Reinventing daily life
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Does art possess the power to cause structural and meaningful changes in daily life? How can we inject our daily reality with the estranging, binding, and reflective qualities of theater, performance art, and the visual arts? Using the artist’s desire to escape institutional space as a point of departure, the temporary master 'Reinventing Daily Life' investigated the(...)
Reinventing daily life
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Does art possess the power to cause structural and meaningful changes in daily life? How can we inject our daily reality with the estranging, binding, and reflective qualities of theater, performance art, and the visual arts? Using the artist’s desire to escape institutional space as a point of departure, the temporary master 'Reinventing Daily Life' investigated the implications, the possibilities, and the limits of daily life as inspiration, as a place for presentation, and as a central material. This publication marks the completion and distillation of this inquiry. By means of a critical essay, correspondence with kindred spirits from the field, and visual impressions of the alumni’s work, this book reflects on the possibility to merge art and life, fiction and reality, and on the importance of this process for the future of artistic practice.
Théorie de l’art
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1 online resource (409 p.).
Cambridge : Urbanomic, 2022.
Proof of Work : Blockchain Provocations 20112021.
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Description:
1 online resource (409 p.).
livres
Cambridge : Urbanomic, 2022.
$66.00
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The old saying used to warn that the map is not the territory. But the guerrilla architectartist-urbanists at Hong Kong-based MAP Office (Gutierrez + Portefaix) insist that the map (or the MAP)most definitely is the territory, and this exuberant book proves it. An incredibly complex, 360-page book, jam-packed with essays, interviews and over 500color illustrations,(...)
Map Office: where the map is the territory
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$66.00
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The old saying used to warn that the map is not the territory. But the guerrilla architectartist-urbanists at Hong Kong-based MAP Office (Gutierrez + Portefaix) insist that the map (or the MAP)most definitely is the territory, and this exuberant book proves it. An incredibly complex, 360-page book, jam-packed with essays, interviews and over 500color illustrations, photos, drawings, collages and more, summarizes two decades in MAP Office’s evolution from architectural research to artistic intervention and cinematic theorization. It’s a work of genius from working geniuses, mixing politics, installation art, humor, science fiction, multi-cultural initiatives and just plain visionary thinking. The group has rejected everything about Modernist ideology, from the idea of the pristine space or the iconic shape to the quaint thought that form might follow function. Architecture has been let out of the bag, and it’s running wild.
Architecture, monographies
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Piecing Together Los Angeles: An Esther McCoy Reader is the first anthology of McCoy's writing. It features a selection of some 70 pieces--ranging from her 1945 article "Schindler, Space Architect" to "Arts & Architecture: Case Study Houses," a 1989 essay commissioned by the Museum of Contemporary Art, Los Angeles. From fiction for The New Yorker to seminal essays on(...)
Piecing together Los Angeles: an Esther McCoy reader
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Piecing Together Los Angeles: An Esther McCoy Reader is the first anthology of McCoy's writing. It features a selection of some 70 pieces--ranging from her 1945 article "Schindler, Space Architect" to "Arts & Architecture: Case Study Houses," a 1989 essay commissioned by the Museum of Contemporary Art, Los Angeles. From fiction for The New Yorker to seminal essays on new architectural forms, McCoy charts the progressive edge of American idealism, from the collective utopian spirit of Jazz Age Greenwich Village, through the Depression and the war years, to the optimism of the 1950s and 1960s. In preparing this volume, writer and editor Susan Morgan extensively researched the McCoy papers at the Archives of American Art. Her editorial decisions were based, in part, on McCoy's original selections for an unrealized anthology solicited by W. W. Norton in 1968.
Théorie de l’urbanisme
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''After the crisis'' offers a platform for discussions between some of today’s leading artists, writers, theorists, curators, and historians aimed at questioning the very status of photography today. Contributors come from the realms of critical theory, fiction, performance art, fashion photography, and museums, as well as film and design, and their conversations bring(...)
After the crisis: contemporary states of photography
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''After the crisis'' offers a platform for discussions between some of today’s leading artists, writers, theorists, curators, and historians aimed at questioning the very status of photography today. Contributors come from the realms of critical theory, fiction, performance art, fashion photography, and museums, as well as film and design, and their conversations bring together history and the contemporary. Comparing the current situation of photographic images with the crisis experienced by representation at the time of the birth of photography, they set our relationship with photographic images in the digital era in perspective. Through these discussions, we come to sense the existential burden of being surrounded by images, while also beginning to grasp the historical depth of a questioning of images that started long before the current generation and engages with crucial political and cultural issues of our time.
Théorie de la photographie
Réfugiés à Berlin
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Au cours de l’été 2015, Ali Fitzgerald commence un atelier hebdomadaire de bandes dessinées avec des réfugiés à Berlin, soutenu par Comic Invasion et Amnesty International. Dans cette « non-fiction graphique surréaliste » — c’est ainsi qu’elle définit sa bande dessinée — l’autrice présente avec beaucoup de sensibilité les difficultés que rencontrent les réfugiés en(...)
Réfugiés à Berlin
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Au cours de l’été 2015, Ali Fitzgerald commence un atelier hebdomadaire de bandes dessinées avec des réfugiés à Berlin, soutenu par Comic Invasion et Amnesty International. Dans cette « non-fiction graphique surréaliste » — c’est ainsi qu’elle définit sa bande dessinée — l’autrice présente avec beaucoup de sensibilité les difficultés que rencontrent les réfugiés en Europe. En leur proposant de dessiner, elle leur offre un moyen d’exprimer, sans forcément parler, ce qu’ils ont vécu et ce qu’ils espèrent. Tout en suivant leur parcours, elle raconte Berlin et établit avec beaucoup d’habileté un parallèle instructif entre ce drame actuel et celui des Juifs obligés de fuir les pogroms des années 1920, puis persécutés plus tard par les nazis. Les témoins qu’elle invoque pour parler de ce passé sont deux écrivains importants dont elle cite des phrases soigneusement choisies : Joseph Roth et Christopher Isherwood.
Illustration
Global dystopias
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Bringing together some of the most prominent writers of science fiction and introducing fresh talent, this collection of stories, essays, and interviews explores global dystopias in apocalyptic landscapes and tech futures, in robot sentience and forever war. Global Dystopias engages the familiar horrors of George Orwell’s 1984 alongside new work by China Miéville,(...)
Global dystopias
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Bringing together some of the most prominent writers of science fiction and introducing fresh talent, this collection of stories, essays, and interviews explores global dystopias in apocalyptic landscapes and tech futures, in robot sentience and forever war. Global Dystopias engages the familiar horrors of George Orwell’s 1984 alongside new work by China Miéville, Tananarive Due, and Maria Dahvana Headley. In “Don’t Press Charges, and I Won’t Sue,” award-winning writer Charlie Jane Anders uses popularized stigmas toward transgender people to create a not-so-distant future in which conversion therapy is not only normalized, but funded by the government. Henry Farrell surveys the work of dystopian forebear Philip K. Dick and argues that distinctions between the present and the possible future aren’t always that clear. Contributors also include Margaret Atwood and award-winning speculative writer, Nalo Hopkinson.
Littérature et poésie
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We now have the technology to reach nearby planets. Even though many long-term technical issues still need to be resolved to create the conditions for a permanent, self-sustaining human life on another planet, imagining humans as a multiplanetary species is no longer merely the stuff of science fiction. Against this backdrop, "Planetary Echoes" considers the place of this(...)
Planetary echoes: Exploring the implications of human settlement in outer space
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We now have the technology to reach nearby planets. Even though many long-term technical issues still need to be resolved to create the conditions for a permanent, self-sustaining human life on another planet, imagining humans as a multiplanetary species is no longer merely the stuff of science fiction. Against this backdrop, "Planetary Echoes" considers the place of this dream of human life on other planets in the arts, literature and sciences at the beginning of the 21st century. In this volume, a broad, interdisciplinary list of contributors (scientists, astronauts, designers, philanthropists, inventors, artists and curators) weighs in on the imaginable possibilities of space settlement. The list of contributors ranges from Buzz Aldrin to Richard Branson to Norman Foster, with many more perspectives on offer a list eclectic enough to match the eccentricity of the human dream of colonizing outer space.
Trajets
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Stuff, the hoard of minor objects which have shed their commodity glamor but which we refuse to recycle, flashes up in fiction, films and photographs as alluring, unruly reminder of how people and matter are intertwined. Stuff is modern materiality out of bounds that refuses to be contained by the western semiotic system. It declines its role as the eternal sidekick of(...)
Stuff theory: everyday objects, radical materialism
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Stuff, the hoard of minor objects which have shed their commodity glamor but which we refuse to recycle, flashes up in fiction, films and photographs as alluring, unruly reminder of how people and matter are intertwined. Stuff is modern materiality out of bounds that refuses to be contained by the western semiotic system. It declines its role as the eternal sidekick of the subject, and thus is the ideal basis for a counter-narrative of materiality in flux. Can such a narrative, developed by the new materialism, reinvigorate the classical materialist account of human alienation from commodities under capital? By shifting the discussion of materiality toward the aesthetic and the everyday, the book both embraces and challenges the project of new materialism. It argues that matter has a politics, and that its new plasticity offers a continued possibility of critique.
Théorie du design
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When we think of climate, the stories we tell about the future are often catastrophic: megastorms, crop failures, and heat waves loom over us, sending a signal that the problem is so vast, so complex, that it’s out of our control. That narrative is compelling for some, but leaves others feeling hopeless, helpless, and disillusioned. Even the most ardent champions of(...)
décembre 2025
Climate imagination: Dispatches from hopeful futures
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When we think of climate, the stories we tell about the future are often catastrophic: megastorms, crop failures, and heat waves loom over us, sending a signal that the problem is so vast, so complex, that it’s out of our control. That narrative is compelling for some, but leaves others feeling hopeless, helpless, and disillusioned. Even the most ardent champions of decarbonization sometimes focus more on sounding the alarm than on mapping out what success might look like. Without positive climate futures, visions of climate adaptation and resilience that we can work toward, it’s much harder to motivate broad-based efforts for change in the present. Through short speculative fiction, essays, and visual art, "Climate imagination" seeks to inspire a wave of narratives about what positive climate futures might look like for communities around the world.