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Quatre auteurs cherchent une figure capable de définir un territoire commun : le territoire de notre présent, où tous les horizons se mêlent, où la crise environnementale renvoie tous les êtres humains à une même fragilité. Quatre auteurs cherchent une figure capable de définir un territoire commun : le territoire de notre présent, où tous les horizons se mêlent, où la(...)
December 2019
Oùrs
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Quatre auteurs cherchent une figure capable de définir un territoire commun : le territoire de notre présent, où tous les horizons se mêlent, où la crise environnementale renvoie tous les êtres humains à une même fragilité. Quatre auteurs cherchent une figure capable de définir un territoire commun : le territoire de notre présent, où tous les horizons se mêlent, où la crise environnementale renvoie tous les êtres humains à une même fragilité. L’ours s’imprime comme l’écriture de Marie-Andrée Gill, tout à la fois toffant sa réclusion et embrassée par la tanière, de Mahigan Lepage, roulant son chemin sur l’étroite couture de la Confédération, de Laure Morali, revenue au lac initiatique sur les chemins d’eau et de vent, et de Sébastien Ménard, témoignant des ravages et des fugues du troupeau humain sur les pentes escarpées des estives pyrénéennes.
La porte sera débarrée
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Vingt-cinq ans passent. Je retourne à Ivujivik. Je suis à nouveau envoûtée par la culture des Ivujivimmiut : les festins communautaires, les jeux qui animent les rassemblements, les sorties dans la toundra, l’entraide des familles, la déférence envers les personnes âgées, les rigolades qui jaillissent à tout moment. Dans la tradition inuite, l’ours blanc fait le pont(...)
La porte sera débarrée
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Vingt-cinq ans passent. Je retourne à Ivujivik. Je suis à nouveau envoûtée par la culture des Ivujivimmiut : les festins communautaires, les jeux qui animent les rassemblements, les sorties dans la toundra, l’entraide des familles, la déférence envers les personnes âgées, les rigolades qui jaillissent à tout moment. Dans la tradition inuite, l’ours blanc fait le pont entre les univers. Il se de´place avec agilite´ dans l’eau comme sur terre, il est a` la fois une proie prise´e et un chasseur redoute´, et il chevauche symboliquement le monde humain et le monde animal. De nouveau accueillie a` Ivujivik, je cherche a` (re)nouer des liens, entre nous, entre nos univers. Je guette la be^te qui menace, je convie celle qui unit. Je photographie mes anciens compagnons et compagnes, leurs familles, et en contrepoint, le territoire, te´moin de leur histoire. Autour des moments de pose, je capte des sce`nes qui e´voquent les liens entre les gens, les activite´s qui les occupent, leurs paysages inte´rieurs. Je transforme ces instants en images, je les extrais du temps pour les offrir en partage, et pour nous inviter, nous, au Sud, a` conside´rer avec humanite´ et humilite´ ce Nord e´branle´ par nos rencontres-collisions.
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« Pro eto (De ça) », grand poème épique, est certainement le chef-d'œuvre de Maïakovski. Ecrit lors d'une période de crise amoureuse (il rencontre à ce moment-là des déconvenues dans sa relation avec Lili Brik), mais aussi politique (avec la naissance de la NEP, c'est la question du devenir de la Révolution russe qui se pose), il fait surtout l'aveu d'une crise poétique(...)
L'amour, la poésie la révolution
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« Pro eto (De ça) », grand poème épique, est certainement le chef-d'œuvre de Maïakovski. Ecrit lors d'une période de crise amoureuse (il rencontre à ce moment-là des déconvenues dans sa relation avec Lili Brik), mais aussi politique (avec la naissance de la NEP, c'est la question du devenir de la Révolution russe qui se pose), il fait surtout l'aveu d'une crise poétique profonde et magnifique. Ce poème est augmenté de trois autres longs poèmes, La flûte des vertèbres, j'aime, qui est une autobiographique lyrique et heureuse, et Lénine. Commencé avant la mort de Lénine et achevé après, Maïakovski y réaffirme son attachement à la Révolution et son refus de toute forme d'idolâtrie. Le Temps des Cerises réunit donc ces trois textes accompagné des collages de Rodtchenko, emblématiques du constructivisme russe, et de reproductions des éditions originales des poèmes de Maïakovski.
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Balthasar Burkhard
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This book presents the many facets of Swiss photographer Balthasar Burkhard (1944–2010). Burkhard’s work combines a sensitive understanding of the body as sculpture and the photographic image as a canvas, making him one of the pioneers in translating photography as a monumental “tableau” into contemporary art. This comprehensive book coalesces Burkhard’s early role as a(...)
April 2020
Balthasar Burkhard
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This book presents the many facets of Swiss photographer Balthasar Burkhard (1944–2010). Burkhard’s work combines a sensitive understanding of the body as sculpture and the photographic image as a canvas, making him one of the pioneers in translating photography as a monumental “tableau” into contemporary art. This comprehensive book coalesces Burkhard’s early role as a chronicler of the contemporary art of his time, especially as the main photographer for Swiss curator Harald Szeemann, his conceptual redefinition of photography together with other artists and finally his emancipation as a photo artist.
Future cities laboratory
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"Future Cities Laboratory" reports on the same named research program and its mission to shape sustainable future cities through science, by design, in place. It offers a global perspective on cities from the vantage point of the world's most populous and rapidly urbanizing continent: Asia, which also acts as the base of the laboratory. This volume illustrates the(...)
January 2018
Future cities laboratory
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"Future Cities Laboratory" reports on the same named research program and its mission to shape sustainable future cities through science, by design, in place. It offers a global perspective on cities from the vantage point of the world's most populous and rapidly urbanizing continent: Asia, which also acts as the base of the laboratory. This volume illustrates the richness and diversity of research at the Future Cities Laboratory (FCL). The book, which is the first in a planned series, describes new processes and types of data that are being used both to understand and improve cities. New approaches pioneered by FCL and its partners offer an important method to bridge the gap between knowledge production and action, with the aim of ensuring the sustainability of future cities. To reach this goal, FCL works closely with stakeholders in government, industry and society. The program has developed many simulation tools to help practitioners visualize the social, environmental or economic consequences of particular planning decisions.
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The post-war years were a very intense period of experiments, visions and imagination. The end of such a tragic period for the world enabled intellectuals and architects in particular, but also film-makers to rethink the future and imagine new situations with an optimistic use of technologies. For some of them, such as Buckminster Fuller, technology was the resource that(...)
Archphoto 2.0, 06: Visionary Thinkers
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The post-war years were a very intense period of experiments, visions and imagination. The end of such a tragic period for the world enabled intellectuals and architects in particular, but also film-makers to rethink the future and imagine new situations with an optimistic use of technologies. For some of them, such as Buckminster Fuller, technology was the resource that was to save the world, as in the case of covering Manhattan with a glass dome, almost to preserve it like an ancient ruin. Thus, this new issue of archphoto2.0 is dedicated to the "Visionary Thinkers", to those who turned their minds to imagine new scenarios.
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The city is where Italian radical architecture represented and experimented its theories. While the early projects remained theoretical proposals, some contributions by Archizoom, Superstudio, or Strum established an ambiguous relationship with design that became crucial after the international exhibition "Italy: the new domestic landscape", curated by Emilio Ambasz at(...)
Archphoto 2.0 01: Radical City
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The city is where Italian radical architecture represented and experimented its theories. While the early projects remained theoretical proposals, some contributions by Archizoom, Superstudio, or Strum established an ambiguous relationship with design that became crucial after the international exhibition "Italy: the new domestic landscape", curated by Emilio Ambasz at the Museum of Modern Art New York in 1972. With the exception of Zziggurat, all participants, such as UFO, Gianni Pettena, Ugo La Pietra and 9999, chose the "piazza" - the public space - for their theoretical and practical experimentation as the adequate venue for installations and performances that used the same language as that of artists.
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Gianni Pettena
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Il volume presenta la figura e il lavoro di Gianni Pettena attraverso documenti d'archivio, fotografie, disegni e oggetti di design, oltre a un ricco apparato critico che ospita saggi, articoli e testi di Pettena stesso. Artista, architetto e design, Pettena fu, alla fine degli anni sessanta, uno dei più prolifici rappresentanti dell'architettura radicale, un movimento(...)
Gianni Pettena
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Il volume presenta la figura e il lavoro di Gianni Pettena attraverso documenti d'archivio, fotografie, disegni e oggetti di design, oltre a un ricco apparato critico che ospita saggi, articoli e testi di Pettena stesso. Artista, architetto e design, Pettena fu, alla fine degli anni sessanta, uno dei più prolifici rappresentanti dell'architettura radicale, un movimento europeo nato in Italia che mise in discussione l'identità dell'architettura come arte del costruire, mirando a ridefinire l'intera disciplina e riunendo un gran numero di personalità, da Ettore Sottsass jr. ad Alessandro Mendini, da Superstudio ad Archizoom Associati. Artista che ricorre al linguaggio dell'architettura e architetto che si appropria della logica artistica, Pettena ama passare da un campo all'altro, rifiutando qualsiasi barriera disciplinare e definendosi piuttosto "anarchitetto".
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''Utopie Radicali'' è il titolo della mostra che presenta le opere degli architetti radicali fiorentini a più di mezzo secolo di distanza dai loro esordi. Nati in un fecondo momento di crisi, in un periodo segnato, a Firenze, dalla tragica alluvione del 1966, e caratterizzato, in tutta Italia, da forti tensioni politiche e sociali ma anche da un grande rinnovamento(...)
Current Exhibitions
November 2017
Utopie radicali. Archizoom, remo Buti, 9999, Gianni Pettena, Superstudio, UFO, Zziggurat
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''Utopie Radicali'' è il titolo della mostra che presenta le opere degli architetti radicali fiorentini a più di mezzo secolo di distanza dai loro esordi. Nati in un fecondo momento di crisi, in un periodo segnato, a Firenze, dalla tragica alluvione del 1966, e caratterizzato, in tutta Italia, da forti tensioni politiche e sociali ma anche da un grande rinnovamento artistico e linguistico, i lavori di Archizoom, Remo Buti, 9999, Gianni Pettena, Superstudio, UFO, Zziggurat sono oggi presenti nei principali musei del mondo. Gli scritti, i disegni e i progetti dei sette protagonisti godono infatti tuttora di una capillare diffusione, e hanno influenzato più di una generazione di architetti, storici, designer e artisti in moltissimi paesi. Questo volume offre per la prima volta la possibilità di conoscerne l’opera teorica e visiva, e, grazie a un’accurata ricostruzione del contesto in cui poté svilupparsi, restituisce uno spaccato unico e in larga parte ancora inesplorato di una capitale dell’architettura del secondo Novecento.
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The recent collaboration between Gian Piero Frassinelli – founder of the Florentine collective Superstudio – and 2A+P/A an architectural practice based in Rome – relaunched a long-established, yet generally overlooked, debate on the relationship between architecture and anthropology. Moving away from a historical or scientific perspective to embrace the point of view of(...)
Savage architecture: Gian Piero Frassinelli, Superstudio, 2A + P/A
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The recent collaboration between Gian Piero Frassinelli – founder of the Florentine collective Superstudio – and 2A+P/A an architectural practice based in Rome – relaunched a long-established, yet generally overlooked, debate on the relationship between architecture and anthropology. Moving away from a historical or scientific perspective to embrace the point of view of the project, the exhibition Savage Architecture genealogically reconstructs the ethos of such collaboration in four episodes. The outcome is a journey through the imaginative potential of the anthropological gaze in constructing both meaning and a method for the architectural project as an alternative to the dominant belief in the economic and technological reasons.
Current Exhibitions