fabric | rblg

By fabric | ch

-----

As we continue to lack a decent search engine on this blog and as we don't use a "tag cloud" ... This post could help navigate through the updated content on | rblg (as of 08.2021), via all its tags!

FIND BELOW ALL THE TAGS THAT CAN BE USED TO NAVIGATE IN THE CONTENTS OF | RBLG BLOG:

(to be seen just below if you're navigating on the blog's html pages or here for rss readers)

--

Note that we had to hit the "pause" button on our reblogging activities a while ago (mainly because we ran out of time, but also because we received complaints from a major image stock company about some images that were displayed on | rblg, an activity that we felt was still "fair use" - we never made any money or advertise on this site).

Nevertheless, we continue to publish from time to time information on the activities of fabric | ch, or content directly related to its work (documentation).

Note: a brief video documentation about one of fabric | ch's latest project – Atomized (Re)Staging – that was exhibited at ZKM during Matter. Non-Matter. Anti-Matter.

The exhibition was curated by Lívía Nolasco-Roszás and Felix Koberstein and took place ibn the context of the European research project Beyond Matter.

Via fabric | ch's Vimeo

-----

Note: fabric | ch is thrilled to be part of Pro Helvetia's Shanghai best of 2022! Thanks for this new post and for the support to the exhibition at the HOW Art Museum, as well as it's performances and online lectures program during the pandemic!

We were glad to see that the architectural installation fabric | ch realized in this context remained useful also for remote interaction, exchange of ideas and collaboration.

...

And it's also a way – and still the time – to wish everyone a good start in 2023! With, we hope, many successes, exciting projects and creative statements responding to the challenges of our time.

Via Pro Helvetia (Visual Arts)

-----

Our Best Picks of 2022

For art practitioners or audiences alike, it has not been an easy year. The path of global encounter seemed distant for a while, but has never vanished. Somehow we know, maybe in the most surprising manner, that we will meet each other again halfway. It could be one of these reassuring moments that convinced us of hope when the world is turned upside down: the flipping of bookpages, the smiles from digital rooms, a concert without performers, a recital without playwrights. We are so eager to present what has excited, motivated, or touched us in the past year. Scroll down and discover a diverse selection of projects highlighted under the three overarching themes -- support, connect, and inspire.

Wish you a brilliant start and a Happy New Year 2023!

Pro Helvetia Shanghai

Pro Helvetia Shanghai
Swiss Arts Council
Room 509, Building 1
No.1107, Yuyuan Road, Changning District
Shanghai 200050, China
shanghai@prohelvetia.cn

-----

Beneath the Skin, Between the Machines

Exhibition overview

---

---

“Man is only man at the surface. Remove the skin, dissect, and immediately you come to machinery.” When Paul Valéry wrote this down, he might not foresee that human beings – a biological organism – would indeed be incorporated into machinery at such a profound level in a highly informationized and computerized time and space. In a sense, it is just as what Marx predicted: a conscious connection of machine^[1]. Today, machine is no longer confined to any material form; instead, it presents itself in the forms of data, coding and algorithm – virtually everything that is “operable”, “calculable” and “thinkable”. Ever since the idea of cyborg emerges, the man-machine relation has always been intertwined with our imagination, vision and fear of the past, present and future.

In a sense, machine represents a projection of human beings. We human beings transfer ideas of slavery and freedom to other beings, namely a machine that could replace human beings as technical entities or tools. Opposite (and similar, in a sense,) to the “embodiment” of machine, organic beings such as human beings are hurrying to move towards “disembodiment”. Everything pertinent to our body and behavior can be captured and calculated as data. In the meantime, the social system that human beings have created never stops absorbing new technologies. During the process of trial and error, the difference and fortuity accompanying the “new” are taken in and internalized by the system. “Every accident, every impulse, every error is productive (of the social system),”^[2] and hence is predictable and calculable. Within such a system, differences tend to be obfuscated and erased, but meanwhile due to highly professional complexities embedded in different disciplines/fields, genuine interdisciplinary communication is becoming increasingly difficult, if not impossible.

As a result, technologies today are highly centralized, homogenized, sophisticated and commonized. They penetrate deeply into our skin, but beyond knowing, sensing and thinking. On the one hand, the exhibition probes into the reconfiguration of man by technologies through what’s “beneath the skin”; and on the other, encourages people to rethink the position and situation we’re in under this context through what’s “between the machines”. As an art institute located at Shanghai Zhangjiang Hi-Tech Industrial Development Zone, one of the most important hi-tech parks in China, HOW Art Museum intends to carve out an open rather than enclosed field through the exhibition, inviting the public to immerse themselves and ponder upon the questions such as “How people touch machines?”, “What the machines think of us?” and “Where to position art and its practice in the face of the overwhelming presence of technology and the intricate technological reality?” Departing from these issues, the exhibition presents a selection of recent works of Revital Cohen & Tuur Van Balen, Simon Denny, Harun Farocki, Nicolás Lamas, Lynn Hershman Leeson, Lu Yang, Lam Pok Yin, David OReilly, Pakui Hardware, Jon Rafman, Hito Steyerl, Shi Zheng and Geumhyung Jeong. In the meantime, it intends to set up a “panel installation”, specially created by fabric | ch for this exhibition, trying to offer a space and occasion for decentralized observation and participation in the above discussions. Conversations and actions are to be activated as well as captured, observed and archived at the same time.

^[1] Karl Marx, “Fragment on Machines”, Foundations of a Critique of Political Economy

^[2] Niklas Luhmann, Social Systems

---

fabric | ch, Platform of Future-Past, 2022, Installation view at HOW Art Museum.

Work by fabric | ch

HOW Art Museum has invited Lausanne-based artist group fabric | ch to set up a “panel installation” based on their former project “Public Platform of Future Past” and adapted to the museum space, fostering insightful communication among practitioners from different fields and the audiences.

“Platform of Future-Past” is a temporary environmental device that consists in a twenty meters long walkway, or rather an observation deck, almost archaeological: a platform that overlooks an exhibition space and that, paradoxically, directly links its entrance to its exit. It thus offers the possibility of crossing this space without really entering it and of becoming its observer, as from archaeological observation decks. The platform opens- up contrasting atmospheres and offers affordances or potential uses on the ground.

The peculiarity of the work consists thus in the fact that it generates a dual perception and a potential temporal disruption, which leads to the title of the work, Platform of Future-Past: if the present time of the exhibition space and its visitors is, in fact, the “archeology” to be observed from the platform, and hence a potential “past,” then the present time of the walkway could be understood as a possible “future” viewed from the ground…

“Platform of Future-Past” is equipped in three zones with environmental monitoring devices. The sensors record as much data as possible over time, generated by the continuously changing conditions, presences and uses in the exhibition space. The data is then stored on Platform Future-Past’s servers and replayed in a loop on its computers. It is a “recorded moment”, “frozen” on the data servers, that could potentially replay itself forever or is waiting for someone to reactivate it. A “data center” on the deck, with its set of interfaces and visualizations screens, lets the visitors-observers follow the ongoing process of recording.

The work could be seen as an architectural proposal built on the idea of massive data production from our environment. Every second, our world produces massive amounts of data, stored “forever” in remote data centers, like old gas bubbles trapped in millennial ice.

As such, the project is attempting to introduce doubt about its true nature: would it be possible, in fact, that what is observed from the platform is already a present recorded from the past? A phantom situation? A present regenerated from the data recorded during a scientific experiment that was left abandoned? Or perhaps replayed by the machine itself ? Could it already, in fact, be running on a loop for years?

---

---

[Banner image: fabric | ch, Platform of Future-Past, 2022, Scaffolding, projection screens, sensors, data storage, data flows, plywood panels, textile partitions, Dimensions variable.]

Event I

Beneath the Skin, Between the Machines — Series Panel

Investigating Sensoriums: Beyond Life/Machine Dichotomy

*Due to COVID-related prevention measures, this projection of the performance will take place online via CEF.

Performance projection will be played when the museum can reopen on Platform of Future-Past (2022), an environmental installation conceived by fabric | ch, studio for architecture, interaction and research, for the exhibition. 

HOW Art Museum (Shanghai) will also be temporarily closed during this period.

---

About the artist

Jessica Huber works as an artist in the field of the performing arts and is also together with Karin Arnold a founding member of mercimax, a performance collective based in Zürich.

After finishing her dance studies in London, she danced for various dance companies and most of her early pieces have been dance pieces too. Though her recent work and the forms and formats she chooses, have become more diverse during the past few years. Recently she has been collaborating with the British artist and activist James Leadbitter aka the vacuum cleaner on the hope & fear project.

Jessica works with curiosity and has a special interest in the texture of relationships and in how we function as individuals and as communities in society. She regularly gives workshops to professionals and non-professionals (different social groups) and teaches as a guest tutor at the Hyperwerk in Basel (Institut for studies for Post Industrial Design – or as they call it “the place where we think about how we want to live together in the future”) and is one of two artists who are part of the newly founded dramaturgy pool of Tanzhaus Zürich. She deeply enjoys diversity and is fascinated by the many possible aesthetics of exchange and sharing.

---

About the performance

Picture in the dark: Fletcher/Huber, picture daytime: Ettlin/Huber *pictures from “holding it together”: Nelly Rodriguez

Holding it together*: myself and the other is first of all an encounter between the two performers Géraldine Chollet and Robert Steijn – and the underlying questions of what binds us together and how we create intimacy, playfulness and trust by sharing rituals and treatments with each other.

Two very different and differently old bodies nestle together, doing silent rituals of gentle intimacy. They explain, apparently quite privately, how they met at a party and worked with each other – one with, one without a plan – and what this resulted in. The Dutch performer with a penchant for Shamanism and the dancer from Lausanne offer each other a song, a dance and neither shy away from deep feelings… 

“Holding it together” is a series of collaborations, performances and researches Jessica Huber created in collaboration with different artists. The first idea for ‘Holding it together’ sparked during her studio residency in Berlin in 2013. This led to a collection of ideas, approaches to movement and formats under the thematic umbrella: ‘Holding it together’. Four thematic chapters or acts stem from this period: – The Thing; The Mass; Myself; Myself & the other(s).

“Holding it together” is not only a reference to the series’ overarching theme of cooperation and the question of how we perceive and create our world, but also an announcement of the working method: At the core of this series were reflections about the aesthetics and praxis of exchange and sharing, about rituals, as well as the longing for space and time for encounter.

Note:

The exhibition related to the project and European research Beyond Matter - Past Exhibitions as Digital Experiences will open next week at ZKM, with the digital versions (or should I rather say "versioning"?) of two past and renowned exhibitions: Iconoclash, at ZKM in 2002 (with Bruno Latour among the multiple curators) and Les Immateriaux, at Beaubourg in 1985 (in this case with Jean-François Lyotard, not so long after the release of his Postmodern Condition). An unusual combination from two different times and perspectives.

The title of the exhibition will be Matter. Non-Matter. Anti-Matter, with an amazing contemporary and historic lineup of works and artists, as well as documentation material from both past shows.

Working with digitized variants of iconic artworks from these past exhibitions (digitization work under the supervision of Matthias Heckel), fabric | ch has been invited by Livia Nolasco-Roszas, ZKM curator and head of the research, to present its own digital take in the form of a combination on these two historic shows, and by using the digital models produced by their research team and made available.

The result, a new fabric | ch project entitled Atomized (re-)Staging, will be presented at the ZKM in Karlsruhe from this Saturday on (03.12.2022 - 23.04.2023).

Via ZKM

-----

Opening: Matter. Non-Matter. Anti-Matter. 

© ZKM | Center for Art and Media Karlsruhe, Visual: AKU Collective / Mirjam Reili

Past exhibitions as Digital Experiences

Fri, December 02, 2022 7 pm CET, Opening

---

Atrium 1+2, 2nd floor

Free entry

---

When past exhibitions come to life digitally, the past becomes a virtual experience. What this novel experience can look like in concrete terms is shown by the exhibition »Matter. Non-Matter. Anti-Matter«.

As part of the project »Beyond Matter. Cultural Heritage on the Verge of Virtual Reality«, the ZKM | Karlsruhe and the Centre Pompidou, Paris, use the case studies »Les Immatériaux« (Centre Pompidou, 1985) and »Iconoclash« (ZKM | Karlsruhe, 2002) to investigate the possibility of reviving exhibitions through experiential methods of digital and spatial modeling.

The digital model as an interactive presentation of exhibition concepts is a novel approach to exploring exhibition history, curatorial methods, and representation and mediation. The goal is not to create »digital twins«, that is, virtual copies of past assemblages of artifacts and their surrounding architecture, but to provide an independent sensory experience.

On view will be digital models of past exhibitions, artworks and artifacts from those exhibitions, and accompanying contemporary commentary integrated via augmented reality. The exhibition will be accompanied by a conference on virtualizing exhibition histories.

The exhibition will be accompanied by numerous events, such as specialist workshops, webinars, online and offline guided tours, and a conference.

---

Program

7 – 7:30 p.m. Media Theater
Short lectures by
Sybille Krämer, Professor (emer.) at the Free University of Berlin
Siegfried Zielinski, media theorist with a focus on archaeology and variantology of arts and media, curator, author

Moderation: Lívia Nolasco-Rózsás, curator

7:30 – 8:15 p.m. Media Theater
Welcome
Olga Sismanidi, Representative Creative Europe Program of the European Commission (EACEA)
Arne Braun, State Secretary in the Ministry of Science, Research and the Arts of Baden-Württemberg
Frank Mentrup, Lord Mayor of the City of Karlsruhe
Peter Weibel, Director of the ZKM | Karlsruhe
Xavier Rey, Director of the Centre Pompidou, Paris

8:15 – 8:30 p.m. Improvisation on the piano
Hymn Controversy by Bardo Henning

8:30 p.m.
Curator guided tour of the exhibition

---

The exhibition will be open from 8 to 10 p.m.

The mint Café is also looking forward to your visit.

---

Matter. Non-Matter. Anti-Matter.

Past Exhibitions as Digital Experiences.

Sat, December 03, 2022 – Sun, April 23, 2023

The EU project »Beyond Matter: Cultural Heritage on the Verge of Virtual Reality« researches ways to reexperience past exhibitions using digital and spatial modeling methods. The exhibition »Matter. Non-Matter. Anti-Matter.« presents the current state of the research project at ZKM | Karlsruhe.

At the core of the event is the digital revival of the iconic exhibitions »Les Immatériaux« of the Centre Pompidou Paris in 1985 and »Iconoclash: Beyond the Image Wars in Science, Religion, and Art« of the ZKM | Karlsruhe in 2002.

Based on the case studies of »Les Immatériaux« (Centre Pompidou, 1985) and »Iconoclash: Beyond the Image Wars in Science, Religion, and Art« (ZKM, 2002), ZKM | Karlsruhe and the Centre Pompidou Paris investigate possibilities of reviving exhibitions through experiential methods of digital and spatial modeling. Central to this is also the question of the particular materiality of the digital.

At the heart of the Paris exhibition »Les Immatériaux« in the mid-1980s was the question of what impact new technologies and materials could have on artistic practice. When philosopher Jean-François Lyotard joined as cocurator, the project's focus eventually shifted to exploring the changes in the postmodern world that were driven by a flood of new technologies.

The exhibition »Iconoclash« at ZKM | Karlsruhe focused on the theme of representation and its multiple forms of expression, as well as the social turbulence it generates. As emphasized by curators Bruno Latour and Peter Weibel, the exhibition was not intended to be iconoclastic in its approach, but rather to present a synopsis of scholarly exhibits, documents, and artworks about iconoclasms – a thought experiment that took the form of an exhibition – a so-called »thought exhibition.«

»Matter. Non-Matter. Anti-Matter.« now presents in the 21st century the digital models of the two projects on the Immaterial Display, hardware that has been specially developed for exploring virtual exhibitions. On view are artworks and artifacts from the past exhibitions, as well as contemporary reflections and artworks created or expanded for this exhibition. These include works by Jeremy Bailey, damjanski, fabric|ch, Geraldine Juárez, Carolyn Kirschner, and Anne Le Troter that echo the 3D models of the two landmark exhibitions. They bear witness to the current digitization trend in the production, collection, and presentation of art.

Case studies and examples of the application of digital curatorial reconstruction techniques that were created as part of the Beyond Matter project complement the presentation.

The exhibition »Matter. Non-Matter. Anti-Matter.« is accompanied by an extensive program of events: A webinar series aimed at museum professionals and cultural practitioners will present examples of work in digital or hybrid museums; two workshops, coorganized with Andreas Broeckmann from Leuphana University Lüneburg, will focus on interdisciplinary curating and methods for researching historical exhibitions; workshops on »Performance-Oriented Design Methods for Audience Studies and Exhibition Evaluation« (PORe) will be held by Lily Díaz-Kommonen and Cvijeta Miljak from Aalto University.

After the exhibition ends at the ZKM, a new edition of »Matter. Non-Matter. Anti-Matter.« will be on view at the Centre Pompidou in Paris from May to July 2023.

>>>

>>>

Further locations and dates:

Project

Cooperation partners

Supported by

Note:

An upcoming exhibition for fabric | ch, which will open next week at the ZKM in Karlsruhe.

We'll present a new work in this context (Atomized (re-)Staging), about which we'll hopefully find time to post some documentation on this blog later.

Via @beyondmatter

---

Matter. Non-Matter. Anti-Matter delves into the significance of digitality and computer-generated environments in the context of the material understanding of art production and the showcasing of it.

The exhibition presents the digital models of Les Immatériaux (Centre Pompidou, 1985) and Iconoclash. Beyond the Image Wars in Science, Religion, and Art (ZKM, 2002) on the newly developed Immaterial Display.

Furthermore, a selection of artworks and artifacts, mainly from the collections of the @centrepompidou and @zkmkarlsruhe, attest to a conceptual dematerialization and digital re-materialization of artworks.

 

 

 

 

View this post on Instagram

 

 

 

 

 

 

 

 

 

 

 

A post shared by Beyond Matter (@beyondmattereu)

---

Via @ptrckkllr

 

 

 

 

View this post on Instagram

 

 

 

 

 

 

 

 

 

 

 

A post shared by Patrick Keller (@ptrckkllr)

Note: during the long shutdown of the museums in Switzerland last Spring, fabric | ch has nevertheless the chance to see Public Platform of Future Past (pdf), one of its latest architectural investigations, integrated into the permanent collection of the Haus der elektronischen Künste (HeK), in Basel.

We are pleased that our work is recognized by innovative and risk taking curators (Sabine Himmelsbach, Boris Magrini), and become part of the museum's collection, along several others works (by Jodi, !Mediengruppe Bitnik, Olia Lialina, Christina Kubisch, Zimoun, etc.)

It is also the first of our work whose certificate of authenticity has been issued by a blockchain! (datadroppers)

A second work - currently in production - will enter the collection in the spring of 2021, which will be documented at that time.

-----

Via Haus der elektronischen Künste 

By Sabine Himmelsbach

HeK Sammlung - Sabine Himmelsbach über fabric | ch from HeK on Vimeo.

---

The video work is composed of four distinct videos, each showing a distinct but static view into a timelapse of the pavilion and its evolving light.

All four video must be displayed simultaneously by following minimal instructions.

Note: open since last September and seen here and there, this exhibition at the Withney about the uses of rules and code in art. It follows a similar exhibition - and historical as well - this year at the MOMA, Thinking Machines. This certainly demonstrates an increasing desire and interest in the historization of six decades - five in the context of this show - of "art & technologies" (not yet "design & technologies", while "architecture and digital" was done at the CCA).

Those six decades remained almost under the radar for long and there will be obviously a lot of work to do to write this epic!

Interesting in the context of the Whitney exhibition are the many sub-topics developed: 

- Rule, Instruction, Algorithm: Ideas as Form / 

- Rule, Instruction, Algorithm: Generative Measures / 

- Rule, Instruction, Algorithm: Collapsing Instruction and Form /

- Signal, Sequence, Resolution: Image Resequenced / 

- Signal, Sequence, Resolution: Liberating the Signal /

- Signal, Sequence, Resolution: Realities Encoded /

- Augmented Reality: Tamiko Thiel

Via Whitney Museum of American Art

-----

Programmed: Rules, Codes, and Choreographies in Art, 1965–2018 establishes connections between works of art based on instructions, spanning over fifty years of conceptual, video, and computational art. The pieces in the exhibition are all “programmed” using instructions, sets of rules, and code, but they also address the use of programming in their creation. The exhibition links two strands of artistic exploration: the first examines the program as instructions, rules, and algorithms with a focus on conceptual art practices and their emphasis on ideas as the driving force behind the art; the second strand engages with the use of instructions and algorithms to manipulate the TV program, its apparatus, and signals or image sequences. Featuring works drawn from the Whitney’s collection, Programmed looks back at predecessors of computational art and shows how the ideas addressed in those earlier works have evolved in contemporary artistic practices. At a time when our world is increasingly driven by automated systems, Programmed traces how rules and instructions in art have both responded to and been shaped by technologies, resulting in profound changes to our image culture.

The exhibition is organized by Christiane Paul, Adjunct Curator of Digital Art, and Carol Mancusi-Ungaro, Melva Bucksbaum Associate Director for Conservation and Research, with Clémence White, curatorial assistant.

Note: As a direct follow-up to the May 1968 celebrations, Makery published (in French) an article retracing a history of "inhabitable utopias", or different architectures that have since been experimented with or thought about. 

The short article is mainly illustrated with an interactive timeline presenting these experiments carried out over the past 50 years.

Via Makery

-----

Depuis l’urbanisme utopique issu de Mai 68 jusqu’aux «Lieux infinis» mis en avant par le collectif Encore Heureux à la Biennale de Venise 2018, Makery balaie cinquante ans d’alternatives architecturales.

En savoir plus:

La webographie suit le déroulé de la chronologie ci-dessus.

L’image qui ouvre cette chronologie est le Makrolab de Marko Peljhan, à Rottnest Island, en Australie, 2000.

---

Instant City, Peter Cook, Archigram, Royaume-Uni, 1968.

« Structures gonflables », exposition au musée d’Art moderne de la ville de Paris, du 1er au 28 mars 1968.

Whole Earth Catalog, édité par Stewart Brand, de 1968 à 1971 aux Etats-Unis.

L’église gonflable de Montigny-lès-Cormeilles, par Hans-Walter Müller, France, 1969.

Inflatocookbook, du collectif Ant Farm, Etats-Unis, 1970.

Le laboratoire urbain d’Arcosanti, Paolo Soleri, Arizona, Etats-Unis, 1970.

La « ville libre » de Christiania, Copenhague, Danemark, 1971.

Le restaurant FOOD de Gordon Matta-Clark, New York, 1971, exposition Gordon Matta-Clark, anarchitecte, musée du Jeu de Paume, du 5 juin au 23 septembre 2018.

Superstudio, agence d’architecture, Italie, 1966-1978.

Shelter, Lloyd Kahn, Etats-Unis, 1973.

Lutte du Larzac, France, 1973-1982.

Sunspots, Steve Baer, Zomeworks, Etats-Unis, 1975.

Comment habiter la terre, Yona Friedman, 1976.

Casa Bola, Eduardo Longo, São Paulo, Brésil, 1979.

Les cabanes de Josep Pujiula à Argelaguer, province de Gérone, Catalogne, Espagne, 1980-2016.

Bolo’Bolo, P.M., 1983.

Le Jardin en mouvement de Gilles Clément, 1985.

Le Magasin à Grenoble, Patrick Bouchain, 1986.

Future Shack, Sean Godsell, Australie, 1985.

Brevétisation du container en habitat par Philip C. Clark, Etats-Unis, 1987.

Black Rock City, la ville éphémère du festival Burning Man, Nevada, Etats-Unis, 1990- .

Le projet A.G. Gleisdreieck, Berlin, Allemagne, 1990- .

Reclaim The Streets, Londres, 1991- .

Castlemorton Common Festival, Royaume-Uni, 1992.

Les maisons en carton de Shigeru Ban, Kobe, Japon, 1995.

Muf (Londres), Stalker (Italie), Coloco (Paris), Bruit du Frigo (Bordeaux), créés en 1996.

Makrolab, Marko Peljhan, Projekt Atol, Slovénie, 1997-2007.

Manifestations de Seattle contre l’Organisation mondiale du commerce, Etats-Unis, 1999.

Ecobox, Atelier d’architecture autogérée, Paris, 2002.

L’architecture du RAB, Exyzt, Paris, France, 2003.

Parking Day, Rebar, San Francisco, Etats-Unis, 2006.

Zone à Défendre, Notre-Dame-des-Landes, France, 2008- .

Tactical Urbanism, Mike Lydon et Anthony Garcia, Island Press, 2015.

Cloud City, Tomás Saraceno, Metropolitan Museum of Art, New York, Etats-Unis, 2012.

Fab City Global, création en 2014 et Fab City Summit, à Paris du 11 au 13 juillet 2018.

Assemble Studio (Royaume-Uni), Turner Prize 2015.

Elemental, Pritzker Prize 2016.

Accueil des migrants porte de la Chapelle, Julien Beller, Paris, 2016-2018.

Mai 68. L’architecture aussi !, Cité de l’architecture et du patrimoine, Paris, du 16 mai au 17 septembre 2018.

Lieux infinis, agence Encore Heureux, Pavillon français de la Biennale internationale d’architecture de Venise 2018.

----

Direct translation with DeepL (no links):

To know more about it

The webography follows the chronology above.

The image that opens this chronology is Marko Peljhan's Makrolab, Rottnest Island, Australia, 2000.

---

Instant City, Peter Cook, Archigram, United Kingdom, 1968.

"Inflatable structures", exhibition at the Musée d'Art moderne de la ville de Paris, from 1 to 28 March 1968.

Whole Earth Catalog, published by Stewart Brand, from 1968 to 1971 in the United States.

The inflatable church of Montigny-lès-Cormeilles, by Hans-Walter Müller, France, 1969.

Inflatocookbook, by the Ant Farm collective, United States, 1970.

The Arcosanti Urban Laboratory, Paolo Soleri, Arizona, USA, 1970.

The "Free City" of Christiania, Copenhagen, Denmark, 1971.

The FOOD restaurant of Gordon Matta-Clark, New York, 1971, Gordon Matta-Clark exhibition, an architect, Jeu de Paume museum, from June 5 to September 23, 2018.

Superstudio, architectural firm, Italy, 1966-1978.

Shelter, Lloyd Kahn, United States, 1973.

Larzac struggle, France, 1973-1982.

Sunspots, Steve Baer, Zomeworks, USA, 1975.

How to Live on the Earth, Yona Friedman, 1976.

Casa Bola, Eduardo Longo, São Paulo, Brazil, 1979.

Josep Pujiula's huts in Argelaguer, province of Girona, Catalonia, Spain, 1980-2016.

Bolo'Bolo, P.M., 1983.

Le Jardin en mouvement by Gilles Clément, 1985.

Le Magasin à Grenoble, Patrick Bouchain, 1986.

Future Shack, Sean Godsell, Australia, 1985.

Patenting of the container in housing by Philip C. Clark, United States, 1987.

Black Rock City, the ephemeral city of the Burning Man festival, Nevada, USA, 1990- .

The A.G. Gleisdreieck project, Berlin, Germany, 1990- .

Reclaim The Streets, London, 1991- .

Castlemorton Common Festival, United Kingdom, 1992.

The cardboard houses of Shigeru Ban, Kobe, Japan, 1995.

Muf (London), Stalker (Italy), Coloco (Paris), Bruit du Frigo (Bordeaux), created in 1996.

Makrolab, Marko Peljhan, Projekt Atol, Slovenia, 1997-2007.

Seattle demonstrations against the World Trade Organization, United States, 1999.

Ecobox, Atelier d'architecture autogérée, Paris, 2002.

L'architecture du RAB, Exyzt, Paris, France, 2003.

Parking Day, Rebar, San Francisco, USA, 2006.

Zone à Défendre, Notre-Dame-des-Landes, France, 2008- .

Tactical Urbanism, Mike Lydon and Anthony Garcia, Island Press, 2015.

Cloud City, Tomás Saraceno, Metropolitan Museum of Art, New York, United States, 2012.

Fab City Global, created in 2014 and Fab City Summit, in Paris from 11 to 13 July 2018.

Assemble Studio (United Kingdom), Turner Prize 2015.

Elemental, Pritzker Prize 2016.

Reception of migrants at Porte de la Chapelle, Julien Beller, Paris, 2016-2018.

May 68. Architecture too, Cité de l'architecture et du patrimoine, Paris, from 16 May to 17 September 2018.

Lieux infinis, Encore Heureux agency, French Pavilion at the 2018 Venice International Architecture Biennale.

More about it HERE.

Note: following the exhibition Thinking Machines: Art and Design in the Computer Age, 1959–1989 until last April at MOMA, images of the show appeared on the museum's website, with many references to projects. After Archeology of the Digital at CCA in Montreal between 2013-17, this is another good contribution to the history of the field and to the intricate relations between art, design, architecture and computing.

How cultural fields contributed to the shaping of this "mass stacked media" that is now built upon the combinations of computing machines, networks, interfaces, services, data, data centers, people, crowds, etc. is certainly largely underestimated.

Literature start to emerge, but it will take time to uncover what remained "out of the radars" for a very long period. They acted in fact as some sort of "avant-garde", not well estimated or identified enough, even by specialized institutions and at a time when the name "avant-garde" almost became a "s-word"... or was considered "dead".

Unfortunately, no publication seems to have been published in relation to the exhibition, on the contrary to the one at CCA, which is accompanied by two well documented books.

Via MOMA

-----

Thinking Machines: Art and Design in the Computer Age, 1959–1989

November 13, 2017–April 8, 2018 | The Museum of Modern Art 

Note: I'll have the great pleasure to be in discussion tomorrow with Fabio Gramazio, Prof. & Head for Digital fabrication at ETHZ and partner at Gramazio Kohler, during the much-awaited symposium "Research in Art and Design", at ECAL.

If you can attend, please do so! As we're expecting great presentations from the likes of Xavier Veilhan, Roel Wouters, Skylar Tibbits, Catherine Ince and several others... including Fabio Gramazio of course, who will speak about their rescent researches at the Swiss Institute of Technology / Department of Architecture in Zürich.

Via ECAL

-----

10+10 Research in Art & Design at ECAL
A symposium celebrating 10 years of Research in Art and Design

Tuesday 10 October 2017, 8.00–18.30
IKEA Auditorium, ECAL, Renens
www.researchday.ch

On the occasion of the 10 years since the moving of ECAL/University of Art and Design Lausanne to its current premises in Renens and marking the 10th anniversary of the foundation of EPFL+ECAL Lab, ECAL is hosting a symposium on Research in Art and Design, featuring artists, designers and scholars in these fields from all over the world, in conversation with ECAL faculty members.

Admission is free upon registration through the online RSVP form at www.researchday.ch
Due to the limited number of seats in the auditorium, the maximum number of participants is 350.

---

Programme

8.00–8.30 Registration
8.30–9.00 Welcome
Alexis Georgacopoulos director, ECAL

Introductory notes on Research in Art and Design in Switzerland
Davide Fornari professor, ECAL

Moderation
Vera Sacchetti design critic, Basel

Design Research: from Academia to the Real World

9.00–9.45 Alba Cappellieri professor, Politecnico di Milano, Milan
in conversation with Nicolas Henchoz director, EPFL+ECAL Lab

9.45–10.30 Sophie Pène vice president, Conseil National du Numérique, Paris
in conversation with Davide Fornari professor, ECAL

10.30–11.00 Coffee break

Research Through Art and Design: Materials and Forms
11.00–11.45 Xavier Veilhan artist, Paris
in conversation with Stéphanie Moisdon professor, ECAL

11.45–12.30 Fabio Gramazio co-founder, Gramazio + Kohler Architects, Zurich
in conversation with Patrick Keller professor, ECAL

-

12.30–13.30 Lunch

-

Research Practices in Curating Art and Design
13.30–14.15 Catherine Ince senior curator, Victoria and Albert Museum, London
in conversation with Anniina Koivu professor, ECAL

14.15–15.00 Astrid Welter head of programs, Fondazione Prada, Milan/Venice
in conversation with Federico Nicolao professor, ECAL

15.00–15.15 Coffee break

The Future of Art and Design Research
15.15–16.00 Roel Wouters co-founder, Moniker, Amsterdam
in conversation with Vincent Jacquier professor, ECAL

16.00–16.45 Skylar Tibbits co-founder, MIT Self-Assembly Lab, Cambridge (MA)
in conversation with Christophe Guberan professor, ECAL

16.45 Closing remarks, panel discussion
Alexis Georgacopoulos
Vera Sacchetti
Davide Fornari

---

17.30 Exhibition openings at Cinema Studio, Gallery l’elac and EPFL+ECAL Lab

• Caustics, curated by Mark Pauly, EPFL RAYFORM
• Projects for Victorinox, curated by Thilo Alex Brunner
• The Sausage of the Future, curated by Carolien Niebling (preview)
• Augmented Photography, curated by Milo Keller (preview)
• EPFL+ECAL Lab Research Land, curated by Nicolas Henchoz
• Rapid Liquid Printing, curated by Christophe Guberan, MIT Self-Assembly Lab, Steelcase

ECAL will launch the book Making Sense: 10 Years of Research in Art and Design at ECAL on the occasion of the symposium.

---

18.30   Cocktail

10+10 Research in Art and Design at ECAL
In collaboration with EPFL+ECAL Lab
With the support of HES-SO
Media partner Disegno

Ecole cantonale d’art de Lausanne
5, Avenue du Temple, Renens  

Related Links: