Reading 7 - The Swamp →
Excerpts from The Swamp, Michael Grunwald, (2006)
Please note there are two separate PDF files:
Part 1: http://dl.dropbox.com/u/29208542/The%20Swamp-Part1.pdf
Part 2: http://dl.dropbox.com/u/29208542/The%20Swamp-Part2.pdf
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Venice Biennale 2010 architecture →
workshopping
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2010 intensive
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Paola Antonelli @ creative mornings/MOMA 6.17
notes/immediate impressions: see fantastic filled out version at soulellis studio site http://soulellis.com/2010/06/creative_morning_with_paola_an.html
curious octopus
synthesize past 16 years
default normalcy of a place (understanding context)
design as force to be reckoned with
lost generation of architects (transferred to digital,communication design)
talk to me
unfinished project
trust your public
big minestrone
crystallize a certain period of time
occupying the space in between
acquisition of @ sign
criteria for MOMA design acquisitions
innovation belongs to everyone
importance of tagging (esp. for extreme/complex acquisitions)
aesthetic intent central to MOMA design collection criteria
not necess. to possess something to be part of MOMA collection, more about legitimizing things already using and shaping culture
part of her role to educate public about good design in NYC where ‘design in trouble’ when she arrives (knowing audience, defining her mission )
plus some specific artists/designers mentioned
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if i have to pick three things that describe the nyc experience (though they might be better phrased): positions / histories / perseverance
positions/ A big theme of this NYC visit has been the importance of taking a stand, of creating compelling positions and points of views/voices in the here and now (this could also be what P. called ‘story’ ) // histories / The other has been about histories and legacies (how they’re constructed and invented and rediscovered. as passive and active forms) / as the art of exhibiting and curating develops— a ‘discipline’ made all the more important in an age where vast amounts of information are being produced and consumed — how to filter, frame, edit becomes ever more important. (both as a critical activity, a historical activity, as well as a new means to produce relevant content). maybe i’m only noticing it now because of the focus of this last visit, but there does seem to be a increased pickup in the development of stocktaking, legitimizing, as well as projecting and trying to map out a discipline of exhibition-making.
Greater NY has one exhibition within an exhibition on the first floor – about the cultural scene in NY over the past 5 years, but also about its own history, about legacies of recent curating, about the new york cultural scene of the past 5-10 years /It’s structured around the selections of 10 varied curators/critics/artists, choosing particular exhibitions, events, & works that evoke a time/place/energy and which situate GNY within the broader cultural context of new york (and by extension, a global context) / it’s a time capsule of a collection of very particular time capsules, in a long room, with regularly spaced tv screens at the periphery, it’s not far from feeling like a spaceship or time machine itself (the long ‘bed’ from the inaugural GNY centered in the room like seating for takeoff) / i didn’t spend long enough to see how it was structured, but it wasn’t chronological, or by discipline or medium, or type of event, it may have been by curator, but there wasn’t a distinct delineation even if you moved across it linearly. clearly, i’m only speaking for myself and whatever i picked up in the time i was there, if someone quickly figured out the structure i’d be happy to know what it was. ] / the effect was more of a cloud /
perseverance & glamour deconstruction/ // previous to my experience mostly seeing the art world from the outside, the openings, the fashion, the style show, the power art. it all seemed really fabulous/ but after this summer, being injected into the center of the art world, and the people at the center of that center — gallerists, artists, curators, dealers — the predominant sense you get is the hard work, the perseverance, the setbacks that have to be overcome, the hustlering.
and actually, i find this reassuring. that for the most part no one is being handed anything. it’s work — to define a position, to develop a strategy, to carry it out….it’s the same sort of rejection and disappointment and the 100 unsuccessful calls you have to make to get the 1 that will lead to something, that makes the accomplishment sweeter…It also brings it down to earth. And if it’s just work, and not magic genie dust, it means it’s possible for me or anyone that wants to, do it. At the same time, it’s a reminder that you have to be leading with your gut, trusting your instincts, having some fun, because like in any other field, otherwise, it’s just another way to kill yourself.
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ocean interlude
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Holy F this tmblr updating killing me / but want to get through it / and maybe i have to go through this / enjoy the process
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Claire Fontaine @ MOCA Miami
great show. but i need to go back. went during one of Moca’s last Fridays evenings, (to see public space in action in Miami, esp. north Miami, is a great thing). got there on the late end, need to go back for the art, as well as for the block party… http://www.mocanomi.org/claire-fontaine-economies/
I love that a collective/pair operating as a fictional individual is represented by a pair of galleries in nyc — Metro Pictures and Reena Spaulings (the latter is itself is a pair or collective gallery masquerading as fictional individual). lots of meta-something going on.
learned about Claire Fontaine this summer through one of the women at CI (Eriola Pira) whose project is about fictional artists (taking Duchamp’s R.Mutt as her starting point) / this is not just institutional critique of the museum, but critique of the institution of art and the artist / how far you can take this before it implodes? or how can it transform? to what ends can you use it and for how long?
