Note: a proto-smart-architecture project by Cedric Price dating back from the 70ies, which sounds much more intersting than almost all contemporary smart architecture/cities proposals.
These lattest being in most cases glued into highly functional approaches driven by the "paths of less resistance-frictions", supported if not financed by data-hungry corporations. That's not a desirable future to my point of view.
"(...). If not changed, the building would have become “bored” and proposed alternative arrangements for evaluation (...)"
Cedric Price’s proposal for the Gilman Corporation was a series of relocatable structures on a permanent grid of foundation pads on a site in Florida.
Cedric Price asked John and Julia Frazer to work as computer consultants for this project. They produced a computer program to organize the layout of the site in response to changing requirements, and in addition suggested that a single-chip microprocessor should be embedded in every component of the building, to make it the controlling processor.
This would result in an “intelligent” building which controlled its own organisation in response to use. If not changed, the building would have become “bored” and proposed alternative arrangements for evaluation, learning how to improve its own evaluation, learning how to improve its own organisation on the basis of this experience.
The Brief
Generator (1976-79) sought to create conditions for shifting, changing personal interactions in a reconfigurable and responsive architectural project.
It followed this open-ended brief:
"A building which will not contradict, but enhance, the feeling of being in the middle of nowhere; has to be accessible to the public as well as to private guests; has to create a feeling of seclusion conducive to creative impulses, yet…accommodate audiences; has to respect the wildness of the environment while accommodating a grand piano; has to respect the continuity of the history of the place while being innovative."
The proposal consisted of an orthogonal grid of foundation bases, tracks and linear drains, in which a mobile crane could place a kit of parts comprised of cubical module enclosures and infill components (i.e. timber frames to be filled with modular components raging from movable cladding wall panels to furniture, services and fittings), screening posts, decks and circulation components (i.e. walkways on the ground level and suspended at roof level) in multiple arrangements.
When Cedric Price approached John and Julia Frazer he wrote:
"The whole intention of the project is to create an architecture sufficiently responsive to the making of a change of mind constructively pleasurable."
Generator Project
They proposed four programs that would use input from sensors attached to Generator’s components: the first three provided a “perpetual architect” drawing program that held the data and rules for Generator’s design; an inventory program that offered feedback on utilisation; an interface for “interactive interrogation” that let users model and prototype Generator’s layout before committing the design.
The powerful and curious boredom program served to provoke Generator’s users. “In the event of the site not being re-organized or changed for some time the computer starts generating unsolicited plans and improvements,” the Frazers wrote. These plans would then be handed off to Factor, the mobile crane operator, who would move the cubes and other elements of Generator. “In a sense the building can be described as being literally ‘intelligent’,” wrote John Frazer—Generator “should have a mind of its own.” It would not only challenge its users, facilitators, architect and programmer—it would challenge itself.
The Frazers’ research and techniques
The first proposal, associated with a level of ‘interactive’ relationship between ‘architect/machine’, would assist in drawing and with the production of additional information, somewhat implicit in the other parallel developments/ proposals.
The second proposal, related to the level of ‘interactive/semiautomatic’ relationship of ‘client–user/machine’, was ‘a perpetual architect for carrying out instructions from the Polorizer’ and for providing, for instance, operative drawings to the crane operator/driver; and the third proposal consisted of a ‘[. . .] scheduling and inventory package for the Factor [. . .] it could act as a perpetual functional critic or commentator.’
The fourth proposal, relating to the third level of relationship, enabled the permanent actions of the users, while the fifth proposal consisted of a ‘morphogenetic program which takes suggested activities and arranges the elements on the site to meet the requirements in accordance with a set of rules.’
Finally, the last proposal was [. . .] an extension [. . .] to generate unsolicited plans, improvements and modifications in response to users’ comments, records of activities, or even by building in a boredom concept so that the site starts to make proposals about rearrangements of itself if no changes are made. The program could be heuristic and improve its own strategies for site organisation on the basis of experience and feedback of user response.
Self Builder Kit and the Cal Build Kit, Working Models
In a certain way, the idea of a computational aid in the Generator project also acknowledged and intended to promote some degree of unpredictability. Generator, even if unbuilt, had acquired a notable position as the first intelligent building project. Cedric Price and the Frazers´ collaboration constituted an outstanding exchange between architecture and computational systems. The Generator experience explored the impact of the new techno-cultural order of the Information Society in terms of participatory design and responsive building. At an early date, it took responsiveness further; and postulates like those behind the Generator, where the influence of new computational technologies reaches the level of experience and an aesthetics of interactivity, seems interesting and productive.
Resources
John Frazer, An Evolutionary Architecture, Architectural Association Publications, London 1995. http://www.aaschool.ac.uk/publications/ea/exhibition.html
Frazer to C. Price, (Letter mentioning ‘Second thoughts but using the same classification system as before’), 11 January 1979. Generator document folio DR1995:0280:65 5/5, Cedric Price Archives (Montreal: Canadian Centre for Architecture).
Note: 2017 was very busy (the reason why I wasn't able to post much on | rblg...), and the start of 2018 happens to be the same. Fortunately and unfortunatly!
I hope things will calm down a bit next Spring, but in the meantime, we're setting up an exhibition with fabric | ch. A selection of works retracing 20 years of activities, which purpose will be also to serve in the perspective of a photo shooting for a forthcoming book.
The event will take place in a disuse factory (yet a historical monument from the 2nd industrial era), near Lausanne.
If you are around, do not hesitate to knock at the door!
During a few days, in the context of the preparation of a book, a selection of works retracing 20 years of activities of fabric | ch will be on display in a disused factory close to Lausanne.
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Information: http://www.fabric.ch/xx/
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Opening on February 9, 5.00-11.00pm
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Visiting hours:
Saturday - Sunday 10-11.02, 4.00-8.00pm
Wednesday 14.02, 5.00-8.00pm
Friday-Saturday 16-17.02, 5.00-8.00pm.
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Or by appointment: 021.3511021
Guided tours at 6.00pm
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Pendant quelques jours et dans le contexte de la création d'un livre monographique, accrochage d'une sélection de travaux retraçant 20 ans d'activités de fabric | ch.
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Informations: http://www.fabric.ch/xx
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Vernissage le 9 février, 17h-23h
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Heures de visite:
Samedi - dimanche 10-11.02, 16h-20h
Mercredi 14.02, 17h-20h
Vendredi-samedi 16-17.02, 17h-20h00
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Ou sur rendez-vous: 021.3511021
Visites commentées à 18h.
New MoMA show plots the impact of computers on architecture and design. Pictured here: “Menu 23" layout of Cedric Price's Generator Project. (Courtesy California College of the Arts archive)
The beginnings of digital drafting and computational design will be on display at the Museum of Modern Art (MoMA) starting November 13th, as the museum presents Thinking Machines: Art and Design in the Computer Age, 1959–1989. Spanning 30 years of works by artists, photographers, and architects, Thinking Machines captures the postwar period of reconciliation between traditional techniques and the advent of the computer age.
Organized by Sean Anderson, associate curator in the museum’s Department of Architecture and Design, and Giampaolo Bianconi, a curatorial assistant in the Department of Media and Performance Art, the exhibition examines how computer-aided design became permanently entangled with art, industrial design, and space planning.
Drawings, sketches, and models from Cedric Price’s 1978-80 Generator Project, the never-built “first intelligent building project” will also be shown. The response to a prompt put out by the Gilman Paper Corporation for its White Oak, Florida, site to house theater and dance performances alongside travelling artists, Price’s Generator proposal sought to stimulate innovation by constantly shifting arrangements.
Ceding control of the floor plan to a master computer program and crane system, a series of 13-by-13-foot rooms would have been continuously rearranged according to the users’ needs. Only constrained by a general set of Price’s design guidelines, Generator’s program would even have been capable of rearranging rooms on its own if it felt the layout hadn’t been changed frequently enough. Raising important questions about the interaction between a space and its occupants, Generator House laid the groundwork for computational architecture and smart building systems.
R. Buckminster Fuller’s 1970 work for Radical Hardware magazine will also appear. (Courtesy PBS)
Thinking Machines: Art and Design in the Computer Age, 1959–1989 will be running from November 13th to April 8th, 2018. MoMA members can preview the show from November 10th through the 12th.
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.
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.
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
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12.30–13.30 Lunch
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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
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 07.2017), via all its tags!
HERE ARE ALL THE CURRENT TAGS TO NAVIGATE ON | RBLG BLOG:
(to be seen just below if you're navigating on the blog's html pages or here for rss readers)
Note: interesting exhibition and economic setup (by Fala Atelier) for an exhibition about the metabolists in Lisbon --Nagakin Capsule Tower specifically--, in one of the many marvelous yet rotten "palaces" of the City!
Finding a place to live in Tokyo isn't easy. Most of the available options are expensive and usually located far from the center. Typologically, the Nakagin Capsule Tower continues to prove that it makes sense. Designed by Kisho Kurokawa and built in 1972, it represented a new typology and a different approach to the idea of urban renewal.
Nevertheless, forty years later, it is clear that something went wrong along the way. The building is getting emptier and several of the capsules are abandoned, rotten, leaking. Some of the owners want to demolish it; a few offer resistance. Each capsule was supposed to last 20 years but twice the time has passed.
Metabolism’s biggest icon is sick and stands today only as a remembrance of a future that never happened.
Anticlimax was an exhibition about the contemporary routine of a fallen hero. While presenting its current condition, the exhibition intended to illustrate the contemporary daily life of one of the most iconic buildings of the 20th Century.
Exhibiting the former metabolist superstar in Portugal was also a provocation and the layout for the exhibition was a necessary curatorial dead-end: presenting the Nakagin in a traditional way would be conceptually wrong. The exhibition happens in an almost negligent way, reflecting the condition of the building, bringing its sense of scale and repetition to the Sinel de Cordes Palace.
Note: what about starting again after the Summer #farniente with some "illusions and science"? "Amazing" that's for sure.
Would have certainly been a useful resource for the research workshop we led around "the cloud" with Random International, about ghost data presence (and to develop Ghost Data Interfaces). Especially as I pointed out the "sublime" dimension of technology in a related post.
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).
"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.
Note: We've been pointing out several exhibitions on fabric | rblg recently. Here comes a new one, early next year in London (Whitechapel Gallery), that will undoubtedly become one not to be missed, at least for the media/electronic art community interested in its own art history, but certainly for the art community in general (at a time when the intertwinings between arts and sciences become hot again and as there have note been many such initiatives -- not one that broad in fact, to my knowledge). We will have the pleasure to see again works from E.A.T. exhibited (after the exhibition in Salzburg early this year), so as by N.J. Paik that become a bit hard to see recently (is this due to lawsuits between its inheritor and apparently not too sympathetic gallerist?)
Interestingly, as many of these artists are part of a theory/history course I give to ECAL students, it will become very interesting teaching material for me as well! Great that this will exist, so as the catalogue that I''ll be very curious to read.
Looking forward to meet friends and ghosts in London early next year then!
Media view: Thursday 28 January, 10:00-12:00
Galleries 1, 2, 8 & Victor Petitgas Gallery (Gallery 9)
Experiments in Art and Technology (E.A.T.) - E.A.T. News. Volume 1 (B. Klüver, R. Rauschenberg).
In January 2016 the Whitechapel Gallery presents Electronic Superhighway, a landmark exhibition that brings together over 100 artworks to show the impact of computer and Internet technologies on artists from the mid-1960s to the present day.
New and rarely seen multimedia works, together with film, painting, sculpture, photography and drawing by over 70 artists feature, including works by Cory Arcangel, Roy Ascott, Jeremy Bailey, Judith Barry, James Bridle, Douglas Coupland, Constant Dullaart, Lynn Hershman Leeson, Vera Molnar, Albert Oehlen, Trevor Paglen, Nam June Paik, Jon Rafman, Hito Steyerl, Ryan Trecartin, Amalia Ulman and Ulla Wiggen.
The exhibition title Electronic Superhighway is taken from a term coined in 1974 by South Korean video art pioneer Nam June Paik, who foresaw the potential of global connections through technology. Arranged in reverse chronological order, Electronic Superhighway begins with works made between 2000 – 2016, and ends with Experiments in Art and Technology (E.A.T), an iconic, artistic moment that took place in 1966. Spanning 50 years, from 2016 to 1966, key moments in the history of art and the Internet emerge as the exhibition travels back in time.
As the exhibition illustrates, the Internet has provided material for different generations of artists. Oliver Laric’s painting series Versions (Missile Variations) (2010) reflects on issues surrounding digital image manipulation, production, authenticity and circulation. Further highlights include a series of photographs from conceptual artist Amalia Ulman’s four-month Instagram project Excellences & Perfections (2014-2015), which examines the influence of social media on attitudes towards the female body. Miniature paintings by Celia Hempton painted live in chatrooms go on display alongside a large scale digital painting by Albert Oehlen and manipulated camera-less photography by Thomas Ruff.
The dot-com boom, from the late 1990s to early millennium, is examined through work from international artists and collectives such as The Yes Men who combined art and online activism in response to the rapid commercialisation of the web.
Works by Nam June Paik in the exhibition include Internet Dreams (1994), a video-wall of 52 monitors displaying electronically-processed abstract images, and Good Morning, Mr. Orwell (1984). On New Year’s Day 1984 Paik broadcast live and pre-recorded material from artists including John Cage and The Thompson Twins from a series of satellite-linked television studios in New York, West Germany, South Korea and Paris’ Pompidou Centre to an estimated audience of 25 million viewers worldwide. Paik saw the event as a counter response to George Orwell’s’s dystopian vision of 1984.
The birth of the World Wide Web in 1989 provided a breeding ground for early user-based net art, with innovators such as Moscow-born Olia Lialina adopting the Internet as a medium, following earlier practices in performance and video. In My Boyfriend Came Back from the War (1996) the artist presents a love story enacted via an interactive black and white browser screen.
The emergence of net art is explored through a curated selection of interactive browser-based works from the Rhizome archive, a leading digital arts organisation founded online in 1996 by artist Mark Tribe, and affiliated with the New Museum in New York since 2003. In 1999, Rhizome created a collection of born-digital artworks which has grown to include over 2000 and in recent years, it has developed a preservation programme around this archive.
One of the first ever major interactive art installations, Lorna (1979-1982) by Lynn Hershman Leeson presents a fictional female character who stays indoors all day watching TV and anticipated virtual avatars. Also on show is Judith Barry’s video installation Speed flesh (1998), which lures viewers into an interactive computer-generated world.
A proliferation of experiments from the 1960s – 70s pushed the boundaries of technology. Artists such as Manfred Mohr, Vera Molnar, Frieder Nake and Stan VanDerBeek adopted computer programmes to create abstract and geometrical works while Roy Ascott, Allan Kaprow, Gary Hill and Nam June Paik used various new media to connect across multiple sites globally.
The exhibition concludes with artefacts from the formation of Experiments in Art and Technology (E.A.T) in New York in 1966 which saw performances over nine evenings from artists such as Robert Rauschenberg, John Cage and Yvonne Rainer working together with engineers from American engineering company Bell Laboratories in one of the first major collaborations between the industrial technology sector and the arts.
To coincide with Electronic Superhighway a series of related special projects/displays, commissions and special events include:
Harun Farocki – Parallel I–IV(2012–4) 15 December 2015 – 12 June 2016 (Free Entry)
German avant-garde film-maker Harun Farocki’s major video installation Parallel I-IV (2012-2014), the artist’s final work, is shown in Gallery 2. In this display, Farocki charts the evolution of computer game graphics – from the earliest simple, symbolic forms, through thirty years of rapid technological progression to the realism of the present day. Projected on four screens, each video focuses on different aspects of the video game genre.
Luke Fowler and Mark Fell: Computers and Cooperative Music-Making Until 7 February 2016 (Free Entry)
Glasgow-based artist film-maker Luke Fowler and Yorkshire-based multidisciplinary artist Mark Fell collaborate on a new exhibition exploring technological advancements in music history. Focussing on two historic computer music languages that have been obscured by more commercially viable options, the duo look at how computers began to impact and shape music making, while experimenting with unfamiliar techniques involving algorithms, non-standard timing and tuning tables.
Heather Phillipson 12 February – 17 April 2016 (Free Entry)
Artist and award-winning poet Heather Phillipson creates a new installation for the project galleries, expanding on her time as the Gallery’s Writer in Residence in 2015. Through video, music, sculpture and live and recorded speech, Phillipson’s work oscillates between conceptual distances and the intimacy of the body.
Artists’ Film International: Rachel Maclean 29 January – 29 May 2016 (Free Entry) Artists’ Film International, the Whitechapel Gallery’s annual programme of film, video and animation chosen by partner cultural organisations around the world, is based on the theme of ‘technologies’ in 2016. Highlights include Scottish artist Rachel Maclean’s Germs (2013), a dark and surreal take on female-targeted advertising, which runs from 28 January 2016.
For more information on events and displays visit whitechapelgallery.org
Notes for Editors
For over a century the Whitechapel Gallery has premiered world class artists from modern masters such as Pablo Picasso, Jackson Pollock, Mark Rothko and Frida Kahlo to contemporaries such as Sophie Calle, Lucian Freud, Gilbert & George and Mark Wallinger. With beautiful galleries, exhibitions, artist commissions, collection displays, historic archives, education resources, inspiring art courses, dining room and bookshop, the Gallery is open all year round, so there is always something free to see. It is a touchstone for contemporary art internationally, plays a central role in London’s cultural landscape and is pivotal to the continued growth of the world’s most vibrant contemporary art quarter.
The exhibition is curated by Omar Kholeif, Curator, Whitechapel Gallery with Séamus McCormack, Assistant Curator, Whitechapel Gallery.
The exhibition is accompanied by a fully illustrated catalogue edited by Omar Kholeif which includes contributions by Iwona Blazwick, Omar Kholeif, Ed Halter, Erika Balsom, Sarah Perks, Judith Barry, Nam June Paik, Lynn Hershman Leeson, Séamus McCormack, Jonas Lund and Ulla Wiggen. Price £29.99.
The exhibition’s development has been supported by a curatorial advisory committee which includes, Erika Balsom, Lecturer, Film and Liberal Arts, King’s College London; Heather Corcoran, Former Executive Director, Rhizome; Ed Halter, Co-Director Light Industry, Assistant Professor, Bard College; and Sarah Perks, Artistic Director, Cornerhouse and HOME, and Professor at Manchester School of Art.
The full list of artists included in Electronic Superhighway are: Jacob Appelbaum; Cory Arcangel; Roy Ascott; Jeremy Bailey; Judith Barry; Wafaa Bilal; Zach Blas; Olaf Breuning; James Bridle; Heath Bunting;Bureau of Inverse ;Technology (B.I.T.);Antoine Catala; Aristarkh Chernyshev; Petra Cortright; Vuk Ćosić; Douglas Coupland; CTG (Computer Technique Group); Cybernetic Serendipity ;Aleksandra Domanović; Constant Dullaart; Experiments in Art and Technology (E.A.T.); Harun Farocki; Joana Hadjithomas and Khalil Joreige; Celia Hempton; Camille Henrot; Gary Hill; Ann Hirsch; Nancy Holt and Richard Serra ; JODI; Eduardo Kac; Allan Kaprow; Hiroshi Kawano; Mahmoud Khaled; Oliver Laric; Jan Robert Leegte; Lynn Hershman Leeson; Olia Lialina; Tony Longson; Rafael Lozano-Hemmer; Jonas Lund; Jill Magid; Eva and Franco Mattes; Model Court; Vera Molnar ; Mouchette (Martine Neddam); Manfred Mohr; Jayson Musson; Frieder Nake; Joshua Nathanson; Katja Novitskova; Mendi + Keith Obadike; Albert Oehlen; Trevor Paglen; Nam June Paik; Jon Rafman; Evan Roth; Thomas Ruff; Alex Ruthner; Jacolby Satterwhite; Lillian F. Schwartz; Peter Sedgley; Taryn Simon; Frances Stark; Hito Steyerl; Sturtevant; Martine Syms; Thomson and Craighead; Ryan Trecartin; Amalia Ulman; Stan VanDerBeek; Steina and Woody Vasulka; Addie Wagenknecht; Lawrence Weiner; Ulla Wiggen; The Yes Men; YOUNG-HAE CHANG HEAVY INDUSTRIES
This blog is the survey website of fabric | ch - studio for architecture, interaction and research.
We curate and reblog articles, researches, writings, exhibitions and projects that we notice and find interesting during our everyday practice and readings.
Most articles concern the intertwined fields of architecture, territory, art, interaction design, thinking and science. From time to time, we also publish documentation about our own work and research, immersed among these related resources and inspirations.
This website is used by fabric | ch as archive, references and resources. It is shared with all those interested in the same topics as we are, in the hope that they will also find valuable references and content in it.
