You glow in my heart
Sunday, October 9, 2016
You glow in my heart
Like the flames of uncontrolled candles.
But when I go to warm my hands,
My clumsiness overturns the light,
and then I stumble
Against the tables and chairs.
Kosmonaut House, 2007. Wood, acrylic, 68 x70 x 27 cm.
Postwar capitalism in the West has promoted its growth on the ideal of house ownership (with recent catastrophic financial effects) in a process of commodification of necessities of life. Commodification of housing though, more than being just a method of capital accumulation, resulted in the reconceptualisation of public and private space. Pierre Bourdieu describes a person’s existential relation to their position in terms of the social status conferred by the appropriation/possession of a particular extent of physical space: “Each agent may be characterized by the place where he or she is situated more or less permanently, that is, by her place of residence (those who are “without hearth or home,” without “permanent residence” … have almost no social existence—see the political status of the homeless) … It is also characterized by the place it legally occupies in space through properties (houses and apartments or offices, land for cultivation or residential development, etc.) which are more or less congesting … . It follows that the locus and the place occupied by an agent in appropriated social space are excellent indicators of his or her position in social space.
Nowadays, in the wake of the recent housing crises which have subverted the notion of housing as a consumer commodity, co-housing and community projects emerge as answers to the “Housing Question”. This shift towards collective solutions has been addressed by artistic, architectural and curatorial initiatives that over the past five decade have variously depicted and intervened into this unevenly developing urban condition.
“Artistic Practices: Housing as social agreement” is an ongoing archive aiming to unfold a cartography of approaches by artists to the notion of the house, investigate and challenge the ways in which housing is not only imagined, but also effectuated by artists. Furthermore intends to point out the ways in which forms of cultural production can be reclaimed as tools with which to design, defend and reinvent social space.
The works featured in the archive are organized around four leitmotifs :‘Housing as utopia”, highlights the transformative, disruptive potential of housing in the social imagination, as the first step to a radical autonomy.“Housing as uneven development “raises the issues of inequalities in the distribution of the right to housing. “Housing as dystopic construction” illustrated by a series of projects that explore the conflicts and correlations between the represented space of and the social and political action. “Housing as community building” explores the role of artist as social designer, the statial practices of commons, and arts based revitalization of under-resourced urban areas.
Curated by Giorgos Papadatos & Sofia Dona
Featured works byRebecca Agnes / Jonas Dahlberg / Giorgos Gyparakis / Tea Mäkipää / Artemis Potamianou / Kostis Velonis / Erwin Wurm /Angela Ferreira / Eugenio Tibaldi / Yiannis Theodoropoulos / Mona Vatamanu Florin Tudor / Giorgos Papadatos / Dorit Margreiter / Errands / Taysir Batniji/Kimsooja / Michael Rakowitz / Nicos Charalambidis / Róza El-Hassan / Tudor Bratu / Teddy Cruz / Raumlabor/Ahmet Öğüt / Sofia Dona / Marjetica Potrč / Zafos Xagoraris / Rick Lowe/ Project Row Houses
Parallel to the workshop Co-housing practices/ Ιnventing Prototypes for Athens
Hosted by Greek Pavilion, Giardini.
26 October – 27 November 2016
15th International Architecture Exhibition La Biennale di Venezia
Wednesday, October 5, 2016
Sunday, October 2, 2016
Το ΑΠΘ ("Εργαστήριο Φιλοσοφίας: Κείμενα και Ερμηνείες"), ο Δήμος Θεσσαλονίκης και το γερμανικό ίδρυμα Alexander von Humboldt-Stiftung διοργανώνουν ελληνο-τουρκικό φιλοσοφικό συνέδριο (Humboldt-Kolleg) με θέμα
''Το πέταγμα της γλαύκας: Μορφές πρόσληψης της αρχαίας ελληνικής φιλοσοφίας στη Γερμανία''.
Το συνέδριο θα διεξαχθεί στη Θεσσαλονίκη το τριήμερο 7-9 Οκτωβρίου 2016 και αναμένεται να αποτελέσει ένα μείζον φιλοσοφικό γεγονός, αλλά και να λειτουργήσει ως δίαυλος επικοινωνίας ανάμεσα στην ελληνική και την τουρκική φιλοσοφική κοινότητα. Θέμα του συνεδρίου είναι η πορεία και πρόσληψη της αρχαίας ελληνικής φιλοσοφίας στον γερμανικό χώρο. Στόχος είναι να αναδειχθεί η παγκόσμια και καθολική σημασία της, χωρίς τις στενώσεις που επιφέρουν οι αξιώσεις ‘κληρονόμησής’ της. Οι ανακοινώσεις θα αναφέρονται σε ολόκληρο το φάσμα πρόσληψης και παραγωγικής οικειοποίησης της ελληνικής σκέψης από τη γερμανική φιλοσοφία: από τον 18ο αιώνα και τον γερμανικό ιδεαλισμό μέχρι το τέλος του 20ού αιώνα. Επιστημονική Επιτροπή:Παναγιώτης Θανασάς (ΑΠΘ) Sanem Yazicioğlu (Istanbul)
Saturday, October 1, 2016
Southern California Architectural History: Living Lightly on the Land: Bernard Judge's "Tripo...: (Click on images to enlarge) Bernard Judge Residence, Durand Dr., Hollywood, 1960-1, MacMasters, Dan, "A Bubble on a Hilltop,&qu...
Text By John Crosse
Friday, September 30, 2016
Murray N. Rothbard proposes a once-and-for-all escape from the two major political parties, the ideologies they embrace, and their central plans for using state power against people. Libertarianism is Rothbard's radical alternative that says state power is unworkable and immoral and ought to be curbed and finally abolished
In Berkshire somewhere 1970
I hid in a laurel bush outside a house,
Planted in gravel I think.
I stopped running and just pushed open
Its oilskin flaps and settled down
In some kind of waiting room, whose scarred boughs
Had clearly been leaning and kneeling there
For a long time. They were bright black.
I remember this Museum of Twilight
Was low-ceilinged and hear-through
As through a bedroom window
One hears the zone of someone’s afternoon
Being shouted and shouted in, but by now
I was too evergreen to answer, watching
The woodlice at work in hard hats
Taking their trolleys up and down.
Through longer and longer interims
A dead leaf fell, rigidly yellow and slow.
So by degrees I became invisible
In that spotted sick-room light
And nobody found me there.
The hour has not yet ended in which
Under a cloth of Laurel
I sat quite still.
Ein Holzstern, blau,
aus kleinen Rauten gebaut. Heute, von
der jüngsten unserer Hände.
Das Wort, während
du Salz aus der Nacht fällst, der Blick
wieder die Windgalle sucht:
- Ein Stern, tu ihn,
tu den Stern in die Nacht.
(- In meine, in
Sunday, September 18, 2016
Tuesday, September 6, 2016
An idiosyncratic mixtape based on an impromptu listening seminar held at Labour Camp, part of Paul Chaney’s Critical Camps series at Kestle Barton, traces the relationship between work and eroticism through popular song.
Starting with a bucolic idyll of self-suffiency where labour is not yet separated from life, continuing with traditional English folk song in which collective pleasure is embedded in and resonates with the cyclical patterns of agricultural labour, the mix then traverses the industrial revolution, where the new mechanical tools are at first reinscribed into this postpagan cosmology of jouissance, going on to chart the divergence of pleasure and labour as their intertwining shifts, in early popular mass entertainment media, into mere burlesque and innuendo; remembering colonial slave labour and the appropriation of its affect and expression in Western popular music; arriving at the refusal of exploitation, the separation of work and love into mutual exclusivity, the culminating existential frustration of the commuter; and the thanatropic joy of being absorbed into the machine. It ends in the present day with the queasy rapture of a libidinal economy in which work and pleasure are once more integrated, but this time according to new meshings in which human desire no longer resonates with meadow and the cosmos, but is re-engineered and modulated by a fluid media apparatus.
Fatoş Oyuncakları (Fatoş Toys), 1971-73 products. Courtesy Fatoş İnhan.
One and the Many is a research-based exhibition that looks into the production and distribution of things. It tackles the period 1955–95 in Turkey, by following the material results of gradual industrialization as well as its contingent infrastructural disposals. The exhibition frames the topic primarily through stories of selected artifacts common to the ’80s, a period when industrial products met a voluminous consumer market for the first time.
The research and narrative of One and the Many are structured around the notion of genuine copies. Questioning our standard expectation of ingenuity versus the opportunity of building atop each other’s ideas, the exhibition suggests a fresh perspective on the history of production in Turkey. From the early-day assembly industry, to today’s abundant copyright infringing replicas, copies have been scrutinized from both economic and intellectual viewpoints. The exhibition brings together artifacts from a variety of industries—automotive, white goods, furniture, toy, stationery, pret-a-porter, textile, food and beverage, tableware, cutlery, and hygiene—inviting users to value things per se, in order to recognize the ingenuity prompted by circumstances and appreciate copying as a method of learning.
One and the Many was produced with rich contributions from collaborating industries, professionals, consultants, academics and students who provided various ideas, content and narrations. The exhibition is part of the five-year program The Uses of Art — The Legacy of 1848 an1989, organized by L’Internationale.
September 6–November 13, 2016
Sunday, September 4, 2016
Carving the Perfect Citizen: The Adventures of Italian Pinocchio in the Soviet Union and the United States
Branson, Rachel, "Carving the Perfect Citizen: The Adventures of Italian Pinocchio in the Soviet Union and the United States" (2014). Honors Projects. Paper 18.
Thursday, September 1, 2016
A different kind of logicby Philip Ball
Late last year, an experiment carried out by scientists at the Delft University of Technology in the Netherlands appeared to demonstrate that one object can affect another from afar without any physical interaction between the two. The finding confirmed an idea so extraordinary that, nearly a century ago, Albert Einstein had rejected it with the dismissive phrase “spooky action at a distance.” In quantum theory this phenomenon is known as “entanglement,” and many physicists now regard it as the most profound and important characteristic of the physical world at the smallest scales, which quantum theory describes.
Quantum entanglement is a deeply counterintuitive idea, which seems to contradict human experience of the physical world at the most essential level. In the everyday (“classical”) physical realm, objects affect one another via some kind of contact. The tennis ball flies from the racquet when struck, and when it hits the window the glass will smash. Sure, “invisible forces” seem to act across space—magnetic and electrical attraction and repulsion, say. But in quantum theory these interactions arise from the passage of a particle—a photon of light—between the two interacting bodies. Meanwhile, Einstein showed that the Sun’s gravity corresponds to a distortion of space, to which distant objects such as Earth respond. It’s generally believed that in a quantum theory of gravity (which doesn’t yet exist), this picture will prove to be equivalent to the exchange of “gravity particles” or gravitons between the Sun and Earth.
But quantum entanglement bothered Einstein because it suggested that one particle could affect another even when there was no conceivable physical interaction between them. It didn’t matter if those particles were light years apart—measuring a property of one particle would, according to quantum theory, instantly affect the properties of the other. How could that be?
Wednesday, August 31, 2016
Ας είσαι δέντρο των θεών
βελανιδιά ή δαφνη,
θα πέσεις με τις ρίζες σου.
Τότε θα έρθουν ξυλοκόποι
όλοι οι ράθυμοι του δάσους
και θα αρχίσουν
να σε οσφραίνονται.
Θα κόβουν την ψυχή σου
και θα την καίνε σε κομμάτια.
ξερό κι ανάλαφρο
στο κρεβατάκι των ανέμων
κι η πορεία σου
να σταλάζει αργά
στη φλέβα της φύσης
Friday, August 26, 2016
We strove to locate love on a list of symptoms
hyaline when held to light and found instead
nothing but bones, and of the sort you relish:
a kind of bicker in the throat. A jetblack end.
We thought we saw the dark cursive of a wolf
circling on sea ice, miles out, in an hour
not blue, though persuasive and brief.
In looking back, it was not dog. It wasn’t
anything. It was not the heart burst forth
but another part: one for which the words,
the shafts and shanks, their shifts, have long
been sung, and in the same breath, lost.
Joan Naviyuk Kane
Left Melancholy in the Greek Poetry Generation of the 2000s Αfter the Crisis of Revolution and Representation
The Journal of Modern Greek Studies “Occasional Papers,” edited by Neni Panourgia, has published the commissioned paper “Left Melancholy in the Greek Poetry Generation of the 2000s after the Crisis of Revolution and Representation” as JMGS “Occasional Paper” 10 (June 15, 2016) written by Vassilis Labropoulos.
OCA is pleased to announce 'Thinking at the Edge of the World. Perspectives from the North' an ongoing project initiated in 2015 within the OCA’s 'Notations' series, researching the cultural history of Northern Norway, and developed in collaboration with local protagonists during 2016 and 2017. The project will manifest itself in various forms and locations across Norway (notably Svalbard, Karasjok and Oslo) and beyond – including international conferences and artist residencies across Northern Norway, as well as new art, exhibitions, various forms of documentations and writing commissioning.
Highlights in this project include establishing a temporary OCA office in Tromsø during 2016, under the auspices of The Cultural Business Development Foundation SpareBank 1 Nord-Norge, as well as organising an international, cross-disciplinary conference titled 'Thinking at the Edge of the World' (12-13 June 2016) in collaboration with Northern Norway Art Museum (NNKM), Tromsø, in the Kunsthall Svalbard. The conference will bring together international figures from the fields of art, psychology, philosophy, history, science and law. Further details of the project´s programme will be announced shortly.
'Thinking at the Edge of the World' is structured through regional and international dialogue as well as partnerships (institutional and individual), and includes invitations to artists and intellectuals to visit and think about the region, considering it a unique vantage point from which to reflect upon the environmental, aesthetic, architectural, economic, political and scientific forces that are shaping the North of Norway and its relationship to the world.
The Arctic region, in particular that of Norway, sits at the heart of heated as well as inspiring discussions of scenarios for possible futures. Scientists tell us that that the latent forces released by melting ice into in the frozen North would be enough to power the world’s cities for many generations; that global warming is forming navigation channels across the so-called Arctic Highway; and that the geography of India, Bangladesh and China, among other nations, will be affected with dramatic force resulting in harsh consequences upon their social and economic framework.
'Thinking at the Edge of the World' addresses some of the wider implications of these changes in the North of Norway, and invokes the innovative thinking that being at the edge of the world induces for the world at large. How are frontiers questioned from an Arctic vantage point, and how might this questioning catalyse new thinking regarding territory, power and resource exploitation? Could concepts of society, aesthetics and community explored during the nineteenth and twentieth century – often led by artists and intellectuals from Norway and its indigenous communities – be sought again to enlighten this debate? Will the Arctic become, due to the increasing desertification in the South, the new garden of the globe for food production and distribution?
These questions and the subsequent narratives of a developing future are rooted in the unfolding physical forces embedded in the North. However they also interlock with a wider past of myths and legends, a storytelling deeply connected to the region, its exploration, exploitation, accessibility and aesthetic history, as well as forthcoming issues of trade, transportation and security.
'Thinking at the Edge of the World' explores therefore the poetic and innovative impact on artistic and other disciplinary forms of thought that the extreme location of Northern Norway provides. In particular the project focuses on the relationship between art, the environment and activism in Arctic Norway as well as its northerly neighbours, in order to highlight the global impact of these issues over time. Mindful of the conflicted history and currency of the notion of territory and resources, the project explores their relationship to indigenous communities, their environments, culture and contemporary perspectives – in particular the history and present of the Sami communities inhabiting Northern Norway, but also Sweden, Finland and Russia. From this vantage point, ‘Thinking at the Edge of the World’ seeks to contextualise these questions in order to shift them beyond a purely local understanding, linking them with synergic issues found in diverse geographies and communities around the globe.
The Office for Contemporary Art Norway is delighted to announce a presentation of the second volume of documenta 14’s journal South as a State of Mind in Kárášjohka, Sápmi (Karasjok, Norway), together with documenta 14’s Artistic Director Adam Szymczyk and Editor-in-Chief of Publications Quinn Latimer who will both introduce one of the world’s largest exhibitions and conduct short readings from the journal on Saturday 27 August 2016.
The public presentation of d14 #2 volume is part of an intense day of public programming which includes lectures, conversations and music, together with Sami artists and activists speaking about crucial moments in their recent history and today’s challenges within the region. Among the contributors are curator and former director of the Sami Center for Contemporary Art Jan-Erik Lundstrøm in conversation with Hans Ragnar Mathisen, Britta Marakatt Labba and Synnøve Persen, focussing on their commitment as founding members of Sami Artist Group 1978–1983 / Mázejoavku: sámi dáidojoavku; presentations by Associate Professor of Sami Literature at UiT – The Arctic University of Norway Harald Gaski and film-maker Gunilla Bresky on the work and life of Nils-Aslak Valkeapää; an address on the rhetorics of Western law and indigenous philosophies of justice by writer, yoiker and Associate Professor of Law at UiT Ánde Somby; Associate Professor Hanna Horsberg Hansen from Tromsø Academy of Contemporary Art and Creative Writing of UiT engaging in a debate about today’s art production, activism as well as territorial and environmental issues with Dáiddadállu/ Artists Collective Kautokeino (a group of practitioners which includes, among others, Elle-Marja Eira, Rawdna-Carita Eira, Elle-Sofe Henriksen and Máret-Ánne Sara).
The presentation of documenta 14’s journal South in Sápmi is part of 'Thinking at the Edge of the World. Perspectives from the North’ and coincides with Adam Szymczyk, Quinn Latimer and Candice Hopkins’s participation within OCA's IVP (International Visitor Programme). It will allow the documenta 14 team to encounter current artistic practices and conduct research regarding recent history and developments within communities in Sápmi and northern Norway. The event is curated by OCA in collaboration with documenta 14 and the Sami Center for Contemporary Art, and co-organised with The Sami Parliament.
A day-long public programme in Kárášjohka, Sápmi (Karasjok, Norway) and the first presentation of South as a State of Mind #7 [documenta 14 #2]
With d14 Artistic Director Adam Szymczyk and d14 Editor-in-Chief of Publications Quinn Latimer
Saturday 27 August 2016, 10:00–until late
The Sami Parliament / Sámediggi
Tuesday, August 23, 2016
mit dem sich
hinaus- und hinweg-
der verkieselten Stirn eines Widders
brenn ich dies Bild ein, zwischen
die Hörner, darin,
im Gesang der Windungen, das
Mark der geronnenen
rennt er nicht an?
Die Welt ist fort, ich muß dich tragen
Friday, August 12, 2016
with the swarm of
black stars pushing them-
selves out and away:
on to a ram’s silicified forehead
I brand this image, between
the horns, in which,
in the song of the whorls, the
marrow of melted
does he not charge?
The world is gone, I must carry you.
Friday, August 5, 2016
Saturday, July 30, 2016
Monday, July 25, 2016
Darling, one way to think of it is
I required absence and you
life-long a room just left. Except
you bloom not empty half-light
but a stand of trees at the edge
of the meadow where my life
leaks out. Static is the soundtrack
of the cabbie’s dream but oh
how we love our troubadours,
sad acoustic boys and girls,
sunshine in their throats. Some
days it takes all my concentration
not to pick the lettuce that lives
down the street. Then I wake
with tendrils between my fingers
and once again I’m feigning
innocence on the one hand,
aping grief on the other. See,
I would eat the lily from under
the frog, drink the river between
each strider’s wake. It's my way
of feeling productive, of not
too terribly envying the swan
still as a figurine on her cloud mirror
until the trees go back to normal
which is a kind of sleep instead of
clawing magnificent at the sky.
Thursday, July 7, 2016
I owe so much
to those I don't love.
The relief as I agree
that someone else needs them more.
The happiness that I'm not
the wolf to their sheep.
The peace I feel with them,
the freedom –
love can neither give
nor take that.
I don't wait for them,
as in window-to-door-and-back.
Almost as patient
as a sundial,
what love can't,
as love never would.
From a rendezvous to a letter
is just a few days or weeks,
not an eternity.
Trips with them always go smoothly,
concerts are heard,
scenery is seen.
And when seven hills and rivers
come between us,
the hills and rivers
can be found on any map.
They deserve the credit
if I live in three dimensions,
in nonlyrical and nonrhetorical space
with a genuine, shifting horizon.
They themselves don't realize
how much they hold in their empty hands.
"I don't owe them a thing,"
would be love's answer
to this open question.
Translated by Stanislaw Baranczak and Clare Cavanagh