Filed under booklet | Tags: · architecture, technology
““Technology is defined in the Oxford dictionary as the science of industrial art.” Cedric Price affirmed in 1966 at the beginning of his lecture entitled ‘Technology is the answer, but what was the question?’. The lecture speaks about the Fun Palace, the transdisciplinary cultural centre that Price designed in 1960 for Joan Littlewood.
The Fun Palace, which was never realised, is emblematic of our own era. It lends itself more to the choreography of 21st century time-based exhibitions than to the object- based displays of the 20th century; it fosters a more communal experience, largely free to operate outside its material limits, and ventures into other realms of human experience. In Price’s own words, “a 21st century museum will utilize calculated uncertainty and conscious incompleteness to produce a catalyst for invigorating change whilst always producing the harvest of the quiet eye”.”
With an Introduction by Lorenza Baroncelli
Filed under catalogue | Tags: · art, corruption, documentary, forensics, human rights, journalism, politics, realism, surveillance, truth
“Evidentiary Realism aims to articulate a form of realism in art that portrays and reveals evidence from complex social systems. The truth-seeking artworks featured explore the notion of evidence and its modes of representation.
Evidentiary Realism reflects on post-9/11 geopolitics, increasing economic inequalities, the erosion of civil rights, and environmental disasters. It builds on the renewed appreciation of the exposure of truth in the context of the cases of WikiLeaks, Edward Snowden, the Panama Papers, and the recent efforts to contend with the post-factual era.”
The exhibition was held at Fridman Gallery, New York, 28 February-31 March 2017, and Nome Gallery, Berlin from 1 December 2017-17 February 2018.
Curated and organised by Paolo Cirio.
Artworks by Nora Al-Badri & Nikolai Nelles, Amy Balkin, Sadie Barnette, Josh Begley, James Bridle, Ingrid Burrington, Hans Haacke, Khaled Hafez, Jenny Holzer, Harun Farocki, Navine G. Khan-Dossos, Thomas Keenan & Eyal Weizman, Mark Lombardi, Kirsten Stolle, Suzanne Treister.
Texts by Jaroslav Anděl, Sampada Aranke, Giulia Bini, Nijah Cunningham, Heather Davis, Blanca de la Torre, Lauren van Haaften-Schick, Natasha Hoare, Aude Launay, Susanne Leeb, Susette Min, Mary Anne Redding, Susan Schuppli, and Nicola Trezzi.
Publisher NOME, Berlin, 2017
Creative Commons BY-NC-ND License
ISBN 9780244342739, 0244342733
Christopher Dunn: Brutality Garden: Tropicália and the Emergence of a Brazilian Counterculture (2001)
Filed under book | Tags: · brazil, counterculture, cultural history, music, music criticism, music history, tropicalia
“In the late 1960s, Brazilian artists forged a watershed cultural movement known as Tropicália. Music inspired by that movement is today enjoying considerable attention at home and abroad. Few new listeners, however, make the connection between this music and the circumstances surrounding its creation, the most violent and repressive days of the military regime that governed Brazil from 1964 to 1985. With key manifestations in theater, cinema, visual arts, literature, and especially popular music, Tropicália dynamically articulated the conflicts and aspirations of a generation of young, urban Brazilians.
Focusing on a group of musicians from Bahia, an impoverished state in northeastern Brazil noted for its vibrant Afro-Brazilian culture, Christopher Dunn reveals how artists including Caetano Veloso, Gilberto Gil, Gal Costa, and Tom Zé created this movement together with the musical and poetic vanguards of São Paulo, Brazil’s most modern and industrialized city. He shows how the tropicalists selectively appropriated and parodied cultural practices from Brazil and abroad in order to expose the fissure between their nation’s idealized image as a peaceful tropical “garden” and the daily brutality visited upon its citizens.”
Publisher University of North Carolina Press, Chapel Hill, NC, 2001
ISBN 0807849766, 9780807849767
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