog-1935746139885392174.post-67118184808841362032010-07-12T14:33:00.000-07:002010-07-12T14:34:40.676-07:00The death of Modern architecture"Happily, we can date the death of modern architecture to a precise moment in time. Unlike the legal death of a person, witch is becoming a complex affair of brain waves versus heartbeats, Modern Architecture went out with a bang. <br />
[...]<br />
Modern Architecture died in St. Louis, Missouri on July 15,1972 at 3:32 p.m. [or thereabouts] when the infamous Pruitt-Igoe scheme, or rather several of its slab blocks, were given the <i>coup de grâce</i> by dynamite. Previously it had been vandalised mutilated and defeaced by its black inhabitants, and although millions of dollars were pumped back, trying to keep it alive [fixing the broken elevators, repairing smashed windows, repainting] it was finally put out of its misery. Boom, boom, boom."<br />
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From:<br />
Charles A. Jencks "The language of Post-modern Architecture" (New York: Rizzoli,1977)cmchttp://www.blogger.com/profile/00821409110804883315noreply@blogger.com0tag:blogger.com,1999:blog-1935746139885392174.post-71489017897762841632010-07-06T06:04:00.001-07:002010-07-06T06:07:36.000-07:00blu<object width="400" height="300"><param name="allowfullscreen" value="true" /><param name="allowscriptaccess" value="always" /><param name="movie" value="http://vimeo.com/moogaloop.swf?clip_id=13085676&server=vimeo.com&show_title=1&show_byline=1&show_portrait=0&color=&fullscreen=1" /><embed src="http://vimeo.com/moogaloop.swf?clip_id=13085676&server=vimeo.com&show_title=1&show_byline=1&show_portrait=0&color=&fullscreen=1" type="application/x-shockwave-flash" allowfullscreen="true" allowscriptaccess="always" width="400" height="300"></embed></object><p><a href="http://vimeo.com/13085676">BIG BAG BIG BOOM - the new wall-painted animation by BLU</a> from <a href="http://vimeo.com/blu">blu</a> on <a href="http://vimeo.com">Vimeo</a>.</p>cmchttp://www.blogger.com/profile/00821409110804883315noreply@blogger.com0tag:blogger.com,1999:blog-1935746139885392174.post-1492177592024583292010-07-03T10:24:00.000-07:002010-07-03T10:28:37.746-07:00Gil Heitor Cortesao<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><span class="Apple-style-span" style="font-size: small;">Born in Lisbon 1967. Lives and works in Lisbon.</span></span><br />
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><span class="Apple-style-span" style="font-size: small;">Works on the representation of a lonesome, dirty and decrepit modern architecture.</span></span><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKY9ZTsvO9KoXdmfOF2NHWuodVcl4NUGGyzb2ak0f7MWQcQs9bPno8dJf32KYtOSlVWlHeP40a7ssmujwudjiMyU0ZX5vG75uNHFd7NGVHJMpAXTngI2gINd3yCT19_B2R58gI-PWEXGY/s1600/2008+Atr%C3%A1s+do+Vulcao%231.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: left;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKY9ZTsvO9KoXdmfOF2NHWuodVcl4NUGGyzb2ak0f7MWQcQs9bPno8dJf32KYtOSlVWlHeP40a7ssmujwudjiMyU0ZX5vG75uNHFd7NGVHJMpAXTngI2gINd3yCT19_B2R58gI-PWEXGY/s400/2008+Atr%C3%A1s+do+Vulcao%231.jpg" width="400" /><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: none; color: black; font-family: 'Courier New', Courier, monospace;">2008 Atrás do Vulcao#1</span></a></div><div class="separator" style="clear: both; text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3Ha9GovFao58Nf-LidVPIH7OtlxtCMj1eOecpd8F9SbEr6a7dDYYHt8H9zf3jy9aQKYmaHJmvFZdn4wFnXw65LCu8SOjhhjkCrKiDH_clOrFhXbIq3tyBC8Rqye03zOHBR7QCrP2qgKs/s1600/2008+Atr%C3%A1s+do+Vulcao%232.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3Ha9GovFao58Nf-LidVPIH7OtlxtCMj1eOecpd8F9SbEr6a7dDYYHt8H9zf3jy9aQKYmaHJmvFZdn4wFnXw65LCu8SOjhhjkCrKiDH_clOrFhXbIq3tyBC8Rqye03zOHBR7QCrP2qgKs/s400/2008+Atr%C3%A1s+do+Vulcao%232.jpg" width="400" /><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: none; color: black; font-family: 'Courier New', Courier, monospace;">2008 Atrás do Vulcao#2</span></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9diHZ7WcuqzD1Ms163z75UZPOW5mmG7TMRUU3DhjlG2ZM0tkWnfiTFME5rHEXyOYV6H6lHrKvjW3zbRDF-O7tx9XGAJoZO-Be8Xcdg9im2Isv_LMkTFr8Ze282Y4-mQEKT63lFFu6xfY/s1600/2009+Atr%C3%A1s+do+Vulcao%233.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: left;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9diHZ7WcuqzD1Ms163z75UZPOW5mmG7TMRUU3DhjlG2ZM0tkWnfiTFME5rHEXyOYV6H6lHrKvjW3zbRDF-O7tx9XGAJoZO-Be8Xcdg9im2Isv_LMkTFr8Ze282Y4-mQEKT63lFFu6xfY/s400/2009+Atr%C3%A1s+do+Vulcao%233.jpg" width="400" /><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: none; color: black; font-family: 'Courier New', Courier, monospace;">2009 Atrás do Vulcao#3</span></a></div><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><span class="Apple-style-span" style="font-size: small;"><br />
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<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Zaki has digitally altered the images in order to remove any visible access leading to the tower platforms. This is a work that follows earlier artist's interest in architectural structures.</span><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPaSmFjjEbKMZ_O-zb2f23w8yX_UCnwfhc2cX-lXM3M0jtAcrhW2-QNukkOcmpwL9adT1KuTSUXY4EnGuCtnob3mud-mQygvAWaZWcC29JfI41_0tdteA6MLgXiIWMr0gSMr2ITUt9S0A/s1600/IMG_2675.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPaSmFjjEbKMZ_O-zb2f23w8yX_UCnwfhc2cX-lXM3M0jtAcrhW2-QNukkOcmpwL9adT1KuTSUXY4EnGuCtnob3mud-mQygvAWaZWcC29JfI41_0tdteA6MLgXiIWMr0gSMr2ITUt9S0A/s640/IMG_2675.jpg" width="427" /></a></div><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br />
</span>cmchttp://www.blogger.com/profile/00821409110804883315noreply@blogger.com0tag:blogger.com,1999:blog-1935746139885392174.post-67067539554923585452010-06-29T15:57:00.000-07:002010-06-29T15:59:01.779-07:00Richard Hughes at Anton Kern Gallery<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">From May 20 through July 3, 2010 Richard Hughes has a group of works related to architecture, memory and childhood at <a href="http://antonkerngallery.com/">Anton Kern Gallery</a>, 532 W 20th Street NY.</span><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8DtwrKlICNUrn7dE8paBFHNIX6DGL4KJ8tJhq7cYt1v_wqqo4L8iJ0umwmrikwS8_r0oTGHhAW4nv6eA7-cZCCR4JX8zT3U8POONh6OoL8oKD0TsXIrx1SVlVxjI1HUmdtvP9zRJ33vI/s1600/IMG_2682.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8DtwrKlICNUrn7dE8paBFHNIX6DGL4KJ8tJhq7cYt1v_wqqo4L8iJ0umwmrikwS8_r0oTGHhAW4nv6eA7-cZCCR4JX8zT3U8POONh6OoL8oKD0TsXIrx1SVlVxjI1HUmdtvP9zRJ33vI/s640/IMG_2682.jpg" width="425" /></a></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNo0Ig5VcDxdzKcZPdx2k-mSI1_zA5nbfAbUroigfPbUDw2LTRgySZj_b4YMW-VMgskSw0xCTK-efMYzx9dsWr4fep_n3VNoCm8xp73_yJ7dA-Mv-6OXdEs6QuoTL5idKUWlJbO645Vdw/s1600/IMG_2691.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="267" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNo0Ig5VcDxdzKcZPdx2k-mSI1_zA5nbfAbUroigfPbUDw2LTRgySZj_b4YMW-VMgskSw0xCTK-efMYzx9dsWr4fep_n3VNoCm8xp73_yJ7dA-Mv-6OXdEs6QuoTL5idKUWlJbO645Vdw/s400/IMG_2691.JPG" width="400" /></a></div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTYudJRmgf8PcJMTgUHNRB_n5-bR82OLskB5Uo64K6YnoubVNxcO3-PDCnv6bJ-oP8gR14i3ugv2GzRiwSNLi2fY3miAVusWgqy34AFXcD4Y41QPB10hDCSL6O1_1ggoS40Uofy6-zpqo/s1600/IMG_2689.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTYudJRmgf8PcJMTgUHNRB_n5-bR82OLskB5Uo64K6YnoubVNxcO3-PDCnv6bJ-oP8gR14i3ugv2GzRiwSNLi2fY3miAVusWgqy34AFXcD4Y41QPB10hDCSL6O1_1ggoS40Uofy6-zpqo/s400/IMG_2689.JPG" width="400" /></a><br />
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</span>cmchttp://www.blogger.com/profile/00821409110804883315noreply@blogger.com0tag:blogger.com,1999:blog-1935746139885392174.post-84503395532368633352010-06-29T15:29:00.000-07:002010-06-29T15:59:47.490-07:00CUE art foundation exhibition<div class="separator" style="clear: both; text-align: center;"></div><div><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Last week I visited the CUE art Foundation gallerie with it's 2009 Grant Recipients.</span></div><div><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">I found interesting these two works:</span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRAHdMjvbbynPpz1iA7CMA8k0V-yWG13F2cMMUMy9LCIsNnsPNSHXukGkJa-mRKtAALv4JdHhkXtYkrTYTexw3ieRv2MXWzeyfQKQ_wIH0D5QlIXy5aYJrzCqyeBDt6qSBSoTndqKVS_w/s1600/williams_allison.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRAHdMjvbbynPpz1iA7CMA8k0V-yWG13F2cMMUMy9LCIsNnsPNSHXukGkJa-mRKtAALv4JdHhkXtYkrTYTexw3ieRv2MXWzeyfQKQ_wIH0D5QlIXy5aYJrzCqyeBDt6qSBSoTndqKVS_w/s400/williams_allison.jpg" width="267" /></a></div><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace; font-weight: bold;">Alison Williams</span></div><div><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Glasshouse #3, 2010</span></div><div><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Mixed media</span></div><div><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">$16400</span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgQQFL5RERpvr4kKWVJOUsj3GC6vguac8rsu1hWHIGrzGcYZYP_kkv7LAYEB19X-5iBPdCfVTS9xYu1YKw4l_NozGMkz_9RL2dpzd4Anekp9RfFsbCkKvsvAV79S6Ncs4ZNWjniNSFo_0/s1600/IMG_2621.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgQQFL5RERpvr4kKWVJOUsj3GC6vguac8rsu1hWHIGrzGcYZYP_kkv7LAYEB19X-5iBPdCfVTS9xYu1YKw4l_NozGMkz_9RL2dpzd4Anekp9RfFsbCkKvsvAV79S6Ncs4ZNWjniNSFo_0/s400/IMG_2621.jpg" width="266" /></a></div><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace; font-weight: bold;">Charlotte Meyer</span></div><div><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Refusal (66 days and twenty years), 2010</span></div><div><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Monofilament, silver, nylon</span></div>cmchttp://www.blogger.com/profile/00821409110804883315noreply@blogger.com0tag:blogger.com,1999:blog-1935746139885392174.post-8052268956368838682010-03-25T04:43:00.000-07:002010-03-25T04:50:47.432-07:00Neil GallEn la galería David Nolan de Nueva York se está exponiendo la obra del artista escocés Neil Gall. Actualmente vive y trabaja en Londres.<br />La exposición se llama "The great constructor" y se trata de unas piezas en óleo y grafito sobre extrañas construcciones. <br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-oo3uxvGObZUxjciXgyehSdzkeVQSoAJWs1-WDPT-fc468VPvpADn_h-KRU69aVj3GEY54ytB8-7B6ga2EyMQceCHC4Q5b_n0wL08ybPeXsesloesqSkrDeNEXFTssmu3Zk8Vv08fh78/s1600/f7a46190.jpg"><img style="cursor:pointer; cursor:hand;width: 269px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-oo3uxvGObZUxjciXgyehSdzkeVQSoAJWs1-WDPT-fc468VPvpADn_h-KRU69aVj3GEY54ytB8-7B6ga2EyMQceCHC4Q5b_n0wL08ybPeXsesloesqSkrDeNEXFTssmu3Zk8Vv08fh78/s320/f7a46190.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5452536271634684690" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOD7C2ZvCGVgG7rWtghPPUId-VGquzr59mc2oy3Kz5jVeHsLv4RTJadjhKYFCWRjzZw14SLfxwfYj7FUdzXKHIc0fD3aTMXqQb8ITGOTm5RrjipdF7q1YWcFV1QxAjGyo3giIoig0Z4a0/s1600/b7a989e1.jpg"><img style="cursor:pointer; cursor:hand;width: 295px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOD7C2ZvCGVgG7rWtghPPUId-VGquzr59mc2oy3Kz5jVeHsLv4RTJadjhKYFCWRjzZw14SLfxwfYj7FUdzXKHIc0fD3aTMXqQb8ITGOTm5RrjipdF7q1YWcFV1QxAjGyo3giIoig0Z4a0/s320/b7a989e1.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5452536210873906546" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-d91qVVheRxmWkAvGgqUeSzq4BdXe-L1jIPdguAJ7PpEvKvyhnB__ZLbzz_Zy-_fMr7K14Dbtc5b3gQd2HU_lzyGoNfyALKOlp9bIkFH6yRZW_uYmojgtLwo_I3B_Sw_bWvIgdJADXX4/s1600/112589fe.jpg"><img style="cursor:pointer; cursor:hand;width: 310px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-d91qVVheRxmWkAvGgqUeSzq4BdXe-L1jIPdguAJ7PpEvKvyhnB__ZLbzz_Zy-_fMr7K14Dbtc5b3gQd2HU_lzyGoNfyALKOlp9bIkFH6yRZW_uYmojgtLwo_I3B_Sw_bWvIgdJADXX4/s320/112589fe.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5452536155562787362" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifd4RIDoVe-OSG5_TJVcaets3pozRaE3cn1fEM1KbjTHC2zvq60FX2Et_84DIzm-fJp1TSZPNBi-Y0lDb_BA2RvzVXVV-feMAv462ubrzzzVao1e0g86nsGuANz2RWdVS8VGMkbdTYbOQ/s1600/468b57f9.jpg"><img style="cursor:pointer; cursor:hand;width: 242px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifd4RIDoVe-OSG5_TJVcaets3pozRaE3cn1fEM1KbjTHC2zvq60FX2Et_84DIzm-fJp1TSZPNBi-Y0lDb_BA2RvzVXVV-feMAv462ubrzzzVao1e0g86nsGuANz2RWdVS8VGMkbdTYbOQ/s320/468b57f9.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5452536080880800066" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtJPcCWMf3DQ3LKhegqza_4_86onHO5HRqdNzikWRux0a1Aup_UBSwKHofE695wmqTs2paKdgkQSpX1csq2B_ll2du92UbvLot7pkJ3N42lMjqWGw52Ju0jWGMQX8pD-bkTp_Bz3v91b0/s1600/409fcd95.jpg"><img style="cursor:pointer; cursor:hand;width: 271px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtJPcCWMf3DQ3LKhegqza_4_86onHO5HRqdNzikWRux0a1Aup_UBSwKHofE695wmqTs2paKdgkQSpX1csq2B_ll2du92UbvLot7pkJ3N42lMjqWGw52Ju0jWGMQX8pD-bkTp_Bz3v91b0/s320/409fcd95.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5452536012557609218" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiApBb7uzFSTbiRTXf_jI_R0z99FZxtlgXalnTgSmPv5MhKHt9t5l9Ij8sXm4JdMGXCqEbbdII8kT8t0BDNLQczMQdn5MHYWKQmlrVJdtV6wrt3nE6YufU_juIdogd0rKzHYMbYeP2jXgY/s1600/6e893926.jpg"><img style="cursor:pointer; cursor:hand;width: 273px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiApBb7uzFSTbiRTXf_jI_R0z99FZxtlgXalnTgSmPv5MhKHt9t5l9Ij8sXm4JdMGXCqEbbdII8kT8t0BDNLQczMQdn5MHYWKQmlrVJdtV6wrt3nE6YufU_juIdogd0rKzHYMbYeP2jXgY/s320/6e893926.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5452535937807797298" /></a>cmchttp://www.blogger.com/profile/00821409110804883315noreply@blogger.com0tag:blogger.com,1999:blog-1935746139885392174.post-36104142952485889362010-03-25T04:13:00.000-07:002010-03-25T10:58:00.481-07:00Jean Marie-Straub y Danielle Huillet<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiknkCy_ozqvBCkYw8D4M_9rQFt4SFxbxDNDDBU0Tdh6rC2CN3uTVVp6xubJNgd3BHpR15EfELS_m2u6Xl5aYKDE7Lt14HvZAy0_xajMyfCxl8luZAS3jejaADTkBs6Elfmf372cgV_OO0/s1600/65-straub-e-huillet.jpg"><img style="cursor:pointer; cursor:hand;width: 299px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiknkCy_ozqvBCkYw8D4M_9rQFt4SFxbxDNDDBU0Tdh6rC2CN3uTVVp6xubJNgd3BHpR15EfELS_m2u6Xl5aYKDE7Lt14HvZAy0_xajMyfCxl8luZAS3jejaADTkBs6Elfmf372cgV_OO0/s320/65-straub-e-huillet.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5452530686971504994" /></a><br /><br />En el Culturas de esta semana [24-03-2010] de La Vanguardia aparece la pareja de cineastas Jean Marie-Straub y Danièle Huillet y en el artículo, escrito por Anna Petrus, se habla del interés que existe en sus películas de encontrar la forma cinemátográfica para la literatura, el teatro, la música o la pintura. Esto me lleva a pensar en la posibilidad de hacer algo parecido en la arquitectura. Cómo sería una arquitectura que fuera una versión de los cuadros de Matisse, o una arquitectura que fuera un homenaje a "El lobo estepario" de Hermann Hesse o bien una arquitectura que formase una serie de Stanley Kubrick.<br /><br />Con esto no me refiero una translación directa de la estética sino más bien de un trabajo que se superpusiese a la obra de estos autores y la redefiniera. De algún modo buscar una cierta simbiosis entre lo mirado y el que mira. Una pieza donde la fuente de la que bebe se desdibuja a través de una nueva caligrafía, más allá de la simple adaptación.cmchttp://www.blogger.com/profile/00821409110804883315noreply@blogger.com0tag:blogger.com,1999:blog-1935746139885392174.post-39739735114147798162010-03-19T04:01:00.000-07:002010-03-19T04:27:52.742-07:00Miguel NogueraMiguel Noguera es un performer catalán muy interesante. Ríanse e imaginen con él:<br /><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/Llkyyp2MH88&hl=es_ES&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/Llkyyp2MH88&hl=es_ES&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object>cmchttp://www.blogger.com/profile/00821409110804883315noreply@blogger.com0tag:blogger.com,1999:blog-1935746139885392174.post-79676366480509005172010-03-18T01:57:00.000-07:002010-03-18T01:58:35.093-07:00blu in barcelona<object width="640" height="385"><param name="movie" value="http://www.youtube.com/v/jgkbWFxOsOI&color1=0xb1b1b1&color2=0xcfcfcf&hl=en_US&feature=player_embedded&fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowScriptAccess" value="always"></param><embed src="http://www.youtube.com/v/jgkbWFxOsOI&color1=0xb1b1b1&color2=0xcfcfcf&hl=en_US&feature=player_embedded&fs=1" type="application/x-shockwave-flash" allowfullscreen="true" allowScriptAccess="always" width="425" height="385"></embed></object>cmchttp://www.blogger.com/profile/00821409110804883315noreply@blogger.com0tag:blogger.com,1999:blog-1935746139885392174.post-33009853834221455792010-03-17T09:39:00.001-07:002010-03-18T01:59:10.477-07:00Takahiro Iwasaki<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwQmPLdYMKhOp5lkjtGBP2Aw2jJD9SnYOlDYI8LGrXnCp0HjJNezq8ap6Dt_xl10lbElnEMvrnvFw9yVsi1w41p7-qvAOk7tiqcDyPq1VCrOx3YhVINByzfhuTeST6nv5w7JTCnFY9_XI/s1600-h/2007+Rappongi+Crossing.jpg"><img style="cursor:pointer; cursor:hand;width: 320px; height: 233px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwQmPLdYMKhOp5lkjtGBP2Aw2jJD9SnYOlDYI8LGrXnCp0HjJNezq8ap6Dt_xl10lbElnEMvrnvFw9yVsi1w41p7-qvAOk7tiqcDyPq1VCrOx3YhVINByzfhuTeST6nv5w7JTCnFY9_XI/s320/2007+Rappongi+Crossing.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5449643692686982962" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNsUaMU1y31A423z3oY6ihV1tJLCuW9GcfjwYQ2R2BFvOIxEkS6IiVXvbZir2CDRW-kdWG4Ec0KwMYnM-ujtnrSyoUPOMv16soAcIR-gdqM-G6z8MDD0-TLNjarzixH-wEURjSNaGy3xM/s1600-h/2007+out+of+disorder.jpg"><img style="cursor:pointer; cursor:hand;width: 320px; height: 215px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNsUaMU1y31A423z3oY6ihV1tJLCuW9GcfjwYQ2R2BFvOIxEkS6IiVXvbZir2CDRW-kdWG4Ec0KwMYnM-ujtnrSyoUPOMv16soAcIR-gdqM-G6z8MDD0-TLNjarzixH-wEURjSNaGy3xM/s320/2007+out+of+disorder.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5449643622332307106" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOwtZYvk2yOpfkvM5tqEaBgOsFHJKoriQw5p6hqXYlr_AntVNeXvoSM3O6FIgAVRtRV3kZagIWDTVfT_gNe2PLVpz6gI8ME4xD28eAiyQtvKjPtlta1xulYFbhb36iKwj1DaN_w2Hwq8U/s1600-h/2007+edinburgh+castle.jpg"><img style="cursor:pointer; cursor:hand;width: 243px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOwtZYvk2yOpfkvM5tqEaBgOsFHJKoriQw5p6hqXYlr_AntVNeXvoSM3O6FIgAVRtRV3kZagIWDTVfT_gNe2PLVpz6gI8ME4xD28eAiyQtvKjPtlta1xulYFbhb36iKwj1DaN_w2Hwq8U/s320/2007+edinburgh+castle.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5449643544047930274" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTH50861CFBhcVsxrqt0qUTPumXyp_HT34Sp9cHrNF2WoE9aKGmCmNyy2g21JUnhyphenhyphenssmdqkdDTBViUsIip4M7UrOyNr4P1KgDQMW7-pVb8mSNMV3HpXt9CDzHeOs1-PZGvOeBWoehCl5k/s1600-h/2007+bookcase.jpg"><img style="cursor:pointer; cursor:hand;width: 240px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTH50861CFBhcVsxrqt0qUTPumXyp_HT34Sp9cHrNF2WoE9aKGmCmNyy2g21JUnhyphenhyphenssmdqkdDTBViUsIip4M7UrOyNr4P1KgDQMW7-pVb8mSNMV3HpXt9CDzHeOs1-PZGvOeBWoehCl5k/s320/2007+bookcase.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5449643430233806386" /></a><br /><br />TAKAHIRO IWASAKI was born in Hiroshima Japan and studied MA Fine Art at Edinburgh College of Art in 2005. Recent exhibitions include New Contemporaries, 2005 and ‘Roppongi Crossing 2007 Future Beats in Japanese Contemporary Art’ MORI ART MUSEUM, Tokyo. Iwasaki previously participated in a drawing residency at<br />R O O M in 2006<br /><br />Iwasaki lyrically transforms the gloss of the commonplace, demonstrating an almost meditative attention toward the material and situation at hand. Objects become vessels of fantasy, whispering to us of another possible existence. The romance of landscape frequently collides with the artificial and everyday. Narratives are spun around the conception of space where we might briefly inhabit a Lilliputian world or lift the lid on a private interior. To live in the wouldn’t or the would?<br /><br />via <a href="http://www.roomartspace.co.uk/index.php">room</a>cmchttp://www.blogger.com/profile/00821409110804883315noreply@blogger.com0tag:blogger.com,1999:blog-1935746139885392174.post-83737686867119631992010-03-16T04:06:00.000-07:002010-03-17T09:41:48.426-07:00talking about Hans Ulrich Obrist - Fabrizio Gallanti<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCVG7lPU58KSbQxWggV2SwW1GG2-NwGV8-BZVNsaJRzWX1qrzn4mweAPbSEZjUN-phEhDbkI6DZp_KZ_rC8EnQlwUgKd0zNjqAY5BaftF-8yJfJqa4nLuUcX8kMwLssUee3zZVb9svM2Q/s1600-h/1255675148HUOELIASSONartforum.jpg"><img style="cursor:pointer; cursor:hand;width: 320px; height: 243px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCVG7lPU58KSbQxWggV2SwW1GG2-NwGV8-BZVNsaJRzWX1qrzn4mweAPbSEZjUN-phEhDbkI6DZp_KZ_rC8EnQlwUgKd0zNjqAY5BaftF-8yJfJqa4nLuUcX8kMwLssUee3zZVb9svM2Q/s320/1255675148HUOELIASSONartforum.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5449187568117686018" /></a><br /><br /><br />Posted by Fabrizio Gallanti - 10.16.2009 in Abitare<br /><br />text by Stefano Boeri<br /><br />Our long-time collaborator and author, Hans Ulrich Obrist, has been named by the magazine Art Review the “most powerful person” in the art world, leading a list of 100. His may be considered as a soft power, as surely he is not seeking power as his goal: an uncessant hurricane of energy and ideas, connecting artists, critics, writers, thinkers, and practitioners of multiple disciplines. He won this recognition solely for what he gives to the art world (and not only to it) rather than for what he takes. Power therefore is just a consequence of his work and generosity. We are very happy for him.<br />While I was looking through my hard-disk about him, I found out this text, written three years ago.<br />It is mine and Abitare’s small hommage to our beloved Hansino.<br /><br />Mobile Positioning.<br /><br />(Why Hans Ulrich Obrist is not a curator of contemporary art.<br /><br />Why Hans Ulrich Obrist is not a critic of contemporary art.)<br /><br /> <br />1.<br /><br />We are presently experiencing a period of great productivity and great hypocrisy in the field of contemporary art. A hypocrisy that above all concerns the division of roles among production, criticism, and curatorship.<br /><br />As we know, the criticism and curatorship of contemporary art are supposed to be based on a common order of discourse, which distinguishes them from the sphere of artistic production. It is an order of discourse that functions according to the two great practices of the delimitation of boundaries and classification. Both in fact are called upon to include and exclude authors, works, places, and institutions within categories of value and degrees of excellence.<br /><br />The critic of contemporary art is supposed to establish the ontological realm in which something new has occurred or is occurring. Within this sphere, he is supposed to constitute families, trends, and perspectives; observe the development of the artists and their works; and grasp and attest the phases of that development, its sudden swerves, declines, and gaps. In short, his task is to historicize the present.<br /><br />The order of discourse of curatorship, by contrast, is supposed to be based on a fundamentally geographical criterion. The curator is supposed to circumscribe the territories in which new forces are at work, follow and guide the trajectories of artists, construct spaces in which audiences can encounter works of art, and generate exclusions. In short, his task is to create hierarchies of places and institutions.<br /><br />To summarize: the criticism of contemporary art is supposed to circumscribe and classify at the level of present history that which curatorship is supposed to circumscribe and classify at the level of present geography.<br /><br />In fact, however, this is not how things actually stand. On the contrary, for some time now these two domains have been in the process of becoming more and more superimposable and superimposed, so that at this point they are virtually synonymous. Among the territories of contemporary art, curatorship has absorbed the role of criticism, and criticism has stretched to the point where it occupies the field of activity of curatorship.<br /><br />But there is more: the nature of the sphere of the production of contemporary art has changed today as well. It has annexed the bases of criticism and curatorship. From Andy Warhol to Dan Graham and from Alighiero Boetti to Matthew Barney, art has gradually become a delocalized and self-reflexive practice, which eludes geography and purports to historicize itself. The artists move within a global and extremely broad terrain that affords them increasing opportunities to exhibit their work (biennales, fairs, anthological exhibitions, retrospectives) and where trends and tendencies spring more from an artist’s positioning within a particular event than from a classification of genres and poetics.<br /><br />In fact, as is often pointed out, from this perspective every artist is potentially the author of his own criticism and the curator of his own work.<br /><br />But however glaringly obvious it may be, this fundamental con-fusion of identities, expectations, and functions continues to be anesthetized and suppressed. Still adrift on this sea of dissolving boundaries are rigid professional roles and constituencies codified according to anachronistic codes and institutions. Curators who pretend they are only curators call on artists who pretend they are only artists to produce works of art to submit to the judgment of critics who pretend they are only plying the critic’s trade.<br /><br />These roles formally divide up a field of practices fundamentally unified by the dissolving of generic differences.<br /><br />2.<br /><br />It is impossible to understand the work of Hans Ulrich Obrist if one ignores the importance of this productive con-fusion and the hypocrisy that continually conceals it.<br /><br />In spite of his “formal capacities,” Obrist is neither a curator nor even a critic of contemporary art. And this despite the fact that he moves within the order of discourse on which both of these disciplines are based and agrees to take on roles and identities dictated by their respective spheres of activity.<br /><br />Obrist is not a curator nor even a critic—he simply works on the presently existing state of affairs.<br /><br />Obrist does not delimit or classify artistic geographical fields or spheres of activity. Instead his work revolves around the concept of positioning. Obrist positions himself, that is, his body within the force field of contemporary art, and he does so in order to intercept and modify the scattered materials that make up the sea of “dissolves” in which the boundaries between the roles are melting away.<br /><br />Obrist projects the movement of his body throughout the world, and thanks to it he encounters artists, works, reviews, exhibitions, articles, institutions, events, journals, collections, dealers, journalists, archives, schools, installations, museums, performances, seminars, conferences, conventions, workshops, Kunsthallen, gallery owners, and politicians, all of which constitute the materials of global contemporary art.<br /><br />Obrist’s arrangement of these materials springs from the encounter between them and his “body/sensor.” It does not respond to a criterion of delimitation and classification—established a priori or redefined after the fact—but instead corresponds to a labor of artistic production, one that is arbitrary and changeable, temperamental and omnivorous, and obsessive in its all-encompassing reach: everything deemed notable must be noted, and everyone who wishes to be sought out must be sought out and interviewed. Everyone: artists, architects, philosophers, institutional representatives, filmmakers, politicians, scholars, poets, students, photographers, and even mere witnesses.<br /><br />Obrist has been working for years on a global artwork on the scattered materials of contemporary art. He is working on the existing state of things with the obsessive single-mindedness of one who knows that he cannot help but travel its entire length and breadth and who is waging a utopian struggle—and this is indeed a utopia in its pure form—against amnesia. A battle to diminish the enormous, growing, and inevitable distance between (individual) memory and (collective) history.<br /><br />As the ultimate form of body art, mobile positioning—the subjective and mobile interception of artistic practices and experiments—is a necessary and (at least in part) unwitting precondition and strategy of any rigorous effort to work on the sea of contemporary art.<br /><br />Thanks to the brilliant and transparent arbitrariness of art, Obrist’s work is not only a salutary stocktaking of the existing state of things—it is also a revolutionary condition for overcoming it.cmchttp://www.blogger.com/profile/00821409110804883315noreply@blogger.com0tag:blogger.com,1999:blog-1935746139885392174.post-80184372523901667442010-03-16T02:50:00.000-07:002010-03-16T02:53:01.070-07:00Reyner Banham loves Los Angeles<embed id=VideoPlayback src=http://video.google.com/googleplayer.swf?docid=1524953392810656786&hl=es&fs=true style=width:400px;height:326px allowFullScreen=true allowScriptAccess=always type=application/x-shockwave-flash> </embed>cmchttp://www.blogger.com/profile/00821409110804883315noreply@blogger.com0tag:blogger.com,1999:blog-1935746139885392174.post-62681459113921874132010-01-28T02:28:00.001-08:002010-01-28T02:30:32.035-08:00<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiC2dA6fYDykc4RhoTinooJk5udR3Jt30kiUWjXgaLNcNhoUBaHBV9-o4fb_wT9dpjd4wS7K-Y32XS6Av4yLDN_-X8EYal3e_3ByFJ4fGY3IHhZ966ncd_W1kZ6_VHKJ2mjfC5Lbzeo1b0/s1600-h/3818941952_85228e8717.jpg"><img style="cursor:pointer; cursor:hand;width: 320px; height: 240px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiC2dA6fYDykc4RhoTinooJk5udR3Jt30kiUWjXgaLNcNhoUBaHBV9-o4fb_wT9dpjd4wS7K-Y32XS6Av4yLDN_-X8EYal3e_3ByFJ4fGY3IHhZ966ncd_W1kZ6_VHKJ2mjfC5Lbzeo1b0/s320/3818941952_85228e8717.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5431735826711462162" /></a><br />At the Harvard Graduate School of Design. (Photo by <a href="http:////www.flickr.com/photos/hargadon/3818941952/">Hargo</a>.)cmchttp://www.blogger.com/profile/00821409110804883315noreply@blogger.com0