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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

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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

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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

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

The aim of the Buchstabenmuseum (Museum of Letters, Characters and Typefaces) is the preservation and documentation of letters, regardless of culture, language and font systems. Letters stand at the interface between written and visual culture. They are the basic elements of all semiotic textual traditions and written communication.
Letters are ciphers with characteristic shapes and diverse materiality. They carry images, they flow together as tattoos, or can be savored as pasta and pastries. As a result of the increasing homogenization of the urban landscape quality crafted letters and signs are vanishing from public spaces. Due to the disappearance of traditional companies, and also due to revisions of wordmarks and the rise of the Corporate Logo, regional and historic characters become extinct and are lost.

The Museum of Letters works both as a »recycling« company as well as an archive. The museum collects objects that semiotically act as signifiers in the ABC, that carry meaning independent of their material embodiment, in their diversity of functions and across the whole aesthetic bandwidth.
Planed is a museum space in the traditional sense with unconventional exhibits. The Museum of Letters wants to awaken the public’s interest and awareness in typography, and the collection itself. So far there is no comparable museum dealing exclusively with the letter as a contentfree sign.
The magic of the museum unfolds in the detachment of the objects from their actual context, and in future will delight many visitors, from first graders to academic theorists and street artists to design enthusiasts.

Berlin

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Via Manystuff

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Un probablement futur beau musée dédié à la lettre et à la typographie (mais avec une approche pas trop technique et plutôt très visuelle), à Berlin.

The new SFMOMA ArtScope [sfmoma.org] has been designed for wandering, for the chance discovery of artworks visitors might not have encountered before. The visual browsing tool based on Stamen's Modest Maps tile engine, features more than 3,500 objects from the SFMOMA collection, arranged in a continuous, map-like grid. Users can zoom in on an eye-catching image, search by keyword or artist, or just have a look around, while zoomed views of artworks can even be deep linked.

Reminds me a bit of Microsoft's PhotoSynth. Thnkx Tom.

In the context of the exhibition theanyspacewhatever at the Guggenheim Museum NY, Douglas Gordon will "deploy time as medium" and Hans-Ulrich Obrist will discuss 24h on time. Shall we speak about dimensional interferences? P_

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theanyspacewhatever
Oct 24, 2008 - Jan 7, 2009

Solomon R. Guggenheim Museum
1071 5th Ave (at 89th St)
New York, NY

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 Originating with a desire to present a contemporary group exhibition that would capture the spirit of the art that emerged during the early 1990s, this presentation has evolved into a collaborative venture among ten artists who share certain strategies and sensibilities: Angela Bulloch, Maurizio Cattelan, Liam Gillick, Dominique Gonzalez-Foerster, Douglas Gordon, Carsten Höller, Pierre Huyghe, Jorge Pardo, Philippe Parreno, and Rirkrit Tiravanija.

Though each artist is recognized for his or her own practice, they are linked by a mutual rethinking of the early modernist impulse to conflate art and life. Rather than deploying representational strategies, they privilege experiential, situation-based work over discrete aesthetic objects. The exhibition model—in essence, a spatial and durational event—has become, for these artists, a creative medium in and of itself.

The following programs accompany the exhibition.

Catalysts and Critics: The Art of the 1990s
Fri Oct 24, 9:30-5:30 pm
Columbia University, School of the Arts
Join critics, curators, gallerists, and collectors for this day-long session dedicated to the critical debate surrounding "relational aesthetics" as well as to the shared history of the artists featured in the exhibition. Participants include: Alex Alberro, Claire Bishop, Ina Blom, Massimo de Carlo, Jose Falconi, Nancy Spector, and Andy Stillpass.

Pierre Huyghe: OPENING
Fri Oct 24, 6:30 pm; Mons, Nov 17, Dec 8, 4:30 pm
Museum visitors are invited to a participatory event in which Huyghe transforms the Guggenheim's rotunda to disrupt and disorient the exhibition experience.

Works & Process–World Premiere - NY.2022
Fri Oct 24, Sat Oct 25, 8 pm
Dominique Gonzalez-Foerster and Ari Benjamin Meyers create an original work "about endings and last things" for the Peter B. Lewis Theater. Inspired by the iconic science-fiction movie Soylent Green (1973) depicting a disturbing vision of New York City in 2022, this performance will be accompanied by Staten Island's Richmond County Orchestra (music director Alan Aurelia). Photography by Alex S. MacLean and costumes by Balenciaga complete the work.

Douglas Gordon: 24 hour psycho back and forth and to and fro
Oct 31, Nov 14, Jan 6, 10am – 10am
Deploying time as a medium, Gordon's new iteration of the work 24 Hour Psycho (1993) slows down the 1960 Hitchcock thriller to a full-day cycle on a split screen installation, running the film both forward and in reverse. The museum will remain open through the night each time this work is shown.

24-hours on the Concept of Time
Tue Jan 6 – Wed Jan 7, 6 pm – 6pm
Continuing non-stop for 24 hours this rich and polyvalent event organized by Nancy Spector and Hans Ulrich Obrist expands upon the theme of time—an interest central to the artists represented in the exhibition. Guests from a wide spectrum of fields and disciplines share their philosophical, sociological, economic, theological and aesthetic perspectives on time.

FILM SCREENINGS
Rirkrit Tiravanija: CHEW THE FAT
In conjunction with the exhibition, Tiravanija's documentary film provides a perspective on the art of the 1990s through interviews with artists, including those participating in the exhibition.

Suns 1 pm and 3 pm
Mons 2 pm and 3:30 pm
Fri Nov 14, Tue Dec 2, 8 pm

Anna Sanders Films
Founded in 1997 by Pierre Huyghe, Charles de Meaux, Philippe Parreno and the association of contemporary art distribution (Xavier Douroux, Franck Gautherot) in collaboration with Dominique Gonzalez-Foerster, Anna Sanders Films brings a new language of imagery to cinema, creating a hybrid form between film and the visual arts.

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An exhibition in New York's MOMA about "modernist's oldest dream": prefabrication and complemented sometimes by ility. The exhibition includes contemporary projects in prefabrication and digital building.

Full article HERE (pdf).

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Fabricateurs d'espaces
17 October 2008 - 4 January 2009
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Björn Dahlem, Jeppe Hein, Vincent Lamouroux, Guillaume Leblon, Rita McBride, Evariste Richer, Michael Sailstorfer, Hans Schabus
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Curator: Nathalie Ergino ; assistant curator: Aude Merquiol


Institut d'art contemporain
Villeurbanne – Lyon
11, rue Docteur Dolard
69100 Villeurbanne
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http://www.i-art-c.org

 The Institut d'art contemporain presents a new generation of artists on the European scene who are concerned by questions of sculpture in the broad sense.

Differing from the sculpture of the past decade with its mainly post-ready-made techniques or assemblies of recovered materials, this new 'extended sculpture' simultaneously forms set-up, installation and architecture and uses space as the actual material for sculpture.

Fabricateurs d'espaces groups eight internationally reputed artists. The works shown are recent or made for the occasion. Sculptors of space or 'spacers', these artists use a vocabulary of forms derived from minimal art or land art.

The many meanings of space are explored - space generated by the body of the spectator, architectural space, mental and imaginary space, cosmic space, etc. Space is probed, constrained, gone beyond and reinvented.

These artists use the actual gestures of sculpture to make space interact with the material nature of their works, works that paradoxically generate the immaterial.

Here, the quest for 'elsewhere' is not necessarily on a cosmic scale but accompanies a wish to be free of gravity. The philosphical and perceptual approach that runs through the artistic approaches and works in this exhibition addresses the notion of Utopia and the quest for a future in the process of reinventing itself.

This exhibition is the fruit of a partnership with the Museum für Gegenwartskunst in Siegen, within the framework of the series of exhibitions entitled European Partners initiated by the Goethe-Institut and Kunststiftung NRW (North Rhine-Westphalia Art Foundation).
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Institut d'art contemporain
11, rue Docteur Dolard
69100 Villeurbanne
T + 33 (0)4 78 03 47 00
F + 33 (0)4 78 03 47 09
iac@i-art-c.org
http://www.i-art-c.org

Image:  Michael Sailstorfer
Unendliche Säule, 2006
Copyright: DR

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Frieze Art Fair starts on Wednesday, but the first of dozens of barnacle events in London this week (stay on artreview.com for rolling coverage) went down early this morning at Tate Modern: the unveiling of Dominique Gonzalez-Foerster's sci-fi inspired installation TH.2058. Artreview.com was there to shoot a video and interview Gonzalez-Foerster – sit tight, we'll get it edited and uploaded as soon as we can! In the meantime, here are a few initial impressions...



It's the ninth annual project in the ginormous Turbine Hall, and the most instantly accessible – Gonzalez-Foerster provides us with an introductory text on the front of the bridge, readable as you walk down the ramp, which, like the intro to a film, sets the scene and tells you pretty much everything you need to know: (imagine) it's 2058, it has been raining in London relentlessly for years, outdoor public sculptures have been strangely growing larger as a result, 'like tropical plants', and have been brought inside for preservation among the hundreds of bunk beds that provide public shelter.

You pass through coloured curtains, through a dark area with rain sound effects, and into a kind of city-block grid of bunk beds, each one with a book on it (like Ray Bradbury's Fahrenheit 451 and J.G. Ballard's Drowned World). Looming high above this mass dormitory are giant (25 percent bigger) replicas of Lousie Bourgeois' spider, Maman (1999; which was part of the first Turbine Hall project in 2000) and Alexander Calder's Flamingo (1973). Other salvaged sculptures include Henry Moore's Sheep Piece (1971-72), a Claes Oldenberg, a Bruce Nauman. The only real (as in original, not replica) piece there is by Gonzalez-Foerster's good friend Maurizio Catelan. This last piece, though an abberration, is the only one with any clear logic behind it, since none of the sculptures are London landmarks, likely to be rescued from the rain.

Hanging at the back is a huge LCD screen showing (without sound), a 32-minute video called The Last Film – a cut-up compendium of various apocalyptic movies, and one of Gonzalez-Foerster's own. It brings to mind that part of the Scientology creation myth in which early humans were made to watch, en masse, a movie lasting 36 days.



The art press corp kept asking if Gonzalez-Foerster was channeling the dark mood of the times: economic collapse, global warming. To her credit, she parried these literalist interpretations (read a feature on Gonzalez-Foerster in the October ArtReview). The mood of the installation isn't at all dark anyway: you imagine the comradery of bunkbeds, reading books together, sheltering together, watching late night movies. If anything, this apocalypse looks like fun.

But maybe too much fun: the injection of fairy tale fantasy – sculptures that grow in the rain – is a frustrating, inane change of register. It would have been much more interesting to think about how we'd really treat works of art in the midst of apocalypse, to see the Turbine Hall like a crowded sepulchre of rusting, rotting treasures. And in such dark future times, we'll probably be watching classic, comforting movies rather than artful excerpts (like Wall-E does in his trailer). Why not show, as part of the installation, Indiana Jones or Star Wars? In other words, why not go further with the concept and merge it with reality, rather than sticking so rigidly to the brittle sci-fi concept?

The enormity of the Turbine Hall, and the apparent desire here to touch on current anxieties about dark events larger than ourselves, cries out for Christoph Büchel's brutal hand. His insanely dense, dirty, detailed and psychically punishing life-installations, featuring monstrous accumulations of junk and repulsive living and work spaces (watch a video here), show us an already-unfolding apocalypse of wars, slave labour and consumer-trash overload. No need to wait until 2058. Tate probably wouldn't touch Büchel with a bargepole after his conflict with Mass MoCA, a similarly massive museum space. But that's my plea for next year's commission: get seriously dark, get seriously immersive.

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