Andreas Angelidakis

LOST in Luxor (Egyptian saga continues)

2012-01-31T23:33:00.000+02:00

Is it possible to overblog a trip to Egypt? Are three posts on the same subject too many? and can you possibly take too many pictures in one trip? These are questions I've been pondering while concluding the posts on Egypt (or not).

(so at the last post, we were trying to teleport out of Luxor)

and we found ourselves at the apparently over-photographed Valley of the Kings.

So over-photographed in fact,

that they dont let you take any pics, ever, never.

they have secured the entrance with miniature meta-pyramids that no doubt send messages to the sky if they see you take your camera out.

at the tombs, so much security that they dont even let you in.

Is the Valley of the Kings that precious really?

or is it just so over-renovated

that it does not look like an ancient extraterrestrial monument anymore,

but like present day Las Vegas instead?

(I would show you more pics,

but the guard that caught me insisted that I delete all the photos,

after I refused to pay him to get my iphone back,

it was quite lol, etc)

anyway so the Tombs have been manicured and botoxed to perfection, becoming unreal and unruins in the process. It is clearly the Knossos school of Fake Ruinry.

pretty little path so you dont think it's just a desert mountain

most of the tombs look like this, though some of them had no hieroglyphics on them, and we wondered wether they had just not applied the Egyptian Ruin coating on yet. Alas, those pics will never see the light of day.

Other temples were friendlier, though disappointingly authentic in their ruination

on the way back we stopped at the temple of Hatshepsut

where we witnessed an impromptu Alien visitation

on the way back to town, yet more Security inspired meta-puramids

and were rather spooked when we had to pass a drawbridge

and a complete security check to enter our next hotel.

all the security hysteria seemed to be worth it,

since it was situated on a beautiful private island on the Nile.

some of the landscape did seem a bit artificial, but who could complain?

the island was dotted with cute little vernacular egyptian huts,
with some strange infrastructural things on the roofs.
Did machines live in these huts?

other huts seemed to be hiding inside specially constructed trees

then we started to notice various machines hiding in the bushes

even machines hiding in the sand

machines trying to pass as trees

suddenly it all started to make sense

we had landed right into the lost Egyptian season of LOST,

this was Dharma Central, right down to the hexagonal bungalows

the cores of the bungalows were inhabited by machines too

some buildings were curiously upsidedown

an innocent looking swimming pool was just a place to hide more machines

even the smoke monster was immortalized in the topiary designs

suddenly trees seemed threatening

Hexagonal Conspiracy #3

Hysteria checkpoint #6

Museum of Disaster?

suddenly screams and people running and coughing

it was the Jollie Ville Smoke Monster! we had to get out of here!

(the hotel staff assured us this was just the regular anti-mosquito cloud, that they unleashed every evening)

we located a Topiary Teleport near the entrance and decided to make a run for it

(do be continued, perhaps)

Postcards from the edge

2012-01-21T19:53:00.000+02:00

Browsing through the Graham Foundations' press section yet again, I found this really nice set of photos from Las Vegas Studio: Images from the Archives of Robert Venturi and Denise Scott Brown

of course it is the studio which led

to the book Learning from Las Vegas,

which we all know

I had not seen the entire set of photos, so I decided to study them a bit more.

(of course this famous image is not from Vegas but from New Jersey) somehow I always understood this book to be talking about a contemporary moment in architecture, instead of Las Vegas in the 60's

Thats because I always confuse car dashboards with computer screens

surfing through a landscape of logos

surrounded by lit surfaces and animated information

finding corners of peculiarity hidden behind software facades

google-earthing places I have been to only to notice patterns anew

where reality becomes as abstract as desktop background

confusing real people for avatars and vice versa

chatting behing facades of un-updated websites,

looking back at the landscape of the screen

from the desert of the real

The Collage Career of Stanley Tigerman

2012-01-14T13:04:00.001+02:00

(Pensacola Place shopping mall, 1980s)

So I got a nice email from the Graham Foundation about their upcoming Stanley Tigerman tribute. I guess there's been quite a few of those Tigerman tributes recently, though I am always trying to position the work. Post-Modern folly, Avant Garde polemic, early Deconstructivist but also Metabolist, and some curious Architoons (that I almost cant bear to post) and some serious cuteness and some plain weirdness.

I guess it's a long career but is that too many styles for one person? Or is he the original copy paste tumblerist, the lady gaga of his generation, furiously jumping from reference to quotation, flipping through architectural movements as one really should.

Eisenmannish grid from the Matrix series

Pre-Sejima minimal cuteness with Daisy House

I mistakenly thought that the facade on the left was the Tigerman one, but in fact it's the one on the left.

The interesting one on the left is Studio Grau, obvs from Strada Novissima Venice

Hans Hollein-ish sinking Mies collage

Virilioesque and Claude Parent-ish Fonction Oblique from Urban Matrix

upside-down pyramids from the Urban Matrix too, 1960s

and downright fantastic weirdness

from his Black Barn renovation

Perhaps this drawing explains everything,

entitled "Career Collage", includes perhaps all his work,

though perhaps it should have been called Collage Career instead

(images for this post from the Graham Foundation's press section, from rndrd and Arqueologia del Futuro

Pyramid hunting at Biblioteca Alexandrina

2012-01-06T23:47:00.000+02:00

Taking a break from all the teleporting, we skipped over to the Biblioteca Alexandrina,

which I guess is meant to resemble a papyrus forest (just about the biggest Egyptian cliche).

Why not go all the way and make it a big Pyramid, why stop at Papyrus?

Well actually the library by Snohetta is super nice, and full of young hipsterish Egyptians, so it was the second positive place after Tahrir that we were visiting. And while we were there, why not have a look at the art and architecture section? I almost felt obliged to look for stuff related to Egypt, maybe some unknown Pyramidometabolist curiosity from the 60s or some shopping mall aberration from the 80s?

of course the first book that catches my eye

(I never use the search engine on libraries, I always drift in the corridors)

was of course an Isozaki monograph

Isozaki is of course a major Pyramid lover, starting with his double pyramids from "Cities in the Air"

to the Pharaonic robots at Osaka expo 1970

to the super cool Egypt-unrelated projects from the 70s where I guess he was testing early rendering techniques? or maybe these were made later? (and might have this 1973 Country Clubhouse been an inspiration for Toyo Ito's 1976 U-house?

a house in Venice Beach,

Isozaki was never one to shy away from Cute Architecture

further down the aisle, Ambasz? relation to Egypt?

if this fukuoka (or somewhere) city hall is not Pharaonic, I dont know what is

CCTV before REM? by Emilio Ambasz?

interesting public building (this is just a detail) that looks eerily like Sou Fujimoto's house NA

further down, Peter Cook

not sure how to explain the relation to Cook's heaps, mountains and ruins to Egypt but I always liked them so they have to be part of the group. We will worry about conceptual consistency later on, if ever.

and by the way, here is a half, upside down pyramid by Peter Cook

Temples and Pyramids ahoy over at Michael Graves, whose work I am always trying to like

great Antony and Cleopatra fabric showroom

very curious performance space

Luxor for the people, with ancient billboard sculptures and medieval music playing all over the place

Legionaire

Pyramid +

and my favorite, Cleopatra worthy entrance, Swan Hotel, somewhere in Disneydystopia

I picked this up not expecting any pyramids, but out of sheer curiosity, because I always want to know more about Charles Moore,

the closest thing to a pyramid is Xanadune resort (yes Xanadu and Dune, not Xanax and Dune)

back entrance to the great Piazza Italia, and I love how out of sync the car are with the architecture. Lets face it, car design just has always sucked.

ok this was the obvious book to pick up, I really tried to find something to like and post, but boredom prevailed and also I could not wait to go through the book next on my stack,

(and closing time was approaching)

James Wines and SITE greatness, and even some projects I had never seen in depth,

(and by the way, I just noticed that most of the books were from Rizzoli? did the Biblioteca have a deal? shady? or some donation?)

maybe we could say that Floating McDonalds is somehow metaphysically EgyptoAlien? StartGate-ish? but in a Kevin Smith way?

or this Molino Stucky sinking facade, surely from the Hans Hollein curated Venice Biennial?

or this absurdly fabulous faux Archaeological office chair showroom entrance? this might as well be the most absurd corporate lobby installation ever

petrified office chairs and file cabinets sinking in the sand?

this was unrelated to Egypt obviously, but I had to pick it up

maybe Persian Gulf is close enough?

a pyramid is always where you least expect it

Extraterrestrial Revolving Conspiracy Tour of Ancient Egypt, part 1

2012-01-04T00:00:00.001+02:00

It was hard to beat the excitement of Tahrir square, but still we skipped to the next door Egyptian Museum. There were many nice gentlemen outside the museum, asking us if we needed any help? And where we were from? and where we were going? and when did we arrive in Egypt? and how long we were staying? and why we were there? They were so friendly and helpful, and they said that we better avoid Tahrir because it was a bad place and we should only go to the Museum, and then to the Official Government Bazaar across they street. They even followed us in to the bazaar to make sure we were not getting lost.

Were they perhaps too friendly?

Was it a coincidence that all three men asked the same questions and all suggested we go to the Government Bazaar? Were these guys just friendly Government Agents, making sure no tourists joined the protesters? As each one was leaving they said they hoped we write well about Egypt when we return to our country, and so we were almost sure.

Or maybe Egypt was making us paranoid?

the museum was eerily empty on Christmas day. Dust was helping the exhibits merge with the museum space, making everything a fabulous desert of neglect,

Photography was strictly not allowed, so I had to compromise with sneaked side pics of the fantastic double glass-and-gold rooms

I wonder what was inside, diamond rooms?

Invisible temples?

everything seemed to be inside glass boxes,

even boxes holding yet other boxes were inside other glass boxes.

For sure Egypt was hiding something.

still we needed to see more, so we headed out to the desert.

finding instead a heartbreaking dystopia of the cheapest possible construction, spread along the sewer that used to be the Nile river.

arriving in Giza, everyone exclaimed Pyramid! where?

just the proximity of Cheaptopia made me think of a funny comment Chus made a few weeks ago: "Just look at the contemporary Greeks and Egyptians, of course those temples were built by aliens!

They made a stop in Egypt, plopped down a couple of Pyramids, then moved on to Athens and plopped down the Parthenon."

Were the Pyramids really just a capitalist development by an off-shore group of Alien Investors? Was this just classic colonialism?

of course the world is full of sci-fi conspiracy theories, and government paranoia of all types, so maybe we should see for ourselves

the two first pyramids were just great,

though we did notice a spaceship parked in front of one

local peasants apparently left behind by the aliens had gathered in front of the door, maybe they were hoping for a teleport back to the mothership? But why did we need to pay an extra ticket to go inside? We should have asked about the hidden fees.

By the time we got to the second secret ticket booth, it had mysteriously closed

the attendants were off praying,

surely to the tranny-gods of Stargate.

our only option for a decent teleport was the Dahshur Pyramids,

so we headed further into the desert,

from afar we saw the Red Pyramid,

but the scene was more Star Wars than Stargate.

seeing as there was not a single tourist around,

Red Pyramid was closed.

Still there was hope so we headed to the Bent Pyramid,

famous because either they got it wrong,

or they just intended to make it bent

it was open and we started climbing down the low-ceiling shaft

teleportation

was finally imminent

we arrived

at a great pyramid-shaped room, but not a teleport in sight.

this was getting complicated

another tunnel

and another room with a large scaffold staircase

almost there, we held our breaths

only to the entrance to the final chamber blocked by rocks

despair

we had to be careful now because sometimes the desert made you see things, Fata Morganas were all too common

we attempted to self-teleport by walking fast in circles

and faster

spinning around we we suddenly revolving around Tahrir again, a dejavu that made sense

everything was hazy and the bent pyramid of Darshur faded in the hallucinatory horizon

for a moment of eternity,

it looked like we were on a train,

the only tourists ever to board.

This must be one of the trials of the Teleport

huh?

this is not Outer Space

maybe we teleported to Las Vegas by accident?

this temple is surely fake, fenced in like a McRuin

Vegas would never look so trashy though, and there is even a mosque inside the temple.

Turns out we ended up in Luxor,

and this was Karnak Temple,

were the antiquities are displayed like leftover trash

I guess the display method here is casual friday,

Garbageville de Lux or?

Angelo spotted an old school Egyptian Teleport by the side of the street

and decided to give it another go

(to be continued)

Cairo Drifting

2011-12-30T22:38:00.000+02:00

Last Friday we arrived in Cairo

and dashed off to Tahrir square

to sample the enormous energy of the joyful crowd,
protesting and celebrating at the same time

later on from our Nile view room, the whole city seemed as excited

next day,
we started drifting along the Nile

negotiating a big catch

crossing bunker underpasses

the bunkerish Hilton

and the burned Hilton

finding ourselves inevitably strolling through Tahrir

but a few wrong turns and we encounter the closed-off Mubarak headquarters

we observe the closed off mosques in the Islamic museum

prohibitive signs in languages we cant read

layers of fortifications

ancient dead-ends

we arrive at the spooky Citadel fortress, but nobody's there

we pass under elaborate structures that appear to hold the city up

we get lost in the back streets of somewhere

ending up the wild cotton market

the day changes but we are still in back street markets instead of museums

under elevated highways

and tree facades

botched Parthenons

finally a cat sleeping on a mountain of Cotton

followed by Mountains of Investment

that always end up as Mountains of Rubble

pyramids of loss

Gothic Minarets

that seem to become integrated into buildings

embedded green mirror minarets

and everything looks like something to preach from

though the message is ambiguous

we enter a mosque during prayer

but escape up to the minaret again

observing the city from up high

scanning the horizon for pyramids

even the roofs of buildings

are a desert of ruins

De ou par Marcel Duchamp par Ulf Linde or maybe par Jan Aman

2011-12-17T15:39:00.001+02:00

One of the strangest and most extraordinary exhibitions I saw recently was "De ou Par Marcel Duchamp par Ulf Linde ", based on a discussion Jan Aman and Ulf Linde had years ago, and now organized by Aman with Daniel Birnbaum and Moderna Museet, Henrik Samuelson and the Royal Swedish Academy of Fine Arts.

Rather than a show about Marcel Duchamp or Ulf Linde, it was a show a show for Ulf Linde, choreographing their relationship and exchange of objects and copies and words.

Jan Aman is perhaps one of the most daring curators working nowadays, with a history of programming institutional exhibitions that have considerably broadened what we understand as curatorial practice: Over the years he programmed historically important shows such as Maurizio Cattellan's HIM (The Hitler piece) or Carsten Holler's One Day One Day" while experimenting with architecture workshops that ended up as real tools for the city planning office of Stockholm and engaged the entire city into discussions. Other shows took groups of artists to peripatetic journeys into the NASA headquarters, or became social experiments into the notion of Authorship and artistic production such as Miriam Backstrom's solo show, and much more. I was lucky enough to work with him on a few of these projects, and could clearly see the evolution that lead to something like "De Ou Par"

Instead of a regular exhibition, the show was based on 31 brief instructions:

walking in you saw a strange green room,

with some random cables on the floor, after just passing a tilted green wall, all the time thinking what is going on here, where is the exhibition?

Then a green room packed with replicas which maybe were the boite en valise explored as a room?

hidden behind the green room, the Coffegrinder, a piece deliberately hidden in a super narrow dark passage,

later on a room with a gigantic ramp,

leading up to perhaps

the strangest ever hanging of Modern Masterpieces

PICABIA

underneath the world of notes and information, making us look at works we've seen many times before in an unexpected way

THE END IS NEAR

2011-12-15T23:52:00.003+02:00

I often tumble through books looking for things to notice and start the day, and most of the time these end up in tumblr, as single image posts should. When they make sense as a story they come here.
But after posting a Greek Orthodox lithograph
of the ROAD TO HELL,
the images that followed seemed to me making spooky sense:

from the same book I could not resist THE ROAD TO HEAVEN, as a delusional fantasy happy ending

it seemed there was still a chance of ending up in pink and friendly SPIRITUAL CITY

even little Jesus sat in an interesting chair during his TRIAL

but then, ominously,

A PNEUMOSMIC ARENA appeared

FINANCIAL MARKETS TUMBLED

a strange wind

blew tumbleweeds into their CATCHER

an innocent white cube caught in the claws of BLACK METAL TECHNOLOGY (an appropriately dramatic ending)

PS: if you could just choose to stop tumbling, then it wouldn't be a tumble would it?

they PUSHED A BUILDING hopelessly

only to see it fold up on itself and
FAN BACK DOWN TO THE NETHERWORLD

Everything I wrote down during: Fondazione Ratti: Curating the most Beautiful Kunsthalle in the World

2011-12-05T11:38:00.001+02:00

XV. Curating the Most Beautiful Kunsthalle in the World

Martedì, 29 Novembre 2011
Giornata di discussione dedicata alla figura del curatore , alle trasformazioni e al destino della sua funzione. La discussione sarà articulata in tre sezioni:
10:00
Introduzione: Marco De Michelis/Filipa Ramos (FAR Como)
Keynote Speaker: Maria Lind (direttore, Tensta Konsthall, SpÂnga)
11:00 - 13:00
1. Il canone
Teresa Gleadowe (curatore e scrittore, London)
Bruce Altshuler (direttore, museum studies program, NYU)
Christian Rattemeyer (curatore, MoMA New York)
14:30 - 16:30
2. La mostra
Jens Hoffmann (direttore, CCA Wattis, San Francisco)
Celine Condorelli (artista; curatore, Eastside Projects, Birmingham)
Raimundas Malašauskas (curatore indipendente, Paris)
17:00 - 18:30
3. Le istituizioni
~~Chus MartÌnez~~ ~~(capo dipartmento, Documenta 13, Kassel)~~
Dirk Snauwaert (direttore artistico, Wiels, Bruxelles)

Urban Instagram (Warsaw Year Zero)

2011-11-21T12:11:00.002+02:00

A few weeks ago I visited Warsaw
for a lecture at the Faculty of Architecture
that was part of the FATA MORGANA XV OSSA 2011 WWA

later on Grzegorz Piątek, one of the two curators of Golden Lion winning Hotel Polonia in Venice Architecture Biennial, took me for a walk around Warsaw, explaining how the city had been meticulously reconstructed after being basically wiped out during strategic WWII bombing.

I thought it was funny that in Poland they still talk about WWII, whereas in Greece so many other things, the current crisis included, have happened.

Had time stood still in Warsaw? Was it still WWII?

Apparently the Warsawians had made careful plans of every historical building in the center, because they predicted that the center would be bombed, so they were ready to reconstruct even before it would destruct.

Sp after the war they were perfectly able to rebuild everything perfectly, going as fas as using the original materials of the buildings.

the made only slight adjustments so that, for example the main square, would become picture perfectly picturesque but just with a little bit of extra space for events.

Around the 1970's the Warsawians completed the reconstruction of the wiped out buildings, and started renovating the "saved" buildings that survived the bombing.

This could be one of those 17th century "saved" buildings, freshened up in the 90s.

but this is a building built in the 1970's which now has started to acquire a bit of patina.

Suddenly I realized that the "17th century buildings" that were built in the 60's and 70's looked older and more authentic than the real 17th century buildings from the 17th century, because those had been freshened up in the 90's and 00's. This was Instagram Urbanism!

rushing to my photoshop actions, I made my 2011 photo of a 1970's 17th century building look like it was taken in the 1920s.

Then I examined more of the buildings, trying to understand if they were new original,

old original, refurbished authentic or simulated old new.

Time had indeed stood still, but it was more of a time warp that a freeze frame

but perhaps Warsaw, by warping into this time machine urbanism had become the best example of out non-new non-time specific Tumblr Times,

where everything that's interesting is new.

we ended the walk by the old castle, so perfectly manicured during it's reconstruction, and perhaps because it was one of the later examples, it ends up looking as new as the Giant Regional Style Shopping Malls that crowd the suburban exurban nowherelands of Central Europe,

when in fact it's just a really old uber botoxed castle.

Art among the ruins (last Sunday, I said hello and waved goodbye to ReMap3)

2011-11-06T10:22:00.010+02:00

(Marc Bauer taken out of context at Freymond-Guth Fine Arts, curated by Stefan Burger)

And it feels like this Sunday we might be waving goodbye to Greece as we knew it, maybe for the best.

In any case, back to art. I had not seen Remap3, which opened September when I was up in Thessaloniki, and had to catch the closing. Angelo said that we should start from the show that Rallou Panagiotou had curated at the Kunsthalle Athena location, and indeed the three shows clustered together were amongst the strongest in a really great overall remap, a program that really energizes and brings together the entire Athens scene. (Just like the Athens Biennial, Kunsthalle Athena, Deste Foundation and all the great initiatives that make Athens a fantastic place for art, especially in these really strange times). Art among the ruins.

Rallou watching "The Color of the Pomegranade" by Sergei Parajanov, as the show was a collaboration between Rallou and Anthea Hamilton and Lorna McIntyre proposing works to be displayed next to their works, or something like that. Behind them a gigantic Rob Tufnell became a work.

great new work by Jennifer West

found photos arranged on plumbing pipes (with something done to the wall too)

some Greek theater about to be eaten by a lion?

cardbox wall by Ron Kennedy at Transmission Gallery

Whats great about ReMap is that gallery shows feel like artists run initiatives, artists expand onto the space freely, and somehow looking at art becomes an almost authentic experience.

(Marc Bauer showed drawings on paper and then did more drawings next to them on the wall)

this was not a work, but it looked appropriate so they left it there. maybe it becomes a work when it grows up?

a staircase fell off the wall,

and became a plinth, in the most natural of ways

Yorgos Sapountzis from the back

and the front

five drawings and two holes in the wall at Keramikou 43 (but I dont remember if it is Balice-Hertling, Peres or some other gallery)

artist Katerina Kana seemed to find something nice in the wall

Rallou solo show at iBid, at Keramikou 51

with amazing marble Frappe sipping straw, perhaps the best symbol for Greece

which by the way is in one of the buildings I have worked on, in this area for KM

sleeping homeless made of wood? by lovely Margarita Myrogianni

super absurd and super clever Matisse inspired interior depicting the rooms of Beverly Hills 90210 by Antonakis Christodoulou

another great Sapountzis

chopped and abused ceramics by Ira Triandafillidou, curated by Kostas Sahpazis

a properly framed rock ( "polymeric recrystallized carbonate") by Zoe Giabouldaki

Aleksandra Waliszewska curated by Marina Vranopoulou

great Museum Copies by Stelios Karamanolis + Tula Plumi

a painting by Robert Suemondt was too large for his studio, he photographed it as it got stuck in the kitchen, and it became a metaphor for the show curated by Alexios Papazacharias

silver faded Greek flag in the twillight

Luca Trevisani at Mehdi Chouakri

Gerwald Rockenschaub at Eva Presenhuber

great new neon+pottery pieces by Alexandros Tzanis

Forgotten Bar / Galerie Utopia by Tjorg Douglas Beer

photos of photos of photos of works at Forgotten Bar. You could make your own photo too

Visually striking Hope at Breeder

Greek beefcake drawers by Antonakis Christodoulou in a two man show with Kostantin Kakanias

of course a lot of the things you see look like works

like this Could_Have_Been_Kounellis

and more sexy beefcake greekness by Kakanias

another great Tzannis, in the group show he curated, and with which we closed our remap tour

where you could see amazing vitrines by Theo Michael, apparently shown before but with the wrong lighting, so it was as if i saw them for the first time.

more Alexandros Tzannis, with brand new pieces

Marcus Selg new film about a Norwegian queen

saying goodbye to something too

Everything I wrote down during the Garden Marathon

2011-10-30T22:09:00.003+02:00

Like almost every year, I made it to London for Frieze week, thought the real reason is the always fantastic Serpentine Gallery annual Marathon, this year dedicated to Gardens, put together by great Hans Urlich Obrist. Here's everything I wrote down during the information hurricane (with some new notes inserted inbetween)

Planet as garden

#gardenmarathon
there was a twitter hashtag as this's years' marathon was hosted also by Steffi Czerni and Marcel Reichart from DLD, one of my other annual informathons.

(the outside of the Peter Zumthor garden pavilion, which contains a garden. I could take photographs of said garden, though that could never replicate the feeling of entering. The genius of Zumthor is that he made a pavilion that does not translate into pictures, in an age when buildings tend to live as long as blogposts)

Fenced garden inside immense landscape: something small has found sanctuary inside something enormous

Polyphonic garden

Dream garden

Helene Cixous
Gardens guard themselves
Guardens?

outside of garden: exile
Always wanting to return

Jardin d'essais

Homophones
Homonyms

The first dream in mankind is the garden. A dream lost and forever missed.

There are moments during the night when you become a giant. Giants can become dwarfs in a split second.

Telepathy
Letepathy: Lithi, the river that the dead have to cross to reach Hades. They drink the water of lithi, which brings total oblivion. So they forget the horror of being dead.

Teledesire
Umbiblical cord is the first telephone line

ETEL ADNAN
its splendor spilled from horizon to horizon.

DAN GRAHAM

triangle comes from Aldo Rossi

Chlidrens day care center for Muenster (rejected by Kaspar Koening)

Likes
Aldo van Eyck
Playgrounds

Hedge and two way mirror labyrinth
Hedge defines property lines in suburbia, 1 way mirror defines property in the center of the city (office buildings)

Rob Krier +

Gunther Vogt
Birch forest on top of a parking lot

Rodiger Schottle
Theatergarden: Bestiarium
Large maquette with theater props fantastic
Its a garden as an exhibition
A group show
W Jeff Wall, Vito Acconci etc

The entire exhibition was collected as a piece.

Zarina Hasimi
Apartment life: a place where neither the floor nor the ceiling belongs to you

Elizabeth Diller
Before High Line, train was on ground. It often ran over pedestrians, and was dubbed Death Avenue

Argument for high line was that it would actually be a development tool. Prices would go up around the HighLine, as had happened in central park. (make a river on vasby?)
HighLine: preserve melancholia

Cedric Price: buildings are Magnets and Catalysts

Fritz Haeg

Silke Otto Knapp

Cristian Phillipe
Pleasure Pavilion, Melk Monastery

Three sisters: Corn for verticality, beans grow on that, and pumkin on the ground in the shaded areas.

Architect has a vision of a completed object and works towards achieving every detail.

Gardener starts a collaboration and set down a few parameters and then lets the system take him along to its direction.

Surrender. Taken along by something. Religion Sex Art Drugs

Often we took breaks to sit outside, and chat about many things next to Hans Peter Feldmans Xmas tree. We spoke a lot about Space Syntax with Alkmini and Sotiris, and how it is interesting to twist the whole Space Syntax theory with something like Everyday Urbanism's cynical reading of Shopping Malls, or even open Source solutions and internet style crowdsourcing and randomness. There were other interesting point there, but I have totally forgotten.

•Mark Pagel: cities as gardens•
I came to london by train. I woke up went to station, where somewhere had woken up to sell me a ticket, someone had woken up to drive the train, then in london someone had woken up to check me in at a hotel.
In fact none of these people had woken up to do a single thing for me, they had all been following along, a system had emerged from the ground up and was working perfectly.

PABLO LEON DE LA BARRA (was a tropical storm of exchanges between him and great Dominique Gonzales Foerster.

Psychological states, atlantic tropical desert ocean

Burle Marx inspiration for OscR Niemeyer

Dominique Gonzalez Foerster
Forrest of concrete columns in Parco ibirapuera

Edward James amazing
Hilitla house in jungle
(by Lina Bo Bardi?)

A Parc A Museum A Poem
by Carlos Pellicuer? In mexico

Dr Atol, the lava covered the town
+ Barragan

Matthias Goerits
Espacio Sculptorico

Dominique
a desert in the middle of the jungle

Hotel Palenque

BOERI
What happens when a branch falls from the 25th floor?

david Rowan
Internet as Garden

If something is free, then probably you are the product

AOL and facebook are Walled Gardens, controlled spaces. They are not free, open internet.
When you erect the wall around the garden, all the flowers bloom outside the garden.

Catherine Mosbach (w Phillipe Rahm)
Recreational Appropriation
Porosity gradient, softness of ground, layers of superficiality,

Program follows climate:
Recreation goes to low heat areas, museum goes to dark humid areas

Charles Jencks

We are in the Mesocosm, the middle size things between the Microcosm and the Megacosm

Nature #4: rubbish, waste, what people throw away.

Avenue of Doubles

Pablo Bronstein

Postmodern classicism is the tool that corporations use to make us think that their space is public, when in fact its private. Controlled private space as faux public plaza.

For Performa, 4 Ballet performances in 4 post-modern lobbies.

A neoclassical folly turns the landscape into a picture

At Chisenhale, a performance of people sitting in chairs. They arrived waiting to see a performance and they became the performance by sitting on layed out chairs.

Zurich, scarlatti, dying in desert

Barbed artificiality, abuse is part of the piece

colorful Japanesters doing something outside Zumthor. Was this a piece? Was it random? Kusama?

Adam Curtis

A Moment in the History of White Walls: 3rd Thessaloniki Biennial Compedium

2011-10-01T02:42:00.000+03:00

Thessaloniki is a city often represented by a white 12^th century fortification tower. This tower was part of a white fortification infrastructure protecting the city.

Now the White tower is just a logo.

Biennials survive on white walls. One could say thatwhite exhibition walls are a kind of fortification, since they keep reality outand offer a white cube of isolation where objects can be read as artworks.

White Cube spaces are the White Towers of Contemporary Art.

They once protected art from reality, but now they signify exhibitionville, they became logos for the generic art space.

(Confusion reigned between what was exhibition and what wasfortification, between city and gallery)

Suddenly in Thessaloniki white walls extend out of galleries,

and stand guard in front of venues, hoping to have something to protect. Couldthey stop the crisis from entering the Biennial? Should they? In the end theytoo become logos, fortification as signage just like the white tower itself.

Breaking up the STATE MUSEUM

Meanwhile at the venues, the exhibition arrangements attempt to put together proposals for an architecture of white walls. The space is too large and too bland for works, the scale is wrong and the collonade seems to attract all the attention.

Gallery rooms break apart, and sit closely to the corners, they form half rooms and semi rooms and open rooms, a maze of shifting possibilities.

Their structure extends to attach itself to the existing building, forming another maze of inbetween spaces, where visitors can step out of the exhibition, pause and enter the space of another artist.

Works by Spartacus Chetwynd, Steven Harvey, Ali Kazma, Alexander Kluge, Irini Miga, Michail Pirgelis, Hrair Sarkissian and Kostis Velonis are shown vis a vis selections from the Costakis collection of Russian Avant Garde. The new rooms are dedicated to contemporary artists while works from the collection hang in the museums permanent walls.

visitors stepped in and out of rooms

that almost didnt exist

Guarding the Ghost at CASA BIANCA

Casa Bianca is an Art Nouveau villa from the turn of thelast century. The house is still haunted by tales of the well-to-do Jewishfamilies’ daughter who fell in love with the gentile army lieutenant.

A set of unfinished ghost rooms occupies the reception areasof Casa Bianca, like a ghost waiting to decide if to appear.

A fortification wall stood guard outside.

Inside, rooms looked over white walls into other rooms

doors led through other doors

into rooms that contained other roomsending up in rooms one didnt expect(Manfredi Beninatti)curated by Paolo Colombo, featuring works by ManfrediBeninati, Pierpaolo Campanini, Andreas Embiricos, Yannoulis Halepas, WilliamKentridge, Margherita Manzelli, Pavlos Nikolakopoulos, Jockum Nordström, ImranQureshi, Jean-Marc Rochette, Alberto Savinio, Christiana Soulou, Andreas Vais,Nanos Valaoritis, Constantin Xenakis.

Passing through layers of fortifications at YENI DJAMI

One could say that Yeni Djami (New Mosque) is a building ofcuriously double identity. Built as a Mosque in 1902 by architect VitalianoPoselli, it was commissioned by the community of the Dönme, which explains theoverall theme of Stars of David decorating this Mosque.

The Dönme were Jews that converted to Islam,

and later expelled from Thessaloniki as “Turks”, although they maintained many of the beliefs and traditions of Judaism. Ironically those same beliefs isolated them once expelled to Turkey as Jews.

A double identity twice rejected.

Two fortification walls are place in the Yeni Djami. One wall is placed outside and one inside, one is white and the other black, one offers a direct entrance, the other a hidden passage in to the main “temenos” of the Djami.

Works by Mounira Al Solh, Nikolaj B.S. Larsen, Moataz Nasr, Marwan Sahmarani, NaoKo TakaHashi were selected by Mahita El Bacha Urieta

An island sits inside a prayer room at ALATZA IMARET

Alatza Imaret is a 15^th century poorhousemeaning literally “Colorful Refuge”. It consisted of a main prayer space, andadjacent food and study rooms, with the sleeping quarters in houses around thebuilding.

History repeats itself, and today those long gone sleeping quartershave been replaced by ad-hoc housing blocks in what is one of the poorestneighborhoods in Thessaloniki.

The works and exhibition walls are placed on a plinth that floats in this room like a white island, a safety raft. Visitors step up on this island, elevated and isolated inside the tall prayer space of Alatza Imaret.

(Slavs and Tatars Molla Nasredin reading beds and on the far wall, great spiderweb drawings by Pae White)

works by Penelope Georgiou,PanosKoutrouboussis, Yorgos Sapountzis, Slavs and Tatars , Ryan Trecartin and PaeWhite were selected by Marina Fokidis

on the opening night, amazing concert by Solon Lekkas

(on the facade great Yorgos Sapountzis)

Darkness engulfed the MACEDONIAN MUSEUM

The long narrow tall space of the Macedonian museum disappeared behind a wall of dark.

The darkness protected the works from the space, allowed the videos to breathe.

works by Kerren Cytter , MounirFatmi , Yehudit Sasportas , Pandelis Pandelopoulos, Dionyssis Kavalieratos

An archive was placed inside BEY HAMAM

A set of repetitive, adjustable modules was conceived to host the "information center of the biennial. The module transforms from passage to bookase to desk to vitrine to another vitrine to a seat.

The back side of the modules is painted artworld white, and when the ymodules are placed together they form an enclosure, a wall of archives protecting (and perhaps intellectually fortifying)a space for works that need white walls.

This Archive Building could exist on it's own, but thecurators chose Bey Hamam, an Ottoman bath house from1444, as the venue for this curious information center .

The function of the Hamam and the archive are interpreted asalmost identical, one being for the body what the other is for the mind. Bothprograms relate to the passing of time, to introspection, to reflection, maybe daydreaming.

This affinity suggested the opportunity for an unexpectedsuperimposition. In a reverse archaeological gesture, the archive building isembedded inside the cavernous spaces of the Hamam, as the result from a potential future discovery, a fata morgana.

As you walk from room to room in the labyrinthine hamam, you encounter the bookshelf walls of this archive building yet and again.

These walls seem to continue from room to room,

and slowly you understand that the form a larger shape, a complete archive building that lives inside the hamam building.

Bey Hamam features works, archives and movies by Arab Image Foundation, Cinémathèque de Tanger, IKONO TV, PRISM TV (NikosKatsaounis&Nina Paschalidou), Archive (Francesca Boenzi, Paolo Caffoni,Chiara Figone, Ignas Petronis), 98 Weeks

(Archive)

(Moments in the history of White Walls in Thessaloniki, fromfortification, to prison, to tourist attraction and finally to exhibition wall.A ROCK AND A HARD PLACE, main program of the 3rd Thessaloniki Biennial, curatedby Paolo Colombo, Mahita Ebu, Marina Fokidis,architecture by AndreasAngelidakis.)

Transporting art through the TELLOGLIO FOUNDATION

The exhibition areas of the Telloglio Foundation seemed to resemble an 1980's Balkan airport, so we decided to leave the exhibition in it's shipping crate rooms, ready to travel.

somehow the shipping crates echoed the architecture of the building

the crates were conected with corridors, themselves connecting to curious crates we found on the site

works by Thomas Dvorzak, Tayfun Serttas, Vlassis Kaniaris, and Socratis Socratous

While the exhibition design playswith the idea of fortification and protection as branding device, a large part ofvisiting the Biennale takes place outside these white walls.

Going from venue to venue becomes as much part of the biennial as the exhibition itself. You drive through strange neighborhoods were everybody seems to sell old stuff, followed by neighborhoods where everybody sells furniture. Then markets, 70's run down modernist apartment buildings, posh areas overlooking the sea, next to neighborhoods where students find shelter.

Other venues include the Archaeological Museum were you can see Athanasios Argianas, Sifis Lykakis and DionisisKavallieratos, Bruce Nauman and Christina Dimitriadis

(Bruce Nauman)

At the amazing Eptapyrgio prison you can see another ominous work by Vlassis Kaniaris. During the opening days one could also see a haunting performace of Olaf Nicolai's work, which is spread over all the venues (one song selected for each venue).

Then at Byzantine great works by Katerina Athanasopoulou, Dionisis Kavallieratos and Katarina Lillqvist.

The biennial concludes, (and often begins) from the Center of Contemporary art at the port, where one can see strong works by Francis Alÿs, Rasheed Araeen, Christoph Buchel, Angelo Plessas and Ahlam Shibli

(Angelo Plessas' Monument to Internet Hookups, a work that was shown in an initial version at the 2nd Athens Biennial in conjunction with Athens Pride, but now takes on a larger presence, offering free wifi which could initiate internet hookups of both sexual and political nature)

A ROCK AND A HARD PLACE, the Main program of the 3rd Thessaloniki Biennial is curated by PaoloColombo, Mahita Ebu and Marina Fokidis with architecture by Andreas Angelidakis

special thanks to the State Museum of Contemporary Art
Sotiris Vasiliou (Angelidakis Studio)

INTEREXPO, AMSFAIRS, INTERFORM, EXPOSYSTEM and TETRAGON for construction and coordination.

Yesterday's Architecture of Today

2011-08-23T13:51:00.001+03:00

Whenever I find old copies of L'Architecture d'Aujourd'hui, I sit down and browse through their proclamations of what the future will be like. Would we be living in computer-chip environments?

of course we would

would we be putting together apartments like giant Tetris modules?

of course we would

would we love rhomboid patterened cartoon lightning decorated public buildings?

of course we do

(Alfred Neumann, public building at Bat-Yam, Israel, 1968)

flipping through pages of early computer generated modular systematic housing nightmares

I seem to nod off into catterpillar town suburbias

little beehive modular cellular non buildings in India

and more organic 60's circular extravaganzas

jolted awake by sudden robot weirdness in Israel

(Mexico Olympics 1968)

only to realise that I am looking at Satellite stations in Ahmedabad

half awake confusing satellite hats and head-carried dishes

but further, more radical advertising strangeness follows

flamboyant architecture of illustration

beyond computer systems, beyond modules, beyond strangess one can only go back to the desert

Athens Bookmark Timewarp

2011-07-26T22:39:00.001+03:00

recently I stumbled upon this old book on Athens, and you know how old books are, everything looks sort of cool, like the Academy in 1900

the text was kind of complaining about Athens, like this image showing Omonia square (otherwise know as Junkie Central) "before it became a transportation hub". I guess that must be quite some time ago.

there was a map of Athens but it looked kind of boring and I couldnt tell how old it was, but the book definetly looked old.

as always, a nice plan of the acropolis as a palace proposal

then finally a date, Omonia Square in 1932, before cars and junkies

but then something weird. this picture looks really old too but the buildings not that old, and it says 1980, even if the photographic quality looks like from the 30s

but even more confusingly, this picture says 1986, when there was definetly color photography right? and why do the cars look like something from Grease? was it a major 1950s revival in the 80s?

ok obviouly the book not only is made to look like a much older book than it is, its also getting all the dates wrong, like these two cuties here (Syngrou Avenue otherwise known as Tranny Boulevard, in 1905? with 70s' modernist knockoffs?)

even the scans are kind of warped

a building thats probably not even in Athens

of course the cover explains everything: Athens Past and Future, (timewarped)

I took a Random Tumbl on a Book Friday

2011-07-03T12:33:00.001+03:00

I havent been blogging as much because even if I had resisted Tumblr for the longest time, the fall into the abyss of Social Blogging was innevitable. Tumblr is great for random images that do not seem to be part of a larger post, like this image of a desert settlement from some book I scanned during a library hideout.

Tumbler has a dashboard view, which means you can follow people, so their images enter into your stream and of course your conciousness. This creates a unique combination of specificity and randomness.

Somehow the desert image seemed to lead to a photograph of a photograph ofTahrir square,

logically some pyramids came next,
which I perhaps found on Tumblr itself,
endlessly reblogged through time

they reminded me of some Stanley Tigerman pyramid city
that was lurking in a book-scan folder somewhere

weirdly sequing into a drawing of the Acropolis as a Palace,
as envisioned by megalomanic King Otto

and a plan of the Palace that actually he got, which typologically was a military barracks

morphing into some fake Greek ruins from the fabulous Mexico 68 Olympics,
which was before we all realised that the Olympics are just a big construction scam
to drown dumbass countries into forever debt

and out of nowhere came this image of the Acropolis angrily exploding

then a hand sculpture peeked out from a bad scan
of an intentionally deserted post-modern plaza by Oswald Mathias Ungers

absurdly followed by an exhibition of typewriters on strange marble plinths

and gloriously concluding with some Archizoom Red Square urbanism

PS: A Fish Faucet

Scroll Though This (The Venice)

2011-06-05T21:46:00.002+03:00

Venice this year was all about the mega gesamtkunstwerk, kicking off with the heartbreaking Germania pavilion, which Christoph Schlingensief (1960-2010) turned into EGO, an out of control meta-fluxus church dedicated to his own death.

lung cancer

photos and videos cannot really decribe the simultaneous heavyness and lightness of this piece. Somehow it reminded me of The End, the 2009 Greek pavilion by Nikos Alexiou, who also passed away this year.

Moving on to the Swiss pavilion the always over the top gesamtkunstwerker Thomas Hirschhorn went over the over the top with "Crystal of Resistance"

aluminum foil car seats amongst a chaos of

monoblock chairs with empty aquariums and so much more

photodress menequin ending in crystal fringe while fingers scroll through photos on tv monitors

more broken mirrors

squirrels guarding magazines and crystals in brown tape caves was really the least of it. Again, you had to be there.

Moving on to gesamtkunstwerk number 3, Mike Nelson at the British Pavilion

who incredibly recreated a collage of Istanbul instances, a labyrynth of spatial and programmatic snapshots of everyday mayhem

complete with open air areas to just reming you that you have no idea where you are anymore: Neither Istanbul nor Venice, just inside his mind

or reaching down to grab his heart

(Danish Pavilion curated by our very own Katerina Gregos)

or becoming scaled into space (Dominik Lang Czech pavilion)

Rotating (Dominik Lang Czech pavilion)

practicing (Elas Lassry Arsenale)

burning (Urs Fischer)

melting office chair

Franz West showed his kitchen insideout, with all the works that hang there

Haroon Mizra got the golden lion for his "The National Apavilion of then and now"

a mountain of plinths

Gabriel Kuri upsidedown trashcans

(see you in Basel next week, together with A LOT of the Arsenale,

which was great, and ever so transportable,

gallerists must be happy indeed

great Rosemarie Trockel

FOS boat party, Danish pavilion

the at the great Padigline Internet, at San Servolo island, which this year hosted BYOB Venezia featuring gnes Bolt, Alterazioni Video, Andreas Angelidakis, Angelo Plessas, Anna Franceschini, Billy Rennekamp, Britta Thie, Claudia Rossini, Cristian Bugatti, Eilis McDonald, Elisa Giardina Papa, Giallo Concialdi, Hayley Silverman, Interno3, Iocose, Jaime Martinez, Jeremy Bailey, KUNSTKAMMER, Les liens invisibles, LG Williams/Estate Of LG Williams, Luca Bolognesi, LuckyPDF, Marc Kremers, Marco Cadioli, Marisa Olson, Marlous Borm, Martin Cole, Matteo Erenbourg, Mai Ueda, Mike Ruiz, Miltos Manetas, Nazareno Crea, Nikola Tosic, Parker Ito, Pegy Zali, Petros Moris, Priscilla Tea, Protey Temen, Rafaël Rozendaal, Rene Abythe, Riley Harmon, Sarah Ciraci, Sarah Hartnett, Theodoros Giannakis, UBERMORGEN.COM, Valery Grancer, Wojciech Kosma, Yuri Pattison, Constant Dullaart, Daniel Swan, Duncan Malashock, Jodi, Panos Tsagaris, Travess Smalley.

and curated by Margherita Balzerani, Gloria Maria Cappelletti, Caroline Corbetta, Silvia Ferri De Lazara, Marina Fokidis, Elena Giulia Rossi, Valentina Tanni, Mara Sartore, Yvonne Force Villareal, Doreen Reemen, Jan Aman, Manuel Frara, David Quiles Guilló, Miltos Manetas, Lev Manovich, Angelo Plessas, Rafaël Rozendaal, Domenico Quaranta, Francesco Urbano and Francesco Ragazzi.

a night of mega projections in a garden on an island

inspiring Luigi Ontani at Peggy Guggenheim, which showed the collection of Ileanna Sonnabend

great Wilhelm von Gloeden

the over at the super weird Dogana, which I had visited before, and had not idea what a little over manicured ruin it was. I think the Tadao Ando renovation almost beats the fake ruins of Knossos in it's Disneyfied decadence. Why? Anyway I only post things that I like in this blog, so its not that I dont like it, its just that I was taken aback by the extreme fakery provided by endless coats of Euros.

inside the space is equally weird, and I'm not just saying this because they didnt give me the cute yellow bag for free. Still Marcel Broodthaers' piece seemed to resist the space

I think I would prefer these amazing Chen Zhen candle houses against a proper white cube

maybe my favourite video of all time, Bruce Nauman Clown

Adel Abdessemed

over at Palazzo Grassi further akwardness, though Urs Fischer's Raymond Pettibon exhibition wallpaper still rocks

Angelo did a Robot Poetry Reading from his just published Automatic Book

who also put together the fantastic Book Affair ay MetriCubi

we finished the Venice Rounds with

The Mediterranean Approach at Palazzo Zenobio,

curated by Adelina von Furstenberg and Thierry Ollat

and featuring Ghada Amer, Ziad Antar, Faouzi Bensaïdi, Marie Bovo, David Casini, Hüseyin Karabey, Ange Leccia, Adrian Paci, Maria Papadimitriou, Khalil Rabah, Zineb Sedira, Gal Weinstein, Peter Wuethrich (image David Casini)

OLGIATI XXL

2011-05-20T16:14:00.001+03:00

Just got sent the megabook on Valerio Olgiati, edited by Laurent Stadler and others

the book is made by somehow gluing double pages against each other, resulting in an eminently openable series of perfect spreads

quirky pet shop minimalism

brilliant wedding cake extravaganzas

a white building I almost identical to my "Mavala" project, only 5 years earlier

and a delirious stack of 3 ground floor buildings to make a 3 floor building

Two videos: METASCREEN

2011-05-06T20:29:00.001+03:00

Here's the two works I'm currently showing at the METASCREEN exhibition at Gloria Maria Gallery in Milan, featuring your truly, Travess Smalley and Priscilla Tea

Building an Electronic Ruin, 2011

Moonlight, 2011

The Networked Ruin of Mont Parnes

2011-04-30T14:57:00.002+03:00

Recently we went up to visit the about-to-be-demolished Mont Parnes Casino.

Absurdly enough, amidst the current economic crisis, online and offline casinos are flourishing in Greece. The mountain of Parnes (ancient name for Parnitha) fell victim to arson resulting in an enormous fire in the summer of 2007, losing most of it's forest, and somewhat destroying the notable modernist casino (P. Mylonas architect). Apparently there is an urgent need for a casino on this mountain, so it will be rebuilt in the spirit of the modernist era (count the number of wrongs in just one sentence).

approaching the building today, you dont know exactly what you are looking at. Through the barren landscape you see a kind of messy collage of weird volumes.

on closer inspection it looks more like a factory, or some unplanned infrastructural decision, floating between being constructed or demolished

A random haywire network of tubing seem to have engulfed the modernist remains of the casino like some kind of ruin overgrown with mechanical ivy, all the while sprouting ISObox modules and scaffolding.

The mechanical ivy disappears inside a beige isobox tunnel, and eventually hooks up to the cable car that used to bring well dressed visitors up. Now, does it just bring ruble down? One cant help thinking of this wreck of a casino still chugging along, hooked up to a network of debts and despair, a constant exchange of all kinds of debris and leftovers. What used to be a glamorous ascent is now just a dismal descent.

the clean cut casino is barely visible amongst the folklore village of additions

the whole place seems deserted, and one wonders how it still functions. On the web I find an ad for the recently inaugurated poker room.

Walking around, it seems like no such poker room would be possible

peeking inside reveals a hot mess

but the back of the building is laid out with a perfectly manicured lawn!? Of course it makes sence, this is the only part of the surroundings that is visible when you are inside losing your money. It is not a landscape but a set design, a simple foreground for the view of the endless sprawl that is Athens below

I guess at night, both the casino and the city below look like there's nothing to worry about

Unseen Archizoom

2011-04-20T15:00:00.000+03:00

I was trolling around the library, and flipping through some old issue of something, I saw these Archizoom drawings that I'd never seen in any of the "tribute" re-publications anywhere.

A Rainbow bridge?

a duelling amphitheater?

a lighting grave room?

a huge marble conference table, surprise included?

ok, a garden room

holidays in style

a chair room where you go to hang yourself?

wait, it's a screen

Concrete Islands

2011-04-19T11:12:00.001+03:00

Concrete Islands, curated by Elias Redstone at Analix Forever Paris

Elias Redstone wrote a text

I showed Troll, Iwan Baan showed photos of squatted Chandigarh

Frederik Chaubin showed Communist extravaganzas

mounir fatmi showed a housing block being eaten by a demolition monster

and Niklas Goldbach showed gay men cruising the abandoned (and amazing) MVRDV Hannover Expo pavilion

and this was the perfect catalog made for the show

Can Architecture save you from Facebook fatigue?

2011-04-13T12:12:00.001+03:00

Open publication - Free publishing - More angelidakis

Walking in a Parkland of Ecstasy, Delirium and Disjuncture

2011-03-29T11:54:00.000+03:00

R. Buckminster Fuller, United States Pavilion,

World Trade Fair, Kabul, Afganistan, 1956.

Peter Cook, Layer City

Ant Farm, International Design Conference at Aspen, 1970

Robert Smithson, Museum of the Void, 1967

Schöner Wohner oder die Zerstörung des Wohnsarges

(Better Living or the Desctuction of the Living Coffin)

MONDO PAZZO Shockumentary

2011-03-27T22:57:00.002+03:00

via http://www.bortolozzi.com/

Cognitive Architecture. From Biopolitics to Noopolitics. Architecture & Mind in the Age of Communication and Information

2011-03-27T02:54:00.000+02:00

Just got my hands on a copy of the Cognitive Architecture mega-reader, edited by Deborah Hauptmann and Warren Neidich, 010 Publishers.

With contributions from Andreas Angelidakis, Lisa Blackman, Ina Blom, Felicity Callard, Suparna Choudry, Jordan Crandall, Elie During, Keller Easterling, Lukas Ebensperger, Boris Groys, Janet Harbord, Deborah Hauptmann, Patrik Healy, Maurizio Lazzarato, Daniel Marguilles, Markus Miessen, Yann Moulier Boutang, Warren Neidich, John Protevi, Steven Quartz, Andreij Radman, Philippe Rahm, John Rajchman, Patricia Reed, Gabriel Rockhill, J.A. Scott Kelso, Terrence Sejnowski, Elizabeth Sikiaridi, Jan Slaby, Paolo Virno, Frans Vogellar, Sven-Olov Wallenstein, Bruce Wexler, Charles T. Wolfe.

My contribution is a text based on the talk I gave at TU Delft, titled "Can Architecture Save you from Facebook Fatigue?"

Chapters included are :

OFFSCREEN,

TRIPLESCREEN,

SCREEN DISORDER,

SCREEN BUILDINGS

and

CITIZENS OF THE SCREEN

Teleport Diner meets World of World of Warcraft