archive practice

New Publication by The Funambulist & New South: Public Space: Fights and Fictions Architecture & Design

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New Publication by The Funambulist & New South: Public Space: Fights and FictionsAugust 30, 2016

Architecture & Design – By: Léopold Lambert

 

INTRODUCTION BY THE FUNAMBULIST & NEW SOUTH ///

“Who do we exclude from our fictions?
Who do we include in our desires?”
— Tentative Collective

Architects appear increasingly to be getting interested in the politics of public space. The 36-hour Factory of Thought event at the Akademie der Kunste in Berlin is therefore inscribed in a larger movement towards social awareness as a key value in architecture practice. Regardless of its successes or failures, the 15th edition of the Venice Biennale Reporting from the Front, curated by Alejandro Arevena, provides the latest solid evidence of this move. Although such a shift both in the practices and questions encountered by architects can only be a positive shift, what is too often missing from the conversation is the crucial need to question the very nature of public space itself: not only the way it is made and used, but the broader societal vision that it represents and reinforces. A useful starting point, then, is to examine what we mean when we say ‘public’, before we move on to ‘space’, the material that as architects, urban planners and spatial practitioners, we may dissect more comfortably.

Performative archiving in Kosmos

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Panos Kouros

Performative archiving in Kosmos. Preliminary remarks.

 

Lecture at the Kolloquium at Humboldt-University
Institut für Musikwissenschaft und Medienwissenschaft
Fachgebiet Medienwissenschaft

11.5.16

P1030309a

At the junction of performative urbanism and art in the public sphere,sonic arts and archival media studies, /Kosmos/ project relies on a methodof real-time archiving of public space that I have termed ‘performative archiving action’. Works areundertaken in Kosmos, Berlin and Neos Kosmos, Athens, in the different contexts of urban regeneration pressures in these neighborhoods. Archiving is conceived as performance creating conditions for emerging public sphere(s); linking acting persons, dispersed publics, different localities through specific actions of documenting/ classifying/ re-using/ re-contextualizing data, and made public as a continuum across web interfaces and interhuman dispositions. The performative aspect relates to both human performing tasks and the internal generative operations of the archive.

Sound Acts in Victoria Square @newtransits

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Η διπλωματική εργασία της Αγγελικής Διακρούση Ενδυνάμωση της φωνής του φύλου: Ηχητικές πράξεις στην Πλατεία Βικτωρίας, στο πολύ ενδιαφέρον newtransits, τεύχος 5, Οκτώβριος 2015.

Hilla Becher, Photographer Who Chronicled Industrial Scenery, Dies at 81

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Hilla Becher, the German photographer who, with her husband, Bernd, meticulously documented coal mines, steel mills and other features of the industrial landscape, straddling the worlds of archival documentation and conceptual art, died on Saturday in Düsseldorf. She was 81.

Hilla Becher posing next to her photo series “Kühltürme” (Cooling towers) at the Musée d’Art Moderne de la Ville in Paris, in 2002. David Ebener/European Pressphoto Agency

Ο ΚΑΛΛΙΤΕΧΝΙΚΗΣ ΩΣ ΙΣΤΟΡΙΚΟΣ. ΜΝΗΜΟΤΕΧΝΙΚΗ, ΧΩΡΙΚΗ ΕΜΠΕΙΡΙΑ ΚΑΙ ΠΟΛΙΤΙΚΕΣ ΤΟΥ ΑΡΧΕΙΟΥ

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Lecture Series: 4th lecture

Andro Wekua, Pink Wave Hunter, 2010-2011, φωτογραφία από την έκδοση Parts 1-3, Buchhandlung Walther Konig, Κολωνία 2011

Κύκλος ομιλιών στο Εθνικό Ίδρυμα Ερευνών

Ματιές στην πόλη: μεταξύ αρχιτεκτονικών και αρχαιολογικών προσεγγίσεων

25.11.2014

Ο ΚΑΛΛΙΤΕΧΝΙΚΗΣ ΩΣ ΙΣΤΟΡΙΚΟΣ. ΜΝΗΜΟΤΕΧΝΙΚΗ, ΧΩΡΙΚΗ ΕΜΠΕΙΡΙΑ ΚΑΙ ΠΟΛΙΤΙΚΕΣ ΤΟΥ ΑΡΧΕΙΟΥ

Γιώργος Τζιρτζιλάκης

Επίκουρος Καθηγητής Αρχιτεκτονικής, Τμήμα Αρχιτεκτόνων Μηχανικών, Πανεπιστήμιο Θεσσαλίας

Oι ομιλίες μεταδίδονται ζωντανά στη διεύθυνση http://www.ekt.gr/events/live

MOMA: Performing Histories

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Performing Histories (1)

September 12, 2012–August 5, 2013

The Yoshiko and Akio Morita Media Gallery, second floor

 

Performing Histories (1) presents works that use time-based art forms to reflect on interpretations of history. The works, which have all recently entered the Museum’s collection, represent the diverse practices of the artists: Kader Attia (b. France, 1970), Andrea Fraser (b. USA, 1965), Ion Grigorescu (b. Romania, 1945), Sharon Hayes (b. USA, 1970), Dorit Margreiter (b. Austria, 1967), Deimantas Narkevičius (b. Lithuania, 1964), and Martha Rosler (b. USA, 1943).

The practices, exemplified in these works, of revisiting existing narratives and examining one’s own cultural, social, and personal history are not bound to any specific medium; they are part of critical artistic practice, in general. In recent decades, artists have increasingly chosen to employ performance in conjunction with cinematic mediums, such as film, slide projection, video, and photography, in orderto create multifaceted narratives and provide new readings of past events.

Exploring social and political conditions and reconsidering their own personal pasts, the participating artists in Performing Histories (1)have deconstructed histories, focusing on the ambiguity of history and the impact of ideologies on individual and collective consciousness. The installation guides the visitors through a space of diverse readings in which connections can be drawn across different perspectives on history. Examining history as both document and fiction, the exhibited works raise questions about how the past is constructed and how it can inform the present.

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Memories Can’t Wait

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Memories Can’t Wait asks: How, in the face of the challenges Levi-Strauss mentions, can image-making sustain critical consciousness? How can personal memory and imagination in the absence of verifiable narratives create new meaning? Is there urgency in weaving personal accounts into political and historic narratives, if so how does it manifest? How can artists build an archive that honors the time-sensitive and ephemeral nature of their work? How can these methods inform the ways that history gets recorded?

disobedience archive

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What matters in Disobedience is not so much an “alliance” between activist demands and artistic practices in order to achieve common goals, it is more that of a common space or a common base that is emerging. This space is not clearly defined, thus making it impossible to draw a precise line between forces and signs, between language and labor, between intellectual production and political action.