under preparation, an exhibition in France, early June
Curators: Silvia Guerra and Laurent Fiévét
Space: Inês Moreira + Diogo Matos [petit CABANON]
Among other interesting artists: John Wood and Paul Harrison (from Tate Chanel)
January, 2010
Mapa de Jovens Práticas Espaciais [arqs_pt] / A21
Carl Cheng, Santa Monica Art Tool, 1988
“Desde já, o Mapa de Jovens Práticas Espaciais não é um mapa de estradas e caminhos da jovem arquitectura, não oferece um sistema definitivo de orientação, não propõe uma organização do território da Arquitectura, e, sobretudo, não bidimensionaliza a multiplicidade de actividades e posturas. Pelo contrário, estas práticas tornam problemáticos os contornos do campo da arquitectura, intricando-os com diversos campos entendidos como “extradisciplinares”, isto é, as exterioridades da arquitectura como a política urbana e a filosofia, ou a performance e a organização de eventos. Este mapa, propõe incorporar actividades dispersas e diversas, muitas com pouca visibilidade pública, nem todas identificáveis com a “prática profissional ou projectual do arquitecto”, e redistribui-las, apelando à imaginação e à inventividade de quem o lê.” IM_10
Mapa de Jovens Práticas Espaciais [arqs_pt] / texto-e-edição-in-progress para Revista A21 de Março 2010
January, 2010
camp _a guide to 21st-century space
Camps: A Guide to 21st-Century Space
by Charlie Hailey
MIT Press, 2009
536 pages, 5 3/8 x 8 inches
ISBN: 978 0 262 51287 9
“What is a camp? The ubiquity and diversity of camps calls for a guidebook. This is what Hailey offers, but it is no ordinary one. Not only does he establish a typology of camps, but he also embeds within his narrative a key to camp ideology. Thus we see how camp spaces are informed by politics and transform the ways we think about and make built environments. Hailey describes camps of diverse regions, purposes, and forms, and navigates the inherent paradoxes of zones that are neither temporary nor permanent: camps of choice, including summer camps, protest camps, drift camps (research stations on Arctic ice floes), and LTVA (Long-Term Visitor Area) Camps; strategic camps regulated by power—boot camps, GTMO (the detention camp at Guantánamo Bay), immigrant camps, and others;—and transient spaces of relief and assistance, among them refugee camps, FEMA City, work camps, and Gypsy camps. Today camps are at the center of emerging questions of identity, residency, safety, and mobility. Camp spaces register the struggles, emergencies, and possibilities of global existence as no other space does.” MIT press
December, 2009
arquitectura 21
[Foire aux Plaisirs, de Nicolas Leliévre]
Revista a21, Nov-Dez 09
Evento2009, o acontecimento artístico e urbano de Bordeaux
Por Inês Moreira, Outubro 2009
“O evento é um encontro urbano que se situa simultaneamente nos espaços centrais e periféricos da cidade, programando-os como um encontro entre o arquitectónico, o social e o performativo. Ao longo do processo existiu um diálogo entre diversas comunidades locais, desde a cultura skater aproximada por Rafael Zarka, aos grupos hard-rock locais, aos grupos afro–caribenhos, às multidões de público eufórico nos espectáculos, ou aos transeuntes desinteressados que se viram envolvidos nos cenários da produção de peças e interpolados a participar.”
[excerto das páginas 96-99]
December, 2009
raven row _harun farocki
image [here]
_exhibition Harun Farocki. Against What? Against Whom?
19 November 2009 – 7 February 2010
Raven Row, 56 Artillery Lane, London E1 7LS
In Comparison
Harun Farocki, Germany, 2009, 61m; 16mm, color, sound
“Bricks are the resonating fundamentals of society. Bricks are layers of clay that sound, like records, just simply too thick. Like records they appear in series, but every brick is slightly different—not just another brick in the wall. Bricks create spaces, organize social relations and store knowledge on social structures. They resonate in a way that tells us if they are good enough or not. Bricks form the fundamental sound of our societies, but we haven’t learned to listen to them. Through different traditions of brick production Farocki’s film makes our eyes and ears consider them in comparison—and not in competition, not as clash of cultures. Farocki shows us various brick production sites in their colours, movements and sounds. Brick burning, brick carrying, brick laying, bricks on bricks, no voice off-commentary. Twenty intertitles in 60 minutes tell us something about the temporality of working processes. The film shows us that certain production modes require their own duration and that cultures differentiate around the time of the brick.”
December, 2009
petit THINK TANK _exhibiting as going public
petit THINK TANK
_exhibiting as going public
_4 Dez _ Dec 09 : 15 / 17 pm [friday] _Oporto
petit CABANON proposed a two hour conversation revolving around notions of public, exhibiting and publishing. This was the first gathering occurring outside the physical space of pC, the small space we had in the same street which was handed back before summer. We have called “petit THINK TANKs” to a series of long, calm and more or less deep conversations into interdisciplinary questions – these are different from the conversation pieces, or from the gatherings and small exhibitions we have been producing. Recalling what propelled the petit THINK TANKs, these are moments of intense discussion of a question or notion articulating a conjunction of concerns of its intervenients. Although from different disciplines, perspectives and backgrounds, we have been thinking of the extensions of curating, of exhibiting and of research in visual cultures. The 1st one posed a problem of extension: “after the laboratory?” questioning and collectively thinking of the limits of the idea of laboratory as a research model and space. It was transcribed and published as a chapter of a book, and its contributors came from anthropology, biology, visual arts, or critical theory. The second one was encapsulated within a multi-practice environment of architecture and revolved around the limits of the discipline of architecture in which we were trapped: “what can we do?”, was maybe the question raising from that afternoon, which obviously remained unsolved, and even led to a certain tension among those present. As for the third particular session, called “exhibiting as going public”, it was the first one to be open to an audience, due to the nature of the contents it was addressing: the public and publicness of research and exhibiting.
We performed at different levels: firstly staging an encounter with a public. And, more indirectly, addressing the moments of interaction and participation with “the public” or “the audience”, but also, and most especially the conundrum of filtering, and editing, and communication, and translation that occurs when transforming an “incomplete content”, whether academic research, or partial experimentation, or on-going project, into something public. Editing and exhibiting, are activities giving a shape and making public that which is previously unfinished, secretive or simply private. And the politics of going public behind these activities – that most of us share as researchers, writers, teachers or curators – is mirrored by that politics of the encounter with a public, with and audience, and it is conceptualized in more active notions of participation, of relationality or in even deeper notions of communality within the group perceived as the public.
The send-off of this petit THINK TANK was the recent release of the 3rd edited volume of Displayer, by Doreen Mende, a curator, theoretician and editor who produced Dispalyer within the “Program Exhibition Design and Curatorial Practice” Hochschule für Gestaltung / ZKM Karlsruhe. We departed from her presentation and from the audiovisual contribution of Filipa César, a filmed book especially directed for Displayer 3, screened besides us, following us, as part of the conversation. But, instead of a book launch, we tried to expand the notion underlying this volume:
“While an academy is an environment which does not request a ‘finished’ product, the space of exhibition depends on something to be shown to a public. (…) In which way can a publication be understood as a space for exhibiting? Under which demands as well as urgencies does a publication expand the conditions of an academy?”.
We invited Susana Caló, a philosopher and editor of Detritos Magazine, who is undertaking her PhD in London, to respond and to expand on the interceptions of going public: the politics of space and the notion of public domain. Susana opened 3 questions that articulated the later discussion: “on singularities and difficulties of the editorial practice” and “on how is a publication actualizing”; “a question of collectiveness and the dissolution of the author” and the difference of an author writing of things, and a writer writing with things; “on the erasure of the author or the artist by that of the collective” and on collectiveness and the fragility of academy research. The conversation proceeded with a presentation of Gabriela V. Pinheiro, an artist whose artwork is devoted to notions of public, who addresses the public from a close relation in which communality and relationality are conceptualized to interpolate participation, and, to more recently posit the art work within the dynamics of the public within an art institution [or a certain vision of institutional critique].
We intend not to be academic on our approach, but to expand the limits of academy and those of going public, as ours guests proposed us.
++++++++++++++++++++++
organization _
petit THINK TANKs are part of petit CABANON
www.petitcabanon.org
a project by Inês Moreira since 2007
this petit THINK TANK has the support of Reflexus, JUP and FBAUP
++++++++++++++++++++++
December, 2009
PhD research _ a methodology
PhD research _ a critical methodology for a research group supporting my thesis
“performing building sites”
[the unfortunate worker, helper 1, helper 2, the paper guy 1, the paper guy 2, the auditor 1, the auditor 2, ..., 3, ...4, ...5, ...6, the boss, the reporter, the curious one, the guy from the coffeeshop]
December, 2009
dossier EVENTO _rev _mag Arq./a 75/76
[dossier cover _capa do dossier ]
Dossier sobre processo de pesquisa Encontros Performativos: Íntimo e Colectivo, realizado em Bordéus, Outubro 2009 para Geração Z da Revista Arq./a [Nov/Dez 09] , edição: Inês Moreira Redacção: Inês Moreira e Cláudia Martinho, site:www.evento2009.org Design: Carla Ferreira, tradução pt: Sara Moreira [Nucleo de Jornalismo Académico do Porto / JUP], Créditos fotográficos: artistas, Christian Lesemann, Pierre Antoine, Frédéric Deval, Lysiane Gauthier, agradecemos:Didier Fiuza Faustino, Mairie de Bordeaux, Revista arq./a e a todos os participantes no evento 2009
[Arq./a 75/76 magazine cover _capa revista ]
December, 2009
Biarch _REVIEWING ARCHITECTURAL KNOWLEDGE FORMATS _3rd panel
Biarch _Barcelona Institute of Architecture _28nov09
REVIEWING ARCHITECTURAL KNOWLEDGE FORMATS
>>> 3rd panel _4pm >>> INSTITUTIONS [ARCHITECTURE]
>>> La Pedrera, BCN
>>> Joseph Grima (Storefront, NY) Francisco Gonzalez de Canales (AA, London)
>>> Inês Moreira (moderator)
This dialogue addressed “institutions of architecture” and focused particularly on the cultural dynamics and the research produced and made public within hybrid, middle scale and very lively organizations. Our send-off was the belief that cultural architectural organizations can be active entities, attracting researchers, new students and a broader public, through the quality and the precise focus of its ideas and knowledge production. Instead of the crystallization of institution making in sharp questions such as “what are institutions instituting, or, what are institutions institutionalizing?”, we addressed the expanded field of cultural organizing, from wider notions of architecture culture, constituency, urgency in research, to the roles of researchers/curators, so to understand the potentiality to embody what seems to be a practiced notion of institution: organizations producing, researching, hosting and inhabiting space.
SLOW SPEED OF INSTITUTION MAKING vs. SPEED OF CONTEMPORARY CULTURE
The two organizations discussed – the Storefront for Art and Architecture [NY] and the Architectural Association [London] – develop experimental cultural programs of exhibitions, debates, events and publications. Both are experimenting with curatorial and editorial formats: the Storefront is a small space in NY organizing events, exhibitions (and eventually itinerating and expanding its space), supporting both Art and Architecture fields, its intersections and a broader understanding of the cultural dimension of spatial practice; and Architectural Association, is a leading educational organization, promoting a very accurate and cutting edge design and scholar research, complemented by the program of its gallery, publications and outside spaces. Their programs expand the notion of “architecture culture”, from design-based studio-practices to a culturally more complex and entangled notion of spatial production. Politics, geography, economics, social sciences, as well as design, performance, and also the exercises of writing, exhibiting and divulging, are all participating in the idea of architecture they stage: as multidisciplinary, polyphonic events.
As cultural organizations they are agile, flexible and inventive and – besides the political/economical budget and audience pressures that the larger scale cultural organizations suffer so to sustain its institutional programs, to manage spaces and find its resources [cultural centers, museums, etc] – their smaller scale and organizational structure dribbles the problems of big scale by sticking to high quality programs, whether enabled by the elasticity of a non-profit organization (Storefront), or from extending the renowned experimental graduate school (AA). The organizations are constituted as a set of relations, depending on a community of experts, complicity in researchers and a specialized cultural public, and their organizational strategy nourishes the notion of institution, revolves around questions of the fabrication of itself as a space; of pushing lines of research, and the pursuit to be inhabited by diverse intervenients and interlocutors.
Our panel focused on the textures/fabric of the two institutions, and the personal experience of our guests, and converging around three points: How are the organizations constituted, and what constitutes it? What propels them to particular subject matters of research and how do they practice it? Who is inhabiting and driving its dynamics?
We had the company of two generous guests, who engaged on a thick discussion:
Joseph Grima, educated as an architect, is a curator, writer and editor. He has collaborated with diverse platforms, from Domus Magazine to Multiplicity collective, before becoming director of Storefront in NY. Grima has graduated at the Architectural Association – from where our next guest comes from – and is undertaking his PhD at Goldsmiths College, a Research Department we both have in common.
Francisco Gonzalez de Canales, is an architect, active researcher and design practitioner, educated in Seville, Barcelona and Harvard, and holds a PhD on Architectural History and Theory. After being involved with the Collegio de Arquitectos de Sevilla as editor, he is teaching at the AA, where is coordinator of “Curatorial practices / Cultural products (AACP)”. Besides he is running his office Canales + Lombardero.
The program of the event can be found [here]; images can be found [here], and soon the videos with the contents are to be made public, too.
November, 2009
Biarch _28nov09 program
Guests: Pier Vittorio Aureli, Felipe de Ferrari, Pedro Gadanho, Francisco González de Canales, Joseph Grima, Paul Petrunia, Joana Sá Lima, Enrique Walker.
Moderators: Pep Avilés, Mario Ballesteros, Alicia Guerrero Yeste, Inês Moreira
Directed by Jorge García de la Cámara
BIArch Dialogues Program (pdf)
With the BIArch Dialogues “Reviewing Architectural Knowledge Formats”, the Barcelona Institute of Architecture will concentrate on the generation and dissemination of architectural knowledge through multiple channels, opening a field of inquiry that complements the Institute’s fundamental theoretical, technical and academic concerns. These dialogues, along with the many other activities offered by the Institute during the course of 2009, are set up according to the will of bringing forth the interests and contents of a new postprofessional institution at the close of the first decade of the twenty-first century.
The general objective of the dialogues is to extend the notion of architectural knowledge beyond curriculum. Expanding architecture culture is a particularly timely and challenging endeavor given the current state of the profession. Understanding the possibilities for architectural learning in alternative practices and fostering exchanges between modes of production and instruments of dissemination should offer a richer and potentially more stable professional outlook. Thus, alternative knowledge formats become key complements to the core academic activities of a postprofessional degree program.
By bringing together a series of young practitioners from a breadth of fields related to architectural knowledge, the dialogues will draw an outline for reflection and action in various areas of experience. What are the limits and possibilities of generating criticism or promoting reflection on architecture through print and digital media? What are the most appropriate formats for different types of information or audiences? How can academic and cultural institutions support each other and expand their respective scopes? What are the roles and responsibilities of architecture editors, critics or curators within the frame of knowledge and learning? How might the proper balance between different topics informing the discipline be achieved through the structuring of curricula? Through the shared reflection of scholars, critics, independent publishers, digital media entrepreneurs, curators, and cultural activists, the dialogues hope to establish a framework that might provide some of the answers to a context in which knowledge is permanently evolving.
November, 2009
petit THINK TANK _exhibiting as going public
petit THINK TANK
_exhibiting as going public
_4 Dez _ Dec 09 : 15 / 17 pm [friday] _Oporto
petit CABANON proposes a two hour conversation revolving around notions of public, exhibiting and publishing. The send-off is the contribution of Doreen Mende, the editor of Displayer 03 [a magazine with contributors as Charles Jencks, Walter Benjamin, Alfred Barr, Ines Katenhusen, Omer Fast, Hans Hollein, Dominique Gonzalez- Foerster, Ines Weizman, Moritz Küng, Giorgio Grassi and edited with the students of Program Exhibition Design and Curatorial Practice / Hochschule für Gestaltung / ZKM Karlsruhe]. We invited Susana Caló, a philosopher and editor of Detritos Magazine, to respond and to expand on the interceptions of going public: the politics of space and the public domain. The conversation will proceed with Gabriela V. Pinheiro, an artist whose work is devoted to notions of public and exhibiting and hopefully engage in an intimate conversation with the audience. A filmed book realized by Filipa César – Displayer 03 – is to be screened as part of the conversation.
Guests:
Doreen Mende, curator and editor based in Berlin
[Academy Expanded and Expanded Exhibition]
+
Susana Caló, philosopher and editor based in Oporto
[Expanding]
+
Gabriela V. Pinheiro, artist based in Oporto
[The Public]
+
[the conversation will be held in English and is kindly hosted
by REFLEXUS arte contemporânea]
rua de miguel bombarda 531
4050-383 Oporto, Portugal
[Displayer is the magazine of the “Program Exhibition Design and Curatorial Practice” Hochschule für Gestaltung / ZKM Karlsruhe]
++++++++++++++++++++++
organization _
petit THINK TANKs are part of petit CABANON
a project by Inês Moreira since 2007
this petit THINK TANK has the support of Reflexus, JUP and FBAUP
++++++++++++++++++++++
“The requirement to exhibit the final product is something we can view in the framework of the capitalist system, along the lines that an employer who has made an investment now needs to see a result. These relationships are reproduced in the collaboration among artists, curators, and directors who have invested in a work in an institutional framework. The exhibiting institution, being the last link in the chain of this market transaction, needs a visible, tangible result: a product.” (Milica Tomic, Politics of Memory, Displayer 03).
While an academy is an environment which does not request a ‘finished’ product, the space of exhibition depends on something to be shown to a public. The conversation will be based on the project Displayer, which is a publication series of the program Exhibition Design and Curatorial Practice at the University of Arts and Design / ZKM Karlsruhe. Displayer is a magazine of original sound. The editorial team is the students of the seminars of the University’s program.
The points of departure for the most recent issue, Displayer 03 (2009) are the demands, the challenges, and the potentialities as well as the impossibilities of exhibiting space itself. Space is the fabric in which events occur, and events, in turn activate space culturally, socially, politically and geographically. Hence, the exhibition of space is strongly connected to performative acts in addition to questions about the requirements of constructions in space.
In which way can a publication be understood as a space for exhibiting? Under which demands as well as urgencies does a publication expand the conditions of an academy? And for Displayer 03: What are the means of recording space in order to perform it at different times, in different places and different institutional settings?
Contributions Displayer 03 by Eva Kraus, Tilo Schulz, Martin Beck, Charles Jencks, Pablo Bronstein, Katrin Mayer, Stefan Römer, Walter Benjamin, Alfred Barr, Ines Katenhusen, Milica Tomic, Omer Fast, Sina Najafi, Hans Hollein, Joseph Dabernig, Achim Lengerer, Paul Gangloff, Dominique Gonzalez- Foerster, Ines Weizman, Moritz Küng, Kersten Geers, Giorgio Grassi, Guillaume Paoli, Heiner Mühlmann, Stephan Trüby, Wilfried Kuehn. Filipa César realized Displayer 03 as a filmed book which is part of the discussion.
November, 2009
biarch
Biarch _reviewing architectural knowledge formats _seminar
Directed by Jorge García de la Cámara
28nov09 _la pedrera _bcn
with: Joana Sá Lima, Pedro Gadanho, Mario Ballesteros, Paul Petrunia, Felipe de Ferrari, Alicia Guerrero Yeste, Joseph Grima, Inês Moreira, Enrique Walker, Pier Vittorio Aureli, Pep Avilés
November, 2009
our new logo
here it is!
our new pC logo
we know it looks low-tech but it was produced in a foreign country with the most advanced laser cutter technologies for free! Micro-macro logistics and outsourcing…
… techonology makes us misfits!
November, 2009
a pink sleep(er)y beauty!
Not much of an ironic author, nor a metaphorical-ilustrative thinker, I prefer much to think through figurations and instantiations as Donna Haraway as brought up. And surely these images from [elsewhere] make us think of the powerful notion of Unbuilding Site as a model to unthink PhD and scholarly research. Demolition, failure, destruction and astonishment, sublime and wonder. Brutal-material-romanticized-fictional figurations.
a pink sleep(er)y beauty!
November, 2009
after the road trip _phd presentation again
A big “thank you” to all of you who patiently heard and generiusly contributed to this saturday´s presentation in London. It was a tremendously important moment to edit and give a final shape to this research project.
October, 2009
BJARKE INGELS You shouldn’t have to apologize for the fact that you’re playful… It is like the saying: “You don’t stop playing because you grow up, but you grow up because you stop playing!” … Architecture is continuing refurbish the surface our world in a way we want to live. we try to create the physical framework for the people who live in the city. So we should more observe how the people actually use the city or how they change their way of living. This is the greatest inspiration for architects. These kind of temporary interventions open up new territory for new uses in the city that then need to be organized to accomodate this kind of future life.
DIDIER FIUZA FAUSTINO “Just to give you an example: At the Bordeaux Festival Event0 – a two week “artistic rendez-vous” with musicians, composers, filmmakers, artists and architects like Tadashi Kawamata, Dominique Gonzalez-Foerster, Anri Sala, Julia Wolfe, Diller Scofidio + Renfro, Amos Gitaï , we were looking for a conference venue. But all options turned out to be too expensive. So we ended up setting up a circus tent in the middle of a crossing to hold talks by different disciplines. And we saw a continuous flow of people crossing, entering, looking or also complaining… At the end of the week something like 50.000 people crossed the conference tent… This project is about experimentation, about how to bring architecture and the arts closer to the public.”
October, 2009
audiowalks _visões úteis _madep
Um audio-walk é um passeio sonoro. Um guia áudio que conduz o ouvinte por um determinado percurso.
No caso dos audio-walks do Visões Úteis, o percurso é desenhado pela cidade – o espaço público. (…) Mais do que paradoxo temos ilusão. O público só é protagonista da sua própria fruição, como em qualquer espectáculo. E a ligação profunda à realidade é completamente manipulada. Tudo é finalmente ficção. Ainda que a ficção seja criada em estreita ligação com o local e inspirada pelas inúmeras vozes reais que habitam o percurso. Só assim a ilusão é possível. (..) O espectador desloca-se ao local de levantamento do equipamento (Coma Profundo: guichet do fiscal do Mercado da Foz, Porto; Errare: IAT – Tourist Office, Parma) e em troca de um documento de identificação recebe um Discman e respectivos auscultadores e inicia uma experiência audio-espacial que o leva a percorrer várias ruas seguindo as instruções que ouve. A viagem a que se submete acontece numa dimensão definida pela paisagem real por onde se desloca e pela paisagem sonora em que imergiu. No fim, regressa ao ponto de partida para devolver o equipamento.
29 outubro 2009, 17h no auditório do pavilhão novo da FBAUP.
[sessão aberta organizada no âmbito da "Colaboração científica com o projecto Europeu Transformations/MADEP", financiado pela Cultura 2000]
