Wednesday, December 30. 2015
Note: could a perfect ending for this year be this post about (yet another) new exhibition (in Boston)? It is about the fantastic, the radical and the utopian Black Mountain College in North Carolina that became an important school for a large part of the post-war avant-garde in the United States/East coast.
It was an "adventure in progressive education" which points again how schools, when they remain "wild" enough, can become important structures to crystalize creative energies and momentum (and that is therefore also logically listed in Beatriz Colomina's research project about historical "Radical Pedagogies" in architecture).
Via MIT Press
"Leap Before You Look: Black Mountain College 1933-1957," an exhibition currently showing at the Institute of Contemporary Art in Boston, focuses on how Black Mountain College (BMC) became a seminal meeting place for many of the artists, musicians, poets, and thinkers who would become the principal practitioners in their fields of the postwar period. "Leap Before You Look," the first exhibition in the US to examine BMC as a hotbed for the American avant garde, opened on October 10, 2015 and will show through January 24, 2016. Senior Production Coordinator Christine Savage recently checked it out and shares the following insights:
The story of Black Mountain College (BMC) serves as an excellent reminder of how brilliant, prolific, and innovative people can be. The school was an idyll, an embodiment of a progressive, collaborative, utopian future. The college was also an absolute anomaly, and serves possibly as an even better reminder of how rarely we come together to achieve such promise.
If only it hadn’t gone broke and closed after only 24 years.
“Leap Before You Look: Black Mountain College 1933-1957” is a remarkable exhibit that does a wonderful job of illustrating BMC’s proud stature among the great artistic moments in the last century. The collection features music and dance performances, as well as over 200 pieces of artwork created at the college. A history of the school and the art created there can be found in the MIT Press book, Black Mountain College: Experiment in Art edited by Vincent Katz, which documents the brief—but influential—existence of the school, and offers a fascinating glimpse of campus life.
BMC was a tiny school with a disproportionate influence on art and culture in the 20th century. (A partial—yet still absurdly impressive—list of artists who taught and studied there includes Willem and Elaine de Kooning, Robert Rauschenberg, Josef and Anni Albers, Jacob Lawrence, Ruth Asawa, Merce Cunningham, John Cage, Cy Twombly, Kenneth Noland, Vera B. Williams, Franz Kline, Buckminster Fuller, Francine du Plessix Gray, Charles Olson, Robert Creeley, Dorothea Rockburne, and Walter Gropius.)
Founded in 1933 at a former summer camp with 22 students in the Blue Ridge Mountains of North Carolina, BMC was an adventure in progressive education. Less an art school than a perpetually broke experimental liberal arts college, the program’s philosophy centered around the belief that artistic experience was instrumental to all aspects of learning and grew students into better—and more curious—democratic citizens. Fortunately for art lovers the world around, BMC’s college life and curriculum revolved around the artistic process at a critical moment when American Progressivism combined with European Modernism.
Photographs at the start of the exhibit show the communal, egalitarian style of living and working at the school. The faculty owned and operated the college, and governed it together with students. In the early 1930s, sweat equity was more useful than tuition—they grew their own food, cooked their own meals, and built their own classrooms.
The founders of BMC kicked off their utopian educational experiment by hiring Bauhaus artists Josef and Anni Albers, who brought with them a healthy dose of enthusiasm for communal idealism and experimentation. These values remain evident in the profoundly interdisciplinary art created at the college during its brief existence, spanning painting, sculpture, ceramics, textiles, poetry, dance, music, and theater.
The exhibit begins with the colorful geometric paintings and prints of Josef, and the striking, modernist weavings and jewelry of Anni. In nearby rooms, photographs and models showing Buckminster Fuller’s experimental architecture—and the oftentimes unsuccessful attempts at constructing it—sit in conversation with the geometric and organic drawings and sculptures of Ruth Asawa, as well as the vibrant, expressionistic paintings of Elaine and Willem de Kooning and Franz Kline.
Later in the exhibit, the artistic creations of Merce Cunningham, John Cage, and Robert Rauschenberg showcase the collaborative, bodily nature of the work at BMC. Displays and performances using their choreography, music, and set decorations—schedules of which are available on the ICA website—allow museum visitors to share in an experience that, well, grew from shared experience.
As one might expect from the school’s summer camp beginnings, it was a perfect storm of intense closeness, idealism, freedom, and collaboration. Throughout the ICA’s galleries, the works of art from BMC seem to speak to each other, and to be in their presence is to get a glimpse of how their creators exemplified the school’s motto of “learning through doing.”
It’s an education in the importance of experimentation and exposure to difference, and a chance for (oft-maligned) utopian idealism—however short-lived—to get a little vindication.
Monday, December 21. 2015
Note: for all friends, artists and architects that will still be around in Lausanne next Tuesday (22.12), let's all meet at Circuit gallery for Philippe Rahm's talk about his first novel published last Spring, Météorologie des sentiments. The book is a pilgrimage through many past memories, in a non linear way and under the combined angles of feelings and meteorology (as the title of the book states it...)
The novel is indeed closely related to Philippe's practice and teaching as an architect, with which we share many interests!
Météorologie des sentiments
Gramazio Kohler celebrates 10 years of research in digital fabrication at ETHZ in a video | #digitalfabrication #researchbydesign
Monday, November 23. 2015
Note: this article was published a while ago and was rebloged here and there already. I kept it in my pile of "interesting articles to read later when I'll have time" for a long time as well therefore. But it make sense to post it in conjunction with the previous one about Norman Foster and by extension with the otehr one concerning the Chicago Biennial.
It is also sometimes interesting to read posts with delay, when the hype and buzzwords are gone. Written in the aftermath of the Tesla annoncement about its home battery (Powerwall), the article was all about energy revolution. But since then, what? We're definitely looking forward...
Nobody wants to say it outright, but the Apple Watch sucks. So do most smartwatches. Every time I use my beautiful Moto 360, its lack of functionality makes me despair. But the problem isn’t our gadgets. It’s that the future of consumer tech isn’t going to come from information devices. It’s going to come from infrastructure.
That’s why Elon Musk’s announcements of the new Tesla battery line last night were more revolutionary than Apple Watch and more exciting than Microsoft’s admittedly nifty HoloLens. Information tech isn’t dead — it has just matured to the point where all we’ll get are better iterations of the same thing. Better cameras and apps for our phones. VR that actually works. But these are not revolutionary gadgets. They are just realizations of dreams that began in the 1980s, when the information revolution transformed the consumer electronics market.
But now we’re entering the age of infrastructure gadgets. Thanks to devices like Tesla’s household battery, Powerwall, electrical grid technology that was once hidden behind massive barbed wire fences, owned by municipalities and counties, is now seeping slowly into our homes. And this isn’t just about alternative energy like solar. It’s about how we conceive of what technology is. It’s about what kinds of gadgets we’ll be buying for ourselves in 20 years.
It’s about how the kids of tomorrow won’t freak out over terabytes of storage. They’ll freak out over kilowatt-hours.
Beyond transforming our relationship to energy, though, the infrastructure age is about where we expect computers to live. The so-called internet of things is a big part of this. Our computers aren’t living in isolated boxes on our desktops, and they aren’t going to be inside our phones either. The apps in your phone won’t always suck you into virtual worlds, where you can escape to build treehouses and tunnels in Minecraft. Instead, they will control your home, your transit, and even your body.
Once you accept that the thing our ancestors called the information superhighway will actually be controlling cars on real-life highways, you start to appreciate the sea change we’re witnessing. The internet isn’t that thing in there, inside your little glowing box. It’s in your washing machine, kitchen appliances, pet feeder, your internal organs, your car, your streets, the very walls of your house. You use your wearable to interface with the world out there.
It makes perfect sense to me that a company like Tesla could be at the heart of the new infrastructure age. Musk’s focus has always been relentlessly about remolding the physical world, changing the way we power our transit — and, with SpaceX, where future generations might live beyond Earth. The opposite of cyberspace is, well, physical space. And that’s where Tesla is taking us.
But in the infrastructure age, physical space has been irrevocably transformed by cyberspace. Now we use computers to experience the world in ways we never could before computer networks and data analysis, using distributed sensor devices over fault lines to give people early warnings about earthquakes that are rippling beneath the ground — and using satellites like NASA’s SMAP to predict droughts years before they happen.
Of course, there are the inevitable dangers that come with infusing physical space with all the vulnerabilities of cyberspace. People will hack your house; they’ll inject malicious code into delivery drones; stealing your phone might become the same thing as stealing your car. We’ll still be mining unsustainably to support our glorious batteries and photovoltaics and smart dance clubs.
But we will also benefit enormously from personalizing the energy grid, creating a battery-powered hearth for every home. Plus the infrastructure age leads directly into outer space, to tackle big problems of human survival, and diverts our impoverished attention spans from gazing neurotically at the social scene unfolding in tiny glowing rectangles on our wrists.
The information age brought us together, for better or worse. It allowed us to understand our environment and our bodies in ways we never could before. But the infrastructure age is what will prevent us from killing ourselves as we grow up into a truly global civilization. That is far more important, and exciting, than any gold watch could ever be.
Note: Meanwhile, on the "big architects" end of the spectrum... Where I enjoyed to read the sentence " Foster is delighted that Britain now has an infrastructure commission, chaired by Andrew Adonis, which he says gives the opportunity to plan in 30-year cycles and remove the politics from infrastructure."
Via The Guardian
By Rowan Moore
Norman Foster’s Millau viaduct in France, which has ‘cut out five-hour traffic jams’. Photograph: Michael Reinhard/Corbis
“Do you believe in infrastructure?” asks Norman Foster, with challenge in his voice. He does. Infrastructure, he says, is about “investing not to solve the problems of today but to anticipate the issues of future generations”. He cites his hero, Joseph Bazalgette, who, in solving Victorian London’s sewage problems, “thought holistically to integrate drains with below-ground public transportation and above-ground civic virtue”.
Foster is delighted that Britain now has an infrastructure commission, chaired by Andrew Adonis, which he says gives the opportunity to plan in 30-year cycles and remove the politics from infrastructure. He will expound these views this week at the Urban Age 10th anniversary Global Debates, Urban Age being the LSE’s Deutsche Bank-sponsored series of conferences in which high-powered and highly powerful people travel the world exchanging views on city building.
Statistics spin out of him about sustainability. “If you take the carbon footprint of London, that’s one seventh of that of Atlanta, so there’s a relationship between density and emissions. The whole climate change issue, which many would argue is about the survival of the species, comes down to urbanism.
Foster’s proposed design for the Thames Hub airport. Photograph: dbox/Foster & Partners
“When I was in Harvard recently, I said that each of us in this room, the energy that we consume in one year would equal the energy consumed by two Japanese, 13 Chinese, 31 Indians and 370 Ethiopians. So you start to take the relationship between energy consumed by a society and infant mortality, life expectancy, sexual freedom, academic freedom, freedom from violence. So those societies that consume more energy have more of those desirable qualities, so all those issues are inseparable from the nature of the infrastructure.” The connections between these points are not always clear, but the argument seems to be that better use of energy through better infrastructure will enable more people to live better.
Of his own work, Foster says that many of the most important projects are not what are normally considered buildings, but things such as the Millennium Bridge, the pedestrianisation of Trafalgar Square in London, the Millau viaduct in southern France and the remaking of the Marseille waterfront. More statistics: “Millau cut out five-hour traffic jams, which meant that the saving in CO2 from the 10% of traffic that is heavy good vehicles had an effect equivalent to a forest of 40,000 trees.”
He has campaigned vigorously for the Thames Hub, a new airport in the Thames estuary with an associated network of huge ambition: an orbital railway around London, a flood barrier, tidal energy generation. He is profoundly disappointed that his plan is likely to be rejected in favour of an expanded Heathrow: “The reality of a hub airport is that you can never ever do that at Heathrow. If you do that at Heathrow now you can absolutely guarantee that we will still be pedalling furiously to stand still. You can never accommodate long-term needs there.”
Norman Foster: ‘The whole climate change issue comes down to urbanism.’ Photograph: Manolo Yllera
But given what he just said about sustainability, should we be expanding airports at all? “Do you eat meat?” he asks scathingly. “You’re probably going to have your hamburger in spite of the fact that you’re going to make a much greater impact than any travel.” Air travel, he says, “compares well statistically with the amount of methane produced by cows and the amount of energy and water needed to produce a hamburger”.
“The reality is that all society is embedded in mobility. You’re going to take that flight. You’d be better to take the flight out of an airport that is driven by tidal power and which uses natural light, and which anticipates the day when air travel will be more sustainable.” He talks of solar-powered flight and planes made of lightweight composite materials.
It could also be asked what is the role of the architect in what is generally the province of engineers, planners and politicians. Around us is evidence of his practice’s apparent potency – towers in China and India, a model of the giant circle, one mile in circumference, which will be Apple’s new headquarters, images of a concept for habitats on Mars – but Foster says: “I have no power as an architect, none whatsoever. I can’t even go on to a building site and tell people what to do.” Advocacy, he says, is the only power an architect ever has.
To write about Foster presents a particular challenge to an architecture critic. The scale of his achievement is immense and he has created many outstanding buildings. A wise man recently pointed out that if Foster had only built his 20 or 30 best works, critical admiration would be virtually unqualified. It is largely because his practice has designed many more projects than this that he sometimes gets a bad press. But would it really have been better if he had confined himself to a boutique practice in order to preserve his architectural purity?
It can seem peevish and petty to question his work, but it is not beyond criticism. In particular, it can become weaker the more it makes contact with realities outside itself. If you look upwards in the Great Court he designed in the British Museum, you will see an impressive structure of steel and glass, but at your own level it becomes bland and sometimes clumsy. The Gherkin is a memorable presence on the London skyline, but awkward at pavement level. The Millennium Bridge, even with the modifications necessary to stop it wobbling, is confident and elegant except at its landing, where the overhang of its cantilever creates spaces that are plain nasty.
In the context of infrastructure, the question is also whether it adapts to the political, social and physical conditions that surround it. In answer to Foster’s question, yes, I do believe in infrastructure. Or, rather, I’d compare it to water: essential to existence, life-enhancing and sometimes beautiful, but with the power to damage and destroy if misused.
Design for the proposed drone-port project in Rwanda. Photograph: Foster & Partners
All this makes a new drone-port project in Rwanda one of Foster and Partners’ most intriguing. Conceived with Jonathan Ledgard, the director of Afrotech, who describes himself as a thinker on the future of Africa, it is a plan to create a network of cargo drones that can bring medical supplies and blood, plus spare parts, electronics and e-commerce, to hard-to-access parts of Africa. The drones have ports – shelters where they can safely land and unload, but which also serve as “a health clinic, a digital fabrication shop, a post and courier room, and an e-commerce trading hub, allowing it to become part of local community life”. Because of their inaccessible locations, they have to be built using materials close to hand, so techniques have been developed for efficiently making local earth into bricks and stones into foundations.
It is impossible at this point and at this distance to know if the drone-port project will achieve what it hopes, but its ambition to adapt to local conditions seems absolutely to the point. The interesting question is then how to bring the same thinking to infrastructure in a developed country, such as Britain. What is the right infrastructure for the society and culture of this country, at this point? Has it changed since Foster’s Victorian heroes, such as Bazalgette, did their work? Can we import the large-scale thinking of modern China and, if so, with what modification? These are good questions for an architect to address.
Urban Age Global Debates run until 3 December; lsecities.net/ua
Wednesday, November 18. 2015
Note: still posting about exhibitions... the current one in Chicago that opened a month ago and will last until next January is certainly one to visit. I didn't had the occasion and wonder if I will... But the open angle usually taken by one of its curator, Jospeh Grima, when it comes to consider what is/might be(come) architecture, is certainly interesting as it also points out different ways and strategies of "being" an architect. Altough there is no reason to erase the old way, it just that it opens perspectives... I'll look forward for more inputs about the show.
A few weeks ago, during the opening of the Chicago Architecture Biennial, we eagerly awaited our opportunity to speak with Joseph Grima, the co-artistic director of the first Chicago Architecture Biennial. In an exhibition with such an open theme, we wanted to understand the driving forces behind the assembly of the participants, in addition to how the city of Chicago itself influenced decisions in the planning of this largest gathering of architecture in North America. Watch the video above and read a transcript of Grima's answers below.
Artistic Directors Joseph Grima & Sarah Herda. Image Courtesy of Chicago Architecture Biennial
ArchDaily: Can you introduce yourself and tell us about the motivations behind The State of the Art of Architecture?
"Chicago is a city that has over a century of history of innovation and bold vision in architecture and that’s something that really permeates the culture the city—beyond the public administration but also into its inhabitants—a real appreciation for the value and potential of architecture."
"The Biennial was a project that was incubated by the city of Chicago. I was brought in by my co-artistic director, Sarah Herda, who was really involved in the very early stages of the conversation around what this Biennial could be. It’s a project the city is very much invested in, that it really sees being defining in terms of its future, and Sarah and I, when we were given the opportunity to think about what this first exhibition could be, we were really thinking about this is an incredibly important moment in the history of architecture in this region, in this country, in this continent, in fact, because it is in fact the largest exhibition of contemporary architecture that’s ever been staged in North America. And so it was very important to think about what kind of a statement would be made with this first exhibition and we decided very early on that it shouldn’t be given a theme; it shouldn’t look at a particular aspect of architecture but it should be, in a way, a point of observation into the landscape of contemporary architecture — not just in this country but around the world. And so the title, The State of the Art of Architecture, really attempts to capture this idea that architecture is something extremely broad, that takes on many, many different forms, and that is mutable. It changes over time. So this is the “state of the art” today, it’s where we are today. It’s a small selection. It’s, in a way, trying to sample a number of different visions of what architecture is and what it can be, but it’s also trying to make the point that architecture is not simply a profession — it’s not something that just simply serves the practical purpose of keeping the rain out. It’s much more than that. It’s a form of cultural practice. And it’s an art form: the art of architecture. And so these are the key ideas that we really wanted to tackle with this exhibition."
Joseph Grima during the press tour at the opening of the Chicago Architecture Biennial. Image © Diego Hernández
ArchDaily: How did you select the Biennial participants?
"We did very very extensive reviews, we went through a very extensive review process and looked at the work of over 500 architects. We didn’t necessarily chose them on the basis of their merit - of some being better than others or some being more interesting than others - but we wanted to offer an extremely transversal view into the preoccupations, the concerns, the ideals, the ideas, the impulses that animate architecture today. And so the participants were really selected on the basis of bold vision, and of taking a risk in thinking about what architecture could be. And, in some way, kind of pushing it beyond its current state, kind of giving it an impulse towards the future. And that took many, many different forms. And what we were really interested in, one of the reasons why no room has a particular theme, but all the projects are in dialogue, they are all pulling in completely different directions; they are all attempting to do different things and no two are really making the same statement about architecture. And so we see really, the exhibition as a conversation."
Chicago Horizon / Ultramoderne. Winner of BP Prize. Image © Diego Hernández
ArchDaily: Can you tell us what you hope the Biennial's more permanent legacy will be?
"It was really important to us, from the beginning, that this exhibition should not be some sort of transient that would come in, go out, remain here for three months, perhaps inspire people but leave nothing behind. But we also wanted to take the opportunity to actually leave something tangible behind, and so through a collaboration with the Department of Parks of the City of Chicago and also with the sponsorship of BP we were able to organize the commissioning of a series of pavilions - or rather we organized a competition that was also covered by ArchDaily - for the design of a Lakefront Kiosk that would serve, during the summer months, the purpose of a concession stand. And also, through the collaboration with three schools in Chicago, the commissioning of three other concession stands. So these little concession stands that will populate the Lakefront during the summer months are something that will live on, that will stay in Chicago — and will possibly move around because they’re permanent architecture, so to speak, but not permanent in their site. They can be moved to different locations from year to year. And they are really a demonstration of the fact that architecture has extraordinary potential on every scale. It doesn’t necessarily need to be an entire landscape or a city plan or a house in order to have architectural value. But it can, even on the scale of a concession stand, it can make a huge difference in the city."
Joseph Grima is an architect, writer, curator, and researcher based in Genoa, Italy. From 2011 to 2013 he was editor-in-chief of Domus, a monthly magazine of architecture, design, and art. Grima recently curated the 2014 Biennale Interieur in Kortrijk, Belgium, one of Europe's oldest design biennials, and was co-curator of the first edition of the Istanbul Design Biennial, a major international exhibition inaugurated in 2012. He is the 2015 Director of IDEAS CITY, an ideas festival organized by the New Museum in New York and dedicated to exploring the future of cities.
Monday, November 09. 2015
Note: I recently posted about the E.A.T exhibition (closed on 1s Nov.) at the Museum der Moderne in Salzburg. Now comes the time of a new important exhibition at PAC (Milano) looking back to influential predecessors: Superstudio ...
There have been many exhibitions or mentions recently about this radical italian group, sure. Yet he interesting twist this time is that first, it is curated by Andreas Angelidakis, greek architect which work and research lead him very close to contemporary art, if not to ("new aesthetic" ?) "digital-media artists" (as Andreas was/is part of the "neen" group, composed among others by artists such as Miltos Manetas, Rafael Rozendaal, Angelo Plessas, etc.); secondly, the exhibition displays unseen works and tries to connect Superstudio past activities to contemporary works in art^z
Btw, for friends also living or working in Lausanne, the curator of the exhibition - Andreas Angelidakis - will be present in the citry and give a talk during the coming "Post Digital Cultures" symposium organized by Festival Les Urbaines 2015, next early December.
In Milan, a dialogue between Superstudio and 19 contemporary artists establishes connections and relations among the Florence group’s research and contemporary culture.
The Milan PAC presents the oeuvre of Superstudio (1966–1978), the group of radical architects and radical designers from Florence, which not only influenced the way of thinking and designing of architects such as Zaha Hadid, Rem Koolhaas and Bernard Tschumi, but also definitively questioned the boundary between art and architecture, and which is regarded as the last great Italian avant-garde.
“The exhibition is the chance to investigate the possibilities of a form of discourse through images that is still open, in which the strength of Superstudio’s projects – drawn from the large and mostly unpublished archive of the group in Florence – and of their environments, displayed together for the first time, enables to disclose and establish relationships with contemporary art,” curators Vittorio Pizzigoni and Valter Scelsi explained.
Superstudio, il Monumento Continuo, New York, 1969. MAXXI Museo nazionale delle arti del XXI secolo, Roma. Collezioni MAXXI Architettura. Fondo Superstudio. Above: Superstudio, il Monumento Continuo, Piazza Navona, 1970 Courtesy Pinksummer.
In a unique set-up, conceived by Baukuh and Valter Sclesi together with Superstudio, the Continuous Monument – perhaps the group’s most famous project – enters the PAC, which in itself is a monument to Italian modernity, transfiguring the exhibition space and captivating the viewer in a dynamic experience.
The exhibition will reconstruct Superstudio’s most important projects by bringing together its most representative pieces of design, installations and films, and by building – as a part of the total urbanisation model promoted by Superstudio itself – a dialogue with 19 works by 19 contemporary artists, who have drawn the raw material for their oeuvre from the Florence group’s research: Danai Anesiadou, Alexandra Bachzetsis, Ila Beka and Louise Lemoine, Pablo Bronstein, Stefano Graziani, Petrit Halilaj & Alvaro Urbano, Jim Isermann, Daniel Keller & Ella Plevin, Andrew Kovacs / Archive of Affinities, Rallou Panayotou, Paola Pivi, Angelo Plessas, Riccardo Previdi, RO/LU, Priscilla Tea, Patrick Tuttofuoco, Kostis Velonis, Pae White, Yacht-Utopia/Distopia.
Petrit Halilaj & Alvaro Urbano, What comes first, 2015. Installation, mixed media. Courtesy the artists.
“In selecting contemporary artists to be included in the exhibition, we chose those works that could be imagined as potential answers to Superstudio’s questions. The group’s works from 1970 are still radical today, as they shaped an architecture of premonitions, rather than answers, of questions, rather than objects,” Andreas Angelidakis, co-curator of the exhibition, pointed out. “Their work has put together a number of enigmas, concerning not only architecture, but also the way we live on our planet. Fifty years later, we can start seeing the answers to those questions raised in projects such as The Continuous Monument or Fundamental Acts. A continuous glossy surface that meets all of our needs and desires, and spreads across the world? Could it be that this surface exists today in the form of the Internet?”
Superstudio, Istogrammi manifesto, 1972 (François Lauginie, FRAC Centre Orléans)
Superstudio, Le Dodici Città Ideali, settima - dodicesima città, 1971 (photo Giulio Boem).
Superstudio, Supersuperficie(1972), 2000 (photo ZEPstudio, Centro per l'Arte Contemporanea Luigi Pecci).
Superstudio, Atti Fondamentali, Educazione, Progetto 1, 1971 Collezioni MAXXI Architettura. Fondo Superstudio.
Ila Bêka & Louise Lemoine, La Maddalena, La Maddalena Chair, 2014. Sound and video installation. Courtesy Beka & Partners.
Paolo Bronstein, Temporary Structure, 2014. Ink and watercolor on paper. Courtesy the artist and Galleria Franco Noero, Torino.
Patrick Tuttofuoco, Revolving Landscape (San Paolo), 2006. Foto di Beppe Giardino.
Until January 6, 2016
Wednesday, August 26. 2015
Hippie Modernism exhibition at the Walker Art Center to celebrate design's trippy side | #radical #experiments #counterculture
Note: In parallel with the exhibition about the work of E.A.T at the Museum der Moderne in Salzburg, another exhibition: Hippie Modernism: The Struggle for Utopia that will certainly be worth a detour at the Walker Art Center in Minneapolis later this autumn.
The architecture and design of the counterculture era has been overlooked, according to the curator of an upcoming exhibition dedicated to "Hippie Modernism".
Yellow submarine by Corita Kent, 1967. Photograph by Joshua White
The radical output of the 1960s and 1970s has had a profound influence on contemporary life but has been "largely ignored in official histories of art, architecture and design," said Andrew Blauvelt, curator of the exhibition that opens at the Walker Art Center in Minneapolis this autumn.
"It's difficult to identify another period of history that has exerted more influence on contemporary culture and politics," he said.
Superchair by Ken Isaacs, 1967
Women in Design: The Next Decade by Sheila Levrant de Bretteville, 1975. Courtesy of Sheila Levrant de Bretteville
While not representative of a formal movement, the works in Hippie Modernism challenged the establishment and high Modernism, which had become fully assimilated as a corporate style, both in Europe and North America by the 1960s.
The exhibition, entitled Hippie Modernism: The Struggle for Utopia will centre on three themes taken from taken from American psychologist and psychedelic drug advocate Timothy Leary's era-defining mantra: Turn on, tune in, drop out.
Organised with the participation of the Berkeley Art Museum/Pacific Film Archive, it will cover a diverse range of cultural objects including films, music posters, furniture, installations, conceptual architectural projects and environments.
Hendrixwar/Cosmococa Programa-in-Progress, 1973. Courtesy of the Walker Art Center collection, Minneapolis
Jimi Hendrix, Ira Cohen, 1968. Photograph from the Mylar Chamber, courtesy of the Ira Cohen Archive
The Turn On section of the show will focus on altered perception and expanded individual awareness. It will include conceptual works by British avant-garde architectural group Archigram, American architecture collective Ant Farm, and a predecessor to the music video by American artist Bruce Conner – known for pioneering works in assemblage and video art.
Tune In will look at media as a device for raising collective consciousness and social awareness around issues of the time, many of which resonate today, like the powerful graphics of the US-based black nationalist party Black Panther Movement.
Untitled [the Cockettes] by Clay Geerdes, 1972. Courtesy of the estate of Clay Geerdes
Drop Out includes alternative structures that allowed or proposed ways for individuals and groups to challenge norms or remove themselves from conventional society, with works like the Drop City collective's recreation dome – a hippie version of a Buckminster Fuller dome – and Newton and Helen Mayer Harrison's Portable Orchard, a commentary on the loss of agricultural lands to the spread of suburban sprawl.
Environment Transformer/Flyhead Helmet by Haus-Rucker-Co, 1968. Photograph courtesy of Haus-Rucker-Co and Gerald Zugmann
The issues raised by the projects in Hippie Modernism – racial justice, women's and LGBT rights, environmentalism, and localism among many other – continue to shape culture and politics today.
Blauvelt sees the period's ongoing impact in current practices of public-interest design and social-impact design, where the authorship of the building or object is less important than the need that it serves.
Payne's Gray by Judith Williams, circa 1966. Photograph courtesy of the Morris and Helen Belkin Art Gallery, The University of British Columbia
Superonda Sofa by Archizoom Associati, 1966. Photograph courtesy of Dario Bartolini, Archizoom Associati
Many of the exhibited artists, designers, and architects created immersive environments that challenged notions of domesticity, inside/outside, and traditional limitations on the body, like the Italian avant-garde design group Superstudio's Superonda: conceptual furniture which together creates an architectural landscape that suggests new ways of living and socialising.
Hello Dali by Isaac Abrams, 1965
Blauvelt sees the period's utopian project ending with the OPEC oil crisis of the mid 1970s, which helped initiate the more conservative consumer culture of the late 1970s and 1980s.
Organised in collaboration with the Berkeley Art Museum and the Pacific Film Archive, Hippie Modernism will run from 24 October 2015 to 28 February 2016 at the Walker Art Center.
Thursday, August 06. 2015
Note: we remain in history for a little more time... It's now Ken Isaacs' turn to be praised for his work around micro inhabitable spaces and living structures! I post this with the iodea in mind that his work could serve as reference for a future workshop next November at ECAL, probably with rAndom International as guests and when we'll continue to work around "cloud computing" and its infrastructure (datacenter), looking for counter-proposals or rather "counter-designs".
Via Object Guerilla
This week at work I picked up an old book, How to Build Your Own Living Structures, by Ken Isaacs, to read at lunch. I didn't finish it, so I brought it home. A little internet-ing revealed this book was out-of-print, rare, and selling for a good bit at various outlets. However, I think the copyright has lapsed, because it is available online as a PDF.
Isaacs was born in 1927 in Peoria, Illinois, and served in the military as a young man. After Korea, he studied architecture, and then began to craft a career as a designer, architect, and educator. In the late fifties, he became Head of Design at the Cranbrook Academy of Arts, birthplace of much notable mid-century modernism, including Eliel and Eero Saarinen Charles and Ray Eames, and Harry Weese. He also spent some time teaching at the Illinois Institute of Technology, founded by Mies van der Rohe as a sort of Bauhaus West.
Cover, via Pop-Up City.
Matrix-based "super chair." Nowadays, most of that stuff can be replaced with an iPad... The next iterative leap in the Matrix was to do away with the framing altogether. Isaacs developed rigid stress-skin structures, using plywood and "L" brackets to make cubes. The cubes were built in modules: 16", 24", and eventually, 48". Smaller units were used for storage; mid-size ones could serve as desks and chairs; and the large units became the first Micro-Houses.
The Micro-House, circa late 60s, via Pop-Up City. Isaacs had the same idea, but he designed a modular, flat-pack, lightweight, re-configurable system. Combining the original beam-based Matrix and the stud-less panel structures, he built 8-foot modules out of 1" steel pipe and inserted plywood volumes into the matrix. Taking the classic modernist approach -- divorcing structure and skin -- he came up with a cheap, versatile house. The First Microhouse, built with a Graham Foundation grant in Groveland, Illinois, (near Carbondale, home of fellow light structure pioneer Buckminster Fuller), looks dated in the photos, but also startlingly fresh. I love the raw, stark geometry of it, everything stripped down to the margins.
Another variation on the Microhouse -- it is infinitely reconfigurable. His 8' Microhouse is very of its era, but has nonetheless managed to inspire at least one modern imitator, in Glasgow. It creates an 8' volume based on a matrix of eight 4' volumes bolted together. The canted sides, tetrahedral feet, and hatch doors give it a real Apollo feel, minus the silvery skin.
The plywood stress-skin Microhouse. Throughout, wrapped in some seventies slang and general architectural hooliganism, Isaacs stresses pre-fabrication, modularity, simplicity, and off-the-shelf parts. None of the projects are particularly difficult to make with simple tools(a little time-consuming, perhaps). The book itself is a bit shambling, combining personal narrative, philosophical inquiry, and DIY instructions. In many ways, it seems like a blog, written with no caps and little editing. Some of the book sale listings I found online show the original as spiral-bound, in keeping with its guerilla nature.
They were eventually able to replace the department-store albatross with this number.
Monday, July 27. 2015
Note: nice to discover that a museum has decided to mount a retrospective ("first-ever") about the activities of Expriments in Art and Technologies (E.A.T.), a group composed of avant-garde artists and scientists (R. Rauschenberg, R. Whitman, D. Tudor, B. Klüver, F. Waldhauer) that were behind milestones events such as "Event scores, 9 evening" in New York (mainly scored by R. Roschenberg, but with fellow artists and "scorists" like J. Cage, D. Tudor, R. Whitman, L. Childs, etc.) or later the Pepsi Pavilion in Osaka, with Fujiko Nakaya (fog sculptures). This association helped anchor the association of visionary people and scientific labs (Bell Labs in this case, where people like Frank Malina was also working at the time, or A. Michael Noll too... to name a few). Later influential labs (Menlo Park, Xerox, Media Lab) and of course many recent Swiss initiatives (i.e. Artists in labs or Collide@CERN) are inheritors of this early collaboration.
BTW, we should suggest to Pro Helvetia that they could also run an "architects in labs" so as a "designers in lab", that would be a great initiative!
The exhibition opened last Saturday and will last until November 1, 2015.
The Museum der Moderne Salzburg presents a comprehensive survey of the projects of the evolving association of artists and technologists E.A.T. – Experiments in Art and Technology.
The Museum der Moderne Salzburg mounts the first-ever comprehensive retrospective of the activities of Experiments in Art and Technology (E.A.T.), a unique association of engineers and artists who wrote history in the 1960s and 1970s.
Artists like Robert Rauschenberg (1925–2008) and Robert Whitman (b.1935) teamed up with Billy Kluver (1927–2004), a visionary technologist at Bell Telephone Laboratories, and his colleague Fred Waldhauer (1927–1993) to launch a groundbreaking initiative that would realize works of art in an unprecedented collaborative effort.
Top and above: Experiments in Art and Technology (E.A.T.), Pepsi Pavilion, exterior with fog installation by Fujiko Nakaya and Floats by Robert Breer © J. Paul Getty Trust. Getty Research Institute, Los Angeles (2014.R.20). Photo: Shunk-Kender
Around two hundred works of art and projects ranging from kinetic objects, installations, and performances to films, videos, and photographs as well as drawings and prints exemplify the most important stages of E.A.T.’s evolution.
In light of the rapid technological developments of the period, the group aimed to put an art into practice that would employ cutting-edge technology. Starting in the early 1960s, Kluver collaborated with artists including Jean Tinguely, Andy Warhol, Jasper Johns, and Yvonne Rainer on an individual basis.
Like some artists of the time, he was interested in the social implications of novel technologies and believed that the marriage of art and science had to take place on a practical and physical level. Members of E.A.T. hoped that the meeting between artists and engineers would allow for the production of works that would not have been possible without the special expertise of trained technologists. The engineers would conversely be inspired to think in new directions and help shape the future evolution of technology.
Jean Tinguely, Homage to New York, 1960. Kinetic sculpture (mixed media) and performance. The Museum of Modern Art, New York, NY, US, Sculpture Garden, March 17, 1960 © Estate of David Gahr. Photo: David Gahr. Right: Jean Dupuy, Heart Beats Dust, 1968. Engineer: Ralph Martel Lithol rubine pigment, wood, glass, light, stethoscope, amplifier. Collection FRAC Bourgogne © ADAGP, Paris/Courtesy Galerie Loevenbruck, Paris. Photo: Terry Stevenson
July 25 – November 1, 2015
fabric | rblg
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