Filed under catalogue, magazine | Tags: · architecture, art, exhibition
“The fields of art and architecture are currently witnessing an expansion of the exhibitionary complex: permanent and temporary exhibition spaces proliferate, blending with sites of consumption. Responding to this development, GAM.14 focusses on the act of exhibiting, which reconfigures the spatial limitations of the exhibition, thus creating dynamic sites of contestation and political confrontation. GAM.14 is a collection of current positions from the disciplines of art and architecture assembled around the conceptual effort to distinguish the act of exhibiting from exhibition, opening the potential of exhibiting as an exploratory space to address urgent social and political challenges of our time.”
With contributions by Bart De Baere, Ivana Bago, Ana Bezić, Nicolas Bourriaud, Maria Bremer, Ekaterina Degot, Ana Dević, Anselm Franke, Andrew Herscher, Christian Inderbitzin, Branislav Jakovljević, Sami Khatib, Wilfried Kuehn, Nicole Lai Yi-Hsin, Bruno Latour, Ana María León, Armin Linke, Antonia Majača, Doreen Mende, Ana Miljački, Museum of American Art in Berlin, Vincent Normand, Christoph Walter Pirker, Dubravka Sekuli, Antje Senarclens de Grancy, Katharina Sommer, Anna-Sophie Springer, Barbara Steiner, Kate Strain, Žiga Testen, Milica Tomić, Etienne Turpin, and What, How & for Whom/WHW.
Edited by Milica Tomić and Dubravka Sekulić
Publisher Jovis, Berlin, 2018
ISBN 9783868598544, 3868598545
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Filed under book | Tags: · aesthetics, architecture, art, forensics, image, law, politics, theory, war
“Forensics originated from the term ‘forensis’ which is Latin for ‘pertaining to the forum.’ The Roman forum was a multidimensional space of negotiation and truth-finding in which humans as well as objects participated in politics, law, and the economy. With the advent of modernity, forensics shifted to refer exclusively to the courts of law and to the use of medicine, and today as a science in service to the law. The present use of forensics, along with its popular representations have become increasingly central to the modes by which states police and govern their subjects.
By returning to forensis this book seeks to unlock forensics’ original potential as a political practice and reorient it. Inverting the direction of the forensic gaze it designates a field of action in which individuals and organizations detect and confront state violations.
The condition of forensis is one in which new technologies for mediating the “testimony” of material objects—bones, ruins, toxic substances, landscapes, and the contemporary medias in which they are captured and represented—are mobilized in order to engage with struggles for justice, systemic violence, and environmental transformations across the frontiers of contemporary conflict.
This book presents the work of the architects, artists, filmmakers, lawyers, and theorists who participated directly in the “Forensic Architecture” project in the Centre for Research Architecture at Goldsmiths University of London, as well as the work of associates and guests. It includes forensic investigations undertaken by the project and its collaborators aimed at producing new kinds of evidence for use by international prosecutorial teams, political organizations, NGOs, and the UN. It also brings together research and essays that situate contemporary forensic practices within broader political, historical, and aesthetic discourse.”
With contributions by Lawrence Abu Hamdan, Nabil Ahmed, Maayan Amir, Hisham Ashkar & Emily Dische-Becker, Ryan Bishop, Jacob Burns, Howard Caygill, Gabriel Cuéllar, Eitan Diamond, DAAR (Decolonizing Architecture Art Residency), Anselm Franke, Grupa Spomenik, Ayesha Hameed, Charles Heller, Helene Kazan, Thomas Keenan, Steffen Krämer, Adrian Lahoud, Armin Linke, Jonathan Littell, Modelling Kivalina, Model Court, Working Group Four Faces of Omarska, Gerald Nestler, Godofredo Pereira, Nicola Perugini, Alessandro Petti, Lorenzo Pezzani, Cesare P. Romano, Susan Schuppli, Francesco Sebregondi, Michael Sfard, Shela Sheikh, SITU Research, Caroline Sturdy Colls, John Palmesino & Ann Sofi Ronnskog / Territorial Agency, Paulo Tavares, Füsun Türetken, Robert Jan van Pelt, Srdjan Jovanovic Weiss / NAO, Eyal Weizman, Ines Weizman, Chris Woods.
Publisher Sternberg Press, Berlin, and Forensic Architecture, 2014
ISBN 9783956790119, 3956790111
Reviews: Léopold Lambert (The New Inquiry, 2014), Martin Howse (Mute, 2014), Gaston Gordillo (Society and Space, 2015), John Beck (Radical Philosophy, 2015).
Exh. review: Harry Burke and Lucy Chinen (Rhizome, 2014).
Filed under book | Tags: · architecture, art, city, urbanism
“A collection of Wellington Reiter’s experimental projects, presented through a series of drawings that owe as much of a debt to Lebbeus Woods for their frenetic and intense energy as they do to Piranesi for their ability to use simple pen-and-ink linework to create unusually complex spaces. These fantastical projects-a mix of architecture, museum installations, and public art-often involve the reuse of obsolete military installations (abandoned missile silos, historic battlefields, and decommissioned aircraft carriers), which adds to the provocative nature of the work.”
“This collection of images was drawn, for the most part, from a lecture entitled, ‘The Necessity of Fiction in Architecture,’ (MIT, June 1994). In essence, the talk buttressed the role of speculation within the discipline and expressed the need for an operative mythology for the city. Rather than recount the arguments of that appeal, this visual text offers sub-plots which link the various works in ways that could only be discerned through graphic comparison. The result is neither a chronological record of development, an explanation of the projects, or even an accurate portrayal of the works in question. Instead, several formal and metaphoric consistencies are revealed and compounded. … Believing that much of architecture exceeds construction, this document is part of a tradition of proposing alternative pasts and futures for architecture and especially for the city. It is believed that such hypothesizing can influence our recption of real sites and therefore must remain an essential component of practice.” (page 10)
Foreword by Patricia Phillips
Publisher Princeton Architectural Press, New York, 1999
ISBN 1568981872, 9781568981871
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