vendredi 26 février 2010

# Nimis by Lars Vilks for the micronation Ladonia

Ladonia is a micronation within Sweden territory, proclaimed in 1996 by the artist Lars Vilks after he built a monumental labyrinthine sculpture on it in 1980. This splendid structure called Nimis is at the center of an extremely long trial that ended in the decision of demolition but thanks to an issue of ownership it actually never happened (however another sculpture has been removed by a crane boat in 2001).

If you want to read more about Ladonia or even ask for the citizenship you can visit the national website.




mercredi 24 février 2010

# (UN)WALL /// Sarah Oppenheimer

I already did a post on Sarah Oppenheimer's work (read it here) but I thought it would be relevant to make it reappear for this (UN)WALL theme. This artist considers the wall as a plain monolithic mass and achieve some piercing into it revealing what is supposed to be the internal material composing the wall. She then plays with the visitor's point of view by the various directionality of the piercing she achieves.
This way, the wall that used to be a screen preventing the vision becomes a vision device that makes us look at things in a different way than if the wall did not exist in the first place.




# (UN)WALL /// The wall and the hole; La Periferia Domestica's selection

Reading about our (UN)WALL theme, redactors from La Periferia Domestica kindly sent us their own selection dealing with the Wall and the Hole in a smart phonic association of those related notions.
Our own selection will follows all along the end of the month and March.

mardi 23 février 2010

# Transit-City's article about internal security drones

Francois Bellanger from Transit-City recently released a very interesting article about how Western Polices are now using drones in order to increase the control they already have on the city. The post is written in French but you can also read the Guardian's article about it and go back to the two others posts (here and here) about drones on boiteaoutils.
The appearance of those drones in urban security seems pretty ineluctable, therefore the resistance we may propose should probably be acknowledging their presence and inventing some means of hijacking or neutralizing them...

# Steel house by Robert Bruno


The steel house has needed fifteen years (starting from 1974) to be built by its designer, the sculptor Robert Bruno. One hundred and ten tons of steel have been used to build it and the result recalls Andre Bloc's sculptures/architectures in which the space is before all a poetic expression of the artist' desire.





lundi 22 février 2010

# Ryuji Miyamoto in Kobe / Post-apocalyptic architecture

The Great Hanshin Earthquake occurred in 1995 in the Kobe region and modified in a couple of minute the entire structure of the city killing approximately 6000 people.
Ryuji Miyamoto did a series of photographs of the post-apocalyptic Kobe completing thus his theme of Architecture of destruction started with the destruction of the Kowloon Walled City and Hans Poelzig's Grosses Schauspielhaus' death in Berlin.
I definitely recommend his photographs books even though they become pretty rare to find them...




dimanche 21 février 2010

# Tadashi Kawamata in Roosevelt Island

In 1992, Japanese artist Tadashi Kawamata (see previous posts here and here) was commissioned to create an installation around the abandoned Small Pox Hospital on Roosevelt Island (NYC). Faithful to his craft language - he was using it for more than ten years already - Kawamata and his team produced a wooden labyrinthine structure whose rough aspect was strongly contrasting with Manhattan skyscrapers.
What is interesting here is not as much the final product than the three months that this group of people led by Kawamata needed to achieve the construction lightly embracing the heavy stones of the severe hospital.






samedi 20 février 2010

#(UN)WALL/// Turbo by Baptiste Debombourg


Here you will see the very impressive work of the french artist Baptiste DEBOMBOURG.
In this installations serie, the wall seems to come into the room, to attack the observer. The deformation of the surface is creating a tention between the solid and the void, and it blurs the limit of the the inner space enveloppe. The broken surface give a very strong materiality to the traditionnal clean walls of the "white cube" and the pieces of wood appearing under the white coating are like scars.



Ongoing show of Baptiste DEBOMBOURG here
Upcoming show here
More here, here and here.







# (UN)WALL /// Introduction


boiteaoutils' new theme is called (UN)WALL and will attempt to explore the architectural element that the wall is as a medium of political oppression - and one does not necessarily need to think of those famous borders of shame to think in that regard - and the several experimentations that has been led in order to try to unwall architecture.

The article I wrote about Gordon Matta Clark's unwalling architecture a week ago can thus be used as this theme's introduction.

vendredi 19 février 2010

# Deleuze's wave about Spinoza


The following short excerpt is extracted from one of Gilles Deleuze's classes about Spinoza in Vincennes (the Parisian autonomous University during the 70's) and, in my opinion, illustrates very vividly the philosophy of the great Portuguese/Dutch Philosopher.
The entire class transcript can be read either in French or in Spanish but unfortunately it has not been translated in English...I therefore tried to do the translation of this excerpt myself...once again I apologize for the low quality of my written English.

DELEUZE / SPINOZA
Cours Vincennes - 17/03/1981

Personne ne peut nier que savoir nager, c'est une conquête d'existence, c'est fondamental, vous comprenez: moi je conquiers un élément ; ça ne va pas de soi de conquérir un élément. Je sais nager, je sais voler. Formidable. Qu'est ce que ça veut dire? C'est tout simple: ne pas savoir nager c'est être à la merci de la rencontre avec la vague. Alors, vous avez l'ensemble infini des molécules d'eau qui composent la vague ; ça compose une vague et je dis: c'est une vague parce que, ces corps les plus simples que j'appelle "molécules", en fait ce n'est pas les plus simples, il faudra aller encore plus loin que les molécules d'eau. Les molécules d'eau appartiennent déjà à un corps, le corps aquatique, le corps de l'océan, etc... ou le corps de l'étang, le corps de tel étang. C'est quoi la connaissance du premier genre ? C'est: aller, je me lance, j'y vais, je suis dans le premier genre de connaissance: je me lance, je barbote comme on dit. Qu'est-ce que ça veut dire, barboter ? Barboter, c'est tout simple. Barboter, le mot indique bien, on voit bien que c'est des rapports extrinsèques: tantôt la vague me gifle et tantôt elle m'emporte ; ça c'est des effets de choc. C'est des effets de choc, à savoir: je ne connais rien au rapport qui se compose ou qui se décompose, je reçois les effets de parties extrinsèques. Les parties qui m'appartiennent à moi sont secouées, elles reçoivent un effet de choc, des parties qui appartiennent à la vague. Alors tantôt je rigole et tantôt je pleurniche, suivant que la vague me fait rire ou m'assomme, je suis dans les affects passion: ha maman, la vague m'a battu ! Bon. "Ha maman, la vague m'a battu", cri que nous ne cesseront pas d'avoir tant que nous serons dans le premier genre de connaissance puisqu'on ne cessera pas de dire: ha la table m'a fait du mal ; ça revient exactement au même que de dire: l'autre m'a fait du mal ; pas du tout parce que la table est inanimée, Spinoza est tellement plus malin que tout ce qu'on a pu dire après, pas du tout parce que la table est inanimée qu'on doit dire: la table m'a fait du mal, c'est aussi bête de dire: Pierre m'a fait du mal que de dire: La pierre m'a fait du mal, ou la vague m'a fait du mal. C'est du même niveau, c'est le premier genre. Bien. Vous me suivez ? Au contraire: je sais nager; ça ne veut pas dire forcément que j'ai une connaissance mathématique ou physique, scientifique, du mouvement de la vague, ça veut dire que j'ai un savoir faire, un savoir faire étonnant, c’est-à-dire que j'ai une espèce de sens du rythme, la rythmicité. Qu'est-ce que ça veut dire, le rythme ça veut dire que: mes rapports caractéristiques je sais les composer directement avec les rapports de la vague. ça ne se passe plus entre la vague et moi, c’est-à-dire que ça ne se passe plus entre les parties extensives, les parties mouillées de la vague et les parties de mon corps ; ça se passe entre les rapports. Les rapports qui composent la vague, les rapports qui composent mon corps, et mon habileté lorsque je sais nager, à présenter mon corps sous des rapports qui se composent directement avec le rapport de la vague. Je plonge au bon moment, je ressors au bon moment. J'évite la vague qu approche, ou, au contraire je m'en sers, etc... Tout cet art de la composition des rapports.

ENGLISH TRANSLATION
Nobody can deny that to be able to swim is a conquest of existence, it is fundamental you understand: I conquer an element; it is not so obvious to conquer an element. I can swim, I can fly. Wonderful. What does that mean ? It is very simple: not be able to swim consists in being vulnerable to the confrontation with the wave. Then, you have the infinite ensemble of water molecules that compose the wave; it compose a wave and I say: it is a wave because its most simple bodies that I call “molecules”, actually they are not the most simple, one should go even further that water molecules. Water molecules already belong to a body, the aquatic body, the ocean body, etc…What is the first type of knowledge ? It is, come on I dare, I go, I am in the first type of knowledge: I dare, I wade like one says. What does that mean to wade ? To wade, that is very simple. To wade, the word indicates pretty well, one clearly see that it is some extrinsic relationships: sometimes the wave slaps me and sometimes it takes me away; that is some shock effects. They are shock effects, meaning, I don’t know anything of the relationships that compose themselves or decompose themselves, I receive the extrinsic parts’ effects. The parts that belong to me are being shaken, they receive a shock effect coming from parts that belong to the wave. Therefore sometimes I laugh, sometimes I weep, depending if the wave makes me laugh or knock me out, I am within the passion affects: ha Mummy, the wave beat me up! Ok “Ha Mummy the wave beat me up”, cry that we shall not cease to do until we don’t come out of the first type of knowledge since we shall not cease to say: ha the table hurted me; it is the same to say: the other person hurted me; not at all since the table is inanimate, Spinoza is so much smarter than everything that one could have said afterwards, not at all because the table is inanimate that one should say: the table hurted me, it as stupid as saying: Peter hurted me than to say: The stone hurted me or the wave hurted me. It is the same level , it is the first type.
On the contrary, I can swim; it does not necessarily means that I have a mathematic, physic, or scientific knowledge of the wave’s movement, it means that I have a skill, a surprising skill, I have a sort of rhythm sense. What does that mean, the rhythm, it means that my characteristic relationships, I know how to compose them directly with the wave’s relationships, it does not happen anymore between the wave and myself, meaning it does not happen anymore between the extensive parts, the wave’s wet parts and my body’s parts; it happens between the relationships. Relationships that compose the wave, relationships that compose my body, and my skill when I can swim, to present my body under some relationships that compose themselves directly with the wave’s relationships. I dive at the right time, I come out from under the water at the right time. I avoid the coming wave, or on the contrary I use it, etc… All this art of the relationships’ composition.

# Radio Broadcast about Michel Foucault

jeudi 18 février 2010

# Big Bambú by Starn Studio upcoming to the MET

From April 27th to October 31st, the New York Metropolitan Museum of Arts will host a giant work in progress on its roof. The installation called Big Bambú is designed by twin brothers artist Mike and Doug Starn and is composed by 3200 bamboo poles constituting a huge three dimensions scaffolding maze. One very interesting aspect of it is that the installation will be build up little by little during the exhibition time reconfiguring continuously the space that will be open for one part to the public to climb it up.

To know a little more about it, you can read the New York Time's article about it.