Design, art, and the gradient between, featuring the creative output of our in-house design studio.
The following interview of Ken Isaacs by Susan Snodgrass was originally published in the exhibition catalogue accompanying the exhibition, Hippie Modernism: The Struggle for Utopia, 2015. — The highly individual practice of American architect and designer Ken Isaacs (born 1927, Peoria, Illinois) challenged conventional definitions of modernism through designs that sought radical solutions to the spatial and […]
The highly individual practice of American architect and designer Ken Isaacs (born 1927, Peoria, Illinois) challenged conventional definitions of modernism through designs that sought radical solutions to the spatial and environmental challenges of modern life. Fueled by the optimism that defined the postwar period, Isaacs began working with the new forms and technologies offered by modernism and advances in science, at the same time shunning the consumer-laden values of the American dream. The result was a lifelong commitment to a populist form of architecture that, because of its low cost and ease of construction, allowed a broad range of publics to participate in the design process.
These designs, all founded on Isaacs’s concept of the matrix or total environment, were built using a three-dimensional grid and took the form of modular units called Living Structures that unified the multiple functions of furniture and home, including nomadic, sustainable architectural dwellings or Microhouses. Isaacs also applied his matrix idea to various multimedia information systems, most notably The Knowledge Box (1962), which was re-created by Isaacs in 2009, an experimental learning chamber that eschewed the traditional classroom for “environmental” concepts of education.
The catalogue for Hippie Modernism: The Struggle for Utopia is edited by curator Andrew Blauvelt and contains new scholarship that examines the art, architecture, and design of the counterculture of the 1960s and early 1970s. The catalogue surveys the radical experiments that challenged societal norms while proposing new kinds of technological, ecological and political utopia. It […]
The catalogue for Hippie Modernism: The Struggle for Utopia is edited by curator Andrew Blauvelt and contains new scholarship that examines the art, architecture, and design of the counterculture of the 1960s and early 1970s. The catalogue surveys the radical experiments that challenged societal norms while proposing new kinds of technological, ecological and political utopia. It includes the counter-design proposals of Victor Papanek and the anti-design polemics of Global Tools; the radical architectural visions of Archigram, Superstudio, Haus-Rucker-Co, and ONYX; the installations of Ken Isaacs, Joan Hills, Mark Boyle, Hélio Oiticica, and Neville D’Almeida; the experimental films of Jordan Belson, Bruce Conner, and John Whitney; posters and prints by Emory Douglas, Corita Kent, and Victor Moscoso; documentation of performances by the Diggers and the Cockettes; publications such as Oz and The Whole Earth Catalog; books by Marshall McLuhan and Buckminster Fuller; and much more.
While the turbulent social history of the 1960s is well known, its cultural production remains comparatively under-examined. In this substantial volume, scholars explore a range of practices such as radical architectural and anti-design movements emerging in Europe and North America; the print revolution in the graphic design of books, posters and magazines; and new forms of cultural practice that merged street theater and radical politics. Through a profusion of illustrations, interviews with figures including: Gerd Stern of USCO; Ken Isaacs; Gunther Zamp Kelp of Haus-Rucker-Co; Ron Williams and Woody Rainey of ONYX; Franco Raggi of Global Tools; Tony Martin; Drop City; as well as new scholarly writings, this book explores the conjunction of the countercultural ethos and the modernist desire to fuse art and life.
While designing the publication, one of the tensions we were interested in exploring was the relationship of the hippie as popularized by the media and its authentic counterpart, if such a thing existed. As Andrew describes in his preface to the catalogue, “The hippie was and remains a highly mediated figure, one used rhetorically within this project as the same kind of empty signifier to which accreted many different agendas. Or, as the Diggers once said, the hippie was just another convenient “bag” for the “identity-hungry to climb in.” If the publication could illustrate both the hippie as utopic countercultural agent and the hippie as “devoted son of Mass Media,” we might begin to emulate a Hippie Modernism.
Typographically, we responded to lo-fi publications such as the Whole Earth Catalog, How to Build Your Own Living Structures, Be Here Now, and the Foundation Journal on one hand, and the iconic, corporate advertising language of the ’60s and ’70s on the other. Bridging these two registers came quite naturally to many of the artists and designers of this era, who understood that envisioning a utopia meant performing it, broadcasting it, projecting it, publishing it, and advertising it. Creating the future meant co-opting the strategies of mass communication.
One obvious example of this was “Advertisements for the Counter Culture,” an insert in the July 1970 issue of Progressive Architecture magazine, in which representatives of the counterculture were invited to create advertisements for their various projects and efforts. In the preface, editor Forest Wilson wrote, “The following pages reflect deep discontent with things as they are. We should be concerned when such options cease to be advertised, for it is when those who seek change despair of its realization that violence becomes inevitable. The public notices that follow are put forth to offer alternatives to our way of life, not to destroy it.”
In addition to reprinting the insert in our catalogue, we created a 16-page reimagining of it through the lens of Hippie Modernism, interspersed throughout the essay section. Some of these pages feature real ads, publication covers, and layouts from the period, while others are fictional recreations (the McLuhan ad, for example, required restaging a photoshoot in order to translate an ad that was originally black-and-white into full color). The pages are printed on Constellation Jade Riccio, a dreamy, pearlescent paper embossed with a wavy pattern that brings to mind the organic psychedelia of certain hippie projects such as Elias Romero’s oil and ink light show experiments, while also reinforcing notions of mass production and surface, by way of it’s highly artificial nature. (I first saw this paper used beautifully by Laurent Fétis and Sarah Martinon in the design of the catalogue for the 23rd International Poster and Graphic Design Festival of Chaumont 2012.)
The book also includes an extensive plate section, featuring images and descriptions of the projects featured in the exhibition.
Finally, the image on the cover of the book depicts the US Pavilion for Expo 67 (Montreal), designed by Buckminster Fuller and Shoji Sadao, as it caught fire on May 20, 1976. As a signifer, the photo by Doug Lehman seems to perfectly encapsulate the friction implied by the term “hippie modernism” and, more explicitly, the counterculture’s utopian agenda being subsumed—and deemed a failure—by the conservative era that was to follow. With each passing year, though, this reactionary characterization of the counterculture moment rings more and more hollow, as contemporary practitioners revisit the revolutionary strategies these artists, designers, and activists deployed.
“The Barricade and the Dance Floor: Aesthetic Radicalism and the Counterculture” is republished from Hippie Modernism: The Struggle for Utopia (Walker Art Center, 2015; Andrew Blauvelt, ed.). The exhibition is on view October 24, 2015 through February 28, 2015, before traveling to the Cranbrook Art Museum and University of California, Berkeley Art Museum and Pacific Film Archive. In Hjorvardur […]
“The Barricade and the Dance Floor: Aesthetic Radicalism and the Counterculture” is republished from Hippie Modernism: The Struggle for Utopia (Walker Art Center, 2015; Andrew Blauvelt, ed.). The exhibition is on view October 24, 2015 through February 28, 2015, before traveling to the Cranbrook Art Museum and University of California, Berkeley Art Museum and Pacific Film Archive.
In Hjorvardur Harvard Arnason’s sweeping survey History of Modern Art, first published in 1968, a brief entry on psychedelic art completes his six-hundred-page tome. It seems a fitting way to conclude the book’s march through modernism, focusing as it does on the au courant style of the moment. As Arnason explains, “The recent appearance of psychedelic art may be accounted for in several ways: the easy availability and enormously increased use of psychedelic drugs; the mixture and confusion of appeals to several senses simultaneously in the so-called mixed media performances; the ethos of the hippies and flower-children; and the prevalent atmosphere of rebellion against ‘the establishment,’ whether in society in general or in art specifically.” Arnason does not elaborate on these causalities, which, nevertheless, are instructive in their range of positions. The use of mind-altering and consciousness-expanding drugs such as LSD, mescaline, and psilocybin on the part of artists would seem to be an expected foundational definition of a psychedelic art. This “art under the influence” approach applied not only to some artists whose work was produced during drug-induced sessions but also for the many more who drew upon such episodes and experiences more symbolically or referentially, giving psychedelic art currency as both a form of process and representational art. Interestingly, Arnason does not parse the difference between the artist and the audience undergoing an altered state of consciousness, rendering psychedelic art also possible in the mind’s-eye of the beholder. This inclusive reading is alluded to in his second cause, the “mixed” and “confusing” sensory experiences of mixed-media performance—choreographies that often intentionally blurred the roles of audience and performer as easily as it melded the aural, visual, and tactile realms into one experiential whole. In fact, although he introduces this final section with a focus on the psychedelic artist, the trajectory of psychedelic art clearly exceeds such conventional limits and must embrace the culture and society at large. Thus, the appearance of such an art would be the consequence of its newly created audience of “hippies and flower children”—presumably as both spectators and co-creators—in a socially antiestablishment “atmosphere of rebellion.” Arnason understood that such an art is not limited to representing conditions of social rebellion “in general,” but also posed a challenge to “art specifically.”
Acid heads turning on to LSD. Activists tuning in to issues of social injustice. Hippies dropping out of mainstream life. These and many other agents occupied the tumultuous landscape of the 1960s counterculture. Its antiauthoritarian and antiestablishment positions transformed not only society and politics but also art and culture. Hippie Modernism: The Struggle for Utopia, which opens to the public […]
Acid heads turning on to LSD. Activists tuning in to issues of social injustice. Hippies dropping out of mainstream life. These and many other agents occupied the tumultuous landscape of the 1960s counterculture. Its antiauthoritarian and antiestablishment positions transformed not only society and politics but also art and culture. Hippie Modernism: The Struggle for Utopia, which opens to the public on October 24, surveys the radical art, architecture, and design of the 1960s and 1970s, examining the work of those seeking alternatives to the strictures of mainstream society.
Curated by Andrew Blauvelt, the exhibition will launch with a broad range of programs, including lectures by visiting artists such as Haus-Rucker-Co and Emory Douglas; screenings of films by Jordan Belson, the Cockettes, and Drop City; and even an evening exploring the counterculture scene in 1960s Minneapolis. See below for our full slate of programs (scanned from our related events flyer) and click through for more information. And check back soon as we’ll be posting content from the exhibition catalogue, new interviews, and images of the exhibition.
We are looking for a passionate designer with excellent typographic skills interested in contemporary art, culture, publishing, and design to serve as one of two senior graphic designers in our studio. Is that you? If so, see the job description and application process here.
We are looking for a passionate designer with excellent typographic skills interested in contemporary art, culture, publishing, and design to serve as one of two senior graphic designers in our studio. Is that you? If so, see the job description and application process here.
In a 2014 article about the trajectory and form of the design manifesto, Andrew Blauvelt and I wrote: The turn of the millennium also saw the rise of the lifestyle or motivational manifesto, which offers motivational aphorisms for daily life—bite-sized chunks of wisdom— a replicable formula for success. … [This] trend toward listicle arrangements of compact nuggets […]
In a 2014 article about the trajectory and form of the design manifesto, Andrew Blauvelt and I wrote:
The turn of the millennium also saw the rise of the lifestyle or motivational manifesto, which offers motivational aphorisms for daily life—bite-sized chunks of wisdom— a replicable formula for success. … [This] trend toward listicle arrangements of compact nuggets of vaguely familiar phrases betrays an orientation toward today’s webcentric communication landscape, in which the number of buzz-worthy, hyperbolized statements seems calculated to increase the number of user clicks. We live in the age of the TED talk, subjected to the “relentless epiphanies” of speaker after speaker delivering their eighteen-minute takes on subjects that warrant much deeper conversation.
Our recent Superscript conference wasn’t a place where people came to firmly declare something. In fact, many of the speakers seemed more interested in a healthy deconstruction of the conference’s premise. But that didn’t mean that the speakers left without bestowing great, provocative wisdom upon us, which we happily consumed and regurgitated as context-less bits of Twitter fodder. The conference covered a broad range of topics relevant to online arts writing and publishing—complex topics, including the way information and opinions circulate online, how they become truncated, distorted, decontextualized, and misinterpreted through social media, and how they can ultimately create active dialogue through online communities. To help promote the live webcast of the conference we decided to take advantage of the typical conference behavior of tweeting sometimes pithy, sometimes inspirational quotes by the speakers—successories for the Pinterest generation—by creating visual quotes that circulated through Twitter, Instagram, and Facebook. They did what they were designed to do, increasing the visibility of the conference and its live webcast, though sometimes at the expense of the speaker’s original intent, sometimes to the displeasure of our online followers (I’m not sure if institutional trolling is a thing quite yet). Please do enjoy the full context of each quote above by clicking in to view a full video of each talk. Or browse all of the videos here.
All visual quotes designed by Nani Albornoz.
Insights 2015 Tuesdays in March Insights is right around the corner and we have an amazing line up of designers coming to share the thinking, processes, and methods behind their work. We’re kicking off this year with a special evening that features both a talk and an exhibition opening celebrating Minnesota design. From there, we’ve got design […]
Tuesdays in March
Insights is right around the corner and we have an amazing line up of designers coming to share the thinking, processes, and methods behind their work. We’re kicking off this year with a special evening that features both a talk and an exhibition opening celebrating Minnesota design. From there, we’ve got design legend April Greiman (Los Angeles), artist collective/trend forecasters K-HOLE (New York), experimental designer Bart de Baets (Amsterdam), and Design Fiction proponent, James Langdon (Liverpool).
If you can’t make it in person, please tune in to our live webcast on the Walker Channel and participate through Twitter. (#Insights2015) Here’s a kit for educators, AIGA chapters, and anyone else who might want to throw their own viewing party.
Minnesota Design: A Celebration (featuring Andrew Blauvelt)
March 3, 7 pm (tickets)
Insights 2015 kicks off with a unique two-part event celebrating Minnesota and its long-standing design legacy. The evening begins with a presentation by Andrew Blauvelt, Walker Art Center senior curator of design, research, and publishing, who will explore the Walker’s new web-based Minnesota design collection highlighting Minnesota’s diverse heritage across the design fields. From the world’s quietest room to the Honeycrisp apple, from the humble sticky note to the Prince logo, Blauvelt offers a crash course on what makes our region such a hotbed for innovation. The talk will be followed by the opening of MGDA/AIGA Minnesota: A History Exhibit, marking the history of the AIGA Minnesota chapter on the occasion of the AIGA’s 100th anniversary, curated by designer/educator/author Kolean Pitner and design director Mike Haug. On view will be fascinating ephemera, posters, and correspondence presenting the chapter’s 37-year history of helping businesses and the public understand the meaning and value of graphic design. Check out the exhibition and join us in celebrating our vibrant design community. At the opening party, free snacks will be provided and a cash bar will be available.
April Greiman (LA)
March 10, 7 pm (tickets)
Through her Los Angeles–based studio Made in Space, visionary graphic designer and artist April Greiman has been creating vital work in a variety of media for more than 30 years. She helped pioneer the integration of technology and art as one of the first practitioners to explore the desktop computer’s creative potential, and her unique fusion of a postmodernist mentality with digital technology became emblematic of the “New Wave” design approach in the late 1970s and early ’80s. Her art direction (with Jayme Odgers) of Wet Magazine is a touchstone of this era, inspiring countless designers since its creation. Today, Greiman is known as an artist creating numerous multimedia works for both solo and group shows as well as commissions for public spaces. Her work has been featured in museums and galleries around the world, and has been covered by everyone from the New York Times andTime Magazine to ESPN and PBS. She received her advanced design education at the Basel School of Design, studying with Wolfgang Weingart and Armin Hoffman, among others. Previously, she served as the head of the design department at the California Institute of the Arts. Greiman has been the recipient of numerous awards, including the AIGA gold medal for lifetime achievement and honorary doctorates from Kansas City Art Institute, Lesley University, Academy of Art University, and Art Center College of Design. She is currently serving as faculty at both Woodbury University School of Architecture and the Southern California Institute of Architecture. Greiman’s groundbreaking 1986 issue of Design Quarterly (“Does it make sense?”) is currently on display in the Walker exhibition Art at the Center: 75 Years of Walker Collections.
March 17, 7 pm (tickets)
Bart de Baets (Amsterdam)
March 24, 7 pm (tickets)
Amsterdam-based Bart de Baets is a fierce formalist, an unrelenting experimenter who has developed a unique typographic attitude that has influenced designers around the world. His work spans the entire cultural sector for clients in the fields of art, music, performance, and film. A few of his clients include the Amsterdam club Paradiso, cultural centers such as W139, De Appel, AFK, and the New Institute, and film programs such as the Weight of Colour and A New Divide? De Baets is also known for his self-initiated projects, including Dark and Stormy, an ambiguous fanzine he publishes with Rustan Söderling featuring contributions from an international array of artists, and Success and Uncertainty, a poster series and publication made with Sandra Kassenaar during an artist residency in Cairo amid the chaos of 2011’s Arab Spring. Confronted with the reality of state-imposed curfews, the resignation of President Mubarak, and the politically charged environment, de Baets and Kassenaar were forced to explore their status as outsiders, questioning the relevance of their intentions—and in the process, creating beautiful and vital work. De Baets teaches graphic design at both the Gerrit Rietveld Academy (Amsterdam) and the Royal Academy of Arts (the Hague) and conducts workshops throughout Europe.
James Langdon (Liverpool)
March 31, 7 pm (tickets)
The UK’s James Langdon has carved out a unique practice that fully integrates his design, editorial, and curatorial pursuits. As one of six directors of Eastside Projects—an artist-run exhibition space dedicated to promoting cultural growth in its home town of Birmingham, England—Langdon designs and edits many of the organization’s publications and is responsible for creating a series of experimental manuals that explore its mission through ideas as varied as urban renewal, adhocism, and public engagement. In 2013, Langdon founded the itinerant School for Design Fiction, working with students to investigate the storytelling inherent in the design process, the emotions embedded within an artifact, and the benefits of living in speculative worlds. As a curator, Langdon organized Arefin & Arefin: The Graphic Design of Tony Arefin, an exhibition celebrating the overlooked but highly influential British graphic designer; Book Show, exploring the form of the book; and a restaging of Norman Potter’s In:quest of Icarus at the Stedelijk Museum, Amsterdam. Langdon has been guest lecturer at schools around the world, including Werkplaats Typografie (Arnhem), Jan van Eyck Academie (Maastricht), and Konstfack (Stockholm). He is the recipient of the 2012 Inform International Award for Conceptual Design, presented by Galerie für Zeitgenössische Kunst, Germany.
Insights 2015 identity designed by Nani Albornoz. Laser cutting provided by David W. Johanson and Park Grove Laser. Printing courtesy the Avery Group at Shapco Printing, Minneapolis.
Tickets for the Walker/Mn Artists–organized conference Superscript, a look at “online art publishing’s present and possible futures,” go on sale in five days and we’re expecting them to sell out quickly. The conference features an amazing lineup of critics, artists, authors, and thinkers talking about a variety of artistic disciplines. Some talks I’m really looking forward […]
Tickets for the Walker/Mn Artists–organized conference Superscript, a look at “online art publishing’s present and possible futures,” go on sale in five days and we’re expecting them to sell out quickly. The conference features an amazing lineup of critics, artists, authors, and thinkers talking about a variety of artistic disciplines. Some talks I’m really looking forward to: Claire Evans (of YACHT) discussing her position as “futures editor” at Vice‘s Terraform; artist James Bridle always brings an interesting take on the future of publishing (see the recent Artist Op-Ed he wrote for us); and Eugenia Bell diving into what has made Design Observer so successful over the years. Besides that we get to hear from people representing e-flux, Hyperallergic, Triple Canopy, Pitchfork, Rhizome, Buzzfeed, frieze, Creative Time Reports, LA Times, Temporary Art Review, and The New Inquiry. !!!
And because we’re doing it the Walker way, there will be some fun crossovers with our programming: two new film premieres commissioned by the Walker (by Moyra Davey and James Richards), a crowd-sourced criticism component to our International Pop exhibition, and some healthy supplemental online content including a series on this blog about design and content strategy.
Superscript identity by Dante Carlos. Website by Anthony Tran.
To commemorate the year that was, we invited an array of artists, writers, designers, and curators—from artists Shahryar Nashat and Korikrit Arunondachai to filmmaker Sam Green and architect/artist Andreas Angelidakis—to share a list of the most noteworthy ideas, events, and objects they encountered in 2014. See the entire series 2014: The Year According to […]
To commemorate the year that was, we invited an array of artists, writers, designers, and curators—from artists Shahryar Nashat and Korikrit Arunondachai to filmmaker Sam Green and architect/artist Andreas Angelidakis—to share a list of the most noteworthy ideas, events, and objects they encountered in 2014. See the entire series 2014: The Year According to .
David Reinfurt is an independent graphic designer and writer in New York City. He graduated from the University of North Carolina in 1993 and received an MFA from Yale University in 1999. On the first business day of 2000, David formed O-R-G inc., a flexible graphic design practice composed of a constantly shifting network of collaborators. Together with graphic designer Stuart Bailey, David established Dexter Sinister in 2006 — a workshop in the basement at 38 Ludlow Street on the Lower East Side in New York City. The workshop is intended to model a Just-In-Time economy of print production, running counter to the contemporary assembly-line realities of large-scale publishing. This involves avoiding waste by working on-demand, utilizing local cheap machinery, considering alternate distribution strategies, and collapsing distinctions of editing, design, production and distribution into one efficient activity. Dexter Sinister published the semi-annual arts magazine Dot Dot Dot from 2006–2011. David recently launched a new umbrella project called The Serving Library with Stuart Bailey and Angie Keefer. David was 2010 United States Artists Rockefeller Fellow in Architecture and Design and currently teaches at Princeton University.
My top 10 are listed in the order they happened. Things often make most sense like this.
Where Were We
This is a shop sign designed by Angie Keefer and Kara Hamilton and hung outside Kunstverein on Gerard Doustraat in Amsterdam to announce an exhibition by Kara Hamilton. The exhibition was staged something like a store and included jewelry, shoes, and other consumables. Angie also contributed a text that framed the show about a certain kind of painted pleat.
Dawn of Midi
In February, I saw Dawn of Midi play at Kaufman Music Center. The three-piece band includes only a prepared grand piano, an upright bass, and drums. With this limited kit, (impossibly) they played their album Dysnomia from beginning to end, note-for-note to match the highly repetitive, manipulated, and poly-rhythmic music on the record. The performance was spectacularly uncanny, I felt as though I had seen-heard it before and I guess I has as I was listening to Dysnomia on constant repeat for much of the last part of 2013. I ran into my friend Prem Krishnamurthy at the show, and now I see that he included this record on his Top 10 of last year. Uncanny.
In May, I went to Carnegie Hall to hear works by Estonian composer Arvo Pärt. Equally spare, repititive, and mystical, the music has some affinity with Dawn of Midi. Anyway, the crowd at the show seemed to know this as well and mixed Eastern Orthodox clergy members in full regalia with tattoo-covered Manhattan School of Music graduates. It was an eccentrically, fantastically fashionable crowd. Arvo was there himself, as was Björk.
Where was I? I never read this book when I was the age to do so, but found it on a bookshelf this May. Soon, I was enveloped in its world where water is as precious as life and giant sandworms stand in cars. When I read the book, I didn’t know about Jodorowsky’s Dune, the documentary released this year that tracks the previously director Alejandro Jodorowsky’s failed attempts at turning Frank Herbert’s epic book into a film.
Claude Parent (and Naum Gabo)
For A Needle Walks into a Haystack, curator Mai Abu ElDahab invited aging French architect Claude Parent to design an exhibition space on the ground floor of Tate Liverpool and rehang selections from its collection. The result felt something like an architectural model built at 1:1 scale. Installed in the ramped space alongside works from Gillian Wise, Gustaf Metzger, Anni Albers, and Francis Picabia, were two of artist Naum Gabo’s maquettes including model for “Monument to the Astronauts.” Perfect.
Yes, But Is It Edible?
Also perfect, this book compiled by Will Holder and Alex Waterman of the works of Robert Ashley was released in September. This is a book to be performed, a collection of scores produced by the authors to allow non-musicians to perform Ashley’s music. It follows that Will and Alex performed a couple of Ashley pieces in a sweltering classroom at PS1 during the New York Art Book Fair.
The Production Line of Happiness ran from July to November at the Museum of Modern Art last last year. I saw it, finally, in October. The show is a comprehensive testament to this work which mines the process of image production, and it was great. The best work, however, was in the gift shop where Williams offered his image of a rotated Renault Dauphine-Four auto sitting on its side as a postcard. The postcard’s orientation is ambiguous, but presented in the shop vertically the car seems to be suspended somewhere outside of gravity.
This Equals That
Also outside of gravity, this children’s book by Jason Fulford and Tamara Shopsin moves laterally from one photograph to the next. It was released in November. Photographs are supposed to be toxic in children’s literature, but Jason and Tamara’s light and warm touch makes the guided tour through the visible world a wonderful, strange trip.
In November, this issue of the New Yorker showed up in my mailbox. The cover is the work of illustrator Richard McGuire, who was also the subject of an exhibition at the Morgan Library organized by curator Joel Smith. More on this time-space bending cover is here.
Finally, in December I saw Interstellar. Luckily, I’d managed not to read much about the film in advance. I did, however, read a New York Times op ed by David Brooks which is well worth checking out. I was also impressed by an interview on NPR with director Christopher Nolan where he was asked about the film’s uneasy correspondences with Stanley Kubrick’s 2001. He said, simply, something to the effect that you can’t make a space movie in 2014 that does not “know” about 2001 and that he chose to make that explicit, rather than hide it. Nice choice.
To commemorate the year that was, we invited an array of artists, writers, designers, and curators—from designer David Reinfurt to animator Miwa Matreyek—to share a list of the most noteworthy ideas, events, and objects they encountered in 2014. See the entire series 2014: The Year According to […]
To commemorate the year that was, we invited an array of artists, writers, designers, and curators—from designer David Reinfurt to animator Miwa Matreyek—to share a list of the most noteworthy ideas, events, and objects they encountered in 2014. See the entire series 2014: The Year According to .
Trained as an architect, Andreas Angelidakis often switches roles between artist, curator, architect, and teacher. His multidisciplinary practice often takes the internet and the perceptive and behavioral changes it has brought on as its starting point. In the past year he worked on the space for the exhibition of instruction-based artworks DO IT at Garage in Moscow, he curated and designed a survey exhibition of the Dakis Joannou collection at DESTE foundation in Athens, he designed a show of contemporary magazines at the Haus der Kunst in Munich, and made the installation Crash Pad, which acted as the preliminary statement for the 8th Berlin Biennial. He currently has a retrospective presentation of his work at the National Museum of Contemporary Art in Greece, and he is included in the Greek Pavilion at the 14th Architecture Biennale in Venice. Upcoming shows include Period Rooms at the Niuewe Institut in Rotterdam, and designing the exhibition architecture for a survey exhibition of film director Alejandro Jodorowsky at the CAPC in Bordeaux. Recent shows include The System of Objects: The Dakis Joannou Collection Reloaded by Andreas Angelidakis at the DESTE Foundation, Athens (curator and architect); PAOLA at Breeder Gallery (curator); Group Mountain at Breeder Gallery (curator and artist, solo and group show); Domesticated Mountain at GloriaMaria Gallery, Milan, April 2012 (solo, artist); The Angelo Foundation Headquarters collaboration with artist Angelo Plessas at Jeu de Paume museum espace virtuelle; and Blue Wave at the MU Foundation, Eindhoven, Netherlands (architect and artist, solo exhibition).
Extrastatecraft by Keller Easterling. Easterling is in my humble opinion the most interesting, unexpected and lucid thinker in urbanism. Her urbanism provides a deep understanding of how the contemporary world operates, and Extrastatecraft is just a must read.
Attending the Eternal Internet Brotherhood, in the West Bank in Israel/Palestine. A truly surreal experience, both for the location, but also because it was a like being transported to an artists’ colony, no audience, no age or agenda, sleeping outdoors next to the Dead Sea, thinking about the internet as a desert.
Best Venue for a Biennial
My work for the 8th Berlin Biennial curated by Juan Gaitan was at Kunstwerke, but the Dahlem Ethnographic Museum has to be the best venue for a biennial in a long time. Visitors not only saw the Bienalle works but had a chance to get lost in the corridors of the museum, making for juxtapositions of pure genius.
Monditalia, at the Venice Biennial of Architecture. Koolhaas brought together the dance, film and architecture biennials at the Arsenale, which made for a space where passing an esoteric performance with a minotaur you happened upon a research on Italian nightclubs of the 1960s, ’70s and ’80s, then an elderly group of 50 chanting seniors, then another research on the Berlusconi suburbs and so forth. An exhibition as chaotic and as focused as the internet itself.
Meeting the legendary Chilean filmmaker Alejandro Jodorowsky at CAPC in Bordeaux, courtesy of its director Maria Ines Rodriguez. Its when you meet somebody who’s fan you’ve been forever, and they just surpass any expectation. Bonus Tarot reading included.
A used zCorp450 3D printer. I started using 3D prints back in 2002 when zCorp was a startup and was offering free 3D print samples to users who were curious. Having the printer, even though the running costs are literally studio killers, just takes it to another level. I was never into actually building buildings, but printing brings them closer to home.
Documenta 14 will be jointly held in Athens and Kassel in 2017.
Janell Watson’s Literature and Material Culture from Balzac to Proust: The Collection and Consumption of Curiosities. I got this while looking for literature on Bibelot, or tchotchkes. I’m always daydreaming of buildable bibelot bunkers and other places to escape.
Was with the Swiss Institute for their first annual design exhibition. Working with Simon Castets on Fin de Siècle was the best, because he went along with my idea to push the show as far as possible from a design exhibition, even when I was having doubts about going too far.
Swimming at midnight on the island of Samos, on a dark beach lit only by the frontier patrol and the bioluminescent sea water.
123Dcatch 3D scanning for iPhone has to be my favorite app, even though it doesn’t always work perfectly. Learning to love the glitch.
I really enjoyed Ank Leeuw Markar’s Willem Sandberg: Portrait of an Artist, for its insights into how contemporary art museums came to be how they are today through the radical decisions of The Stedelijk’s famous director, Willem Sandberg. A must read for those into exhibition histories. The result of my hallucinatory interpretation comes at The Niuewe Instituut in Rotterdam this January, 1:1 Period Rooms.