Friction Atlas

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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

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Graphic design, what kind of profession?

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.

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Re:Centering Periphery

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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.

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Book Review: The Italian Avant-Garde: 1968–1976

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.

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Why we need humanities? To speculate!

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.

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Ard Al Amal, or the utopian image between Damascus and Cairo

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.
Read More

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Ur-Collage

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.”

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Syria now / Amsterdam then

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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.

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Gramsci on the wall of The Bronx

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

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Terminal Air

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.”

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Design Fiction

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?

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Art handling in oblivion

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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.

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Provo by Experimental Jetset

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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”.

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Lethal Theory

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.

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Nakatomi Space

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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

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