May 5th session

Since there were a few absent people in our seminar today, I’ll try to write down a brief feedback of what we have discussed, related to our action in Berlin.

  • we can, each of us, have individual ideas, but we will accomplish them as a group. We will discuss and help each one’s development during the next seminars. The ideas should be on different directions (we mentioned space and interaction, as examples), as each one’s will.
  • we thought on a very general, yet interesting, subject: nature, in a meaning of growing, of natural changing, of not planning.
  • we need to re-schedule our trip to Wolfsburg and Berlin. Adrián prepared a poll and sent the link by email to all of us; it’s a very practical way to find a good date for everybody.
  • we thought on working in an area located in front of Frans Vogelaar’s studio. He said he would upload some images here soon.
  • some bad news: the seminar will have less money than we thought. So we need to think on economical ways. Should we go by train? Or with the school bus? (Who is a regular student can count with the money of the school for the projects, right?)

Furthermore, it would be nice to hear what you guys think about these suggestions. We could also think on ideas for next week.

And if you still didn’t fill the poll: http://www.doodle.com/nvsi84tftw3cwekv

greetings!

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April 28 session

In the last session we had a discussion about the nature of public space and private space and the different changes it has endured mainly during the last few decades. We embraced the discussion from different perspectives and following what could be called “personal city experiencies”. We suggested some related bibliography which has already been uploaded into the Bibliography section.

We decided to focus on the seminar as a research platform for possible public interventions that might be realized either/both in Berlin (during our 3 day visit-workshop (18 of june?)) or/and Köln.

The 18 of June we’ll travel to Wolfsburg to visit the Rudolf Steiner exhibition in the Wolfsburg Museum and than continue our way to Berlin.

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Kowloon walled city: Inhabiting a block the size of the Tokyo Dome, Kowloon Walled City resembed a living, breathing creature, born from its inhabitants over its long lifespan. But the walled city was more than a physical conglomeration of buildings and people, it was an inadvertent symbol of the long struggle between China and Hong Kong, ruled by neither. It was an “in-between zone” whose remarkable existence today can best be comprehended through images, statistics and interviews. http://www.archidose.org/KWC/Main.html

https://i1.wp.com/architektur.kaywa.ch/files/images/2007/10/480/mob811_1192616889.jpg:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

Thailand Barricades

A  policeman stops in front of the road block set by Thailand's  anti-government red-shirts in Bangkok, capital of Thailand, May 1. 2010.  Red-shirts continued their rally in central Bangkok on Saturday.  (Xinhua/Lui Siu Wai)

Red Shirt protesters build a barricade using bamboo poles and  tyres at an intersection in Bangkok.
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When faith moves mountains

Hey people,

I’ve just found that work we mentioned last seminar. this content is at the Guggenheim website. [there is also a video available here].

When faith moves mountains (Cuando la fe mueve montañas), April 11, 2002, Lima, Peru. Three-channel video installation with sound, two channels transferred from 16mm film, projected, 00:34:00 each; one channel on monitor, 00:06:00, on loop, edition 1/4, overall dimensions variable. Solomon R. Guggenheim Museum, New York.

“Sometimes making something leads to nothing, sometimes making nothing leads to something.” The seemingly paradoxical logic of this statement, uttered by the artist himself, informs the work of Francis Alÿs. His works often begin as simple actions performed by himself or commissioned volunteers, which are recorded in photographs, film, and other means of documentation such as postcards. Many of his projects are generated during the artist’s “walks,” or paseos, in which he traverses city streets. In these works, Alÿs proposed witty updates to Baudelaire’s figure of the nineteenth-century flaneur. His first walk was The Collector (1991–92), in which he strolled through the streets of Mexico City pulling a small metal “dog” by a leash, its magnetic wheels collecting the city’s detritus in its wake. In Paradox of Praxis (1997), the artist pushed a large block of ice down the streets for hours until it was reduced to a mere puddle. ForThe Leak (1995), he roamed the streets of Ghent with a punctured can of paint, leaving a sort of Jackson Pollock-like breadcrumb trail back to a gallery space, where he finally mounted the empty paint can to the wall.

Alÿs’s endeavors often exceed the dimensions of discrete objects. In 2002 a group of some five hundred volunteers armed with shovels formed a line at the end of a massive, 1,600-foot sand dune and began moving the sand about four inches from its original location. This epic project, When Faith Moves Mountains (2002), was completed for the third Bienal Iberoamericana de Lima in a desolate landscape just outside the Peruvian capital. The work is neither a traditional sculpture nor an Earthwork, and nothing was added or built in the landscape. That the participants managed to move the dune only a small distance mattered less than the potential for mythmaking in their collective act; what was “made” then was a powerful allegory, a metaphor for human will, and an occasion for a story to be told and potentially passed on endlessly in the oral tradition. For Alÿs, the transitory nature of such an action is the stuff of contemporary myth.

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