The era of radical concrete: a photographic archive mapping a urban utopia collapse
We’re big fan of atlas, and we’re very interested in investigating its potential as a communicative tool as well as in testing its possibilities and consequences for the real world.
So, here a nice and smart way to conceive and represent a kind of atlas, Friction Atlas, a project by our friends Paolo Patelli and Giuditta Vendrame:
“Friction Atlas addresses the issue of legibility of public space, its programs, and the laws that regulate its uses. […] Friction Atlas aims to make regulations – that are always implicitly present in any public space – explicit and visible, through graphical devices.”
Here a nice interview by We Make Money Not Art
From 25th till 29th of june, the fifth edition of Aiap Limited Edition will be hosted in Genova.
Among several events – workshops, exhibitions, roundtables, etc. – we’ve been invited to the conference “Graphic design, quale professione? Il caso italiano fra ricerca storica e riflessione critica” (Graphic design, what kind of profession? The Italian case between historical research and critical reflection).
The discussion, organized by Daniela Piscitelli e Carlo Vinti, will be joined by us, Brave New Alps, Caterina Giuliani, Elio Carmi, Pino Grimaldi and Riccardo Falcinelli.
More info here.
We’ve been invited to a roundtable organized by the collective Ogino Knauss.
Along with Franco La Cecla, Gianni Biondillo, Bertram Niessen e Lorenzo Tripodi, we’ll discuss about urban centralities and peripheries, the relation between spatial production and image production, and contemporary moods of Milan facing Expo 2015.
Monday May 12th, h. 18
Fondazione Giangiacomo Feltrinelli, via Romagnosi 3, Milano
More info here.
Sternberg Press seems to offer a good example of how the print editorial production can still offer much not only to the contemporary cultural debate, but also to some fruition modalities “anchored” to the physicality of the object-book. The little German publishing house, founded in 1999 by Caroline Schneider, can boast a catalog composed by hundreds of titles in which curators, critics, designers, artists, writers and philosophers give life to a solid multidisciplinary platform, committed to expanding the critical debate concerning the status quo of art and contemporary culture—and engaged as well in providing historical re-readings and redefinitions and in examining possibilities and perspectives of the near future.
It is almost obvious that the scientific research, in Italy as well as in other European countries, is not experiencing its best moment. It is sad to affirm that the research in the humanities is limping as a dying being, but also fairly true. Many could justify this near-death condition making reference to the financial crisis, but this reveals itself to be nothing more than an excuse, if we go compare the funds—and thus the chances to support the research in a specific field—available to scientific and humanistic research. In a lecture at Harvard concerning the future of the research in the humanities, philosopher Homi K. Bhabha framed the problem in the simplest way possible: it appears that in 2011, in the USA, the research in the humanities received less than half of the 1% of the total sum allocated to scientific and technological research.
After conducting a long research work into the use of social networks in the Syrian conflict—and after staying in Cairo during the Tahrir Square protests—the collective Foundland, already guest and contributor of Krisis | Orientation, investigates again the collective visual imaginaries taking form in Arabic societies in a period of strong political, social and religious infighting.
Even if it dates back to May 2002, the project of Korean designer Sang Mun has received a new and truly actual meaning in light of the recent scandal involving NSA—US National Security Agency—and the US government.
“We all knew this was happening.”
That’s the beginning of Vinay Gupta’s reflection concerning the meaning of the NSA/PRISM scandal and its consequences on the social relations between single private individuals, professionals, social groups and nation-states. Read More
Why Gramsci? Why New York? Artist Thomas Hirschhorn explains the meaning of his new “universal monument” in New York, describing a new idea of art within today’s public spaces.
Occupy Mordor: Wu Ming 4 describes Blu’s work covering a wall of the self-managed social centre XM24—which according to the local administration will be demolished, together with the murals, in order to make room for a traffic circle.
Memories of a broken utopia: Jan Kempenaers’ photographic project, a valuable record concerning many monuments and commemorative sculptures built between the 60’s and the 70’s by the regime of Titus in Yugoslavia.
Slavs and Tatars, interviewed by Ingrid Chu, talk about visual communication, the history of winners and losers, identity representation, graphic design as a strategy to represent complexity and open new shared symbolic spaces.
Atlas as a life-long project: Gerhard Richter
Gordon Matta-Clark’s work, a pioneer in the use of disorientation as a practice within urban spaces.
Thomas Hirschhorn explains us the meaning of his Ur-Collages: collage as a resistance technique.
“I live in this complex, chaotic, cruel, beautiful and wonderful world. I want to be happy in it and I want my work to reflect that. The «Ur-Collage» is a basis for this. I affirm the world in which I live and I want to affirm also the negative side of this world. I affirm the world in which negativity is also shown and in which the hard core of reality, of negativity is not bracketed off. I want to show also this hard core.”
Foundland realized a visual essay on the 24th issue of Graphic Magazine, dedicated to the city of Amsterdam. The intervention consists in a visual comparison between the Dutch resistance during the Second World War and the Syrian rebels opposing Assad’s regime today.
Massimo Vincenzi, on Repubblica.it, talks about Gramsci Monument, a public installation-work of art realized in The Bronx by Swiss artist Thomas Hirschhorn. The monument, which will be inaugurated today, is the fourth of a series of artistic interventions taking place in public spaces—the other three being a monument dedicated to Spinoza in Amsterdam, one to Deleuze in Avignon and one to Bataille in Kassell. Read More
Trevor Paglen is an American artist exploring topics concerning geopolitics, the state of emergency, biopolitics and military dispositives. Terminal Air is a project, curated together with Applied Autonomy, which “explores complex interconnections between government agencies and private contractors involved with the United States Central Intelligence Agency’s extraordinary rendition program.”
Julian Bleecker, designer, futurologist and specialist in technology, explains his idea of Design Fiction, a practice exploring the symbolic relation between science fiction, science, technology and society. In other words: in which way the science fiction imaginary interferes and collides with the planning and development of technology?
New Orleans prior to, during, and after Katrina—seen through the eyes of its residents. How the emergency management can transform itself into a compulsory dispositive of urban control.
Intercollective Picture is a collection of pictures and artistic works created by artists making use of the Internet as the main instrument or concept of their works. Intercollective Picture’s goal is to show a new approach to the production of images and start a critical debate concerning new practices in visual art.
An Introduction to Critical Cartography by Jeremy W. Crampton e John Krygier: disorientation as a practice and cartography as production of space.
The image and political meaning of the time machine through a century of movies—in other words how we lost the ability to imagine our future. An article by Robert Barry published on Mute Magazine.
Art handling in oblivion is a catalog concerning conspiracy, theft, property and inheritance. Born as the thesis project of Rob van Leijsen, the catalog examines the circumstances of some collections and works of art stolen during wartimes, describing the theft of works of art as a feature inherent to any military campaign.
TWO OR THREE THINGS I KNOW ABOUT PROVO is a retrospective exhibition curated by Dutch graphic designers Experimental Jetset, concerning the activities of the subversive group Provo—active in the Netherlands during the 60’s and the 70’s “to explore the notion of the ‘printer as an auteur’, the relationship between activism and archivism, and the connection between the city and the printing press”.
The thin red line running between urban practices, the space and its representations: theorist and architect Eyal Weizman examines how the Israeli army makes use of philosophical and architectonic theories in order to apply new military strategies to the urban context.
Starting from the Die Hard movie as an architectonic premise, thefts, lock-pickings and robberies represented and narrated by 20th century’s movies open a new approach to the city, to its uses, its imaginaries. In an article by BLDG BLOG
In this article Matthew Flintham concern himself with works of art that tackled the representation of military landscapes, reflecting on the way war related images modified themselves through time, how the landscape have been absorbed to the military imaginary, and on the strategies adopted by the artists.
Nulpunt: a direct instrument to publish, control, diffuse and discuss governmental documents—that is to say the Public Sphere in the digital era.