panel 4

Moderators: 
Eirini Tsachrelia - Loukia Tsafoulia 
Participants: 
Nathan Rith, architect, Peterson Rich Office 
Zenovia Toloudi, architect, artist, assistant professor, Dartmouth College 
Matthias Neumann, dipl-ing, normaldesign; adjunct faculty, CUNY 
Lydia Venieri, visual artist 
Adonis Volanakis, artist, visiting professor, Art & Public Policy, Tisch, NYU

A Shelter for Architecture

DIALOGUES, COCOON, TECTONICS, all came together in "A Shelter for Architecture" on April 15.  Excited to contribute "Experimental Shelters - Essential Pavilions" at this fascinating event. Greek energy and invention all night long; transforming the consulate to a small Athens in the middle of Manhattan!

single soho shot

stairs and facades

NY exhibitions

Parrhesiastic Play

Parrhesiastic Play currently on view at Designing for Free Speech Gallery, supported by Theatrum Mundi!

Freedom of speech and public space can be addressed according to Krzysztof Wodiczko (inspired by Michel Foucault) through the concept of the Ancient Greek Parrhesia, meaning to speak boldly. In the antiquity, only few privileged individuals, the Parrhesiastes. had the right, obligation, but also the strength to act the freedom of speech and to speak the truth for the others. Wodiczko suggests:

“Contemporary Parrhesiastes should be the people who are least privileged, who have things to say which nobody wants to hear. From that group there should be born Parrhesiastes who should reprimand society and address the situations of authority’s unjust treatment or misunderstanding.”

How can we create conditions in public space for the contemporary Parrhesiastes to open up and speak freely? What are the platforms for the true-tellers to communicate the crucial issues that others need to know? How can they disseminate these ideas to the others?

Parrhesiastic Play is a performance architecture for public space that acts as communication platform for NYC citizens. Parrhesiastic Play is an alternative urban scrabble, a set of spatial elements that are both urban chairs and sculptural letters available to be arranged in different forms, and phrases by New Yorkers. Parrhesiastic Play can be positioned in multiple locations that are currently surveilled. By linking the physical space to the live webcams network, Parrhesiastic Play offers to people a stage to perform in front of the cameras, and disseminate their message to a larger audience while addressing surveillance through play and spectacle.

*** To learn more about the project and to support it with your vote, please visit this LINK 

18 Happenings in 6 Parts

Poster and ticket for 18 Happenings in 6 Parts, by Allan Kaprow. New York: Reuben Gallery, 1959 Source: MOMA

About the event (via Media Art Net): «In his groundbreaking happening, presented at the Reuben Gallery in New York in the fall of 1959, Kaprow synthesized his training in action painting with his study of Cage’s scored and performed events. Working from a carefully conceived and tighlty scripted score, he created an interactive environment that manipulated the audience to a degree virtually unprecedented in 20th century art. The audience were given programs and three stapled cards, which provided instructions for their participation: ‹The performance is divided into six parts...Each part contains three happenings which occur at once. The beginning and end of each will be signaled by a bell. At the end of the performance two strokes of the bell will be heard...There will be no applause after each set, but you may applaud after the sixth set if you wish.› These instructions also stipulated when audience members were required to change seats and move to the next of the three rooms into which the gallery was divided. These rooms were formed by semitransparent plastic sheets painted and collaged with references to Kaprow’s earlier work; by panels on which words were roughly painted, and by rows of plastic fruit. (...) In contrast to Cage, whose encouragement of the participation of audience members war motivated by his desire to relinquish authorial control, audience members in many of Kaprow’s Happenings became props through which the artist’s vision was executed.» (source: Paul Schimmel, «Leap into the Void: Performance and the Object», in: Out of Actions: between performance and the object, 1949–1979, MoCA Los Angeles, New York/London, 1998, pp.61f.)

free-see-saw

Free-See-Saw

Free-See-Saw is a hybrid urban furniture and play that aims to become a dialectic space for New Yorkers. Through Free-See-Saw people have the possibility to change existing equilibriums and redefine their role through play. Through its playful character, Free-See-Saw suggests a more informal use of public space that it is somehow lacking today. The urban furniture becomes a performance, a space for spectacle, where the role of subject-object, performer-viewer is not clearly defined. The intervention has also the possibility to imply the need not only for participation, but also collaboration or co-operation among New Yorkers.

and a cubic mouse

Satire on the Armory Show, the 1913 International Exhibition of Modern Art that was organized by the Association of American Painters and Sculptors. "A Slight Attack of Third Dimentia Brought on by Excessive Study of the Much Talked of Cubist Pictures in the International Exhibition at New York" by John French Sloan

Image found here (transatlantis)

gutai: splendid playground

Source: A/N Blog

Source: Guggenheim

Gutai: Splendid Playground

“Don’t imitate others!” and “Engage in the newness!” are just two of the signature slogans of the Gutai Art Association, founded in July 1954 by Jiro Yoshihara. The Gutai—which translates to “concreteness”—artists dared to breakthrough the boundaries presented by traditional Japanese art. As their name suggests, the artists directly engaged with concrete materials (such as remote-control toys, sand, light bulbs, and paper screens) to create a new, never before seen, kind of art. The creative genius of these avant-garde artists manifested itself in the form of various mediums including, but not limited to, painting, installation and performance art, experimental film, and environmental art. Gutai: Splendid Playground explores the works of these artists, created over a span of two-decades, and features an enormous installation by Motonaga Sadamasa composed of a series of plastic tubes filled with colored water. The structure, created specifically for the Guggenheim’s rotunda, invites visitors to look up and use these “brush strokes” to create their own individual composition.

Text Source: A/N Blog

tarzan architecture

my other self

ps1 pole dance

ps1 pole dance installation
by Florian Idenburg and Jing Liu
http://so-il.org/

mies by 2 by 4

temporarily found in moma, but always seen in mtcc, chicago, project by 2x4

soft roof tiles

'norht tiles',moma, project by ronan and edwan bouroullec

memory

memory sculpture by anish kapoor at guggenheim

void