How materiality resonates politically? The discussion around the worker’s sheds installation Participants: Arne Hendriks, Inês Moreira, Aneta Szyłak, Leire Vergara Five sheds from the Gdańsk Shipyard from the inspiration of the artist Grzegorz Klaman are put on tour to form Solidarność Camp in 5 European cities. Made decades ago by the shipbuilders they were meant to provide some private space within the harsh conditions associated with outdoor labour in heavy industry. Today, no longer in use and rescued from the scrapyard they are being seen as examples of vernacular architecture. The status of the random objects is transformed into an art installation. The questions we would like to raise are: How the meaning of the object is changed according to its location? What does it mean for us to discover them in the center of Madrid? How their materiality influences our thinking about the visual, the vernacular, the somatic, the audible and the performative? How this gesture reframes what we think about the city and how the contrast between the sheds and their temporary surrounding triggers our thinking about the status of the found and vernacular? How the sheds can sound politically to us, whilst thinking about the control over heavy industry by European regulations? These questions and more are to be addressed to four speakers invited to take part in the talk: Arne Hendriks, co-curator of upcoming Alternativa in Gdańsk, Inês Moreira, architect, researcher and curator based in Portugal, Leire Vergara, an independent curator based in Bilbao and Aneta Szyłak, Director of Wyspa Institute of Art in Gdansk. www.mataderomadrid.org/ficha/1009/solidarno%C5%9B%C4%87-camp.html
Uma Terra Sem Gente Para Gente Sem Terra
Um projecto de Design sobre a Palestina, por Nuno Coelho e Adam Kershaw
“Uma Terra Sem Gente Para Gente Sem Terra” é uma exposição de cartazes gráficos interactivos sobre o conflito entre Israel e a Palestina. Produz um discurso visual em torno das tensões sociais da vida quotidiana nesta região onde três continentes colidem, e propõe uma nova abordagem de pensamento sobre o conflito. O discurso é crítico, mas também irónico e, de uma forma descontraída, expõe a situação actual, convidando as pessoas a colorir os mapas e desenhos ao longo da exposição. O livro homónimo, recentemente editado, contém versões actualizadas das imagens e textos incluídos na exposição, em conjunto com novo material produzido especificamente para esta publicação, onde também são descritas as diferentes fases da sua produção e documentação, assim como o contexto político e de design através de textos pelos autores. Para além disso, colaboradores de diferentes contextos profissionais e culturais foram convidados a responder ao formato e ao conteúdo da exposição de acordo com as suas próprias perspectivas. [Nuno Coelho e Adam Kershaw]
Conferência aberta _25 de Maio 2010, 17:30
Auditório Sul FBAUP
[sessão aberta organizada no âmbito da colaboração científica com o Projecto Europeu Transformations/FBAUP”, financiado pela Cultura 2000]
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.
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
[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 ]
Biarch _Barcelona Institute of Architecture _28nov09
>>> 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.
Directed by Jorge García de la Cámara
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.
What are the Ex – Architects?
The Ex–Architects projects is a rare undertaking. It differs in everything from the conventional lectures or recurrent events. Its meetings aren’t focused on the achievments and realisations of given group of designers and architects. Invited guests don’t advertise their own successes, but tell about chosen subjects, about threads in the architecture, which are their own specialty. Ex–Architects are not even fully lectures. The speakers are exceptional people, some of them are known better, some less – but all of them, through their constructive vision, hold a lot of influences on the modern shape of the architecture.
Now it’s time to explain some semantical questions. The „ex” preffix is universally recognised as equivalent of terms such as „former” or „beyond”. Usually is connected with mentioning former lovers and spouses. However the project involves questions from the field of architecture. In this case ex–architects are persons functioning bye the way of the main current of architecture, often don’t accepted there. Ex is linked as well with the experiments, and the project is focused on the experimental architecture. Ex can be understood also as the fact that not everyone from the invited speakers is an architect. Amongs them you can find a writer compelled by architecture, or art historian without formal architectural background.
Each lecture will be preceded by the introduction to main subject, which has a goal to familiarise the audience with profile of a given speaker. Within ex- architects we foresee also special lectures (called special ex), which will cover current events. Coming soon: Henry Urbach, Aneta Szyłak, Dorota Monkiewicz, Felix Vogel, Ines Moreira, Juergen Mayer H. and many more!
more info: ex-architects.blogspot.com – soon!
project curator: Marcin Szczelina
RENOMA departments store, Wrocław, Poland!
Cláudia Martinho addresses the political and social dimension of Collective Intimacy questioning collective experiences and the sharing of intimate perceptions as a means of [re]appropriation of public space.
Lara Almarcegui _artist muf architecture/art _artist Pelin Tan _ guest
interpolators : Anne Querrien, Maurizio Bortolotti, Juri Steiner
Inês Moreira questions whether Collective Intimacy can be clearly stated, proposing it as an ephemeral condition and non-predictive relational moment, occurring beyond declared “intimate collectives”.
Doreen Mende _ guest Democracia _artist MAP Office _artist Marten Spanberg / International Festival_ guest Paolo Plotegher _ guest
interpolators: Dennis Adams, Maurizio Bortolotti
Marcin Szczelina, suggests notions of individual immersion in space and corporeal perception of collective intimacy as a way of understanding an architecture of influences, without precise borders.
Laurent Tixador_artist Johannes Gess _artist Peter Cook _guest Sam Jacob / FAT _ guest
more info: WWW.EVENTO2009.ORG
photo by paulo mendes