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
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.
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.
Gordon Matta-Clark’s work, a pioneer in the use of disorientation as a practice within urban spaces.
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
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