fabric | rblg

By fabric | ch

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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)

Personal comment:

Could we consider to extend museums into outer or deep space?
We know that there are some art programs with the Nasa and the European Space Agency, but there are no permanent exhibition structures into space at the moment! (a memorial on the Moon possibly) ... Maybe one part of the Space Station could become an extension of the global Guggenheim ... Guggenheim Space ;) ... or maybe something more interesting!

Via Michelle Kasprzak via @chrstphggnrd

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Rhizome recently published a piece I wrote entitled “Moving the Museum Online“. The piece was a critique of the Adobe Museum of Digital Media, and also served as a platform to discuss the concept of online museums, and highlight a few examples that I thought were particularly noteworthy, including the Virtual Museums of Canada, the Museum of Online Museums, the MINI Museum, and Google’s recent Art Project.

In both the comments section on the piece and through Twitter comments and emails, people have kindly been pointing out other examples of online museums that are of interest. Here are three that stood out:

Guggenheim Virtual Museum (vintage: 2001): “The Solomon R. Guggenheim Museum has commissioned the New York firm Asymptote Architects to design and implement a new Guggenheim Museum in cyberspace. This is the first phase of a three-year initiative to construct an entirely new museum facility. The structure will be an ongoing work in process, with new sections added as older sections are renovated. The project will consist of navigable three-dimensional spatial entities accessible on the Internet as well as real-time interactive components installed at the various Guggenheim locations.

As envisioned by Asymptote and the Guggenheim, the Guggenheim Virtual Museum will emerge from the fusion of information space, art, commerce, and architecture to become the first important virtual building of the 21st century.”

muSIEum (vintage: unknown, pre-2009): This online reconfiguration of four Viennese museums “…displaying gender, criticizing the conventional hegemonial ordering of things”, and “bringing out the different storylines that could (have) been told with the same objects from a standpoint counter-acting the cultural hegemony of the patriarchal view”. An intervention that is needed not just in Vienna, I’d wager. In German only.

MIX-m (vintage: 2001 – 2003): “MIX-m stands for MIXed-museum. It is a contemporary art museum that exists both in physical and digital spaces, in localized and networked environments. MIX-m plays with the dimensions of its architecture: a mix between a real museum space (here, the Bâtiment d’Art Contemporain in Geneva) (1:1), a digital space based on the dimensions of its host (1:x) and a model of this game-like environment (1:50). MIX-m has the ability to re-locate itself into this existing exhibition environment, transforming, mixing and extending it into new territories. It offers therefore a variable environment to create art installations. These works, commissioned by MIX-m, can now define and modulate their presence inside an extended space spectrum: physical-digital, real-simulated, localized-networked.”

Read Moving the Museum Online on Rhizome, and join the discussion there or send me a Tweet (@mkasprzak) with your own suggestions of other virtual museum projects that exemplify either the lack in current physical museums (as muSIEum does), an additionality (as with the Guggenheim), or a hybrid space (MIX-m).

Related Links:

Via Designboom

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'teshima art museum' by ryue nishizawa and rei naito on teshima island
photo © noboru morikawa photos


'teshima art museum' by tokyo-based architect ryue nishizawa and japanese artist rei naito
recently welcomed visitors of the 2010 setouchi international art festival held on seven islands
in the takamatsu port area, japan. hugging a hilly site on the island of teshima, the museum
resembles a droplet of water caught in the middle of gliding across the land.



exterior view
image © iwan baan
see more images at domus


overlooking the inland sea to the north, the collaborative project was designed to interact
with its wooded surrounding, pushing the tangible boundary between architecture and nature.
two large elliptical openings define and orient the space while letting the interior collect pieces
of the elements: pools of water accumulate on the floor and freely shift and migrate according
to the breeze's direction; the sounds from the sea and foliage reverberate through the open space
while the ambiance is in constant change according to the sun's position and time of day.



collected rain water inside the museum
image courtesy lllabo


at 25 cm thick, the white concrete pod shell is devoid of any pillars or visible structural aid.
the gallery space is not a result of encapsulation but a careful negotiation between
the earth and the sky. visitors are encouraged to freely walk around the 40 by 60 meter
museum and connect with the present phenomena.



looking in to the interior
image © iwan baan
see more images at domus



large cut-out
photo © noboru morikawa photos



image courtesy office of ryue nishizawa



photo © noboru morikawa photos



a part of rei naito's work entitled 'matrix'
photo © noboru morikawa photos



photo © noboru morikawa photos


a meandering path around the site take visitors around mt. myojin, a small bluff between
the museum and the sea. the form and presence of the structure seemingly fluctuates with
the observer's vantage point, much like a dynamic drop of water traveling across a surface.



outside promenade
image © iwan baan
see more images at domus



art museum in context
image courtesy prkbkr



image courtesy prkbkr



image courtesy office of ryue nishizawa


made possible by the patronage of the naoshima fukutake art museum foundation,
the teshima art museum will continue to operate after the festival, hosting activities involving
art, architecture, food, the environment, and other creative intersections.



the museum adjacent to the nearby rice terraces
photo © noboru morikawa photos



site plan
image courtesy office of ryue nishizawa



contextual site plan
image courtesy naoshima fukutake art museum foundation

about ryue nishizawa:
born in 1966, nishizawa joined kazuyo sejima & associates in 1990,
established SANAA with her in 1995, and established his own practice
in 1997. along with sejima, he was awarded the pritzker architecture prize
in 2010. significant works include, 'honmura lounge and archive' (2005, naoshima),
'moriyama house' (2005, tokyo), and the 'towada art center' (2008, aomori).

about rei naito:
born in hiroshima in 1961, naito's major exhibitions and projects include
'being given' (2001, kinza, art house project, benesse art site naoshima),
'un luogo sulla terra' (1997, japanese pavilion, 47th venice biennale),
'tout anial est dans le monde comme de l'eau a interieur de l'eau'
(2009, museum of modern art, kamakura).

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be sure to check out raymund ryan's coverage of the museum for domus
with the always stunning photographs by iwan baan by clicking here.

Via It's Nice That

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The Tate Modern have always challenged people’s perceptions of art throughout The Unilever Series (now in it’s eleventh year), from Olafur Eliasson’s The Weather Project to Doris Salcedo’s Shibboleth they have always got people talking and the latest installation by Chinese artist Ai Weiwei is no exception. In his latest work 1000 square metres of The Turbine Hall’s floor are now covered in more than 100 million individually handmade replica sunflower seeds. (Read more)

www.aiweiwei.com
www.tate.org.uk

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Personal comment:

11 years after La_Fabrique and 6 after MIX-m (for MIXed museum, at the MAMCO and later at CAC), Adobe is lauching its digital museum designed by Filippo Innocenti & Zaha Hadid. Thank you the "avant-garde" ;) ...
Is this the time of the "slope of enlightment" for digital museums, opened 24/7 worldwide and dedicated to digital content?

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Via Northern Lights

Personal comment:

Following an earlier post about the same book, some short developments here by Steve Dietz.

A few months ago we presented you the winning entry for this years YAP competition for the P.S.1 summer installation, awarded to MOS Architects (Michael Meredith, Hilary Sample) as we reported earlier.

This competition has been a field for experimentation on digital manufacturing, new materials and new construction techniques -all under a tight budget-, as we saw in 2008 with the P.F.1 by WORKac.

To keep the courtyard fresh, a series of “hut” like structures conformed by inverted catenaries (part of an on going research by the practice) acting as chimneys: The faux fur that covers them collects heat from the sun, transfering it to the air inside the huts creating a chimney effect that keeps air flowing to cool the lower level.

The resulting space corresponds to the after-party concept envisioned by MOS:

The main purpose of the afterparty is to provide a relaxing environment, as compared to the earlier venue, where the atmosphere is usually more frenetic. During an afterparty people often sit down, relax, and chat freely, meet new people in a more controlled setting. If the original party was one that continued until late at night, the afterparty will often include a morning snack, which usually counts as breakfast. …. Possibly in contrast to relaxation, the afterparty can provide a chance for people to get away from the eyes of people who were overseeing the main party. This tends to be more common in events such as school balls where alcohol consumption is not allowed, and provides a location where the partygoers will be allowed to drink. In this case, the afterparty may turn out to be more lively than the main party, as the people are freed from the restrictions that were placed on them during the main party.

All photos by © Florian Holzherr. See more after the break:

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Via ArchDaily

Related Links:

Personal comment:

Un mélange entre hi-tech génératif (+ ou -) et vernaculaire (+ ou - tentes nomades mongoles (?)), avec un discours sur la gestion des fluxs thermiques évoquant clairement les "architectures sans architectes".
Et un exemple de plus de l'utilisation renouvelée des pavillons comme support de statements (traditionnel celui-ci, puisque le PS1 de New York est un des premiers à avoir relancé le style). Les projets de MOS sont à regarder sur leur site, tout cela a l'air assez intéressant.

I've stopped counting the number of emails i received about my latest flickr set titled AUTO. SUEÑO Y MATERIA [AUTO. DREAM AND MATERIAL] . Yes, my friends, it's an exhibition about cars. It's quite spectacular, it's overwhelming and you can visit it until September 21 at Laboral Centro de Arte y Creación Industrial in Gijón, Spain. Over works 100 explore, each in their own way, the relationship between car culture and art creation in recent decades. 100 works that's a lot to write about so i'll start slowly with a first piece i saw at LABoral. A more detailed report will come soon(ish).

Maider López, Ataskoa desde baserri, 2005

In 2005, Maider López bought advertising space in the press, he had leaflets distributed and posters glued on walls. His objective was to invite car drivers to come and create an artificial traffic jam on the slopes of the Aralar mountains in the North of Spain. On the 18th of September 2005, 160 cars (with approximately 425 people) joined the jam from 11am. until 3pm. The artist's team directed the traffic and documented the event.

Maider López, Ataskoa Aralar, 2005

The photographs document an absurd confrontation between the urban and the rural, an extravagant Waiting for Godot, which today resonates with an added layer of ecological threat.

Maider López, Ataskoa aérea, 2005

All images courtesy Laboral Centro de Arte y Creación Industrial.

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Via WMMNA

Personal comment:

Ràs de particulier. L'installation "traffic jam" en montagne est tout simplement assez efficace...