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This publication records the project which was comprised of public events and a large exhibition held at the Reykjavik Art Museum (2008) and at the Serpentine Gallery in London (2007).
This publication records the project which was comprised of public events and a large exhibition held at the Reykjavik Art Museum (2008) and at the Serpentine Gallery in London (2007).
Transcripts of interviews by Hans Ulrich Obrist with architects, artists, curators, film-makers, musicians, philosophers, social theorists and urbanists.
Drawing on his own experiences and inspirations - from staging his first exhibition in his tiny Zurich kitchen in 1986 to encounters and conversations with artists, exhibition makers and thinkers alive and dead - Hans Ulrich Obrist's Ways of Curating looks to inspire all those engaged in the creation of culture. Moving from meetings with the artists who have inspired him (including Gerhard Richter and Gilbert and George) to the creation of the first public museums in the 18th century, recounting the practice of inspirational figures such as Diaghilev and Walter Hopps, skipping between exhibitions (his own and others), continents and centuries, Ways of Curating argues that curation is far from a static practice. Driven by curiosity, at its best it allows us to create the future.
Edited by Paul O'Neill. Introduction by Paul O'Neill, Annie Fletcher.
Through 140 drawings, thought experiments, recipes, activist instructions, gardening ideas, insurgences and personal revolutions, artists who spend their lives thinking outside the box guide you to a new worldview; where you and the planet are one. Everything here is new. We invite you to rip out pages, to hang them up at home, to draw and scribble, to cook, to meditate, to take the book to your nearest green space. Featuring Olafur Eliasson, Etel Adnan, Alexis Pauline Gumbs, Jane Fonda & Swoon, Judy Chicago, Black Quantum Futurism Collective, Vivienne Westwood, Cauleen Smith, Marina Abramovic, Karrabing Film Collective, and many more.
Major categories of unbuiltness would appear to be (1) not carried out as planned; (2) not really intended by its instigator to be done and (3) begun but never completed.
On September 29, 2018, before a live audience at Navy Pier in Chicago, international curator Hans Ulrich Obrist conducted his first US Marathon interview session as part of Art Design Chicago, a yearlong celebration of Chicago's art and design legacy initiated by the Terra Foundation for American Art. Obrist, who has undertaken a life-long project of interviewing cultural figures, spoke with more than twenty of Chicago's most innovative and influential artists, designers, architects, writers, and other creatives. In their interviews, this diverse group of creatives provided insights into their artistic processes, influences, and ideas about and hopes for their shared city of Chicago. Among the participants were social-practice artist/developer Theaster Gates, architect Jeanne Gang, writer Eve Ewing, Hairy Who artists Art Green and Suellen Rocca, performance/installation artist Shani Crowe, and the city's cultural historian Tim Samuelson. Creative Chicago: An Interview Marathon serves as documentation for this event, including edited transcripts of the interviews, biographies of the participants, photos of the event, and images of the artists' work.
Olafur Eliasson is based in Berlin where he has established Studio Olafur Eliasson, a laboratory for spatial research. His work explores the relationship between individuals and their surroundings, as experienced in his awe-inspiring large-scale installation The weather project (2003) at Tate Modern, London. Kjetil Thorsen is co-founder of Snoehetta, one of Scandinavia's leading architectural practices, with offices in Oslo and New York. The Bibliotheca Alexandrina, Egypt 1995-2001, is the commission that brought Snoehetta to international acclaim.
This book marks a turning point in architectural theory by using philosophy to examine the field anew.Breaking from the traditional dualism within architecture - which presents the body as subject and space as object - it examines how such rigid boundaries can be softened. Zuzana Kovar thus engages with complementary and complex ideas from architecture, philosophy, feminist theory and other subjects, demonstrating how both bodies and bodily functions relate deeply to architecture. Extending philosopher Julia Kristeva's notion of abjection - the confrontation of one's own corporeality as something is excreted - Kovar finds parallels in the concept of the 'scaffold.' Much like living bodies and their products can impact on the buildings that house them - old skin cells create dust, menstrual blood stains, our breath heats and cools surfaces - scaffolding is similarly ephemeral and yet not entirely separable from the architecture it supports. Kovar shifts the conversation about abjection towards a more nuanced idea of architecture - where living organisms, building matter, space, decay and waste are all considered as part of a continual process - drawing on the key informing works of thinkers like Gilles Deleuze and Felix Guattari to do this. Including a number of experimental projects conducted in the spaces inhabited by the author herself to illuminate the theory at its core, the book forms a distinguished and pioneering study designed for practitioners and scholars of architecture, philosophy and visual culture alike.