Dandilands' by pick nick Point Commissions

You are cordially invited to the launch of 'Dandilands', a book by artist group pick nick co published by BOM DIA and Point Centre for Contemporary Art. On the occasion of the book launch, Manuel Raeder will share his experience as a publisher in collaboration with artists, museums, and art institutions, and will talk about BOM DIA’s practices. Τhe book is the culmination of 'Dandilands', a project which began by pick nick in August 2014 in collaboration with artists Marc Bijl, Mustafa Hulusi, Mahony, Jumana Manna, Michelle Padeli, Liliana Porter, Kevin Schmidt, Socratis Socratous, Kostis Velonis, and Carla Zaccagnini. Urban and natural landscapes as sites of both intimate and destabilizing experiences materialized in a standing sign. The sign which was found along a circular trail in the high forest of Troodos was imagined as both site and object; a place of intention and image; a setting of the social. The publication 'Dandilands' consists of essays by Guilherme Altmayer, Alev Adil, Sophie Houdart, Antonis Hadjikyriacou, Sofia Lemos, Marko Stamenkovic, and the Palestinian collective, The Jerusalem of Things. From different research interests, these writers meet with pick nick, metaphorically and socially, in the intimate space of the book taking walking as a metaphor around social events and public practices, generating discussions of inclusion exclusion, relations of conflict (resolution), and, around non authoritative places that practice critiquing normalisation integrated in urban and rural patterns.

BOM DIA is specialized in artist books that are conceived as an integral part of an art work or as the art work itself that, often, plays with the format of the book and reflects its medium. This event will take place in the context of pick nick’s residency at Point between 13 March and 13 April 2018.

During this time, the group will be presenting a series of activities and events. pick nick will be present every Tuesday between 15:00 19:00.

BOM DIA was founded in 2011 by Manuel Raeder and Manuel Goller in Berlin, solely run by Manuel Raeder since 2013. A focus of Bom Dia lies in publishing contemporary artists from Latin America. The books of Bom Dia are produced in close collaboration with a group of artists, among others Henning Bohl, Daniel Steegmann Mangrané, Mariana Castillo Deball, Haegue Yang, Leonor Antunes, Abraham Cruzvillegas, Danh Vo, Nina Canell, and BLESS. bomdiabooks.de

Dandilands' by pick nick Point Commissions 201

Book Launch Manuel Raeder, BOM DIA,Berlin Friday, 30 March 2018/18:30

Point Centre for Contemporary Art

http://www.pointcentre.org

'Dandilands', pick nick

https://www.picknickworks.org

Down with the World

Text by Tony Chakar

http://www.e-flux.com/architecture/superhumanity/68725/down-with-the-world/

Swerve

Η χρήση του αρχείου στις εικαστικές πρακτικές ως «πορνογραφία της οργάνωσης»

Δημήτρης Ιωάννου, “CMYK Series: The Collection”, 1999-2013

Τα τελευταία χρόνια μαζί με τη χρήση της φωτογραφίας ως ένα αυτόνομο χειραγωγημένο καλλιτεχνικό μέσο έχει αυξηθεί η προοπτική της αρχειακής της ιδιότητας. Από τις συνεχείς εκθέσεις του Ινστιτούτου Σύγχρονης Ελληνικής Τέχνης που είναι βασισμένες στο αρχείο της μέχρι και τις καθαρά φωτογραφικές εκθέσεις, η χρήση της φωτογραφικής εικόνας συνεισφέρει στον προσδιορισμό ενός γνωσιολογικού πεδίου στα πλαίσια μιας ταξινόμησης. Παρόλα αυτά δεν ενδιαφέρομαι να επιδοθώ εδώ σε μια ιστορική αξιολόγηση ούτε και σε μια πρόσφατη αποτίμηση της αρχειακής πρακτικής όσο να θέσω κάποια ζητήματα που αφορούν τη ψυχολογία αυτής της πρακτικής. Φωτογράφοι που κινούνται στο χώρο των εικαστικών και εικαστικοί που δανείζονται το μέσο της φωτογραφίας με την προοπτική να αξιοποιήσουν τη ρεαλιστική ρητορική της μηχανικής αναπαραγωγής επαληθεύουν την εμμονή τους με την αρχειοθέτηση. Αυτή η πρακτική δεν μπορεί να εξαντληθεί στη φωτογραφία κατά τη γνώμη μου αλλά αποτελεί το παράδειγμα της  ταξινομητικής λογικής, ακόμη και όταν έχουμε να διαπραγματευτούμε με αντικείμενα ή κείμενα και όχι εικόνες[i].

Το κύριο σύμπτωμα της ιδεοψυχαναγκαστικής συμπεριφοράς είναι η συνεχής αναζήτηση της τάξης. Στο πλαίσιο μιας καλλιτεχνικής πρακτικής που βασίζεται στην αρχειακή της συγκρότηση, η λογική της επανάληψης ενός φωτογραφικού ή πολιτισμικού ντοκουμέντου ή η εμμονή της επιστροφής στο ίδιο θέμα και η φορμαλιστική ανάγκη για τη συμμετρικότητα δεν απέχουν από τη θεραπευτική διάγνωση του ψυχαναγκασμού. Ασφαλώς η καλλιτεχνική πρακτική δεν βασίζεται στον αποκλεισμό των παθογενειών, θα λέγαμε το αντίθετο. Όμως η δυνατότητα της αξιολόγησης μιας καλλιτεχνικής πρακτικής με τους όρους μιας θεωρίας του σχεδιασμού ή της οπτικής σύνταξης μπορεί να μας επιτρέψει να εξάγουμε ενδιαφέροντα συμπεράσματα για τις σύγχρονες πολιτισμικές τάσεις και τις συλλογικές  νευρώσεις.

Κωστής Βελωνης

Διαβάστε περισσότερα 
http://avgi-anagnoseis.blogspot.gr/2015/09/blog-post_13.html 

Dandilands

Kostis Velonis

Brancusi was a Hippie Carpenter or the Physical Condition of Mockery Through Space.

2008

24 January - 28 February 

Situated as an image in the forest, the sculpture of Kostis Velonis acquires a different meaning than originally conceived in 2008, without disregarding its reference to modern sculpture and its relationship to folklore traditions. The playful allusion to Brancusi relates to the forest’s landscape and its archaic associations to carving and sculpted wood, the totemic column, and the pagan conduct of the sculpture.

http://www.picknickworks.org/#!kostis-velonis/cxqe

Dandilands is found in a location in the high forest of Troodos mountains whereby we welcome a circular trail walk of 7km through a rocky path overlooking wild trees with a view beyond the forest and over the island. A random audience walking along an existing path anticipates an almost unassuming ritual of treading. What is expected to happen seems to be prescribed by the particularity and the surrounding codes and functions of the space itself: follow the route - read the engraved signs - rest on a bench - stop for a drink of water. And perhaps doing all those things is also part of an experience in the woodlands; however, we would like to evoke moods that may lead to other experiences and potentialities.

Our understanding of urban and natural landscapes as sites of both intimate and destabilizing experiences through a token of perception materializes in what we propose to be a standing sign. This sign is both site and object; a place of intention and image; a setting of the social. Unlike signs steering elsewhere, this one betokens one’s intimacy to the body as experienced in pulsating landscapes with the sensual and sensible sharing in the present and public momentum embraced in breathing pine trees and boundless dandelions.

Upside down — the Netherlands

It is often said that simple things that we may not be even aware of can have significant consequences. Arrows on highway signs, for example. Research shows that when they point up instead of down they give drivers a feeling of being more informed and having more time to react. Rijkswaterstaat, the Dutch ministry of infrastructure and the environment, has been studying this issue since as far back as 2008. A trial conducted on the highway at the Velperbroek junction near Arnhem indicated that using upward-pointing arrows can improve traffic flow by up to 10 kilometres per hour and reduce traffic delays by up to 30 minutes. Since then, the Netherlands have changed most of their signs to use upward-pointing arrows, and so have Sweden and Germany. Neighbouring Belgium is currently in the process of studying the effects of reversing the arrows, while most other countries, including the US, UK, Canada, France and Spain still use downward-pointing arrows.

by Peter Biľak

 https://worksthatwork.com/artefacts/upside-down 

Star Maps

Beverly Hills, LA 

Die Arbeit

    Strastnaya Square:A tram with Labour slogans from VSKh, the supreme Economic Soviet,1918-19

St Kilda Skatepark

Marine Parade, St Kilda, Melbourne, 2013

Collage wa

Lou Scheper, Collage wa (mural painting Bauhaus workshop), c.1928.

Les feeries lumineuses de Léon Gimpel

      
                     Leon Gimpel, Paris, 1925. Autochrome.

DIY bookshelf

Piazza della Repubblica, Roma, 2012

Advertising mast and press box

These pictures were taken at Arkitekturmuseet in Stockholm one month before. The Stockholm exhibition in the summer of 1930 manifested a new view on design and architecture known as functionalism. Pure forms, smooth surfaces, bright colors and almost flat roofs were the language of architecture as evidenced by the advertising mast on the exhibition campus. As we can see from the model, the décor could be replaced by advertising message in stringent graphic form.

Architect: Gunnar Asplund, Stockholm 1930
Scale 1 : 100

Setting the Scene

A rather similar way of protection (see Occupy Copenhagen protesters, "Trees don't Grow on money" post) of the "rebellion" equipment around Zuccotti Park, renamed Liberty Square by the occupation, at the end of October.The tents are still up, and the songs are still singing.Occupy Wall Street, NYC,2011.

Trees Don't Grow on Money

The Occupy Wall street movement has not been a popular option for demonstrations in Denmark as it's been in United States and other European Nations. In the central square of the Copenhagen, a small group of people have however realized the conditions for a kind of public presentation using creative and crafty ways about the protection of their equipment. Here are some shots from a recent travel to the capital city of Danes. November 2011.

Cowboy Hat Souvenir Stand

Cowboy Hat Souvenir Stand, Winkenburg, Arizona , 1934

Urban Greenscreen

[Image: An outdoor greenscreen for Sony Studios].

Right around the corner from our new apartment here in Los Angeles is an outdoor greenscreen owned by Sony Studios. Something was being shot there the other night, for instance, complete with what amounted to an artificial moon held by crane at least sixty feet above the rooftops, glowing amidst evening fog like a new installation by Leonid Tishkov.

There's something oddly Holodeck-like about having a greenscreen literally just two buildings away from us—as if at any point we might sneak out into what seems like a derelict parking lot, with some odd props scattered here and there, only to be propelled into bullet-time, the world around us dissolving in a hail of miscomposited imagery.



[Image: The greenscreen peeking out from the canopy of a tree].

It's the new urban Baroque! Install greenscreens everywhere in an optical infrastructure for the 21st century—a DIY industry of everyday special effects, little greenscreens popping up beside trees, in alleyways, behind buildings, atop roofs, the entire urban environment camera-ready and pierced like St. Sebastian by the arrows of parallel worlds, our cities become effects labs and every sidewalk a set.

We'll host greenscreen parties, illegal raids on this empty parking lot at midnight to stage the elaborate counterphysics of our unacknowledged parallel lives.

BLDGBLOG ("building blog") is written by Geoff Manaugh in Los Angeles, California.
Source : http://bldgblog.blogspot.com

Botty

Botty shop, Zurich, 2010

Las Vegas Studio: Images From the Archive of Robert Venturi and Denise Scott Brown

Studies of Billboards, Office of Venturi and Rauch Architects, Philadelphia,1968


Fremont Street, Las Vegas, 1968


Stardust Hotel and Casino, Las Vegas, 1968


Las Vegas strip,1966


In 1968, American architects Robert Venturi, Denise Scott Brown, and Steven Izenour, together with students from Yale University, made the city of Las Vegas the object of their study. Their findings, published in the 1972 book, Learning from Las Vegas, are legendary, extending the categories of the ordinary, the ugly, and the social into architecture. Offering great insight into the creation of this groundbreaking publication, Las Vegas Studio: Images from the Archives of Robert Venturi and Denise Scott Brown presents original research materials from the archives of Venturi Scott Brown Associates, including over 80 photographs and a selection of films shot during the authors' research that were a crucial aspect of their architectural study. Las Vegas Studio: Images from the Archives of Robert Venturi and Denise Scott Brown is curated by Martino Stierli and Hilar Stadler in collaboration with artist Peter Fischli. MOCA's presentation, organized by MOCA Curator Philipp Kaiser, follows presentations at Museum im Bellpark, Kriens, Switzerland; Deutsches Architekturmuseum, Frankfurt, Germany; and Yale School of Architecture, Connecticut.

Las Vegas Studio: Images From the Archive of Robert Venturi and Denise Scott Brown is organized by The Museum im Bellpark, Kriens.
03.21.10 - 06.20.10
MOCA Pacific Design Center
Source: Moca.org

Displaying the American Eagle

Displaying the American eagle for the promotion of car industry.
Phoenix, Arizona, 2010.

Source: Die Zeit Zeitung