Events at Storefront http://storefrontnews.org/ Events at Storefront Critical Halloween: On I-Relevance 8 September 2014 12:44:59 EST http://www.storefrontnews.org/programming/eventss?e=655

Friday October 31, 2014

<p> <b>I-RELEVANCE</b> </p> <p> <b>CRITICAL HALLOWEEN</b> </p> <p> <b>SAVE THE DATE<br />OCTOBER 31, 2014</b> </p> <p>MUSIC / DANCING / DRINKS / COSTUME COMPETITION</p> <p>&nbsp;</p> <p> <b>With the aim to unleash everyone's inner critic through sartorial guise, Storefront for Art and Architecture will present the 2014 Critical Halloween Party and Costume Competition on October 31st. &nbsp;</b> </p> <p> <b> <br /> </b> </p> <p> <b>Following themes and ghosts of year's past including on Banality, Metaphor and Corporate-Avantgarde, this year's theme dwells on one of the most feared ghosts of art and architectural production: relevance. &nbsp;Considering the dark powers of our increasingly digital world and an online culture that propels banality to stardom, where mimes become essays and traditional forms of expression often vanish, this year's event asks artists, architects, writers, citizens and cats to address the concept of Irrelevance within contemporary culture and contemporary digital platforms.</b> </p> <p> <b> <br /> </b> </p> <p> <b>From obsolete terms, forms, ideologies, philosophical movements to emerging economic systems &nbsp;or aesthetic languages, from Irrelevant to I-Relevant, we invite you to bring your thoughts into your costume.</b> </p> <p> <b> <br /> </b> </p> <p> <b>If you would like to be part of the Critical Halloween Benefit Committee, please e-mail Kara Meyer KM@Storefrontnews.org and you will join us in a private discussion of I-Relevance this fall.</b> </p> <p> <b> <br /> </b> </p> <p> <b>Tickets: $50 - &nbsp;Admits One</b> </p> <p> <b>Includes Entry, Open Bar, and Registration for Costume Competition</b> </p> <p> <b>Purchase tickets online below</b> </p> <div> <br /> </div> <form action="https://www.paypal.com/cgi-bin/webscr" method="post"> <input name="cmd" type="hidden" value="_s-xclick" /> <input name="hosted_button_id" type="hidden" value="W8DS5SL3CRE5U" /> <table border="0"> <tbody> <tr> <td> <input name="on0" type="hidden" value="Come to the party!" />Come to the party!</td> </tr> <tr> <td> <select name="os0"> <option value="Single Ticket">Single Ticket $52.09 USD</option> <option value="Committee Members">Committee Members $203.09 USD</option> <option value="Critical Firm">Critical Firm $1,045.29 USD</option> <option value="Event Co-Sponsor">Event Co-Sponsor $2,612.90 USD</option> <option value="Event Sponsor">Event Sponsor $5,209.00 USD</option> </select> </td> </tr> <tr> <td> <input name="on1" type="hidden" value="Did you dream about this..." />Did you dream about this...</td> </tr> <tr> <td> <select name="os1"> <option value="in an email?">in an email? </option> <option value="from a ghost?">from a ghost? </option> <option value="from a friend?">from a friend? </option> </select> </td> </tr> <tr> <td> <input name="on2" type="hidden" value="If friend, who?" />If friend, who?</td> </tr> <tr> <td> <input maxlength="200" name="os2" type="text" /> </td> </tr> </tbody> </table> <input name="currency_code" type="hidden" value="USD" /> <input alt="PayPal - The safer, easier way to pay online!" name="submit" src="https://www.paypalobjects.com/en_US/i/btn/btn_cart_LG.gif" type="image" /> <img src="https://www.paypalobjects.com/en_US/i/scr/pixel.gif" width="1" height="1" /> <br /> <br /> </form> <p> <i>Please note a small credit card fee is included in all online purchases. &nbsp;If you would like to avoid this fee, please mail checks directly to Storefront Offices: I-Relevance, &nbsp;611 Broadway, Suite 634, New York, NY 10012. Tickets: $50 each.&nbsp;</i> </p>
Annual Benefactor Membership Dinner 4 September 2014 09:16:00 EST http://www.storefrontnews.org/programming/eventss?e=653

Tuesday October 14, 2014

<p> <img src="../images/tinyMCE_upload/MD.gif" width="500" height="332" /> </p> <p>&nbsp;</p> <p>Become a Benefactor or Visionary Member&nbsp;<span style="font-size: 12px;">and RSVP today to mw@storefrontnews.org.&nbsp;</span> </p> <p> <span style="font-size: 12px;"> <br /> </span> </p> <p> <span style="font-size: 12px;">Benefactor Membership:</span> </p> <p>&nbsp;</p> <form action="https://www.paypal.com/cgi-bin/webscr" method="post"> <input name="cmd" type="hidden" value="_s-xclick" /> <input name="hosted_button_id" type="hidden" value="D7GZ8YC4ZAPLU" /> <input alt="PayPal - The safer, easier way to pay online!" name="submit" src="https://www.paypalobjects.com/en_US/i/btn/btn_donate_SM.gif" type="image" /> <img src="https://www.paypalobjects.com/en_US/i/scr/pixel.gif" width="1" height="1" /> </form> <form action="https://www.paypal.com/cgi-bin/webscr" method="post"> <br />Visionary Membership:&nbsp;<br /> </form> <p>&nbsp;</p> <form action="https://www.paypal.com/cgi-bin/webscr" method="post"> <input name="cmd" type="hidden" value="_s-xclick" /> <input name="hosted_button_id" type="hidden" value="TAQWL8EYYAM9J" /> <input alt="PayPal - The safer, easier way to pay online!" name="submit" src="https://www.paypalobjects.com/en_US/i/btn/btn_donate_SM.gif" type="image" /> <img src="https://www.paypalobjects.com/en_US/i/scr/pixel.gif" width="1" height="1" /> <br /> <br /> <br /> </form>
World Wide Storefront 12 September 2014 14:35:05 EST http://www.storefrontnews.org/programming/exhibitionss?e=656

Saturday October 4, 2014

<p class="MsoNormal"> <i>World Wide Storefront</i> </p> <p class="MsoNormal">October 4 &ndash; November 21, 2014</p> <p class="MsoNormalCxSpMiddle">Opening Reception: October 3, 2014, 7pm</p> <p class="MsoNormalCxSpMiddle">Ten global design projects</p> <p class="MsoNormalCxSpMiddle">And an installation by Jana Winderen and Marc Fornes<b> <span style="font-family: Arial;"> </span> </b> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <i>World Wide Storefront</i> is a multi-locus project of ten alternative spaces around the globe and a digital platform (WWStorefront.org) designed by Pentagram interwoven with a commissioned installation, <i>Situation NY,</i> designed collaboratively by artist Jana Winderen and architect Marc Fornes. The installation considers the interconnectivity of the projects and reflects on the contemporary condition between the digital and the physical. </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">The ten projects launch simultaneously on September 19, 2014 and include a series of programs, performances, activities and events at project sites:</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <a href="../programming/projects?c=&amp;p=&amp;e=644">A to B - Crossing the Railway</a> </p> <p class="MsoNormal"> <a href="../programming/projects?c=&amp;p=&amp;e=645">Circus for Construction</a> </p> <p class="MsoNormal"> <a href="../programming/projects?c=&amp;p=&amp;e=646">Container Artist Residency</a> </p> <p class="MsoNormal"> <a href="../programming/projects?c=&amp;p=&amp;e=647">Gallery Attachment</a> </p> <p class="MsoNormal"> <a href="../programming/projects?c=&amp;p=&amp;e=647">Host - Natural Histories for Los Angeles</a> </p> <p class="MsoNormal"> <a href="../programming/projects?c=&amp;p=&amp;e=642">Microgeographies</a> </p> <p class="MsoNormal"> <a href="../programming/projects?c=&amp;p=&amp;e=649">Next Station, Micro Ecologies in Tel Aviv's Central Bus Station</a> </p> <p class="MsoNormal"> <a href="../programming/projects?c=&amp;p=&amp;e=650">RavinePortal</a> </p> <p class="MsoNormal"> <a href="../programming/projects?c=&amp;p=&amp;e=651">Storefront Marketplace</a> </p> <p class="MsoNormal"> <a href="../programming/projects?c=&amp;p=&amp;e=652">Tropical Ghosts</a> </p> <p class="MsoNormal"> <a href="../programming/projects?c=&amp;p=&amp;e=652"> <br /> </a> </p> <p class="MsoNormal">The projects, selected for their ability to produce alternative platforms within their local contexts, range from transoceanic traveling artist residency spaces, to urban interventions in foreclosed ancient structures, to the construction and inhabitation of residual spaces and structures in the city. Contrasting with the site specificity and visceral immediacy of the Situation NY installation by Winderen and Fornes, an invisible layer of digital content accessed through smart phones and a digital portal bring the visitor into series of intermediate spaces that connect audiences to the activities of the 10 artist groups producing projects. </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>In the Gallery:</b> </p> <p class="MsoNormal"> <i>Situation NY</i>, the collaboration of Winderen and Fornes, collapses sound, light and form in an object with intrinsic sensorial behaviors, inviting the visitors to question the properties of matter and the built environment surrounding us. The installation is a vibrating sound experiment that aims to transform the architecture into animated sensible form.<span style="mso-spacerun: yes;">&nbsp; </span>Conceived as a sound object that absorbs and contrasts the site specificity of the Storefront Gallery with abstract spatial, formal and acoustic variations and compositions, Situation NY raises questions about context, sensorial readings, estrangement and the uncanny.<span style="mso-spacerun: yes;">&nbsp; </span> <span style="mso-spacerun: yes;">&nbsp;</span> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <span style="text-decoration: underline;">Installation Design</span> </p> <p class="MsoNormal">Jana Winderen and Marc Fornes as part of the Robert Rauschenberg Foundation's Artistic Innovation and Collaboration Program</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <span style="text-decoration: underline;">Project Artists</span> </p> <p class="MsoNormal">Laura Castro, Engel Leonardo, Monica De Moya and Maurice Sanchez; Hariklia Hari; Andrew Kovacs and Laurel Consuelo Broughton; Pete &amp; Vegas; Ann Lui, Ashley Mendelsohn, Larisa Ovalles, Craig Reschke and Ben Widger; Onya Collective; Maayan Strauss; Sandra Teitge; Megan Torza; and Mimi Zeiger, Leonardo Bravo, River Jukes-Hudson and Sarah Lorenzen.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <span style="text-decoration: underline;">Curated by </span> </p> <p class="MsoNormal">Eva Franch i Gilabert</p> <p class="MsoNormal">Carlos M&iacute;nguez Carrasco, Associate Curator </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <span style="text-decoration: underline;">Graphic Design and Web Design</span> </p> <p class="MsoNormal">Pentagram, Natasha Jen. Jeffrey Waldman</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <span style="text-decoration: underline;">Programmer</span> </p> <p class="MsoNormal">Pentagram, Jaeyoon Kim</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <span style="text-decoration: underline;">Digital-Physical Technology</span> </p> <p class="MsoNormal">Esther Sze-Wing Cheung and George Showman</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <span style="text-decoration: underline;">Fabrication consultant (Laser, Powder coating)</span> </p> <p class="MsoNormal">Bengal Fierro</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>About the artists:</b> </p> <p class="MsoNormal"> <!--[if gte mso 9]> <xml> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> </p> <p class="MsoNormal">Jana Winderen is an artist educated in Fine Art at Goldsmiths College in London, and with a background in mathematics, chemistry and fish ecology from the University in Oslo. Winderen&rsquo;s work consist on researching hidden depths with the latest technology; her work reveals the complexity and strangeness of the unseen world beneath. Jana is artist-in-residence at the TBA21 Academy and releases her audio-visual works on Touch. In 2011 she won the Golden Nica, Ars Electronica, for Digital Musics &amp; Sound Art. Amongst her activities are immersive multi-channel installations and concerts and has performed all over the world. She currently lives and works in Oslo.&nbsp;<span style="text-decoration: none; color: windowtext;"> <a href="http://www.janawinderen.com/">www.janawinderen.com</a> </span> </p> <p class="MsoNormal"> <span style="text-decoration: none; color: windowtext;"> <a href="http://www.janawinderen.com/"> <br /> </a> </span> </p> <p class="MsoNormal"> <!--[if gte mso 9]> <xml> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> </p> <p class="MsoNormal">Marc Fornes is an architect founder and principal of the THEVERYMANY a multi-disciplinary studio practicing architecture through systematic research and development into applied Computer Science and Digital Fabrication. His prototypical structures and organic environments are part of the permanent collections such as the Centre Pompidou, the FRAC Centre and the CNAP. Marc is a TED Fellow and was artist in residence at the Atelier Calder. His practice has been awarded New Practices New York by the AIA, an Architectural League Prize, Design Vanguard by Architectural Record and the WAN 21 for 21 Award. &nbsp;He currently lives in New York and is teaching at Princeton and at Harvard GSD.&nbsp;<a href="http://www.theverymany.com/"> <span style="text-decoration: none; color: windowtext;">www.theverymany.com</span> </a> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <i>Situation Room NY</i> is supported by the Robert Rauschenberg Foundation&rsquo;s Artistic Innovation and Collaboration Program, which supports fearless and innovative collaborations in the spirit of Robert Rauschenberg.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <i>Worldwide Storefront</i> is produced by Storefront for Art and Architecture with the support of Peter Guggenheimer.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <img src="../images/tinyMCE_upload/RR_logo.png" width="200" height="47" /> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <i> <img src="../images/tinyMCE_upload/Giff_Library/WWSF_01.gif" width="640" height="360" /> </i> </p>
WWSf: Microgeographies 29 August 2014 13:05:51 EST http://www.storefrontnews.org/programming/projectss?e=642

Friday September 26, 2014 – Friday November 21, 2014

<p class="MsoNormal"> <i>Microgeographies </i> </p> <p class="MsoNormal">September 26 &ndash; November 21, 2014</p> <p class="MsoNormalCxSpMiddle">Curated by Hariklia Hari<b> <span style="font-family: Arial;"> </span> </b> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Reacting to the states of abandonment of cities in Greece as a result of economic, social and personal crisis, and reflecting on the gradual reconstruction processes occurring in southern Europe, <i>Microgeographies</i> presents a series micro-exhibitions, actions, installations and performances in public and domestic spaces with the collaboration of artists, architects, political scientists, writers, local communities and independent art spaces.</p> <p class="MsoNormal">&nbsp;</p> <p> <!--[if gte mso 9]> <xml> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> <w:UseFELayout /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> </p> <p class="MsoNormal">The events and discussions reflect on the potential reuse and reactivation of abandoned buildings in the center of Athens, addressing questions of tourism, gentrification, &ldquo;right to the city&rdquo; and other community based movements for the reconstruction of the city. </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>Social Media</b> </p> <p class="MsoNormal"> <a href="https://www.facebook.com/microgeographies">Facebook</a> </p> <p class="MsoNormal">Instagram: microgeographies</p> <p class="MsoNormal"> <a href="https://vimeo.com/user2542973">Vimeo</a> </p> <p class="MsoNormal"> <a href="https://www.flickr.com/photos/127662399@N02/">Flickr</a> </p> <p class="MsoNormal">Websites:</p> <p class="MsoNormal"> <a href="http://www.nonplan.gr">www.noplan.gr</a> </p> <p class="MsoNormal"> <a href="http://www.microgeographies.nonplan.gr">www.microgeographies.noplan.gr</a> </p>
WWSf: A to B - Crossing the Railway 4 September 2014 07:42:31 EST http://www.storefrontnews.org/programming/projectss?e=644

Friday September 26, 2014 – Friday November 21, 2014

<p class="MsoNormal"> <i>A to B Crossing the Railway </i> </p> <p class="MsoNormal">September 26 &ndash; November 21, 2014</p> <p class="MsoNormal">Curated by Pete &amp; Vegas</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">The train tracks connecting Montreal to North America cross the entire city of Montreal. They divide the different boroughs and give the city its shape, as we know it today. The lack of simple infrastructure forces pedestrians and cyclists to take shortcuts. </p> <p class="MsoNormal">&nbsp;</p> <p> <!--[if gte mso 9]> <xml> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> <w:UseFELayout /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> </p> <p class="MsoNormal"> <i>A to B</i> operates as a cartographic urban forum along the Canadian Pacific&rsquo;s Railway to map and discuss the uses and conflicts of the railways&rsquo; urban landscape. The project seeks to produce a conversation about the ways in which citizens can have a role in the discussion of the construction of the city and the definition and solutions of urban frictions. <i>A to B</i> raises questions of city design through ephemeral exhibitions, nomadic installations and walking tours along the railway. </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>Social Media:</b> </p> <p class="MsoNormal"> <a href="https://www.facebook.com/pages/Pete-Vegas/281458021866689?ref=ts&amp;fref=ts">Facebook</a> </p> <p class="MsoNormal">Instagram: peteandvegas</p> <p class="MsoNormal">Twitter: @peteandvegas</p> <p class="MsoNormal"> <span style="font-size: 12px;">Website: <a href="http://peteandvegas.com/">www.peteandvegas.com</a> </span> </p>
WWSf: Container Artist Residency 4 September 2014 07:42:31 EST http://www.storefrontnews.org/programming/projectss?e=646

Friday September 26, 2014 – Friday November 21, 2014

<p class="MsoNormal"> <i>Container Artist Residency<span style="mso-spacerun: yes;">&nbsp; </span> </i> </p> <p class="MsoNormal">September 26 &ndash; November 21, 2014</p> <p class="MsoNormal">Curated by Maayan Strauss </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p> <!--[if gte mso 9]> <xml> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> <w:UseFELayout /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> </p> <p class="MsoNormal"> <i>Container</i> takes artists onboard commercial container carriers along existing international shipping routes. Hosting artists in the ships&rsquo; available cabins, this backstage pass provides firsthand encounter with maritime shipping. <i>Container</i> challenges the traditional idea of studio residencies and invites artists to work within a unique intersection of industry, culture and technology. The residency&rsquo;s geographic location can only be defined in relation to the various shipping routes and the nexus of destinations that form the backdrop of global trade. Anchored in a context without a fixed physical location, <i>Container</i> foregrounds global commerce as the artist&rsquo;s own immediate work environment.</p>
WWSf: Gallery Attachment 4 September 2014 07:42:31 EST http://www.storefrontnews.org/programming/projectss?e=647

Friday September 26, 2014 – Friday November 21, 2014

<p class="MsoNormal"> <i>Gallery Attachment</i> </p> <p class="MsoNormal">September 26 &ndash; November 21, 2014</p> <p class="MsoNormal">Curated by Andrew Kovacs and Laurel Consuelo Broughton</p> <p class="MsoNormal"> <span style="font-size: 12px;">Premised as a literal inversion of the classic white box gallery into an independent, freestanding, small-sized architectural object, </span> <i>Gallery Attachment</i> <span style="font-size: 12px;"> questions perceived notions of exhibition and public space, creating an opportunity for a new conduit of architectural thinking for architectural allies and strangers alike. </span> <i>Gallery Attachment</i> <span style="font-size: 12px;"> aims to be both container and content; exhibition space and object; art gallery and public space. </span> <i>Gallery Attachment</i> <span style="font-size: 12px;"> is a small museum constructed out of the debris and discarded elements of the contemporary, physical and cultural environment.</span> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>Social Media</b>:</p> <p class="MsoNormal"> <a href="https://www.facebook.com/pages/Gallery-Attachment/770142149696409?fref=ts">Facebook</a> </p> <p class="MsoNormal">Instagram: gallery_attachment</p> <p class="MsoNormal">Twitter: @g_attachment</p> <p class="MsoNormal">Website: <a href="http://www.galleryattachment.com/">www.galleryattachment.com</a> </p>
WWSf: Next Station, Micro Ecologies in Tel Aviv's Central Bus Station 4 September 2014 07:45:54 EST http://www.storefrontnews.org/programming/projectss?e=649

Friday September 26, 2014 – Friday November 21, 2014

<p class="MsoNormal"> <i>Next Station, Micro Ecologies in Tel Aviv's Central Bus Station</i> </p> <p class="MsoNormal">September 26 &ndash; November 21, 2014</p> <p class="MsoNormal">Curated by Onya Collective </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Tel Aviv&rsquo;s Central Bus Station (CBS), one of the world&rsquo;s largest bus stations, occupies an area of over 10 acres and 7 floors. The mall contains 1,600 stores, public transportation platforms, offices, an atomic bomb shelter, cultural institutions, and community organizations. The CBS area is also a concentration of social and racial tensions generated by structural decay and state neglect, accelerated by migration waves from Asia and Africa.<span style="font-family: &quot;Times New Roman&quot;; mso-ascii-font-family: Cambria; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Cambria; mso-hansi-theme-font: minor-latin;"> </span> </p> <p class="MsoNormal">&nbsp;</p> <p> <!--[if gte mso 9]> <xml> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> <w:UseFELayout /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> </p> <p class="MsoNormal"> <i>Next Station</i> questions the building&rsquo;s future with a series of interventions&mdash;selected from an open call for proposals&mdash;occupying the depths of the CBS. Seeking to present innovative ways to connect cityscape and nature, Urban Farming, Guerilla Gardening and Micro Gardening projects installed in the CBS reflect on the ecologies of the urban environment and how they can help to resolve conflicts in the convulsive city of Tel Aviv. </p>
WWSf: RavinePortal 4 September 2014 07:45:54 EST http://www.storefrontnews.org/programming/projectss?e=650

Friday September 26, 2014 – Friday November 21, 2014

<p class="MsoNormal"> <i>RavinePortal</i> </p> <p class="MsoNormal">September 26 &ndash; November 21, 2014</p> <p class="MsoNormal">Curated by Megan Torza</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Located at the former headquarters of the Ontario Association of Architects, <i>RavinePortal</i> presents architectural, landscape and artistic interventions that address the physical and psychological disconnect between Toronto&rsquo;s dense urban environment and the 26,000 acres of ravine landscape that shape the city. The site, now a private architecture office, is situated within the Rosedale Valley Ravine less than 500 yards from the intersection of Yonge Street and Bloor Street, Toronto&rsquo;s most prominent commercial address and main subway interchange.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <!--[if gte mso 9]> <xml> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> </p> <p class="MsoNormal">The exhibition explores the past and present role the ravines play in the life of the city, and the future potential of the ravine system as a defining, interconnected and accessible open space and cultural network. The exhibition program includes a series of three chronological graphic exhibitions projected onto the face of the DTAH studio at 50 Park Road, a walking tour through the adjacent ravine, two lectures, and the installation of two new public art works during the course of the exhibition demonstrating how the installation of public art within the ravines can connect and endear the citizens of Toronto to the ravines in a way that is meaningful and sustainable.&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>Social Media:</b> </p> <p class="MsoNormal">Instagram: theportal_toronto</p> <p class="MsoNormal">Twitter: @RavinePortal | #ravineportal</p> <p class="MsoNormal"> <a href="http://www.dtah.com">www.dtah.com</a> </p> <p>&nbsp;</p>
WWSf: Storefront Marketplace 4 September 2014 07:45:54 EST http://www.storefrontnews.org/programming/projectss?e=651

Friday September 26, 2014 – Friday November 21, 2014

<p class="MsoNormal"> <i>Storefront Marketplace</i> </p> <p class="MsoNormal">September 26 &ndash; November 21, 2014</p> <p class="MsoNormal">Curated by Sandra Teitge and Christina Green (collaborator in Thessaloniki)</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p> <!--[if gte mso 9]> <xml> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> <w:UseFELayout /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> </p> <p class="MsoNormal"> <i>Storefront Marketplace</i> infiltrates itself into three different largely unnoticed market environments run by&nbsp;underrepresented communities. Starting at a Hmong market in&nbsp;St. Paul, Minnesota, it travels to&nbsp;Thessaloniki, Greece and integrates itself into the city&rsquo;s urban fabric and multi-layered, multi-cultural history. It then moves to an old restored indoor market in Berlin, Germany. Its interest lies in investigating and experimenting with the marketplace as a space for exchange through performances, food, sound, and objects. An artist run program of films, lectures, performative interventions, radio programs, and culinary events engages and addresses large, central civic constituencies.<span style="font-size: 12px;">&nbsp;</span> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Featured artists and participants: Pauline Beaudemont, Hana Erdman, Jasmin Ihrac, Atalya Laufer, Emeka Ogboh, Ece Pazarbasi, Emily Stover, Fres Thao, Agustina Woodgate with Pao Houa Her, University of Minnesota College of Design, and many other local artists and architects.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Supported by: Pro Helvetia, Schweizer Kulturstiftung and Foundation for Contemporary Arts</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>Social Media:</b> </p> <p class="MsoNormal">Instagram: sandra.teitge</p> <p class="MsoNormal">Twitter: @SandraTeitge</p>
WWSf: Tropical Ghosts (TBC) 4 September 2014 07:45:54 EST http://www.storefrontnews.org/programming/projectss?e=652

Friday September 26, 2014 – Friday November 21, 2014

<p class="MsoNormal"> <i>Tropical Ghosts (TBC) </i> </p> <p class="MsoNormal">September 26 &ndash; November 21, 2014</p> <p class="MsoNormal">Curated by Laura Castro, Engel Leonardo, M&oacute;nica de Moya, and Maurice S&aacute;nchez</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">What was once mostly a single-family residential neighborhood, the Poligono Central of Santo Domingo is now considered the city center, densely packed with high-rise housing units, office buildings and shopping malls. The exponential growth of the area has affected the public space and contributed to the loss of the semipublic space, an architectural domestic typology representative of the Tropical Modern Style. </p> <p class="MsoNormal">&nbsp;</p> <p> <!--[if gte mso 9]> <xml> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> <w:UseFELayout /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> </p> <p class="MsoNormal"> <i>Tropical Ghosts</i> is a series of site-specific urban interventions and meetings in Pol&iacute;gono Central, Santo Domingo that explores issues of growth, identity and systems of sharing in the tropical communities. The project also serves as an investigation and online archive to expand relevant information related to the area, from original plans of the houses and interviews with the inhabitants to designs for the future of the area.</p>
WWSf: Host - Natural Histories for Los Angeles 4 September 2014 07:42:31 EST http://www.storefrontnews.org/programming/projectss?e=648

Thursday September 25, 2014 – Friday November 21, 2014

<p class="MsoNormal"> <i>Host: Natural Histories for Los Angeles</i> </p> <p class="MsoNormal">September 25 &ndash; November 21, 2014</p> <p class="MsoNormal">Mimi Zeiger, Leonardo Bravo and River Jukes-Hudson, Sarah Lorenzen</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Located at The Neutra VDL Research Site in the Silverlake district of Los Angeles, Host explores the multivalent meaning of the word &ldquo;host&rdquo; -- a talk-show host, a parasitic host body, a house host, a city host - through an exhibition and series of events hosted by existing institutional, Southern California hosts. The project explores four themes in relationship to LA: Landscapes, Friendship, Emergence, and Community through an exhibition by Luis Callejas at the Neutra VDL Research House, a conversation between Callejas and Wonne Ickx of Mexico City&rsquo;s Productora with the Big City Forum, a series of talks &ldquo;Out There Doing It&rdquo; with the LA Forum&rsquo;s series and a potluck dinner with Supper Studio. </p> <p class="MsoNormal"> <span style="font-size: 10.0pt; font-family: Times;">&nbsp;</span> </p> <p class="MsoNormal"> <!--[if gte mso 9]> <xml> <o:DocumentProperties> <o:Template>Normal.dotm</o:Template> <o:Revision>0</o:Revision> <o:TotalTime>0</o:TotalTime> <o:Pages>1</o:Pages> <o:Words>111</o:Words> <o:Characters>637</o:Characters> <o:Company>Storefront</o:Company> <o:Lines>5</o:Lines> <o:Paragraphs>1</o:Paragraphs> <o:CharactersWithSpaces>782</o:CharactersWithSpaces> <o:Version>12.0</o:Version> </o:DocumentProperties> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> <w:UseFELayout /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> </p> <p class="MsoNormal">&nbsp;</p>
WWSf: Circus for Construction 4 September 2014 07:42:31 EST http://www.storefrontnews.org/programming/projectss?e=645

Saturday September 20, 2014 – Friday November 21, 2014

<p class="MsoNormal"> <i>Circus for Construction</i> </p> <p class="MsoNormal">September 20 &ndash; November 21, 2014</p> <p class="MsoNormal">Curated by Ann Lui, Ashley Mendelsohn, Larisa Ovalles, Craig Reschke, and Ben Widger</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">The <i>Circus for Construction</i> is a traveling institution in search of knowledge, crafts and individuals outside of a traditional gallery&rsquo;s reach. Located on the back of a custom built truck, the <i>Circus for Construction</i> draws from a long history of itinerant and heterotopic spaces. The project learns from both historic traveling sideshows and food trucks, circumventing the baggage of its brick and mortar peers by hitting the road. </p> <p class="MsoNormal">&nbsp;</p> <p> <!--[if gte mso 9]> <xml> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> <w:UseFELayout /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> </p> <p class="MsoNormal">In fall 2014, the <i>Circus for Construction</i> will arrive at three cities (Boston, Buffalo and Ithaca) to host both local and imported spectacles. Afterward, it leaves behind nothing but flattened grass.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>Social Media:</b> </p> <p class="MsoNormal"> <a href="https://www.facebook.com/circusforconstruction">Facebook</a> </p> <p class="MsoNormal"> <a href="http://www.circusforconstruction.com">Website</a> </p> <p class="MsoNormal"> <span style="font-size: 12px;">Twitter: @TheCircusGroup</span> </p>
OfficeUS: Issues - Labor LEED Workshop 7 September 2014 16:47:46 EST http://www.storefrontnews.org/programming/eventss?e=654

Thursday September 18, 2014 – Saturday September 20, 2014

<p class="MsoNormal"> <span style="font-size: 11.8181819915771px; background-color: #ffffff;">Ethical imperatives currently hover over architectural practices worldwide. The notion of exploitation, environmental or human, is often addressed today less through a recourse to previous principles for the generation of form, space, or program than through bureaucratized frameworks that involve little beyond simply checking, for better or worse taste, a compliance box. The US Green Building Council (USGBC), the developer of the LEED building rating system, was created in 1993. The aura surrounding LEED Platinum certification has become a common object of desire among developers and clients around the world, sometimes more powerful than any local code. Buildings around the world are being designed to enter the club of the self-consciously responsible in relationship to energy consumption and sustainable practices. In a parallel manner, a growing awareness of the conditions of labor on construction sites worldwide has prompted reflection on questions of human sustainability and the principles that might be applied, whether through measuring tools or design strategies, to make the building of architecture an ethically tenable construct. What are the mechanisms for ensuring human sustainability?</span> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> </p>
OfficeUS: SOM Superlatives Workshop 15 September 2014 14:33:48 EST http://www.storefrontnews.org/programming/eventss?e=659

Saturday September 6, 2014

<p class="MsoNormal">Saturday, September 6, 2014,&nbsp;2PM - 5PM</p> <p class="MsoNormal">Workshop&nbsp;with&nbsp;Skidmore, Owings &amp; Merrill LLP</p> <p class="MsoNormal">US Pavilion, Giardini (Venice, Italy)</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Through processes of optimization and organization, US architecture firms such as&nbsp;Skidmore, Owings &amp; Merrill LLP (SOM)&nbsp;have claimed to produce the best, for the most, for the least - what OfficeUS&nbsp;calls architectural "Superlatives."&nbsp;Since the firm's emergence in 1936,&nbsp;SOM&nbsp;has been the architectural office synonymous with the term "corporate" in its practices. Modeled on many of the same managerial principles of its corporate clients,&nbsp;SOM&nbsp;applied strategies such as decentralization and specialization to architectural practice. Despite its scale,&nbsp;SOM&nbsp;has represented a unique combination of design authorship and pragmatic acumen. The firm has a large presence in the Office<i>US</i>&nbsp;Repository, which chronicles the story of U.S. architecture built abroad.&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">SOM&nbsp;Design Director Kent Jackson, and&nbsp;SOM&nbsp;Structural and Civil Engineering Partner Bill Baker joined Office<i>US&nbsp;</i>Partners for a one-day&nbsp;workshop&nbsp;that aimed to give an overview and specific insights on different scales and scopes of their architecture projects - from the aesthetic to the material to the technical to the managerial.&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p> <!--[if gte mso 9]> <xml> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <style> /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} </style> <![endif]--> <!--StartFragment--> <!--EndFragment--> </p> <p class="MsoNormal">Have a question or comment for one of our guests? Want to join the discussion? TweetUS @office_us&nbsp;/ email:&nbsp;partner@officeus.org&nbsp;</p>
Membership Events: Exclusive OfficeUS Repository Tours 9 July 2014 11:33:23 EST http://www.storefrontnews.org/programming/eventss?e=636

Thursday August 14, 2014 – Tuesday November 25, 2014

<div> <img src="../images/tinyMCE_upload/Acconci_Studio_02.jpg" width="500" height="333" /> <br /> </div> <div>The Office<i>US</i> Repository presents a curated collection of 1001 architecture projects from the last 100 years, designed by 200 US-based architecture firms and realized abroad.&nbsp;</div> <div> <br /> </div> <div> <span style="font-size: 12px;">The Repository is one of the key elements of Office</span> <i>US</i> <span style="font-size: 12px;">, the United States Pavilion at the 2014 Venice Architecture Biennale for which Storefront has been commissioned.&nbsp;</span> <span style="font-size: 12px; background-color: #ffffff;">Collectively, the projects in the archive tell multiple, imbricated stories of U.S. firms, typologies, and technologies. The office consists of</span> <a href="../programming/projects?c=&amp;p=&amp;e=630">8 architects selected from an international open call,</a> <span style="font-size: 12px; background-color: #ffffff;">&nbsp;visiting experts, and outpost offices distributed worldwide. Over the 25 weeks of the Biennale,&nbsp;Office</span> <i>US</i> <span style="font-size: 12px; background-color: #ffffff;">&nbsp;revisits the projects in the archive, their premises and conclusions, to construct an agenda for the future production of architecture.</span> </div> <div> <br /> </div> <div>These private tours will bring a glimpse of Office<i>US</i> to New York, offering the opportunity to learn more about the involvement of the firms in OfficeUS, the structure of the office, and their current work.&nbsp;</div> <div> <br /> </div> <div> <p> <i> <b>This tour is free for Storefront Members</b>. RSVP is required on a first come, first serve basis. If you are a Storefront Member and would like to attend, please send your RSVP to Kara Meyer at km@storefrontnews.org. If you are interested in attending by becoming a member,&nbsp;<a href="../get_involved/membership">click here</a>.</i> </p> </div> <div> <br /> </div> <div> <span style="font-size: 12px; background-color: #ffffff;">I</span> <span style="outline-width: 0px; font-size: 12.222222328186035px; background-color: #ffffff;">f you have any questions, please email membership@storefrontnews.org.&nbsp;</span> </div> <div> <span style="outline-width: 0px; font-size: 12.222222328186035px; background-color: #ffffff;"> <br /> </span> </div> <div> <span style="outline-width: 0px; font-size: 8px; background-color: #ffffff;"> <img src="../images/tinyMCE_upload/RMP_Office_Portrait_by_Silja_Magg.jpg" width="500" height="333" /> <br /> </span> </div> <div> <span style="outline-width: 0px; font-size: 12.222222328186035px; background-color: #ffffff;"> <h1> <div style="font-size: 8px; font-weight: normal; line-height: 16px; background-color: #ffffff;">Office Portrait. Photo by Silja Magg.</div> <div style="font-size: 48px; font-weight: normal; line-height: 16px; background-color: #ffffff;"> <br /> </div> </h1> <h1> <b>Richard Meier &amp; Partners&nbsp;</b> </h1> <h1> <b>AUGUST 14, 2014</b> </h1> <div style="font-size: 12.222222328186035px;"> <b>6:00 PM</b> </div> <div style="font-size: 12.222222328186035px;"> <span style="font-size: 12px;"> <br /> </span> </div> <div style="font-size: 12.222222328186035px;"> <span style="font-size: 12px;">The work of Richard Meier &amp; Partners is instantly recognizable and internationally respected. For over five decades, we have been appointed to create important public and private buildings. Our offices in New York and Los Angeles employ a multicultural staff of talented professionals practicing architecture, urbanism, product design and exhibition design. We aspire to thoughtful, elegant contemporary architecture that exceeds our clients&rsquo; expectations for beauty and elegance.</span> </div> <div style="font-size: 12.222222328186035px;"> <div> <br /> </div> <div>Recent work includes one of the most sustainable office and research buildings in Europe for Italcementi in Bergamo, Italy; the headquarters in Hamburg for the Neumann Kaffee Gruppe; the Jesolo Lido Condominium in Jesolo, Italy; the first office project in the Czech Republic built on a speculative basis to receive the highest LEED certification; and the United States Courthouse in San Diego, California. We currently have new projects in North America, South America, Europe, and Asia.</div> <div> <br /> </div> <div>Richard Meier &amp; Partners is led by Richard Meier and six partners &ndash; Michael Palladino, James R. Crawford, Bernhard Karpf, Vivian Lee, Reynolds Logan, Dukho Yeon &ndash; and sustains an international practice with offices in New York and Los Angeles.</div> <div> <br /> </div> <div> <br /> </div> <div> <img src="../images/tinyMCE_upload/LOT-EK.jpg" width="500" height="252" /> <br /> </div> <div> <br /> </div> <div> <h1> <b>LOT-EK</b> </h1> <h1> <b>SEPTEMBER 9, 2014</b> </h1> <div style="font-size: 12px;"> <b>6:30 PM</b> </div> </div> </div> <div style="font-size: 12.222222328186035px;"> <br /> </div> <div style="font-size: 12.222222328186035px;"> <div style="font-size: 12.222222328186035px;">LOT-EK UPCYCLES OBJECTS TO CREATE REMARKABLE BUILDINGS</div> <div style="font-size: 12.222222328186035px;">LOT-EK SCANS THE ENVIRONMENT IN SEARCH OF MANMADE OBJECTS AND SYSTEMS</div> <div style="font-size: 12.222222328186035px;">LOT-EK EXPLOITS OBJECTS AS RAW MATERIAL FOR ARCHITECTURE</div> <div style="font-size: 12.222222328186035px;"> <br /> </div> <div style="font-size: 12.222222328186035px;">LOT-EK has achieved high visibility in the architecture/design/art world for its sustainable and innovative approach to construction, materials and space through the upcycling of existing industrial objects and systems not originally intended for architecture.&nbsp;</div> <div style="font-size: 12.222222328186035px;"> <br /> </div> <div style="font-size: 12.222222328186035px;">LOT-EK is a design studio based in Naples and New York. Founded in 1993 by Ada Tolla and Giuseppe Lignano, it has been involved in residential, commercial and institutional projects in the US and abroad, as well as projects for major cultural institutions and museums including MoMA, the Whitney Museum, the Guggenheim and the MAXXI.&nbsp;</div> <div style="font-size: 12.222222328186035px;"> <br /> </div> <div style="font-size: 12.222222328186035px;">LOT-EK&rsquo;s founding partners, Ada Tolla and Giuseppe Lignano, have a Masters Degree in Architecture and Urban Design from the Universita&rsquo; di Napoli, Italy (1989), and have completed post-graduate studies at Columbia University, New York (1990-1991). Besides heading their professional practice, they also teach at Columbia University, Graduate School of Architecture, Planning and Preservation and lecture at major universities and institutions throughout the US and abroad.&nbsp;</div> <div style="font-size: 12.222222328186035px;"> <br /> </div> <div style="font-size: 12.222222328186035px;">In December 2011, Ada and Giuseppe were recognized as USA Booth Fellows of Architecture &amp; Design by United States Artists (USA).&nbsp;</div> <div style="font-size: 12.222222328186035px;"> <br /> </div> <div style="font-size: 12.222222328186035px;"> <br /> </div> <div style="font-size: 12.222222328186035px;"> <img src="../images/tinyMCE_upload/Preston_Schlebusch_860_Broadway.jpg" width="500" height="376" /> <br /> </div> <div style="font-size: 12.222222328186035px;"> <h1> <div style="font-size: 8px; font-weight: normal; line-height: 16px; background-color: #ffffff;">Photo by Preston Schlebusch.</div> <div style="font-size: 8px; font-weight: normal; line-height: 16px; background-color: #ffffff;"> <br /> </div> </h1> </div> <div style="font-size: 12.222222328186035px;"> <h1> <b>SELLDORF ARCHITECTS</b> </h1> <h1> <b>SEPTEMBER 17, 2014</b> </h1> <div style="font-size: 12px;"> <b>6:30 PM</b> </div> </div> <div style="font-size: 12.222222328186035px;"> <br /> </div> <div style="font-size: 12.222222328186035px;"> <div style="font-size: 12.222222328186035px;">Selldorf Architects is a 65-person architectural design practice that was founded by Annabelle Selldorf in 1988. The firm&rsquo;s work includes public and private projects that range from museums and libraries to a recycling facility, and at scales encompassing the construction of new buildings, restoration of historic interiors, and exhibition design. Creating buildings that are both contemporary and timeless is a fundamental goal of the firm. The practice designs buildings and public spaces that are an integrated and authentic reflection of the cities and institutions they serve. Projects evolve in response to their specific context and program, drawing influence from local materials and building traditions. This context-driven approach is guided by rigor, precision, and restraint. The firm&rsquo;s clients include cultural institutions and universities such as the Museum of Contemporary Art San Diego, Neue Galerie New York, the Sterling and Francine Clark Art Institute, and Brown University. In addition, the firm has created numerous galleries for David Zwirner, Hauser &amp; Wirth, and Gladstone Gallery among others, and designed exhibitions for Frieze Masters and the 2013 Venice Art Biennial.&nbsp;</div> <div style="font-size: 12.222222328186035px;"> <br /> </div> <div style="font-size: 12.222222328186035px;">Selldorf Architects recently completed a 30,000 sf LEED Gold gallery building for David Zwirner and finished work on the Sunset Park Material Recovery Facility, a new recycling facility and education center on the Brooklyn waterfront. In July, the firm&rsquo;s renovation of the Sterling and Francine Clark Art Institute&rsquo;s Museum Building opened to the public, followed by the opening of the Manton Research Center Renovation in early 2015. Selldorf Architects is currently designing an expansion for the Museum of Contemporary Art San Diego; converting a former rail depot into LUMA Arles, a new contemporary art center in Arles France; and renovating Brown University&rsquo;s library for special collections.&nbsp;</div> <div style="font-size: 12.222222328186035px;"> <br /> </div> <div style="font-size: 12.222222328186035px;">Annabelle Selldorf is the Principal of Selldorf Architects. Born and raised in Germany, she received a Bachelor of Architecture degree from Pratt Institute and a Master of Architecture degree from Syracuse University in Florence, Italy. Ms. Selldorf is a Fellow of the American Institute of Architects, an Academician of the National Academy Museum, and serves on the Board of the Architectural League of New York and the Chinati Foundation.&nbsp;</div> <div style="font-size: 12.222222328186035px;"> <br /> </div> </div> <div style="font-size: 12.222222328186035px;"> <br /> </div> <div style="font-size: 12.222222328186035px;"> <img src="../images/tinyMCE_upload/Acconci_Studio_02.jpg" width="500" height="333" /> <br /> </div> <div style="font-size: 12.222222328186035px;"> <h1> <b> <br /> </b> </h1> <h1> <b>ACCONCI STUDIO</b> </h1> <h1> <b>SEPTEMBER 18, 2014</b> </h1> <div style="font-size: 12px;"> <b>6:30 PM</b> </div> </div> <div style="font-size: 12.222222328186035px;"> <br /> </div> <div style="font-size: 12.222222328186035px;"> <div style="font-size: 12.222222328186035px;"> <b> <i>Acconci Studio</i> </b>&rsquo;s design &amp; architecture comes from another direction, from Vito Acconci&rsquo;s backgrounds in writing &amp; art. His poems in the late 60&rsquo;s treated language as matter (words to look at rather than through) &amp; the page as a field to travel over; his performances in the early 70&rsquo;s helped shift art from object to interaction between art-doer &amp; viewer; later in the 70&rsquo;s, his installations turned viewers into participants; &nbsp;in the early 80&rsquo;s, his architectural-units could be transformed by users. By the late 80&rsquo;s his work crossed over &amp; he formed Acconci Studio, a design firm that mixes poetry &amp; geometry, computer-scripting &amp; sentence-structure, narrative &amp; biology, chemistry &amp; social-science. The Studio uses computers to give form to thinking; they use forms to <i>find</i> ideas. They make not nodes so much as circulation-routes, they design time as much as space. Their design starts with clothing &amp; ends with vehicles &ndash; in-between, they design buildings that slip into landscape &amp; vice versa; they make spaces fluid, changeable &amp; portable; they make architecture subservient to people &amp; not vice versa -- they anticipate cities on the move. Built in the last decade are, in Graz, a person-made island where the theater, a bowl, twists to become a playground on its way to becoming a dome, a restaurant; in Tokyo, a clothing store as soft as clothing; in Coney Island an elevated subway-station fa&ccedil;ade that waves &amp; bulges to make views &amp; seats; in Toronto, a building-complex fence that twists &amp; rises up the building to make wind-screens, &amp; splits to make public-places. Being built now, in Indianapolis, is an interactive tunnel through a building where pedestrians &amp; cyclists set off lights that swarm around them like fireflies. &nbsp;</div> <div style="font-size: 12.222222328186035px;"> <br /> </div> <div style="font-size: 12.222222328186035px;"> <b> <img src="../images/tinyMCE_upload/Libeskind_med_II.jpg" width="499" height="333" /> <br /> </b> </div> <div style="font-size: 12.222222328186035px;"> <b> <br /> </b> </div> <div style="font-size: 12.222222328186035px;"> <b>STUDIO LIBESKIND</b> </div> <div style="font-size: 12.222222328186035px;"> <h1> <b>OCTOBER 1, 2014</b> </h1> <div style="font-size: 12px;"> <b>6:30 PM</b> </div> </div> <div style="font-size: 12.222222328186035px;"> <br /> </div> <div style="font-size: 12.222222328186035px;"> <!--[if gte mso 9]> <xml> <o:DocumentProperties> <o:Template>Normal.dotm</o:Template> <o:Revision>0</o:Revision> <o:TotalTime>0</o:TotalTime> <o:Pages>1</o:Pages> <o:Words>117</o:Words> <o:Characters>668</o:Characters> <o:Company>Storefront</o:Company> <o:Lines>5</o:Lines> <o:Paragraphs>1</o:Paragraphs> <o:CharactersWithSpaces>820</o:CharactersWithSpaces> <o:Version>12.0</o:Version> </o:DocumentProperties> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <!--[endif] --> <!--StartFragment--> <p class="MsoNormal"> <span style="font-size: 12px; color: #222222; font-family: Arial; line-height: 16px;">Led by partners Daniel Libeskind and Nina Libeskind, CEO/principal Carla Swickerath, and principals Yama Karim and Stefan Blach, Studio Daniel Libeskind designs in a variety of scales for a range of uses all around the world. As well as the museum typology, for which it is perhaps best known, the studio develops schemes for public housing, residential towers, mixed-use commercial centers, concert halls, memorials, university buildings, and convention centers. A series of master plan commissions have deeply engaged the studio in urban design and city making and the vast array of issues and ideas that pertain to building sustainably for the future.</span> <br /> <span style="font-size: 12px; color: #222222; font-family: Arial; line-height: 16px;">As well as its New York headquarters, the Studio Daniel Libeskind also maintains Libeskind Design, a product division in Milan, and an office in Z&uuml;rich.</span> <br /> <span style="font-size: 13px; font-family: Arial; line-height: 16px;">&nbsp;</span> </p> <p class="MsoNormal">&nbsp;</p> <!--EndFragment--> </div> <div style="font-size: 12.222222328186035px;"> <br /> </div> <div style="font-size: 12.222222328186035px;"> <br /> </div> <div style="font-size: 12.222222328186035px;"> <div style="background-color: #ffffff;"> <div style="background-color: #ffffff;"> <br /> </div> </div> </div> </div> </div> </span> </div>
AIR UP! 23 July 2014 08:06:22 EST http://www.storefrontnews.org/programming/filmss?e=637

Tuesday July 29, 2014

<p class="MsoNormal"> <b>AIR UP!&nbsp;</b> </p> <p class="MsoNormal"> <b>July 29, 2014, 7pm</b> </p> <p class="MsoNormal"> <b>Film Screening followed by a Q&amp;A with Jack Masey</b> </p> <!--[if gte mso 9]> <xml> <o:DocumentProperties> <o:Template>Normal.dotm</o:Template> <o:Revision>0</o:Revision> <o:TotalTime>0</o:TotalTime> <o:Pages>1</o:Pages> <o:Words>175</o:Words> <o:Characters>1002</o:Characters> <o:Company>Storefront</o:Company> <o:Lines>8</o:Lines> <o:Paragraphs>2</o:Paragraphs> <o:CharactersWithSpaces>1230</o:CharactersWithSpaces> <o:Version>12.0</o:Version> </o:DocumentProperties> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> <w:UseFELayout /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:Cambria; mso-fareast-theme-font:minor-latin; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <p>&nbsp;</p> <!--[endif] --> <!--StartFragment--> <p class="MsoNormal"> <span style="font-size: 12px;">In 1967, in an effort to attract the most talented architects and exhibition designers in the United States, the United States Information Agency's design chief Jack Masey organized a competition to design the US Pavilion at Asia&rsquo;s first Category One World&rsquo;s Fair&mdash;Expo &rsquo;70 Osaka.</span> <span style="font-size: 12px;">The winning design team&mdash;which prevailed over submissions by Isamu Noguchi, George Nelson, Minoru Yamasaki, James Stewart Polshek, Paul Rudolph and others&mdash;was the New York partnership of architects Davis &amp; Brody, and exhibition designers Chermayeff, Geismar &amp; deHarak. Their concept, an air-inflatable pavilion, soon fell victim to serial Congressional funding cuts and was entirely redesigned twice before EXPO &rsquo;70 opened. Despite a 50% cut in its funding, the team managed to produce a US Pavilion for Expo &rsquo;70 that featured the largest, lightest clear-span air-supported roof ever built.&nbsp;</span> <span style="font-size: 12px;">Even with its &ldquo;extraordinarily economical $4.5 per sq. ft. cost&rdquo;, the US Pavilion at EXPO &rsquo;70 became &ldquo;a master work of structural elegance and...technological advances.&rdquo; And, the project came in on time and under budget.</span> </p> <p class="MsoNormal"> <span style="font-size: 12px;"> <br /> </span> </p> <!--[if gte mso 9]> <xml> <o:DocumentProperties> <o:Template>Normal.dotm</o:Template> <o:Revision>0</o:Revision> <o:TotalTime>0</o:TotalTime> <o:Pages>1</o:Pages> <o:Words>175</o:Words> <o:Characters>1002</o:Characters> <o:Company>Storefront</o:Company> <o:Lines>8</o:Lines> <o:Paragraphs>2</o:Paragraphs> <o:CharactersWithSpaces>1230</o:CharactersWithSpaces> <o:Version>12.0</o:Version> </o:DocumentProperties> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> <w:UseFELayout /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:Cambria; mso-fareast-theme-font:minor-latin; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <p> <span style="font-size: 12px;"> <i>Air Up! Construction of the US Pavilion at EXPO '70 Osaka</i>--a&nbsp;Japanese-language documentary film with English sub-titles--details the construction and inflation of the radically-engineered pneumatic dome designed for the US Pavilion at EXPO &rsquo;70 Osaka.</span> </p> <p> <span style="font-size: 12px;"> <br /> </span> </p> <p> <span style="font-size: 12px;"> <!--[if gte mso 9]> <xml> <o:DocumentProperties> <o:Template>Normal.dotm</o:Template> <o:Revision>0</o:Revision> <o:TotalTime>0</o:TotalTime> <o:Pages>1</o:Pages> <o:Words>27</o:Words> <o:Characters>154</o:Characters> <o:Company>Storefront</o:Company> <o:Lines>1</o:Lines> <o:Paragraphs>1</o:Paragraphs> <o:CharactersWithSpaces>189</o:CharactersWithSpaces> <o:Version>12.0</o:Version> </o:DocumentProperties> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> <w:UseFELayout /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:Cambria; mso-fareast-theme-font:minor-latin; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> </span> </p> <p class="MsoNormal"> <!--[if gte mso 9]> <xml> <o:DocumentProperties> <o:Template>Normal.dotm</o:Template> <o:Revision>0</o:Revision> <o:TotalTime>0</o:TotalTime> <o:Pages>1</o:Pages> <o:Words>25</o:Words> <o:Characters>144</o:Characters> <o:Company>Storefront</o:Company> <o:Lines>1</o:Lines> <o:Paragraphs>1</o:Paragraphs> <o:CharactersWithSpaces>176</o:CharactersWithSpaces> <o:Version>12.0</o:Version> </o:DocumentProperties> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> </p> <p class="MsoNormal">The screening was followed by a Q&amp;A with Jack Masey,&nbsp;former Director of Design for the USIA, and design chief for&nbsp;USIA's major exhibitions and Expos including Expo '70 Osaka.</p> <p class="MsoNormal">&nbsp;</p> <!--EndFragment--> <p class="MsoNormal">This film was screened in conjunction with a day-long symposium/event hosted by Office<i>US</i> in Venice, Italy at the Arsenale as part of the Monditalia 'Freeport' series of the 2014 Venice Architecture Biennale, la Biennale de Venezia. </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">AIR UP!</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Construction of the US Pavilion at EXPO &rsquo;70 Osaka &ndash; </p> <p class="MsoNormal">A United States Information Agency Project</p> <p class="MsoNormal">&nbsp;<span style="font-size: 12.222222328186035px;">&nbsp;</span> </p> <p class="MsoNormal">Film Sponsor:</p> <p class="MsoNormal">Ohbayashi-Gumi, Ltd.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Film Production:</p> <p class="MsoNormal">Nichiei Shinsha</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Commissioner General of U.S. Pavilion:</p> <p class="MsoNormal">Howard L. Chernoff</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Deputy Commissioner General for Planning and Design:</p> <p class="MsoNormal">Jack Masey</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">U.S. <a> </a>Exhibition Design Team:</p> <p class="MsoNormal">Davis, Brody, Chermayeff, Geismar, deHarak Associates</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Principals:</p> <p class="MsoNormal">Lewis Davis, Samuel M. Brody, Alan Schwartzman, </p> <p class="MsoNormal">Ivan Chermayeff, Thomas H. Geismar, Rudolf deHarak</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Project Architect:</p> <p class="MsoNormal">Yasuo Uesaka</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Senior Exhibition Curator:</p> <p class="MsoNormal">Phyllis Montgomery</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Senior Exhibition Designer:</p> <p class="MsoNormal">David Sutton</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Structural Engineers:</p> <p class="MsoNormal">David Geiger&mdash;Horst Berger</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Mechanical Engineers:</p> <p class="MsoNormal">Cosentini Associates</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Landscape Architects:</p> <p class="MsoNormal">M. Paul Friedberg &amp; Associates</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Lighting Consultant:</p> <p class="MsoNormal">Howard Brandston Lighting Design, Inc.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Audio-Visual Consultant:</p> <p class="MsoNormal">Will Szabo Associates Ltd.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">General Contractor, Co-Architect:</p> <p class="MsoNormal">Ohbayashi-Gumi, Ltd.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Film Restoration:</p> <p class="MsoNormal">Beverly Payeff-Masey, MetaForm Design International</p> <p class="MsoNormal">Mina Chow, AIA, NCARB, U.S.C. School of Architecture, Los Angeles</p> <p class="MsoNormal">Clark Muller, Colorist, <span style="mso-no-proof: yes;"> <!--[if gte vml 1]> <v:shapetype id="_x0000_t75" coordsize="21600,21600" o:spt="75" o:preferrelative="t" path="m@4@5l@4@11@9@11@9@5xe" filled="f" stroked="f"> <v:stroke joinstyle="miter" /> <v:formulas> <v:f eqn="if lineDrawn pixelLineWidth 0" /> <v:f eqn="sum @0 1 0" /> <v:f eqn="sum 0 0 @1" /> <v:f eqn="prod @2 1 2" /> <v:f eqn="prod @3 21600 pixelWidth" /> <v:f eqn="prod @3 21600 pixelHeight" /> <v:f eqn="sum @0 0 1" /> <v:f eqn="prod @6 1 2" /> <v:f eqn="prod @7 21600 pixelWidth" /> <v:f eqn="sum @8 21600 0" /> <v:f eqn="prod @7 21600 pixelHeight" /> <v:f eqn="sum @10 21600 0" /> </v:formulas> <v:path o:extrusionok="f" gradientshapeok="t" o:connecttype="rect" /> <o:lock v:ext="edit" aspectratio="t" /> </v:shapetype> <v:shape id="Picture_x0020_2" o:spid="_x0000_i1025" type="#_x0000_t75" style='width:54pt;height:11pt;visibility:visible;mso-wrap-style:square'> <v:imagedata src="file://localhost/Users/evafranchgilabert/Library/Caches/TemporaryItems/msoclip/0/clip_image001.png" mce_src="file://localhost/Users/evafranchgilabert/Library/Caches/TemporaryItems/msoclip/0/clip_image001.png" o:title="" /> <v:textbox style="mso-rotate-with-shape:t" mce_style="mso-rotate-with-shape:t" /> </v:shape> <![endif]--> <!--[if !vml]--> <img src="file://localhost/Users/evafranchgilabert/Library/Caches/TemporaryItems/msoclip/0/clip_image002.png" width="56" height="13" /> <!--[endif]--> </span>, Venice, California</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Translation <span style="font-size: 10.0pt;">(</span> <span style="font-size: 10pt; font-family: &quot;MS 明朝&quot;;">翻訳</span> <span style="font-size: 10.0pt;">):</span> </p> <p class="MsoNormal">Yusuke Isotani <span style="font-size: 10.0pt;">(</span> <span style="font-size: 10pt; font-family: &quot;MS 明朝&quot;;">礒谷有亮</span> <span style="font-size: 10.0pt;">)</span> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Subtitles:</p> <p class="MsoNormal">Joann Huang</p> <p class="MsoNormal">Arianne Kouri</p> <p class="MsoNormal">MetaForm Design International</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Special Thanks:</p> <p class="MsoNormal">Irina Chernyakova</p> <p class="MsoNormal">Mina Chow</p> <p class="MsoNormal">Eva Franch i Gilabert</p> <p class="MsoNormal">Joann Huang</p> <p class="MsoNormal">Yusuke Isotani</p> <p class="MsoNormal">Arianne Kouri</p> <p class="MsoNormal">Jack Masey</p> <p class="MsoNormal">Ana Milja<span style="color: black;">č</span>ki<b> <span style="font-family: &quot;Lucida Grande&quot;; color: black;"> </span> </b> </p> <p class="MsoNormal">Clark Muller</p> <p class="MsoNormal">Brendan Rooney</p> <p class="MsoNormal">OfficeUS, 2014 Venice Architecture Biennale</p> <p class="MsoNormal">Beverly Payeff-Masey</p> <p class="MsoNormal">Ashley Schafer</p> <p class="MsoNormal">Storefront for Art and Architecture</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <!--[if !mso]> <mce:style> <! 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OfficeUS: Potential Participation Party 23 July 2014 08:55:45 EST http://www.storefrontnews.org/programming/eventss?e=638

Friday July 25, 2014 – Friday July 25, 2014

<p class="c4"> <span class="c0" style="font-size: 16pt; font-weight: bold;">Guggenheim Helisnki Design Competition</span> </p> <p class="c4"> <span class="c0" style="font-size: 16pt; font-weight: bold;"> <br /> </span> </p> <p class="c4"> <span class="c0" style="font-size: 16pt; font-weight: bold;">Potential Participation Party</span> </p> <p class="c4"> <span class="c0" style="font-size: 16pt; font-weight: bold;"> <br /> </span> </p> <p class="c4"> <span class="c0" style="font-size: 16pt; font-weight: bold;">July 25th, &nbsp;2014, Arsenale, Venice</span> </p> <p class="c4"> <span class="c0" style="font-size: 16pt; font-weight: bold;"> <br /> </span> </p> <p class="c4"> <span class="c0" style="font-size: 16pt; font-weight: bold;"> <br /> </span> </p> <p class="c4"> <span class="c0" style="font-size: 16pt; font-weight: bold;"> <img src="../images/tinyMCE_upload/guggenheim_2.gif" width="424" height="600" /> <br /> </span> </p> <p class="c4"> <span class="c0" style="font-size: 16pt; font-weight: bold;"> <br /> </span> </p> <p class="MsoNormal">OfficeUS, a global collaborative architectural practice with its first headquarters at the United States Pavilion at the 14th International Architecture Exhibition - la Biennale di Venezia, announced this month its intention to seriously consider entering the Guggenheim Helsinki Design &shy;Competition.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">In celebration of the exciting&nbsp;potential&nbsp;for OfficeUS&nbsp;to perhaps enter the Guggenheim Helsinki Design Competition, the OfficeUS Partners will be hosting a&nbsp;Potential&nbsp;Participation&nbsp;Party, on&nbsp;July 25th 2014&nbsp;at the Arsenale. The&nbsp;Potential&nbsp;Participation&nbsp;Party&nbsp;will feature special guests--including Adnan Yildiz, Anupama Rao, Aristide Antonas, Kaarin Taipale and Andrew Ross--in conversation with the OfficeUS&nbsp;partners; with a special performance of OfficeUS&nbsp;either entering, not entering or still considering entering the Guggenheim Helsinki Design Competition.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Helsinki, a global city standing at the intersection of East and West (founded by King Gustav I of Sweden in 1550 as a town of Helsingfors which remained a tiny town, plagued by poverty, wars, and diseases), is emerging as a city to watch. Helsinki (like OfficeUS) has been said to have recently embarked on an ambitious yet highly sensitive program of renewal and development, initiating what has been called the greatest urban change in its history since Helsinki became the capital of Finland two hundred years ago. OfficeUS&nbsp;is honored to consider the possibility of exploring exciting new concepts such as: cityscape, architecture, usability, sustainability and feasibility (in this order) through maybe&nbsp;participating&nbsp;in the Guggenheim Helsinki Design Competition from within the Peggy Guggenheim Pavilion in Venice, Italy.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">OfficeUS&nbsp;(like Helsinki), has been called an increasingly popular visitor destination. Many have described OfficeUS&nbsp;as a standard bearer for la Biennale di Venezia and a model for architectural offices around the world. Benefitting from an exceptional education system, entrepreneurial spirit, appetite for innovation, and a demonstrated success in international happiness indices, OfficeUS&nbsp;is increasingly seen by many important sources as an expert in global architecture, building tall, and designing deep, while remaining sensitive to the sustainability of local traditions.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">It is envisaged that the Guggenheim Helsinki (like OfficeUS) would organize and present internationally significant exhibitions of artworks from the twentieth and twenty-first centuries, while sources indicate that the Guggenheim Helsinki will also specialize in Nordic art and architecture. Following a detailed Concept and Development Study by the Guggenheim Foundation, the Guggenheim &shy;Helsinki (like OfficeUS) has been sited on a prominent waterfront site close to the historic city center and immediately visible to visitors arriving by sea.</p> <p class="MsoNormal">&nbsp;</p> <p> <!--[if gte mso 9]> <xml> <o:DocumentProperties> <o:Template>Normal.dotm</o:Template> <o:Revision>0</o:Revision> <o:TotalTime>0</o:TotalTime> <o:Pages>1</o:Pages> <o:Words>497</o:Words> <o:Characters>2837</o:Characters> <o:Company>Storefront for Art and Architecture</o:Company> <o:Lines>23</o:Lines> <o:Paragraphs>5</o:Paragraphs> <o:CharactersWithSpaces>3484</o:CharactersWithSpaces> <o:Version>12.0</o:Version> </o:DocumentProperties> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman"; mso-fareast-font-family:"Times New Roman"; mso-bidi-font-family:"Times New Roman";} --> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> </p> <p class="MsoNormal">OfficeUS&nbsp;is excited to welcome the Guggenheim Helsinki into the global constellation of Guggenheim museums, including the Solomon R. Guggenheim Museum in New York, the Guggenheim Museum Bilbao, the future Guggenheim Abu Dhabi, and the Peggy Guggenheim Collection and Peggy Guggenheim Pavilion (OfficeUS&nbsp;headquarters) in Venice. OfficeUS&nbsp;is eagerly anticipating a serious consideration of the&nbsp;potentially&nbsp;productive exchange which engages what has been referred to as Finland's revolutionary bioeconomy, through what may or may not be our collaborative interest in the sustainable use of wood, and the latest in digital technology.</p> <p class="c4"> <span class="c0" style="font-size: 16pt; font-weight: bold;"> <br /> </span> </p> <p class="c4"> <span class="c0" style="font-size: 16pt; font-weight: bold;"> <br /> </span> </p> <p class="c4"> <span class="c0"> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 16.0pt; font-family: Arial; mso-bidi-font-family: &quot;Times New Roman&quot;; color: black; border: none windowtext 1.0pt; mso-border-alt: none windowtext 0in; padding: 0in;">Schedule</span> </b> </span> <span style="font-size: 11.0pt; mso-bidi-font-size: 10.0pt; font-family: Arial; mso-bidi-font-family: &quot;Times New Roman&quot;; color: black;"> </span> </p> <p class="c4"> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 16.0pt; font-family: Arial; mso-bidi-font-family: &quot;Times New Roman&quot;; color: black; border: none windowtext 1.0pt; mso-border-alt: none windowtext 0in; padding: 0in;"> <br /> <!--[endif]--> </span> </b> <span style="font-size: 11.0pt; mso-bidi-font-size: 10.0pt; font-family: Arial; mso-bidi-font-family: &quot;Times New Roman&quot;; color: black;"> </span> </p> <p class="c4"> <span class="c0"> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 16.0pt; font-family: Arial; mso-bidi-font-family: &quot;Times New Roman&quot;; color: black; border: none windowtext 1.0pt; mso-border-alt: none windowtext 0in; padding: 0in;">2:00 pm Introduction</span> </b> </span> <span style="font-size: 11.0pt; mso-bidi-font-size: 10.0pt; font-family: Arial; mso-bidi-font-family: &quot;Times New Roman&quot;; color: black;"> </span> </p> <p class="c4"> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 16.0pt; font-family: Arial; mso-bidi-font-family: &quot;Times New Roman&quot;; color: black; border: none windowtext 1.0pt; mso-border-alt: none windowtext 0in; padding: 0in;"> <br /> <!--[endif]--> </span> </b> <span style="font-size: 11.0pt; mso-bidi-font-size: 10.0pt; font-family: Arial; mso-bidi-font-family: &quot;Times New Roman&quot;; color: black;"> </span> </p> <p class="c4"> <span class="c0"> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 16.0pt; font-family: Arial; mso-bidi-font-family: &quot;Times New Roman&quot;; color: black; border: none windowtext 1.0pt; mso-border-alt: none windowtext 0in; padding: 0in;">2:15 pm Guest presentations&nbsp;</span> </b> </span> </p> <p class="c4"> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 16.0pt; font-family: Arial; mso-bidi-font-family: &quot;Times New Roman&quot;; color: black; border: none windowtext 1.0pt; mso-border-alt: none windowtext 0in; padding: 0in;"> <br /> <!--[endif]--> </span> </b> <span style="font-size: 11.0pt; mso-bidi-font-size: 10.0pt; font-family: Arial; mso-bidi-font-family: &quot;Times New Roman&quot;; color: black;"> </span> </p> <p class="c4"> <span class="c0"> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 16.0pt; font-family: Arial; mso-bidi-font-family: &quot;Times New Roman&quot;; color: black; border: none windowtext 1.0pt; mso-border-alt: none windowtext 0in; padding: 0in;">4:15 pm Screening of<a href="../programming/events?preview=true&amp;e=637"> <span> <span style="mso-bidi-font-size: 17.0pt; color: black; text-decoration: none; text-underline: none;">&nbsp;</span> </span> <span style="mso-bidi-font-size: 17.0pt; color: black;">"AIR UP!</span> </a> </span> </b> </span> <span> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 16.0pt; font-family: Arial; mso-bidi-font-family: &quot;Times New Roman&quot;; color: black; border: none windowtext 1.0pt; mso-border-alt: none windowtext 0in; padding: 0in;">&nbsp;</span> </b> </span> <span class="c0"> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 16.0pt; font-family: Arial; mso-bidi-font-family: &quot;Times New Roman&quot;; color: black; border: none windowtext 1.0pt; mso-border-alt: none windowtext 0in; padding: 0in;">Construction of the US Pavilion at EXPO '70 Osaka - A United States Information Agency Project";&nbsp;</span> </b> </span> <span style="font-size: 11.0pt; mso-bidi-font-size: 10.0pt; font-family: Arial; mso-bidi-font-family: &quot;Times New Roman&quot;; color: black;"> </span> </p> <p class="c4"> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 16.0pt; font-family: Arial; mso-bidi-font-family: &quot;Times New Roman&quot;; color: black; border: none windowtext 1.0pt; mso-border-alt: none windowtext 0in; padding: 0in;"> <br /> <!--[endif]--> </span> </b> <span style="font-size: 11.0pt; mso-bidi-font-size: 10.0pt; font-family: Arial; mso-bidi-font-family: &quot;Times New Roman&quot;; color: black;"> </span> </p> <p class="c4"> <span class="c0"> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 16.0pt; font-family: Arial; mso-bidi-font-family: &quot;Times New Roman&quot;; color: black; border: none windowtext 1.0pt; mso-border-alt: none windowtext 0in; padding: 0in;">4:40 pm Workshop on engagement methods</span> </b> </span> <span style="font-size: 11.0pt; mso-bidi-font-size: 10.0pt; font-family: Arial; mso-bidi-font-family: &quot;Times New Roman&quot;; color: black;"> </span> </p> <p class="c4"> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 16.0pt; font-family: Arial; mso-bidi-font-family: &quot;Times New Roman&quot;; color: black; border: none windowtext 1.0pt; mso-border-alt: none windowtext 0in; padding: 0in;"> <br /> <!--[endif]--> </span> </b> <span style="font-size: 11.0pt; mso-bidi-font-size: 10.0pt; font-family: Arial; mso-bidi-font-family: &quot;Times New Roman&quot;; color: black;"> </span> </p> <p class="c4"> <span class="c0"> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 16.0pt; font-family: Arial; mso-bidi-font-family: &quot;Times New Roman&quot;; color: black; border: none windowtext 1.0pt; mso-border-alt: none windowtext 0in; padding: 0in;">8:30 pm Party with Guggenheim Effect cocktails and Palm Jockey DJ/VJ set at &nbsp;</span> </b> </span> <span style="font-size: 14.44444465637207px; font-family: Arial; line-height: 16px; border: 1pt none windowtext; padding: 0in;"> <a href="http://goo.gl/hLSwYb">TEATRO MARINONI BENE COMUNE</a>,&nbsp;</span> <span style="font-size: 14.44444465637207px; font-family: Arial; line-height: 16px; border: 1pt none windowtext; padding: 0in;"> <a href="http://goo.gl/hLSwYb">Lungomare Gabriele D&rsquo;Annunzio</a>,&nbsp;</span> <a href="http://goo.gl/hLSwYb"> <span style="border: 1pt none windowtext; padding: 0in;">Lido di Venezia</span> </a> </p>
Members Tour at 101 Spring Street 12 April 2014 18:38:15 EST http://www.storefrontnews.org/programming/eventss?e=613

Wednesday July 23, 2014

<p> <b>Member's Tour of artist Donald Judd's Former Living and Working Space</b> </p> <p> <b>101 Spring Street</b> </p> <p> <b>July 23, 2014</b> </p> <p> <b>5:00pm</b> </p> <p> <span style="outline-width: 0px; font-size: 12px;"> <i> <br /> </i> </span> </p> <p> <i>&ldquo;The solution to social and political miseries is political action. Most people, including artists, don't want to act and that suits the various governments. Artists can and should object as artists but the real action is as a citizen among citizens."</i> </p> <p> <span style="outline-width: 0px;"> </span> </p> <p>&ndash;Donald Judd, 1973</p> <div> <br /> </div> <p> Storefront for Art and Architecture is pleased to offer&nbsp;<a href="../info/supporters">Storefront Members</a>&nbsp;a private guided tour at 101 Spring Street, the former living and working space of artist Donald Judd.</p> <p>&nbsp;</p> <p> <i> <b>Free for Storefront Members</b>. RSVP is required on a first come, first serve basis.&nbsp;</i> </p> <p> <i> <br /> </i> </p> <p> <i> <b>Storefront is no longer accepting RSVPs for this event.&nbsp;</b> </i> </p> <p>&nbsp;</p> <p>&nbsp;</p>
Storefront TV: Call for Pilots 10 June 2014 10:50:49 EST http://www.storefrontnews.org/programming/projectss?e=622

Friday June 13, 2014

<p>After the exciting inaugural Storefront TV season in Fall 2013, Storefront for Art and Architecture announces the launch of a second season with a Call for Pilots, inviting proposals of original television programs and web series. All selected pilot programs will be taped at Storefront for Art and Architecture in front of a live studio audience and broadcasted online. Applications will be reviewed on a rolling basis through August 20, 2014.&nbsp;</p> <p>&nbsp;</p> <p>Interested parties should submit a proposal using <a href="https://docs.google.com/a/storefrontnews.org/forms/d/1RrWRpc6qn9R3MofaxD3cvcxQpcGohQjPTJcUZHTs6Uw/viewform?sid&amp;c=0&amp;w=1&amp;token">this form</a> on or before August 20, 2014.&nbsp;</p> <p>&nbsp;</p> <p> <b>About Storefront TV</b> </p> <p>Storefront TV is an online channel focused on the communication of contemporary art and architecture ideas with an emphasis on experimentation with a live TV format. All selected pilot programs will be taped live at Storefront for Art and Architecture with live audience and broadcasted online.</p> <p>&nbsp;</p> <p>Storefront TV's inaugural season included three programs: Perchance, A Talk Show of P's, led by Prem Krishnamurthy; BEING by ESPTV; and Who's afraid of the Big Bad Box?, a drawing show by Michael Young.&nbsp;</p> <p>&nbsp;</p> <p>For questions, please contact Piotr Chizinski at pc@storefrontnews.org.&nbsp;</p> <p>&nbsp;</p>
OfficeUS: Working Summit Issues Workshop 31 May 2014 10:50:25 EST http://www.storefrontnews.org/programming/projectss?e=621

Friday June 6, 2014 – Sunday June 8, 2014

<p>OfficeUS 25 ISSUES TALKS, the inaugural working summit of the United States Pavilion at the 14th International Architecture Exhibition, la Biennale de Venezia, in Venice, Italy. The conversations took place during the opening days, on June 6th, 7th, and 8th at the US Pavilion in the Giardini and launched the six month investigation of OfficeUS.</p> <p>&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>FRIDAY, JUNE 6TH</b> </p> <p class="MsoNormal"> <b> <br /> </b> </p> <p class="MsoNormal"> <i>12-1 pm</i> <b> Ex-Im</b> </p> <p class="MsoNormal"> <span style="text-decoration: underline;">Bernard Tschumi,&nbsp;<span style="font-size: 12px;">Brett Steele,&nbsp;</span> <span style="font-size: 12px;">Jonathan Solomon,&nbsp;</span> <span style="font-size: 12px;">Nader Tehrani,&nbsp;</span> <span style="font-size: 12px;">Mark Wigley,&nbsp;</span> <span style="font-size: 12px;">Mohsen Mostafavi,&nbsp;</span> <span style="font-size: 12px;">Richard Armstrong,&nbsp;</span> <span style="font-size: 12px;">Sarah Whiting</span> </span> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Examining the circulation of ideas through different spaces, individuals and socio-political conditions that have shaped the collective imaginary of 20th century architecture.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <i>1-2 pm</i> <b> Best Practices &amp; Around the Clock</b> </p> <p class="MsoNormal"> <span style="text-decoration: underline;">Beatriz Colomina,&nbsp;<span style="font-size: 12px;">James von Klemperer,&nbsp;</span> <span style="font-size: 12px;">Juan Herreros,&nbsp;</span> <span style="font-size: 12px;">Sylvia Lavin,&nbsp;</span> <span style="font-size: 12px;">Leong&amp;Leong</span> </span> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Examining the effects of organizational structures, business models and tools on the life of a practice, as well as on its architectural products while discussing the contemporary totalization of work and play and the spatial, social, economic and creative models associated with it.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <i>2-3 pm</i> <b> Crude Ideals</b> </p> <p class="MsoNormal"> <span style="text-decoration: underline;">Hamed Khosravi,&nbsp;<span style="font-size: 12px;">Reinhold Martin,&nbsp;</span> <span style="font-size: 12px;">Todd Reisz,&nbsp;</span> <span style="font-size: 12px;">Ivan Rupnik,&nbsp;</span> <span style="font-size: 12px;">Adrian Lahoud,&nbsp;</span> <span style="font-size: 12px;">Anthony Fontenot</span> </span> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Examining the energy resource economies as drivers of city form, including contemporary smart cities and off-the-grid settlements.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <i>3-4 pm</i> <b> Trojan Horses &amp; Little Americas</b> </p> <p class="MsoNormal"> <span style="text-decoration: underline;">Keller Easterling,&nbsp;<span style="font-size: 12px;">Felicity D. Scott,&nbsp;</span> <span style="font-size: 12px;">Mimi Zeiger,&nbsp;</span> <span style="font-size: 12px;">Peter Zellner</span> </span> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Examining how architecture sneaks in programmatic and ideological agendas into foreign territories in a state of disguise.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <i>4-5 pm</i> <b> Labor LEED &amp; The Invisibles</b> </p> <p class="MsoNormal"> <span style="text-decoration: underline;">Erin Rae Hoffer,&nbsp;<span style="font-size: 12px;">Mabel Wilson,&nbsp;</span> <span style="font-size: 12px;">Alejandro Zaera-Polo,&nbsp;</span> <span style="font-size: 12px;">Brendan McGetrick</span> </span> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Exploring the protocols that perpetuate the exclusion of social groups from the decision making table while speculating about what new tools, codes and system of measurement can be implemented to produce higher levels of equality among the individuals building, living and servicing architecture.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <i>5-6 pm</i> <b> Reprogramming &amp; Bullets Without Ideology &nbsp;</b> </p> <p class="MsoNormal"> <span style="text-decoration: underline;">Liz Diller,&nbsp;<span style="font-size: 12px;">Michael Hays,&nbsp;</span> <span style="font-size: 12px;">Jorge Otero-Pailos,&nbsp;</span> <span style="font-size: 12px;">Eyal Weizman</span> </span> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Examining the architectural implications of technological, political and ideological paradigm shifts while exploring the ideological openness &ndash; or vacuum- of prototypical architecture, which by definition presents solutions in search of a problem.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <i>6-7 pm</i> <b> Closing Drinks and thoughts by Forensis</b> </p> <p class="MsoNormal"> <b> </b> </p> <p class="MsoNormal"> </p>
OfficeUS 13 March 2014 18:07:29 EST http://www.storefrontnews.org/programming/projectss?e=610

Wednesday June 4, 2014 – Sunday November 23, 2014

<h5> <!--[if gte mso 9]> <xml> <o:DocumentProperties> <o:Author>k leshk</o:Author> <o:Template>Normal.dotm</o:Template> <o:Revision>0</o:Revision> <o:TotalTime>0</o:TotalTime> <o:Created>2010-01-28T11:57:00Z</o:Created> <o:LastSaved>2010-01-28T11:59:00Z</o:LastSaved> <o:Pages>1</o:Pages> <o:Words>187</o:Words> <o:Characters>1067</o:Characters> <o:Company>Storefront for Art and Architecture</o:Company> <o:Lines>8</o:Lines> <o:Paragraphs>2</o:Paragraphs> <o:CharactersWithSpaces>1310</o:CharactersWithSpaces> <o:Version>12.0</o:Version> </o:DocumentProperties> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <!--[endif] --> <!--StartFragment--> <p class="MsoNormal">Storefront for Art and Architecture, the commissioner of the 2014 United States Pavilion at the 14th International Architecture Exhibition - la Biennale di Venezia presents Office<i>US</i>,&nbsp;a global experiment in the making of architecture, history and work.&nbsp;&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Office<i>US&nbsp;</i>responds to <a href="http://www.labiennale.org/en/architecture/news/25-01.html">the theme of&nbsp;Absorbing Modernity:1914-2014</a>&nbsp;by focusing on the ways in which the space, structures, and protocols of the U.S. architectural office have participated in the construction of Modernity.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Office<i>US</i> is an active, global, experimental architecture office that researches, studies, and remakes projects from an onsite archive of 1,000 buildings and the 200 U.S. based architecture offices engaged in their construction. Collectively, the projects in the archive tell multiple, imbricated stories of U.S. firms, typologies, and technologies. The office&nbsp;<span style="font-size: 12px;">is&nbsp;led&nbsp;by&nbsp;partners&nbsp;Arielle&nbsp;Assouline-Lichten, Curtis Roth, Cooking Sections: Daniel Fern&aacute;ndez Pascual &amp; Alon Schwabe, Manuel Shvartzberg Carri&oacute;, Matteo Ghidoni, and M-A-U-S-E-R: Mona Mahall &amp; Asli Serbest,</span> <a href="../programming/projects?c=&amp;p=&amp;e=630">&nbsp;8 architects selected from an international open call,</a>&nbsp;along with&nbsp;<span style="font-size: 12px;">visiting experts, and outpost offices distributed worldwide. Over the 25 weeks of the Biennale,&nbsp;Office</span> <i>US</i> <span style="font-size: 12px;">&nbsp;revisits the projects in the archive, their premises and conclusions, to construct an agenda for the future production of architecture.</span> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">For six months, the Office looks simultaneously backward and forward, submitting both historical material and office protocols to contemporary agents of disruption, critique, pessimism, and optimism physically and digitally.&nbsp;<span style="font-size: 12px;">Office</span> <i>US</i> <span style="font-size: 12px;">&nbsp;is simultaneously a repository and a laboratory of ideas and criticism in the form of an alternative architecture office.</span> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">The&nbsp;<span style="font-size: 12px;">OfficeUS&nbsp;</span>Manual, an open source document that will contain a historical selection of office manuals and a set of contemporary entries, will guide along the&nbsp;<span style="font-size: 12px;">Office</span> <i>US</i>&nbsp;Agenda and the&nbsp;<span style="font-size: 12px;">OfficeUS</span>&nbsp;Atlas, The Office&rsquo;s work that will ultimately be published as the OfficeUS New World at the end of the Biennale.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">All content and work produced throughout the biennale will be recorded, broadcasted and transmitted through the online platform of&nbsp;<span style="font-size: 12px;">OfficeUS.</span> </p> </h5> <h5> <br /> <p class="MsoNormal"> <b>Follow the work of Office<i>US</i> on the <a href="http://blog.officeus.org/">Office<i>US</i> Blog here</a>.&nbsp;</b> </p> <p class="MsoNormal">&nbsp;</p> </h5> <div>TO LEARN MORE AND/OR TO SUPPORT THIS PROJECT PLEASE VISIT&nbsp;<a href="http://officeus.org/">OFFICEUS.ORG</a>.</div> <div> <br /> <span style="font-size: 12.222222328186035px; text-align: -webkit-center; text-decoration: underline;"> <a href="http://visitor.r20.constantcontact.com/manage/optin?v=001EYE_9pNc5E3RmfUyXaqES1fVPAw5NAGRBXcQl2lMmE6YaF8mmVrMwcodSL5BlN84mjJhNeKleagMy_CbA9Q3624HvuagSL7MDZk-e1XKL2jLnM0L-wAdCn2GM9vr2shXFaH_V1tR6YiNcropzoFZT4C7YX6S7UNzvB_4XpPnd94%3D"> <b>Get OfficeUS Updates by signing up for the mailing list</b> </a> </span> </div> <h5> <br /> </h5> <div> <b>OfficeUS Partners</b> </div> <div> <!--[if gte mso 9]> <xml> <o:DocumentProperties> <o:Template>Normal.dotm</o:Template> <o:Revision>0</o:Revision> <o:TotalTime>0</o:TotalTime> <o:Pages>1</o:Pages> <o:Words>31</o:Words> <o:Characters>179</o:Characters> <o:Company>Storefront</o:Company> <o:Lines>1</o:Lines> <o:Paragraphs>1</o:Paragraphs> <o:CharactersWithSpaces>219</o:CharactersWithSpaces> <o:Version>12.0</o:Version> </o:DocumentProperties> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <style> /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} </style> <![endif]--> <!--StartFragment--> <p class="MsoNormal">Arielle&nbsp;Assouline-Lichten, Curtis Roth, Cooking Sections: Daniel Fern&aacute;ndez Pascual &amp; Alon Schwabe, Manuel Shvartzberg Carri&oacute;, Matteo Ghidoni, and M-A-U-S-E-R: Mona Mahall &amp; Asli Serbest. &nbsp;</p> <p class="MsoNormal">&nbsp;</p> <!--EndFragment--> </div> <div> <b>Participants</b> </div> <div> <div>A. L. Aydelott and Associates, Acconci Studio, Adrian Smith + Gordon Gill Architecture, Adrian Wilson Associates, AECOM, Albert Kahn Associates, Antoine Predock Architect PC, Arquitectonica, Arthur B. Froehlich and Associates, Asymptote Architecture, ATOPIA, Ayres, York and Sawyer, Bassetti Architects, Benjamin Thompson Associates, Bernard Tschumi Architects, Bohlin Cywinski Jackson, Brown Daltas and Associates, Cambridge Seven Associates, Cannon Design, Carl Koch, Carlos Zapata Studio, Cass Gilbert, Center for Environmental Structure, CRSS Inc., Daniel, Mann, Johnson &amp; Mendenhall, Davis Brody Bond, Delano and Aldrich, Diller Scofidio + Renfro, Donald Hatch and Associates, Duany Plater-Zyberk &amp; Company, Eduardo Catalano, Edward Durell Stone and Associates, Edward Larrabee Barnes Associates, Eero Saarinen and Associates, Eisenman Architects, Ellerbe Becket, Epstein, Frank Lloyd Wright, FXFOWLE Architects, Gehry Partners, Gensler, George A. Fuller Company, Gluckman Mayner Architects, Goettsch Partners, Graham, Anderson, Probst &amp; White, Gunnar Birkerts and Associates, Gwathmey Siegel Kaufman Architects, Harrison and Abramovitz, Harry Weese Associates, Hartman-Cox Architects, Hashim Sarkis Studios, Helmle and Corbett, Henry Killam Murphy, HKS, Inc., Hodgetts + Fung, HOK, Holabird and Root, H&ouml;weler + Yoon Architecture, Hugh Stubbins and Associates, I. M. Pei Architect, Integrus, JAHN, Jerde Partnership, John Hejduk, John Johansen, John Portman and Associates, John Russell Pope, Joseph Allen Stein and Associates, Kevin Roche John Dinkeloo and Associates, Kieran Timberlake, KMW Architecture, Koetter Kim and Associates, Kohn Pedersen Fox Associates, KVA matx, L.E.FT, Lathrop Douglass, LEESER Architecture, Leo A Daly, Leong Leong, LOT-EK, Louis I. Kahn, Louise Braverman, Architect, Machado and Silvetti Associates, MACK Architect(s), Marcel Breuer Associates, MASS Design Group, McKim, Mead &amp; White, Michael Graves and Associates, Michael Maltzan Architecture, Mitchell/Giurgola Architects, Moore Ruble Yudell, Morphosis Architects, Morris Lapidus Associates, MOS Architects, NADAAA, NBBJ, NELSON H2L2, OBRA Architects, Office dA, ORG Organization For Permanent Modernity, over,under, Paul Rudolph, Paul Williams, Payette, Pei Cobb Freed &amp; Partners Architects, Pelli Clarke Pelli Architects, Perkins + Will, Perkins, Fellows and Hamilton, Perry Dean Rogers | Partners Architects, Philip Johnson / Alan Ritchie Architects, Polshek Partnership, Populous, Preston Scott Cohen, Rafael Vi&ntilde;oly Architects, Ralph Lerner Architects, Ralph Rapson, Raymond &amp; Rado, REX Architecture, Richard J. Neutra, Richard Meier and Partners Architects, Robert A.M. Stern Architects, Robert P. Madison International, ROMA Design Group, RoTo Architecture, RTKL, RUR Architecture PC, Safdie Architects, Santos Prescott and Associates, Sasaki Associates, Schultze and Weaver, Selldorf Architects, Sert, Jackson and Associates, Shepley Bulfinch, SHoP, Shreve, Lamb and Harmon, SITE, Skidmore, Owings &amp; Merrill, Slade Architecture, SmithGroupJJR, SO-IL, Sorg Architects, SsD, Stan Allen Architect, Steven Holl Architects, Studio Daniel Libeskind, Studio Hillier, Studio Shanghai, studio SUMO, STUDIOS Architecture, The Architects Collaborative, The Austin Company, The Eggers Group, The Leonard Parker Associates, The Office of Ludwig Mies van der Rohe, Thomas W. Lamb, Tigerman McCurry Architects, Tod Williams Billie Tsien Architects, Toshiko Mori Architect, Town Planning Associates, USIA-Masey, Utile, Venturi, Scott Brown and Associates, Victor A. Lundy, Victor Gruen International, Vincent G. Kling, VJAA, Walker and Gillette, Walter Burley Griffin and Marion Mahony, Warren and Wetmore, WEISS/MANFREDI Architecture/Landscape/Urbanism, William B. Tabler Architects, William E. Parsons, William L. Pereira and Associates, William Welles Bosworth, Wimberly Allison Tong &amp; Goo, Wodiczko + Bonder, WORKac, Yamasaki and Associates, Zago Architecture, Zimmer Gunsul Frasca</div> <div> <br /> </div> <div> <div> <b>Office US Team</b> </div> <div>&nbsp;</div> <div> <b>OfficeUS Leader</b> </div> <div>Storefront for Art and Architecture</div> <div> <br /> </div> <div> <b>Curators</b> </div> <div>Eva Franch i Gilabert, Ana Miljački, &nbsp;Ashley Schafer</div> <div> <br /> </div> <div> <b>Associate Curator</b> </div> <div>Michael Kubo</div> <div> <br /> </div> <div> <b>Assistant Curators</b> </div> <div>Carlos M&iacute;nguez Carrasco, Jacob Reidel</div> <div> <br /> </div> <div> <b>Co-Organizer</b> </div> <div>PRAXIS</div> <div> <br /> </div> <div> <b>Exhibition Design</b> </div> <div>LEONG LEONG: Chris Leong, Dominic &nbsp;Leong, Gabriel Burkett; Jackie Woon &nbsp;Bae, Clare Johnston, Yu-Hsiang Lin, &nbsp;Jane Jonghyun Yi</div> <div> <br /> </div> <div> <b>Graphic Design</b> </div> <div>Pentagram: Natasha Jen; &nbsp;Jeffrey Waldman; Justin Chen, &nbsp;JangHyun Han, Jin Kwang Kim, Oeun &nbsp;Kwon, Yenwei Lui, Lucia Del Zotto</div> <div> <br /> </div> <div> <b>Technology Architecture</b> </div> <div>CASE</div> <div> <br /> </div> <div> <b>Audio-Visual and Lighting Design</b> </div> <div>Arup: Star Davis, Stephanie Hillegas, &nbsp;Matthew Mahon, David Rife</div> <div> <br /> </div> <div> <b>Outpost Network Strategy</b> </div> <div>Therrien-Barley</div> <div> <br /> </div> <div> <b>Media Producer</b> </div> <div>Andrew Fierberg</div> <div> <br /> </div> <div> <b>Web Design</b> </div> <div>M-A-U-S-E-R; Partner &amp; Partners</div> <div> <br /> </div> <div> <b>Publishing Partner</b> </div> <div>Lars Müller Publishers</div> <div> <br /> </div> <div> <b>Media Partner</b> </div> <div>Architizer</div> <div> <br /> </div> <div> <b>Project Coordinator</b> </div> <div>Irina Chernyakova</div> <div> <br /> </div> <div> <b>Research Coordinator</b> </div> <div>Juan Jofre</div> <div> <br /> </div> <div> <b>Development, External Relations, Special Events</b> </div> <div>Kara L. Meyer</div> <div> <br /> </div> <div> <b>Technology and Production Coordinator</b> </div> <div>Piotr Chizinski</div> <div> <br /> </div> <div> <b>Outreach and Communications Manager</b> </div> <div>Zeynep G&ouml;ksel</div> <div> <br /> </div> <div> <b>Project Assistant</b> </div> <div>Natalie Snyder</div> <div> <br /> </div> <div> <b>Praxis</b> </div> <div>Amanda Reeser Lawrence, Margaret &nbsp;Arbanas, Andrew Colopy, Megan Miller, &nbsp;Fred Tang, Irina Verona</div> <div> <br /> </div> <div> <b>Installation Support</b> </div> <div>Ryder Richards</div> <div> <br /> </div> <div> <b>Public Relations</b> </div> <div>Novit&agrave; Communications</div> <div> <br /> </div> <div> <b>Coordination in Venice</b> </div> <div>Chiara Barbieri (Peggy Guggenheim &nbsp;Collection), Designlab, Giacomo Di &nbsp;Thiene &amp; Germano Colonna (Th&amp;Ma &nbsp;Architettura), Saverio Panata &amp; Silvia Zini</div> <div> <br /> </div> <div> <b>MIT Department of Architecture</b> </div> <div>Kyle Barker, Christianna Bonin, Kyle &nbsp;Coburn, Nathan Friedman, Sam</div> <div>Ghantous, Anastasia Hiller, Jessica &nbsp;Jorge, Karen Kitayama, Gabriel &nbsp;Kozlowski, Jasmine Kwak, Patrick Evan &nbsp;Little, Ann Lok Lui, Moojin Park, Austin &nbsp;Smith, Tyler Stevermer, Evelyn Ting, &nbsp;Michael Waldrep, Sarah Weir, Natthida &nbsp;Wiwatwicha, Rixt Woudstra, Wenfei Xu; &nbsp;Support: Daniel Chang, Kristina &nbsp;Eldrenkamp, Nicolo Guida, Lee Moreau, &nbsp;David Oliver, Chiranit Prateepasen, &nbsp;Claire Shafer, Trygve Wastvedt</div> <div> <br /> </div> <div> <b>Austin E. Knowlton School at The Ohio State University</b> </div> <div>Laila Ammar, Levi Bedall, Tyler &nbsp;Brozovich, Joe Carifa, Nicholas &nbsp;Castillo, Luke Dougal, Clay Ellerbrook, &nbsp;Abdelrahman Elzamly, Talia Friedman, &nbsp;Chris Mannella, Nicholas Miller, Dustin&nbsp;<span style="font-size: 12px;">Page, Darren Spensiero, Alexander &nbsp;Stagge, Jacqueline Stern, Jianning &nbsp;Zhong, Michael Zumpano</span> </div> <div> <br /> </div> <div> <b>Project Contributors</b> </div> <div>Daniel Barber, Barry Bergdoll, Phil &nbsp;Bernstein, Brett Beyer, Aleksandr Bierig, &nbsp;Michael Blackwood, Gabrielle Brainard, &nbsp;Felix Burrichter, Beatriz Colomina, &nbsp;Designers Assembly, Peggy Deamer, &nbsp;Elizabeth Diller, Keller Easterling, &nbsp;Branden Hookway, Timothy Hyde, &nbsp;Christophe Laudamiel, Miguel McKelvey, &nbsp;Ijlal Muzaffar, Jorge Otero-Pailos, &nbsp;Johnathan Puff, Pierce Reynoldson, &nbsp;Ivan Rupnik, Hilary Sample, Denise &nbsp;Scott Brown, Amie Siegel, Slow and &nbsp;Steady Wins the Race by Mary Ping, &nbsp;Studio Indefinit, Omar Sosa, Liam &nbsp;Young, Claire Zimmerman</div> <div> <br /> </div> <div> <b>Project Support</b> </div> <div>Silvia Callegari, Michelle Callinan, &nbsp;Tyrene Calvesbert, Diandra Cohen, &nbsp;Ian Costello, Ashely Kuo, Francesca &nbsp;Lantieri, Itzel Lavanderos, Anu Lill, &nbsp;Yuma Shinohara, Michael Signorile, &nbsp;Zaina Soueid, Melody Stein, Elise Stella, &nbsp;Mario Torres</div> <div> <br /> </div> <div> <b>Project Advisors</b> </div> <div>Laurie Beckleman, Aaron Betsky, &nbsp;Holly Block, Beatriz Colomina, Keller &nbsp;Easterling, Campbell Hyers, Cathy &nbsp;Lang Ho, James von Klemperer, Marc &nbsp;Kushner, Lars Müller, Douglass Rice,</div> <div>Bob Rubin, Sylvia J. Smith, Lisa &nbsp;Phillips, Artur Walther, Sarah Whiting, &nbsp;Karen Wong</div> <div> <br /> </div> <div> <b>Special Thanks</b> </div> <div>Peter Aaron, Iris Alonzo, Zahra Ali Baba, Dana Aljouder, Alan I. Appel, Iwan Baan, Roberta Bartalone, Barry Beagan, Cameron Blaylock, Gary Boyd, Roy Brand, Beth Broome, Abby Bussel, Michelle Callinan, Anna Canepa, Bryan Cave LLP: Alan Appel, Greg Galvin, Nicole Gates, Robert Lancaster, Margery Perlmutter, Stefan Skulesch; Michael Cadwell, Rebecca Chamberlain, Alan Cross, Nicholas de Moncheaux, Patricia Driscoll, Ignacio Peydro Duclos,&nbsp;<span style="font-size: 12px;">Ellen Finnie Duranceau, Nazareth Ekmakijan, Igor Ek&scaron;tajn, Rami el Samahy, Britt Eversole, Alia Farid, Enrico Fontanari, Christine Foushee, Frener &amp; Reifer: Thomas Geissler, Michael Purzer; Curt Gambetta, Emil Rodriguez Garabot, Joseph Grima, Roland Halbe, Jim Harrington, Sarah Herda, Dessen Hillman, Adam Himes, Sarah Hirschman, Margaret Ho, Mark Jarzombek, Duncan Kincaid, Arianne Kouri, Naho Kubota, Neil Levine, Rungu Lin, Rob Livesey, Hannah&nbsp;</span> <span style="font-size: 12px;">Loomis, Elizabeth Gill Lui, Sebastian Lux, Richard Mandelkorn, Sandro Marpillero, Melissa Marsh, Jack Masey, Lorrie A. McAllister, Brendan McGetrick, Cathleen McGuigan, John McLaughlin, Franco Micucci, Antoni Muntadas, Hansrobyn van Oosten, Janet Parks, Beverly Payeff-Masey, Neal Prince, Ivan Ra&scaron;ković, Julian Rose, Marco Roso, Marco Ariso Rota, Ryan Rothman, Joel Sanders, Ad&egrave;le Naud&eacute; Santos, Kelly Schein, Ori Scialom, Neslihan Sen, Karin &Scaron;erman, Douglas Sershen, Sarah Sherman, Tarek Shuaib, Amber Sinicrope, Alexandra Lee Small, Erica Stoller, Hicks Stone, Sam Sweezy, Nader Tehrani, Wayne Thom, Allie&nbsp;</span> <span style="font-size: 12px;">Turner, Dicle Uzunyayla, Gary Van Zante, Ana Cristina Vargas, Mariel Viller&eacute;, Ann Whiteside, Jaren Wilcoxson, Mark Young, Ines Zalduendo</span> </div> <div> <span style="font-size: 12px;"> <br /> </span> </div> <div> <span style="font-size: 12px;"> <b>Sponsors</b> </span> </div> <div> <span style="font-size: 12px;"> <!--[if gte mso 9]> <xml> <o:DocumentProperties> <o:Template>Normal.dotm</o:Template> <o:Revision>0</o:Revision> <o:TotalTime>0</o:TotalTime> <o:Pages>1</o:Pages> <o:Words>287</o:Words> <o:Characters>1636</o:Characters> <o:Company>Storefront</o:Company> <o:Lines>13</o:Lines> <o:Paragraphs>3</o:Paragraphs> <o:CharactersWithSpaces>2009</o:CharactersWithSpaces> <o:Version>12.0</o:Version> </o:DocumentProperties> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <!--[endif] --> <!--StartFragment--> <p class="MsoNormal">Austin E. Knowlton School of Architecture at the Ohio State University, Autodesk (Creative Partner), Bureau of Educational and Cultural Affairs, US Department of State, Herman Miller (Creative Partner), Peggy Guggenheim Collection, Venice (Solomon R. Guggenheim Foundation, New York), The Massachusetts Institute of Technology, Department of Architecture; AECOM, Arup, Esto, Graham Foundation for Advanced Studies in the Fine Arts, Hewlett Packard | AMD, Kohn Pedersen Fox Associates (KPF), Reggiani S.p.A. Illuminazione; American Apparel, Elise Jaffe + Jeffrey Brown, Frederick Iseman, FXFOWLE Architects, MakerBot, Oldcastle BuildingEnvelope, Robert Melvin Rubin and St&eacute;phane Samuel, Skidmore, Owings &amp; Merrill LLP, Walther Family Foundation; Arthur H. Schein Memorial Fund, JAHN; Cornell University, Lanny and Sharon Martin, OTTO Archive, RTKL, The University of San Diego; Charles Renfro, Control Group, Harman, Iwan Baan, Michael A. Manfredi and Marion Weiss, Peter Aaron, RD RICE Construction Inc., The American Institute of Architects; Acci&oacute;n Cultural Espa&ntilde;ola, Adrian Smith + Gordon Gill, Barbara Jakobson, Beth Rudin DeWoody, Daniel and Estrellita Brodsky, David and Jane Walentas, Elizabeth Gill Lui, Eva Ching and Jeff Small, Frederieke Taylor, Knowlton School Alumni Society, Lauren Kogod &amp; David Smiley, Michael Blackwood Productions Inc., Richard Mishaan Design, Roland Halbe Fotografie, Todd DeGarmo, Toshiko Mori Architect PLLC; American Printing Company, Armando Delatorre, Belmont Freeman, Brian Butterfield, Carlos Brillembourg and Karin Waisman, C &amp; M Shade Corporation, Claudia Gould, Eades Appliance Technology (E.A.T.), Holly Block, Jinhee Park and John Hong, SsD, Karen Wong, Linda and Harry Macklowe, Lucy Bullivant, Mabel Wilson, Margery Perlmutter, NRI (National Reprographics Inc.), Sara P. Meltzer, Sheila Kennedy, AIA &amp; Juan Frano Violich, FAIA, Soho Art Materials, Steven T. Incontro and David Joselit, The Legacy Companies, The Henry Ford, Vram Malek</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <img src="../images/tinyMCE_upload/all_logos.png" width="500" height="326" /> </p> <!--EndFragment--> </span> </div> </div> <div> <br /> </div> <div> </div> </div>
OfficeUS: OUTPOSTS 24 July 2014 04:36:20 EST http://www.storefrontnews.org/programming/projectss?e=639

Wednesday June 4, 2014

<p> <span style="font-size: 12px;">OfficeUS Outpost</span> </p> <p> <span style="font-size: 12px;">July 15, 2014 - August 30, 2014</span> </p> <p> <span style="font-size: 12px;"> <br /> </span> </p> <p> <span style="font-size: 12px;">OfficeUS</span>&nbsp;<span style="font-size: 12.222222328186035px; background-color: #ffffff;">&nbsp;is an architecture collective, with its first headquarters in the US Pavilion at the 2014 Venice Architecture Biennale, that aims to redefine the terms of design and production of architecture on a global scale. Participation in&nbsp;</span>&nbsp;<span style="font-size: 12px;">OfficeUS</span>&nbsp;<span style="font-size: 12.222222328186035px; background-color: #ffffff;">&nbsp;is an act of architectural generosity towards the production of ideas and projects beyond current social, economical, pedagogical and disciplinary constraints.</span> </p> <p>&nbsp;</p> <p> <span style="font-size: 12px;">OfficeUS</span> <i>&nbsp;</i>Partners<i>&nbsp;</i>invited 90 architects worldwide to participate in the activities of a global architecture office. OfficeUS Outposts contribute their voices, expertise and skills to&nbsp;<span style="font-size: 12px;">OfficeUS&nbsp;</span> <span style="font-size: 12px;">on a regular basis.&nbsp;</span> <span style="font-size: 12px;">The selected members of the Office</span> <i>US</i> <span style="font-size: 12px;"> Outpost Community are architects working within corporate offices, small firms, government agencies, universities or independently.</span> </p> <p>&nbsp;</p> <p> <span style="font-size: 12px;"> <span style="font-size: 12px;">Throughout the 25 weeks of the Venice Architecture Biennale, a series of 25&nbsp;</span> <span style="outline-width: 0px; font-size: 12.222222328186035px;">Office</span> <span style="font-size: 12px;">&nbsp;</span> <i>US</i> <span style="font-size: 12px;">&nbsp;Issues (ranging from Public Housing to Smart Materials) provide the framework of OfficeUS</span> <i>&nbsp;</i> <span style="font-size: 12px;">inquiry.&nbsp;</span>OfficeUS</span>&nbsp;Outpost Architects participate from their local base in the development and implementation of projects in collaboration with the 6&nbsp;<span style="font-size: 12px;">OfficeUS</span>&nbsp;Partners in residence at the&nbsp;<span style="font-size: 12px;">OfficeUS</span>&nbsp;Headquarters in the US Pavilion at the 2014 Venice Architecture Biennale.&nbsp;<span style="font-size: 12px;">The projects will be ultimately compiled in the OfficeUS New World book, published by Lars Muller.</span> </p> <p>&nbsp;</p> <p>The Storefront Gallery in New York is an open base for OfficeUS Outposts and visitors to engage with the content and activities of OfficeUS.</p> <p>&nbsp;</p> <p> <span style="font-size: 12px;">Other OfficeUS Outposts are:&nbsp;</span> </p> <p>&nbsp;</p> <p> <!--[if gte mso 9]> <xml> <o:DocumentProperties> <o:Template>Normal.dotm</o:Template> <o:Revision>0</o:Revision> <o:TotalTime>0</o:TotalTime> <o:Pages>1</o:Pages> <o:Words>521</o:Words> <o:Characters>2971</o:Characters> <o:Company>Storefront for Art and Architecture</o:Company> <o:Lines>24</o:Lines> <o:Paragraphs>5</o:Paragraphs> <o:CharactersWithSpaces>3648</o:CharactersWithSpaces> <o:Version>12.0</o:Version> </o:DocumentProperties> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman"; mso-fareast-font-family:"Times New Roman"; mso-bidi-font-family:"Times New Roman";} --> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> </p> <p class="MsoNormal"> <b> <span style="font-size: 10.0pt; mso-bidi-font-size: 19.0pt; font-family: Arial; mso-bidi-font-family: &quot;Times New Roman&quot;; color: black;"> <a href="http://www.allardvanhoorn.com/"> <span style="mso-bidi-font-size: 12.0pt; color: black;">Allard van Hoorn,</span> </a>&nbsp;<a href="http://www.french2d.com/"> <span style="mso-bidi-font-size: 12.0pt; color: black;">Anda French,</span> </a>&nbsp;<a href="http://antonas.blogspot.gr/"> <span style="mso-bidi-font-size: 12.0pt; color: black;">Aristide Antonas,</span> </a>&nbsp;<a href="http://austin-mergold.com/"> <span style="mso-bidi-font-size: 12.0pt; color: black;">Austin Mergold,</span> </a>&nbsp;Ben Brady,&nbsp;Benjamin Porto,&nbsp;<a href="http://www.issuu.com/cara.liberatore/docs/liberatore_cara_portfolio"> <span style="mso-bidi-font-size: 12.0pt; color: black;">Cara Liberatore,</span> </a>&nbsp;Caroline Smith,&nbsp;<a href="http://www.cpiuc.com/"> <span style="mso-bidi-font-size: 12.0pt; color: black;">Carla Seppe,</span> </a>&nbsp;<a href="http://www.cpiuc.com/"> <span style="mso-bidi-font-size: 12.0pt; color: black;">Cheryl Wing-Zi Wong,</span> </a>&nbsp;Chrissi Nasz,&nbsp;<a href="http://miniatura.cc/"> <span style="mso-bidi-font-size: 12.0pt; color: black;">Ciro Miguel,</span> </a>&nbsp;<a href="http://www.boym.com/"> <span style="mso-bidi-font-size: 12.0pt; color: black;">Constantin Boym,</span> </a>Daniel Tudor Munteanu,&nbsp;<a href="http://www.daniellerago.com/"> <span style="mso-bidi-font-size: 12.0pt; color: black;">Danielle Rago,</span> </a>&nbsp;<span style="mso-bidi-font-size: 12.0pt; color: black;"> <a href="http://www.adengoarchitects.com/">Doreen Adengo,</a>&nbsp;</span> <a href="http://issuu.com/eva_alvarez/docs/gomez_alvarez_arquitectes__february/8"> <span style="mso-bidi-font-size: 12.0pt; color: black;">Eva Alvarez,</span> </a>&nbsp;<a href="http://bit.ly/1fGrC2R"> <span style="mso-bidi-font-size: 12.0pt; color: black;">Fabio Gigone,</span> </a>&nbsp;<a href="http://europaconcorsi.com/authors/2144620922-Fabrizio-Furiassi"> <span style="mso-bidi-font-size: 12.0pt; color: black;">Fabrizio Furiassi,</span> </a>&nbsp;<a href="http://www.christ-gantenbein.arch.ethz.ch/fruhlingssemester-2014.html"> <span style="mso-bidi-font-size: 12.0pt; color: black;">Filippo Cattapan,</span> </a>&nbsp;<a href="http://www.tenonearch.com/"> <span style="mso-bidi-font-size: 12.0pt; color: black;">Garrick Jones,</span> </a>&nbsp;Hanna Espinosa,&nbsp;<a href="http://smharch.com/"> <span style="mso-bidi-font-size: 12.0pt; color: black;">Henry Smith-Miller,</span> </a>&nbsp;<a href="http://www.oiio.gr/"> <span style="mso-bidi-font-size: 12.0pt; color: black;">Ioannis Oikonomou,</span> </a>&nbsp;Jean Benoit Vetillard,&nbsp;<a href="http://www.french2d.com/"> <span style="mso-bidi-font-size: 12.0pt; color: black;">Jenny French,</span> </a>&nbsp;<a href="http://jonathancrisman.net/"> <span style="mso-bidi-font-size: 12.0pt; color: black;">Jonathan Crisman,</span> </a>&nbsp;<a href="http://www.paradoxcity.org/"> <span style="mso-bidi-font-size: 12.0pt; color: black;">Jorg Sieweke,</span> </a>&nbsp;Juan Molina Restrepoe,&nbsp;<a href="http://www.possiblemediums.com/"> <span style="mso-bidi-font-size: 12.0pt; color: black;">Kristy Balliet,</span> </a>&nbsp;Lisa Pauli,&nbsp;<a href="https://www.facebook.com/pages/Luis-Diego-Quiros-Arquitectura/128782853838280?ref=hl"> <span style="mso-bidi-font-size: 12.0pt; color: black;">Luis Diego Quiros Pacheco,</span> </a>&nbsp;<a href="http://www.linkscale.org/"> <span style="mso-bidi-font-size: 12.0pt; color: black;">Maj Plemenitas,</span> </a>&nbsp;<a href="http://www.pilarpinchart.com/"> <span style="mso-bidi-font-size: 12.0pt; color: black;">Maria Pilar Pinchart,</span> </a>&nbsp;Mart Schaefer,&nbsp;<a href="http://www.matthewmessner.com/"> <span style="mso-bidi-font-size: 12.0pt; color: black;">Matthew Messner,</span> </a>&nbsp;<a href="http://www.terreform.org/"> <span style="mso-bidi-font-size: 12.0pt; color: black;">Mitchell Joachim,</span> </a>&nbsp;<a href="http://issuu.com/nazaninnayini/docs/naeini_portfolio-13"> <span style="mso-bidi-font-size: 12.0pt; color: black;">Nazanin Naeini,</span> </a>&nbsp;<a href="http://www.nickaxel.net/"> <span style="mso-bidi-font-size: 12.0pt; color: black;">Nick Axel,</span> </a>&nbsp;Nikoletta Filippidou,&nbsp;</span> </b> <b> <span style="font-size: 10pt; font-family: Arial;"> <a href="http://kydcaa.com/">Pablo Costa,</a>&nbsp;Pamela Ritchot,&nbsp;Paolo Migliori,&nbsp;<a href="https://www.linkedin.com/profile/view?trk=nav_responsive_tab_profile&amp;id=86714383">Patrizia Toscano,</a>&nbsp;<a href="http://www.paulpreissner.com/">Paul Preissner,</a>&nbsp;<a href="http://petermacapia.com/">Peter Macapia,</a>&nbsp;<a href="http://phillipdenny.com/">Phillip Denny,</a>&nbsp;<a href="http://dsgnagnc.com/">Quilian Riano,</a>&nbsp;<a href="http://www.schneider-schumacher.de/de/buero/standorte">Ragunath Vasudevan,</a>&nbsp;<a href="http://www.sahramotalebi.com/">Sahra Motalebi,</a>&nbsp;<a href="http://arch.rice.edu/People/Faculty/Sam-Stewart-Halevy">Samuel Stewart-Halevy,</a>Sara Dean,&nbsp;Sasa Zivkovic,&nbsp;<a href="http://selma-alihodzic.com/">Selma Alihodzic,</a>&nbsp;Sindy Mart&iacute;nez Lortia,&nbsp;<a href="http://agencyarchitecture.com/">Stephen Mueller,</a>&nbsp;<a href="http://tallerdecasqueria.com/">Taller de Casquer&iacute;a Collective,</a>&nbsp;Tamar Alon, and Ted Landrum.</span> </b> </p> <p>&nbsp;</p> <p>Outposts Applications were received from more than 300 locations worldwide.&nbsp;</p> <p> <iframe width="425" height="350" frameborder="0" scrolling="no" marginheight="0" marginwidth="0" src="https://www.google.com/maps/ms?hl=en&amp;ie=UTF8&amp;oe=UTF8&amp;msa=0&amp;msid=213263596755166446011.0004f999ebf24a5f3d1e9&amp;ll=11.072998,15.173647&amp;spn=97.681741,275.699709&amp;t=m&amp;output=embed"> </iframe> <br />View <a href="https://www.google.com/maps/ms?hl=en&amp;ie=UTF8&amp;oe=UTF8&amp;msa=0&amp;msid=213263596755166446011.0004f999ebf24a5f3d1e9&amp;ll=11.072998,15.173647&amp;spn=97.681741,275.699709&amp;t=m&amp;source=embed">Outposts</a> in a larger map </p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p>
OfficeUS: OLFACTORY DESIGN 27 June 2014 05:50:27 EST http://www.storefrontnews.org/programming/projectss?e=623

Wednesday June 4, 2014 – Sunday November 23, 2014

<p class="MsoNormal"> <i>OfficeUS Scents</i> </p> <p class="MsoNormal">June 4 &ndash; November 21, 2014</p> <p class="MsoNormalCxSpMiddle">By Christophe Laudamiel<b> <span style="font-family: Arial;"> </span> </b> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <i>OfficeUS Scents</i> is a project by Christophe Laudamiel at the 14th International Architecture Exhibition &ndash; la Biennale di Venezia as part of the U.S. Pavilion project Office<i>US</i>. <span style="mso-spacerun: yes;">&nbsp;</span>The project constructs olfactory spaces for the five rooms in the Office<i>US</i> as a sensorial historiography and critique of the projects and offices contained in the Repository and as a spatial materialization of the functions contained in each room. </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>Room 1: 1914-1960: THE BOOK THIEF No 5</b> </p> <p class="MsoNormal">While historical records allow us to understand the past through the reconstruction of visual, textual or material portraits and approximations of physical and measurable conditions, the history of scents is still an uncharted historical territory. While other senses have undergone a process of rationalization and scientific quantification and representation, including vision, hearing (from music to the spoken word), and touch (through temperature), smell has been difficult to quantify and measure.<span style="mso-spacerun: yes;">&nbsp; </span>Olfactory records are still today hard to find even when recognized as one of the most powerful tools for space-making. </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">&ldquo;The Book Thief,&rdquo; the first scent of Office<i>US</i>, is a scent that transports the visitor from the Giardini into an imaginary fictional past, filling the room that displays the first five decades of U.S. architectural work produced abroad. Made of wooden and fabric leather shades, &ldquo;The Book Thief&rdquo; scent transforms and transports the olfactory space of the visitor into an early 20th century office of wooden desks and leather books. </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>Room 2: 1961-2000: NEROLITO No 2,&nbsp;</b> </p> <p class="MsoNormal">In an imaginary hyper globalized context, where people, buildings and foods, will extrinsically be all the same, one of the discerning aspects and qualities of cities and territories will be associated with the scents that emanate from the local mix of land, air, vegetation and built matter. </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">The range of locations, styles, politics and economics of buildings produced by US firms around the world during the second half of the twentieth century is mostly characterized by the corporate office building of air-conditioned spaces and high reflections facades. The oil boom of the 60&rsquo;s propagated an architecture of glass and steel that remained mostly isolated from its context. &ldquo;Nerolito No 2&rdquo; borrows its name, &ldquo;small Neroli&rdquo; in Italian, from &ldquo;Neroli&rdquo;, the jargon term used by perfumers worldwide to describe Orange Flower Essence, one of the best-accepted scents worldwide common to many cultures and discernible by young and adult bodies. According to scientific studies, citrus smells are aromatic assets that produce a relaxing effect curbing stress and anxiety. &ldquo;Nerolito No 2&rdquo; appears in the section of Office<i>US</i> where office buildings do not appear only as buildings but also as the carries of a culture of work, production and modern life detached from physical and emotional contexts.<span style="mso-spacerun: yes;">&nbsp; </span>While emotional distress and contextual isolation is still present in the work environment worldwide, new research in work environments, like the new headquarters for Facebook, is indeed closer to the orange orchard field.<span style="mso-spacerun: yes;">&nbsp; </span> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">&ldquo;Nerolito No 2&rdquo; also contains the woody-frankincense molecule found naturally in orange peel, Bergamot oil from Italy, Sicilian Mandarins, a brushstroke of moss and blond vetyver soft notes. &nbsp;Thus &ldquo;Nerolito No 2&rdquo; is at the same time a global scent and a reminder of the forgotten olfactory spaces that buildings erase. </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>Room 3: Rotunda: OFFICEUS DRAPE No 20</b> </p> <p class="MsoNormal">The emergence of digital work and new social habits that allow us to work anywhere, anytime, has consequently blurred the distinction between work and play, leisure and duty, reprogramming and dematerializing traditional spatial demarcations, with a tendency for all activities to converge ultimately into one space: the bed. A place where the love and lust for work and life can equally be performed is in the rotunda of Office<i>US</i>, induced with &ldquo;Drape No 20,&rdquo; a scent that perpetually constructs the feeling of fresh blankets, of a perfect now, of omnipresent newness and &ldquo;nowness&rdquo;. <span style="mso-spacerun: yes;">&nbsp;</span> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>Room 4: 2001-2008:&nbsp; SPACEWOOD No 40SUS</b> </p> <p class="MsoNormal">While the sense of smell is often associated with memory, scent operates as any other language participating in the construction of new cognitive territories. Our sensorium constantly tries to make sense of smells, associating them to past or acquired experiences, yet there are new smells that, when not attached to new experiences, might be able to trigger a new, uncharted and perhaps future space.<span style="mso-spacerun: yes;">&nbsp; </span>While language constructs new words through neologisms, composite figures or borrowings, new scents can be constructed by understanding what different and new associations they enable within our sensorium. The correlation between the scent and its perceived significance or meaning is more complex than the direct correlation between words and meaning. Violet Leaves, a precious ingredient only to be found in farms near Egypt and one of the economy motors for the farmers for that region, smells like fresh cucumber; Blue Chamomile smells like plastic and rubber and Polygonum essence and Cilantro molecules smell, for instance, quite electric. &nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">&ldquo;SpaceWood&rdquo; has been designed with Bergamot coupled with anis, hawthorn and acacia flower notes that ultimately produce a neon-green and yellow landscape that occupies olfactory spaces yet to be learned, apprehend and understood. As an experiment for the visitor and for Office<i>US</i>, &ldquo;SpaceWood&rdquo; is yet to be described.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>Room 5: 2009-2014:&nbsp; SQUEEZE ME B FULL 2, or how to project a freshly squeezed lemon onto the walls</b> </p> <p class="MsoNormal">A constant olfactory experience is conditional to a constant state of change. The mechanisms of our olfactory system function in such a manner that our body stops registering scents over a certain time of exposure as a way to adapt to contextual conditions and be able to sense change. The fifth room of Office<i>US</i>, which encompasses the kitchen of the experimental office, smells as if one is slicing a lemon, constructing a background scent that allows all of the scents emerging from the kitchen to be revealed within this fresh neutrality. </p> <p class="MsoNormal">&nbsp;</p> <p> <!--[if gte mso 9]> <xml> <o:DocumentProperties> <o:Template>Normal.dotm</o:Template> <o:Revision>0</o:Revision> <o:TotalTime>0</o:TotalTime> <o:Pages>1</o:Pages> <o:Words>914</o:Words> <o:Characters>5214</o:Characters> <o:Company>Storefront</o:Company> <o:Lines>43</o:Lines> <o:Paragraphs>10</o:Paragraphs> <o:CharactersWithSpaces>6403</o:CharactersWithSpaces> <o:Version>12.0</o:Version> </o:DocumentProperties> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> <w:UseFELayout /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> </p> <p class="MsoNormal"> <i>Scents at OfficeUS are displayed by microprecise scent players from AirQ, a Prolitec brand, based in Milwaukee, WI, USA: <a href="http://www.airq.com/"> <span style="color: windowtext; text-decoration: none; text-underline: none;">www.airq.com</span> </a>&nbsp;&nbsp;</i> </p> <p class="MsoNormal"> <i> <br /> </i> </p> <p class="MsoNormal"> <i>The project is sponsored by Prolitec and DreamAir.</i> </p> <p class="MsoNormal">&nbsp;</p>
OfficeUS: 7 FUNDAMENTAL VIEWS OF THE ARCHITECTURE OFFICE 27 June 2014 05:50:27 EST http://www.storefrontnews.org/programming/projectss?e=626

Wednesday June 4, 2014 – Sunday November 23, 2014

<p>As part of the research project of OfficeUS in the contemporary forms of architecture practice,&nbsp;<span style="font-size: 12.222222328186035px;">"7 Fundamental Views of 20 Architecture Offices" by Brett Beyer is a photography project with a specific focus on office spaces in New York. The project portrais and depicts the working landscape of the contemporary architecture office through&nbsp;</span> <span style="font-size: 12.222222328186035px;">seven specific elements:&nbsp;</span> </p> <p> <span style="font-size: 12.222222328186035px;"> <br /> </span> </p> <p>1. The Reception / Entrance threshold</p> <p>2. Drafting Table /Computer Desk</p> <p>3. Printer/Plotting&nbsp;</p> <p>4. Models /Fabrication Shop</p> <p>5. Plans / Meeting Table</p> <p>6. Escape /library, space of relax, sofa, bed, yoga, stairwell, balcony, kitchen,.../&nbsp;</p> <p>7. Best View&nbsp;</p> <p>&nbsp;</p> <p>The full project will be exhibited in Venice at the US Pavilion the week of &nbsp;9/12 - 9/18 addressing the OfficeUS issue "<span style="font-size: 12.222222328186035px;">Around the Clock".</span> </p> <p> <span style="font-size: 12.222222328186035px;"> <br /> </span> </p>
OfficeUS: VERNISSAGE / June 4-6, 2014 7 July 2014 12:06:00 EST http://www.storefrontnews.org/programming/eventss?e=631

Wednesday June 4, 2014 – Friday June 6, 2014

<p> <b>OfficeUS Opening Bites Dinner</b> </p> <p> <a href="https://www.flickr.com/photos/storefront/sets/72157644746550610/"> <i>View photos</i> </a> </p> <p>On June 4, 2014, OfficeUS gathered distinguished guests, project supporters and team members, at InParadiso to celebrate the launch of OfficeUS. The dinner, created by <a href="http://storefrontnews.org/programming/projects?c=&amp;p=&amp;e=630">OfficeUS Partners</a> Cooking Sections, included a menu composed considering the realities of postwar America where the refrigerator, microwave and other modern conveniences were used as key ingredients to create bites of history inspired from the OfficeUS Repository.&nbsp;</p> <p>&nbsp;</p> <p>To view the full menu, <a href="http://blog.officeus.org/?p=82&amp;utm_source=VENICE+REPORT+_OFFICEUS+LAUNCH&amp;utm_campaign=OFFICEUS&amp;utm_medium=email">click here</a>.&nbsp;</p> <p>&nbsp;</p> <p> <img src="../images/tinyMCE_upload/14412853952_9d233ffa41.jpg" width="500" height="333" /> </p> <p> <span style="font-size: 9px;">Photo by Tammy Shell.</span> </p> <div> <span style="font-size: 9px;"> <br /> </span> </div> <p> <b>OfficeUS Press Conference</b> </p> <p> <i> <a href="https://www.flickr.com/photos/storefront/sets/72157644746692618/">View photos</a> </i> </p> <p>The press conference on June 5, 2014 included presentations by the U.S. State Department and the three curators of OfficeUS. The full OfficeUS team was introduced around the courtyard table designed by Leong Leong, the new open meeting room of the office in the Giardini. Following the press conference, OfficeUS hosted an Office Party to celebrate the launch of OfficeUS.&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p> <img src="../images/tinyMCE_upload/14455490101_baf14d07f7.jpg" width="500" height="333" /> </p> <p> <span style="font-size: 9px;">Photo by Nicolo Gemin.</span> </p> <p>&nbsp;</p> <p>&nbsp;</p> <p> <b>OfficeUS Mission Statement: Peggy Guggenheim Cocktail Reception</b> </p> <p> <a href="https://www.flickr.com/photos/storefront/sets/72157645149625502/"> <i>View Photos</i> </a> </p> <p>On June 5th, a cocktail party with more than 1,000 guests took place at the Peggy Guggenheim Collection where everyone toasted the history of U.S. firms and the future that lies ahead with a specialty drink "the Guggenheim Effect" designed by <a href="http://storefrontnews.org/programming/projects?c=&amp;p=&amp;e=630">OfficeUS Partners</a> Cooking Sections.&nbsp;</p> <p>&nbsp;</p> <p> <i>Who Owns The Guggenheim Effect? is a cocktail containing different spices, tomato, vodka and a piece of fresh Italian pasta cut with the shape of the Guggenheim Bilbao Museum, specially developed for the opening party of OfficeUS at the Peggy Guggenheim Collection, Venice. Recently, the Guggenheim Foundation threatened to sue an Italian chef in Bilbao for creating pasta in the shape of the elevation of their museum. The concept of our piece consisted of re-appropriating the appropriation of the image of a building. We brought it into the museum itself to open up the discussion about the ownership of cultural/architectural icons and their socioeconomic implications. In the glass, there was also a little flag reading the title of the intervention.&nbsp;</i> <span style="font-size: 12px;"> <i>MakerBot was an incredible tool to produce the pasta cutters with a sharp edge and would like to keep on working with it in the future.</i> </span> </p> <p>- Cooking Sections</p> <p>&nbsp;</p> <p>&nbsp;</p> <p> <b>About Cooking Sections</b> </p> <p>Based in London, Daniel Fern&aacute;ndez Pascual and Alon Schwabe create new critical methods of mapping territories and urbanism through their trajectory of geopolitical cooking performances. After meeting at the Centre for Research Architecture, Goldsmiths, University of London, they founded Cooking Sections: a research-practice that cooks site-specific edible maps of boundaries, thresholds, events, buildings, architectures, landscapes, oddities and anomalies. Past performances have taken place at Storefront for Art and Architecture, New York; The Bartlett, London; Institut F&uuml;r Raumexperimente, Berlin; dOCUMENTA(13); TEDx Talks, Madrid; Halle14, Leipzig; Polytechnic Architecture School ETSAM, Madrid; Fiorucci Art Trust, London amongst others. They have been associate residents participating in The Politics of Food program, at Delfina Foundation, London.</p> <div> <br /> </div>
OfficeUS: REPOSITORY 8 July 2014 04:11:06 EST http://www.storefrontnews.org/programming/projectss?e=634

Wednesday June 4, 2014 – Tuesday July 31, 2035

<p> <span style="font-family: Arial; font-size: small;"> <span style="white-space: pre-wrap;">The OfficeUS Repository presents a curated collection of 1001 architecture projects from the last 100 years designed by 200 U.S. based architecture firms and realized abroad. Each participating office and each project is represented in individual binders through photographs, architectural documentation, descriptive texts, key publications, and other miscellaneous documents.&nbsp;</span> </span> </p> <p> <span style="font-family: Arial; font-size: small;"> <span style="white-space: pre-wrap;">&nbsp;</span> </span> </p> <p> <span style="font-family: Arial; font-size: small;"> <span style="white-space: pre-wrap;">Wrapping the interior of the US Pavilion, the &nbsp;Repository &nbsp;binders produce a visual field of projects. The covers depict firm logos, years of production, a photograph and other information to allow an overview of each project. Visitors are invited to sit down and read the project and office binders.&nbsp;</span> </span> </p> <p> <span style="font-family: Arial; font-size: small;"> <span style="white-space: pre-wrap;">&nbsp;</span> </span> </p> <p> <span style="font-family: Arial; font-size: small;"> <span style="white-space: pre-wrap;">The Repository also contains the work of over &nbsp;200 U.S. based architecture offices , of which approximately 90 are currently practicing. These range from historically established practices such as Holabird &amp; Root, SOM, and Albert Khan, to young firms such as over,under and SO-IL.&nbsp;</span> </span> </p> <p> <span style="font-family: Arial; font-size: small;"> <span style="white-space: pre-wrap;">&nbsp;</span> </span> </p> <p> <span style="font-family: Arial; font-size: small;"> <span style="white-space: pre-wrap;">The research for the Repository is an ongoing project that consists of archival research, field research and primary sources provided by current architectural firms. This research includes both carefully chosen archival and secondary sources, and compiles architectural documentation in the form of photographs and drawings, discourse in the form of published articles, and other miscellaneous materials.</span> </span> </p> <p> <span style="font-family: Arial; font-size: small;"> <span style="white-space: pre-wrap;"> <br /> </span> </span> </p> <p> <span style="font-family: Arial; font-size: small;"> <span style="white-space: pre-wrap;">More material to be considered for inclusion in the OfficeUS Repository can be sumbitted by visiting the Officeus.org website.&nbsp;</span> </span> </p>
OfficeUS: PUBLICATIONS 7 July 2014 13:15:44 EST http://www.storefrontnews.org/programming/projectss?e=632

Sunday June 1, 2014

<p> <b>Office<i>US</i> Publications</b> </p> <p>Purchase the Office<i>US</i> Agenda below or online at: officeus.org or lars-mueller-publishers.com</p> <p>&nbsp;</p> <p> <b>Agenda</b> </p> <p> <span style="outline-width: 0px; font-size: 12.222222328186035px;">Edited by Eva Franch i Gilabert, Ana Milijački, Ashley Schafer, Amanda Reeser Lawrence</span> </p> <p> <span style="outline-width: 0px; font-size: 12.222222328186035px;">$30.00</span> </p> <p>&nbsp;</p> <p>The&nbsp;<span style="font-size: 12px;">Office</span>US&nbsp;Agenda is the first of four publications to be published as part of the&nbsp;<span style="font-size: 12px;">Office</span>US&nbsp;project and it serves as the catalog for the exhibition. The Agenda weaves together the last hundred years of architecture production through themes and concepts of Modernization, US architectural firms, and their exports through a collection of essays and visual narratives. We have commissioned thirteen essays that include a wide range of viewpoints on the subject by notable scholars such as Barry Bergdoll, Beatriz Colomina, Jorge Otero-Pailos and Keller Easterling. These will be illustrated in part with archival photographs donated by Erica Stoller of Esto. The visual narratives serve as foils to the essays, related, but different and are on the topics of the US Cold War Expo program, Albert Kahn&rsquo;s factories in Russia, the Hilton Hotels and the race to build the world&rsquo;s tallest building.</p> <p>&nbsp;</p> <p> <b>Contributors</b>: Daniel Barber, Barry Bergdoll, Beatriz Colomina, Peggy Deamer, Keller Easterling, Brendan Hookway, Timothy Hyde, Michael Kubo, Ijlal Muzaffar, Jorge Otero-Pailos, Ivan Rupnik, Hilary Sample, Claire Zimmerman</p> <div> <br /> </div> <p>16 x 24 cm, 6 &frac14; &times; 9 &frac12; in</p> <p>272 pages, approx. 640 illustrations, paperback (2014)</p> <p>ISBN 978-3-03778-437-2, e</p> <p>&nbsp;</p> <p>Order Office<i>US</i> Agenda below.</p> <p>&nbsp;</p> <form action="https://www.paypal.com/cgi-bin/webscr" method="post"> <input name="cmd" type="hidden" value="_s-xclick" /> <input name="hosted_button_id" type="hidden" value="FAYJ7T23CCLL6" /> <input alt="PayPal - The safer, easier way to pay online!" name="submit" src="https://www.paypalobjects.com/en_US/i/btn/btn_cart_LG.gif" type="image" /> <img src="https://www.paypalobjects.com/en_US/i/scr/pixel.gif" width="1" height="1" /> </form> <p>&nbsp;</p> <p> <b> <br /> </b> </p> <p> <b> <img src="../images/tinyMCE_upload/agenda1.gif" width="1000" height="750" /> <br /> </b> </p> <p> <b> <br /> </b> </p> <p> <b> <br /> </b> </p> <p> <b> <br /> </b> </p> <p> <b> <br /> </b> </p> <p> <b>UPCOMING PUBLICATIONS /&nbsp;</b> </p> <p> <b> <br /> </b> </p> <p> <b>Atlas</b> </p> <p>November 2014</p> <p>The&nbsp;<span style="font-size: 12px;">Office</span> <i>US</i>&nbsp;Atlas documents the development of US&nbsp;<span style="font-size: 12px;">architectural offices abroad from 1914 to the present. It collects&nbsp;</span> <span style="font-size: 12px;">the exhibition research in the form of a reader and includes&nbsp;</span> <span style="font-size: 12px;">the featured collection of projects and offices illustrated by over&nbsp;</span> <span style="font-size: 12px;">1,200 photographs and architectural drawings.</span> </p> <p>&nbsp;</p> <p> <b>Manual</b> </p> <p>January 2015</p> <p> <span style="font-size: 12px;">Office</span> <i>US</i>&nbsp;Manual compiles the protocols and strategies&nbsp;<span style="font-size: 12px;">of the architecture office to form a working manual for&nbsp;</span> <span style="font-size: 12px;">Office</span> <span style="font-size: 12px;"> </span> <i>US</i> <span style="font-size: 12px;">. From business models to time-sheets, the&nbsp;</span> <span style="font-size: 12px;">manual examines the conventions that structure practice&nbsp;</span> <span style="font-size: 12px;">to transform the way we think about architectural offices.</span> </p> <p>&nbsp;</p> <p> <b>New World</b> </p> <p>March 2015</p> <p> <span style="font-size: 12px;">Office</span> <i>US</i>&nbsp;New World highlights the work, conversations&nbsp;<span style="font-size: 12px;">and intelligence developed by the fellows and the visitors&nbsp;</span> <span style="font-size: 12px;">throughout the Biennale, to be printed at the close of&nbsp;</span> <span style="font-size: 12px;">the exhibition.</span> </p> <p>&nbsp;</p> <p>&nbsp;</p>
OfficeUS: TOTES 7 July 2014 15:47:13 EST http://www.storefrontnews.org/programming/projectss?e=633

Sunday June 1, 2014

<p>Office<i>US</i> continues to collaborate with many individuals and companies to make each aspect of&nbsp;<span style="font-size: 12px;">Office</span> <i>US</i>&nbsp;an act of creative action. The&nbsp;<span style="font-size: 12px;">Office</span> <i>US</i>&nbsp;tote bag, produced in collaboration with American Apparel and Pentagram is available to visitors of&nbsp;<span style="font-size: 12px;">Office</span> <i>US</i>&nbsp;in Venice and to Storefront members. If you are a Storefront member and would like to purchase a bag, contact &nbsp; membership@storefrontnews.org. See the process of production of this limited print edition made in Los Angeles for Storefront for Art and Architecture below.&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <div> <br /> </div> <p> <iframe width="500" height="281" frameborder="0" src="http://player.vimeo.com/video/97612076"> </iframe> </p> <p> <a href="http://vimeo.com/97612076">American Apparel - la Biennale 2014</a> from <a href="http://vimeo.com/peterelliotteaton">Peter Elliott Eaton</a> on <a href="https://vimeo.com">Vimeo</a>.</p>
OfficeUS: WORKING SCHEDULE 8 July 2014 10:09:23 EST http://www.storefrontnews.org/programming/eventss?e=635

Tuesday May 27, 2014

Wwwriting Series: Digital Invisibles 5 May 2014 11:31:20 EST http://www.storefrontnews.org/programming/seriess?e=616

Saturday May 17, 2014 – Saturday May 17, 2014

<p> <b>Wwwriting Series: Digital Invisibles</b> </p> <p> <b>May 17, 2014</b> </p> <p> <b>4pm-7pm</b> </p> <p> <b>Panel 4-5pm</b> </p> <p> <b>Editathon 5-7pm</b> </p> <p>&nbsp;</p> <p> <b>Wwwriting Series: Digital Invisibles</b>&nbsp;focused on exposing the digital gaps in architecture. Architects, movements, ideas or projects that have been dismissed, forgotten, or discriminated against by the discipline of architecture are introduced for discussion and documentation. Organized together with Arielle Assouline-Lichten, a series of presentations by experts who specialize in research on minority-driven movements, women in architecture, African-American practices, and other architectural "invisibles" preceded a Wikipedia editing workshop led by a group of activists who work to give forgotten architecture a presence on Wikipedia.&nbsp;</p> <p>&nbsp;</p> <p>Participants included Arielle Assouline-Lichten, Peggy Deamer, Andrea Jeanne Merrett, Anna Kats, Quilian Riano and Ionna Theocharopoulou, among others.&nbsp;<span style="font-size: 12px;">The audience was encouraged to bring their own laptops to be part of the Wikipedia Editathon.&nbsp;</span> </p> <p>&nbsp;</p> <p> <b>SCHEDULE&nbsp;</b> </p> <p> <span style="text-decoration: underline;">4:00 - 5:00pm: Invisible experts&nbsp;</span> </p> <p>A group of 5 experts give a 7-minute presentation unveiling Architecture Digital Invisibles.&nbsp;</p> <p>&nbsp;</p> <p> <span style="text-decoration: underline;">5:00 - 7:00pm : Wikipedia Editathon</span> </p> <p>A group of activists guide and monitor the audiences as they update and edit Wikipedia entries based on topics presented by the participants in the first half of the event. &nbsp;</p> <p>&nbsp;</p> <p> <b>About the Participants</b> </p> <p> <b>Arielle Assouline-Lichten </b>holds a Master of Architecture from the Harvard Graduate School of Design, and a bachelor degree in Critical Theory and Visual Media from New York University. She is the co-founder of Slash Projects, a multi-disciplinary design firm based in Brooklyn, New York. Her work focuses on experience as a driver for new design opportunities between physical and interactive space. Prior to founding Slash Projects, Arielle has worked for BIG, Sn&oslash;hetta, and Kengo Kuma Architects. She recently led a campaign seeking retroactive recognition of Denise Scott Brown by the Pritzker Prize and is passionate about establishing equality for designers through digital activism.</p> <p>&nbsp;</p> <p> <b>Anna Kats</b> is a writer and researcher focusing on architecture and the built environment. She currently serves as &nbsp;Architecture and Design Writer at Artinfo, and regularly contributes to a number of publications, including Modern Painters and Art+Auction. She studied architectural history and Slavic languages at Barnard College of Columbia University, where her research focused on histories of Stalinist utopian architecture and city planning. Anna is also an alumna of the Fulbright program, having studied the influence of national identity narratives on adaptive reuse and landmark designation in Latvia. In her writings on both contemporary and historic design, she treats architecture as a tool for investigating hierarchy between cosmopolitan centers and provincial peripheries.</p> <p> <b> <br /> </b> </p> <p> <b>Andrea J. Merrett</b> is a PhD candidate in architecture at Columbia University, writing her dissertation on the history of feminism in American architecture. She has received support for her work through a Buell Oral History Prize, a Schlesinger Library Oral History Grant, and the Milka Bliznakov Prize from the International Archive of Women in Architecture. Andrea is a graduate of the professional program in architecture at McGill University in Montreal, Canada. Before studying at Columbia, Andrea practiced at the Montreal firms of Marosi + Troy Architects and Atelier TAG, and the Dublin firm Blackwood Associates Architects. She is currently teaching at the Center for Architecture Foundation and working at the Avery Archive as a bibliographic assistant for the Frank Lloyd Wright collection.</p> <p>&nbsp;</p> <p> <b>Quilian Riano</b> is the founder and principal of DSGN AGNC, a collaborative design/research studio exploring political engagement through architecture, urbanism, art &amp; activism. DSGN AGNC&rsquo;s work has been featured at the Venice Biennale, Harvard University, Cornell University, New York&rsquo;s Center for Architecture, The Van Alen Institute, Parsons The Newschool for Design, The Queens Museum of Art, The Austrian Cultural Forum, Boston Society of Architects, etc. Quilian holds a Masters of Architecture from Harvard University's Graduate School of Design and currently teaches design studio at Parsons, The New School for Design and Pratt Institute of Technology. In practice and academia, Quilian works with community groups and trans-disciplinary teams to create comprehensive research that can be used to propose a variety of targeted policies, actions and designs at various scales &mdash; from pamphlets to architectures to landscapes.</p> <p>&nbsp;</p> <p> <b>Ioanna Theocharopoulou</b> trained as an architect at the Architectural Association in London, and received her Ph.D. in Architecture (History &amp; Theory), from Columbia University. She is interested in the social and cultural dimensions of design, in histories of &ldquo;informal&rdquo; cities, as well as the question of sustainability around which she has also curated a number of academic events, most recently a conference called Cities and Citizenship, in collaboration with the Goethe-Institut New York, and Global Design NYU (March 2014). She is an Assistant Professor at Parsons the New School for Design.&nbsp;</p> <div> <br /> </div> <div> <p> <span style="font-size: 12.222222328186035px;">This event was supported in part by the Norwegian Consulate General New York.</span> </p> </div> <div> <span style="font-size: 12.222222328186035px;"> <br /> </span> </div> <div> <span style="font-size: 12.222222328186035px;"> <img src="../images/tinyMCE_upload/NorwegianMinistryForeign.jpg" width="180" height="104" /> <br /> </span> </div> <div> <br /> </div> <p>------------------------------------------------------------------------------------------------------------</p> <p>Wwwriting Series uses the internet and online platforms as a point of departure for critical discussion surrounding the construction of history and practice in architecture and design.</p>
Winners: WorldWide Storefront 16 May 2014 18:36:50 EST http://www.storefrontnews.org/programming/competitionss?e=620

Friday May 16, 2014 – Sunday November 23, 2014

<p>Storefront for Art and Architecture announces the 10 selected projects that will be part of WorldWide Storefront (&ldquo;WWSf&rdquo;), a new initiative to provide a simultaneous, multi-locus of alternative spaces around the globe and a digital platform for the expression and exchange of latent desires within contemporary art and architecture practices.</p> <p>&nbsp;</p> <p>A jury composed of&nbsp;<span style="font-size: 12px;">Beatrice Galilee, Joseph Grima, Jimenez Lai and</span>&nbsp;<span style="font-size: 12px;">Marina Otero has selected a group of ten proposals around the globe. From the study of different states of abandonment in Athens to the discussion around urban growth in Santo Domingo, from the occupation of a public residual space in the city of Los Angeles to a traveling production space aboard a commercial container carrier, from individuals to collectives across the globe, the ten projects constitute a group of curatorial visions that articulate alternative positions within their particular context.&nbsp;</span> </p> <p>&nbsp;</p> <p>From September 19 to November 21, 2014, all selected entries throughout the world will simultaneously open and have a two-month program of exhibitions and events. All events will be recorded and broadcast through the WorldWide Storefront online platform and presented at the Storefront for Art and Architecture Gallery embedded in the installation WWSf Portal, a collaborative design by Marc Fornes and Jana Winderen.</p> <p>&nbsp;</p> <p>&nbsp;</p> <p class="MsoNormal"> <span style="font-size: 12px; font-family: Arial;"> <i> <b> <span style="font-size: 12px;">&nbsp;WORLDWIDE STOREFRONT SELECTED ENTRIES</span> </b> </i> </span> </p> <p class="MsoNormal"> <span style="font-family: Arial;">------------------------------------------------------------------ </span> </p> <p class="MsoNormal"> <span style="font-size: 12px; line-height: 16px; font-family: Arial; color: #1a1a1a;">&nbsp;</span> </p> <p class="MsoNormal"> <b> <span style="font-family: Arial;">Container Art Residency</span> </b> <span style="font-family: Arial;"> / itinerant <span style="color: #1a1a1a;"> </span> </span> </p> <p class="MsoNormal"> <span style="text-decoration: underline;"> <span style="font-family: Arial;">Maayan Strauss</span> </span> </p> <p class="MsoNormal"> <span style="font-size: 10pt; font-family: Arial; color: #1a1a1a;">An artist residency that will invite artists to travel on board commercial freight ships to worldwide destinations along various shipping routes, addressing questions of isolation and transportation as a way of redefining the contemporary artist studio.<span style="mso-spacerun: yes;">&nbsp; </span> </span> </p> <p class="MsoNormal"> <b> <span style="font-family: Arial;">&nbsp;</span> </b> </p> <p class="MsoNormal"> <b> <span style="font-family: Arial;">Gallery Attachment </span> </b> <span style="font-family: Arial;">/ Los Angeles, USA<span style="color: #1a1a1a;"> </span> </span> </p> <p class="MsoNormal"> <span style="text-decoration: underline;"> <span style="font-family: Arial;">Andrew Kovacs,&nbsp;Laurel Consuelo Broughton</span> </span> </p> <p class="MsoNormal"> <span style="font-size: 10pt; font-family: Arial;">A space designed and constructed by the authors under a bridge in Los Angeles will serve simultaneously as an architectural object and as a container for a series of events, exhibitions and performances. </span> <span style="font-size: 10pt; font-family: Calibri;"> </span> </p> <p class="MsoNormal"> <b> <span style="font-family: Arial;">&nbsp;</span> </b> </p> <p class="MsoNormal"> <b> <span style="font-family: Arial;">Host: Natural Histories</span> </b> <span style="font-family: Arial;"> / Los Angeles<span style="color: #1a1a1a;">, USA</span> </span> </p> <p class="MsoNormal"> <span style="text-decoration: underline;"> <span style="font-family: Arial;">Mimi Zeiger (</span> <span style="font-family: Arial;">Los Angeles Forum for Architecture and Urban Design),&nbsp; </span>Leonardo Bravo and River Jukes-Hudson (Big City Forum), Sarah Lorenzen (VDL Research House)</span> </p> <p class="MsoNormal"> <span style="font-size: 13px; font-family: Arial;">Located at The Neutra VDL Research Site in the Silverlake district of Los Angeles, the project </span> <span style="color: #1a1a1a;">explores the multivalent meaning of the word &ldquo;host&rdquo;: a talk-show host, a parasitic host body, and host house or city, via an exhibition and series of events.</span> </p> <p class="MsoNormal"> <b> <span style="font-family: Arial;">&nbsp;</span> </b> </p> <p class="MsoNormal"> <b> <span style="font-family: Arial;">Microgeographies</span> </b> <span style="font-family: Arial;"> / Athens, Greece<span style="color: #1a1a1a;"> </span> </span> </p> <p class="MsoNormal"> <span style="text-decoration: underline;"> <span style="font-family: Arial;">Hariklia Hari&nbsp;<span style="color: #1a1a1a;"> </span> </span> </span> </p> <p class="MsoNormal"> <span style="font-size: 10pt; font-family: Arial; color: #1a1a1a;">Reacting to the states of abandonment of cities in Greece as a result of personal and social crisis, and reflecting on the gradual reconstruction processes occurring in southern Europe, <i>Microgeographies </i>will present a series micro-exhibitions, actions, installations and performances in public and domestic spaces.</span> </p> <p class="MsoNormal"> <span style="font-size: 10pt; font-family: Arial; color: #1a1a1a;">&nbsp;</span> </p> <p class="MsoNormal"> <b> <span style="font-family: Arial;">Next Station</span> </b> <span style="font-family: Arial;"> / Tel Aviv, Israel <span style="color: #1a1a1a;"> </span> </span> </p> <p class="MsoNormal"> <span style="text-decoration: underline;"> <span style="font-family: Arial;">Onya Collective [Avigail Roubini, Gil Cohen, Robert Ungar, Neta Steingart, Adam Kalderon]</span> </span> </p> <p class="MsoNormal"> <span style="font-size: 10pt; font-family: Arial;">A series of small interventions in and around the Tel-Aviv Central Bus Station in Neve Shaanan exploring different ways of embedding agriculture and natural ecologies in urban environments. </span> </p> <p class="MsoNormal"> <span style="font-family: Arial;">&nbsp;</span> </p> <p class="MsoNormal"> <b> <span style="font-family: Arial;">The Portal</span> </b> <span style="font-family: Arial;"> / Toronto, Canada<span style="color: #1a1a1a;"> </span> </span> </p> <p class="MsoNormal"> <span style="text-decoration: underline;"> <span style="font-family: Arial;">Megan Torza</span> </span> </p> <p class="MsoNormal"> <span style="font-size: 10pt; font-family: Arial;">The Portal</span> <span style="font-size: 10pt; font-family: Arial;"> <i>&nbsp;</i>will</span> <span style="font-size: 10pt; font-family: Arial;">&nbsp;activate Toronto&rsquo;s under recognized ravine landscape through a series of interventions and discussions occupying the entrance of an architecture studio.</span> </p> <p class="MsoNormal"> <b> <span style="font-family: Arial;">&nbsp;</span> </b> </p> <p class="MsoNormal"> <b> <span style="font-family: Arial;">Storefront Marketplace</span> </b> <span style="font-family: Arial;">/ St. Paul, Minnesota, USA and Thessaloniki, Greece<span style="color: #1a1a1a;"> </span> </span> </p> <p class="MsoNormal"> <span style="text-decoration: underline;"> <span style="font-family: Arial;">Sandra Teitge&nbsp;</span> </span> </p> <p class="MsoNormal"> <span style="font-size: 10pt; font-family: Arial; color: #1a1a1a;">Renting a stall in the </span> <span style="font-size: 10pt; font-family: Arial;">Hmong Town Marketplace in St. Paul, Minneapolis&mdash;used by a minority community predominantly from Laos&mdash;the project opens up this almost hermetic cosmos via a series of films and TV screenings, a local radio, a public library, and a lunch series led by a group of artists in collaboration with the Hmong community.<span style="color: #1a1a1a;"> </span> </span> </p> <p class="MsoNormal"> <span style="font-family: Arial;">&nbsp;</span> </p> <p class="MsoNormal"> <b> <span style="font-family: Arial;">The Spectacle Syndicate</span> </b> <span style="font-family: Arial;"> / itinerant <span style="color: #1a1a1a;"> </span> </span> </p> <p class="MsoNormal"> <span style="text-decoration: underline;"> <span style="font-family: Arial;">Circus for Construction [Ann Lui, Ashley Mendelsohn, Larisa Ovalles, Craig Reschke, Benjamin Widger]</span> </span> </p> <p class="MsoNormal"> <span style="font-size: 10pt; font-family: Arial; color: #1a1a1a;">Located on the back of a custom-built truck trailer, the Spectacle Syndicate will stop in five cities over the course of two months (Ithaca, Providence, Provincetown, Portland, Buffalo, and Boston) hosting forums, exhibitions and workshops coordinated with local experts. </span> </p> <p class="MsoNormal"> <span style="font-size: 10pt; font-family: Arial; color: #1a1a1a;"> <br /> </span> </p> <p class="MsoNormal"> <b> <span style="font-family: Arial;">A to B - Crossing the railway</span>&nbsp;</b> <span style="font-family: Arial;">/ Montreal, Canada<span style="color: #1a1a1a;"> </span> </span> </p> <p class="MsoNormal"> <span style="font-size: 12px; text-decoration: underline;"> <span style="font-family: Arial;">Vincent Lalonde-Dupuy, Pierre Horo-Lin, Xavier Coulombe-Hurray, Camille Angibaud</span> </span> </p> <p class="MsoNormal"> <span style="font-size: 10pt; font-family: Arial; color: #1a1a1a;"> </span> </p> <p class="MsoNormal"> <span style="font-size: 10pt; font-family: Arial;">A cartographic urban project along the Canadian Pacific&rsquo;s Railway, made by citizens and users crossing legally and illegally the railway, will map and discuss the urban landscape and biodiversity of the site.</span> </p> <p class="MsoNormal"> <b> <span style="font-family: Arial;">&nbsp;</span> </b> </p> <p class="MsoNormal"> <b> <span style="font-family: Arial;">Tropical Ghosts</span> </b> <span style="font-family: Arial;"> / Santo Domingo, Santo Domingo<span style="color: #1a1a1a;"> </span> </span> </p> <p class="MsoNormal"> <span style="font-family: Arial;"> <span style="text-decoration: underline;">Laura Castro, Monica de Moya, Engel Leonardo, and&nbsp;</span> </span> <span style="font-size: 12px;"> <span style="text-decoration: underline;">Maurice S&aacute;nchez</span> </span> </p> <!--[if gte mso 9]> <xml> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <p> <span style="font-size: 13px; font-family: Arial;">A series of site-specific urban interventions and meetings in Pol&iacute;gono Central, Santo Domingo will explore issues of growth, identity and systems of sharing in the tropical communities.&nbsp;</span> </p> <p class="MsoNormal"> <span style="font-size: 10pt; font-family: Arial;"> <br /> </span> </p> <p class="MsoNormal"> <span style="font-size: 10pt; font-family: Arial;"> <br /> </span> </p> <p class="MsoNormal"> <span style="font-size: 10pt; font-family: Arial;">About the Jury</span> </p> <p class="MsoNormal"> <span style="font-size: x-small; font-family: Arial;"> <b>Beatrice Galilee</b> </span> </p> <p class="MsoNormal"> <span style="font-size: x-small; font-family: Arial;">Beatrice Galilee (*1982, London) is a London-based curator, writer, critic, consultant and lecturer of contemporary architecture and design. Trained in Architecture at Bath University, and in History of Architecture MSc at the Bartlett School of Architecture, UCL, Beatrice specialises in the dissemination of architecture and design through city-wide projects, media, curatorial practice, research, editing and teaching.</span> </p> <p class="MsoNormal"> <span style="font-size: x-small; font-family: Arial;">&nbsp;</span> </p> <p class="MsoNormal"> <span style="font-size: x-small; font-family: Arial;">Beatrice is the Chief Curator of the 2013 Lisbon Architecture Triennale, Close, Closer. She was co-curator at 2011 Gwangju Design Biennale, 2009 Shenzhen Hong Kong Bi-City Biennale of Architecture and Urbanism, and curator of the experimental performance design projects Hacked and Afrofuture at Milan Design Week. She is the co-founder and director of The Gopher Hole, an exhibition and project space in London, and is associate lecturer at Central Saint Martins.</span> </p> <p class="MsoNormal"> <span style="font-size: x-small; font-family: Arial;">&nbsp;</span> </p> <p class="MsoNormal"> <span style="font-size: x-small; font-family: Arial;">From 2006-2009 Beatrice was Architecture Editor for Icon Magazine, one of Europe's leading publications in architecture and design. In 2008 she won the IBP Architectural Journalist of the Year Award.</span> </p> <p class="MsoNormal"> <span style="font-size: x-small; font-family: Arial;"> <br /> </span> </p> <p class="MsoNormal"> <span style="font-size: x-small; font-family: Arial;"> <b>Joseph Grima</b> </span> </p> <p class="MsoNormal"> <span style="font-size: x-small; font-family: Arial;">Since studying architecture at the Architectural Association in London, Joseph Grima has pursued an international career as a curator, essayist, critic and researcher in the fields of architecture, art and design.</span> </p> <p class="MsoNormal"> <span style="font-size: x-small; font-family: Arial;">Between 2007 and 2010, he directed Storefront for Art and Architecture, the New York gallery which is globally renowned for its role in supporting experimental practices in architecture and contemporary art. Since April 2011, he has been the editor of Domus. He is also co-curator of the first edition of the Istanbul Design Biennial.</span> </p> <p class="MsoNormal"> <span style="font-size: x-small; font-family: Arial;">As a curator and independent researcher, Grima has designed and planned installations for events and institutions of international significance, including the Venice Architecture Biennial, the Shenzhen/Hong Kong Biennial of Urbanism and Architecture, and the Beijing Museum of Urban Planning. He is the author of several books, including Instant Asia (Skira, Milan, 2007), a critical overview of work by young and emerging architecture students in Asia, and Shift: SANAA and the New Museum (Lars M&uuml;ller, Zurich, 2008); he has also contributed to a range of other books and publications.</span> </p> <p class="MsoNormal"> <span style="font-size: x-small; font-family: Arial;"> <br /> </span> </p> <p class="MsoNormal"> <span style="font-size: x-small; font-family: Arial;"> <b>Jimenez Lai</b> </span> </p> <p class="MsoNormal"> <span style="font-size: x-small; font-family: Arial;">Jimenez Lai (Leader) is an Assistant Professor at University of Illinois at Chicago and Leader of Bureau Spectacular. He graduated with a Master of Architecture from University of Toronto. Previously, Jimenez Lai has lived and worked in a desert shelter at Taliesin and resided in a shipping container at Atelier Van Lieshout on the piers of Rotterdam. Before founding Bureau Spectacular, Lai worked for various international offices, including OMA. In the past years, Lai has built numerous installations as well as being widely exhibited and published around the world, including the MoMA-collected White Elephant. His first manifesto, Citizens of No Place, was published by Princeton Architectural Press with a grant from the Graham Foundation. Draft II of this book has been archived at the New Museum as a part of the show Younger Than Jesus. In 2012, Jimenez Lai has been named a winner to the Architectural League Prize for Young Architects. Lai won the Debut Award at the Lisbon Triennale in 2013. Lai was the curator and designer for the 2014 Taiwan Pavilion at the 14th Venice Architectural Biennale.</span> </p> <p class="MsoNormal"> <span style="font-size: x-small; font-family: Arial;"> <br /> </span> </p> <p class="MsoNormal"> <span style="font-size: x-small; font-family: Arial;"> <b>Marina Otero</b> </span> </p> <p class="MsoNormal"> <span style="font-size: x-small; font-family: Arial;"> <b> <span style="font-size: 10pt; font-family: Arial;"> </span> </b> </span> </p> <p class="MsoNormal"> <span style="font-size: x-small; font-family: Arial;">Marina Otero is an architect trained in New York (Columbia University), Delft (TU) and Madrid (ESTAM), where she is completing her doctorate in architecture with a focus on contemporary cultures of circulation. In 2013, and as a Fulbright grantee, she graduated from Masters of Science in Critical, Curatorial and Conceptual Practices in Architecture at GSAPP, receiving the Program Award. Her professional and academic work has been published by Domus, Quaderns, Circo, Arquitectura Viva and El Pa&iacute;s, includes collaborations with the New Museum, The Glass House, the Istanbul Design Biennial, and has been awarded in different competitions including Europan. 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Grants for Architects and Designers Available 15 May 2014 16:07:01 EST http://www.storefrontnews.org/programming/starter projectss?e=619

Thursday May 15, 2014

<div style="font-family: arial, sans-serif; font-size: 16px; line-height: normal; background-color: #ffffff;"> <div class="im"> <div style="color: #000000; font-family: Arial, Helvetica, sans-serif; font-size: 10pt;"> <span> <span style="text-decoration: underline;">General Information</span> <br /> <br /> </span>Grants of up to $10,000 are available&nbsp;for individuals (or a team) to creatively explore, or to research an issue or problem in the fields of architecture, design and/or historic preservation which &nbsp;advances that field and contributes to the public's understanding of design. The category seeks projects that are innovative in nature and emphasize artistry and design excellence. Projects may lead to the creation of design prototypes, explore new technology which impacts design, research a topic in design or architectural history, or engage in critical or theoretical analyses.&nbsp;<br /> <br /> </div> <div style="color: #000000; font-family: Arial, Helvetica, sans-serif; font-size: 10pt;"> <span>&nbsp;</span> </div> <div style="color: #500050; font-family: Arial, Helvetica, sans-serif; font-size: 10pt;"> <span style="text-decoration: underline;"> <span>Eligibility</span> </span> </div> <div style="color: #000000; font-family: Arial, Helvetica, sans-serif; font-size: 10pt;">In order to be eligible to apply for Independent Project Support, individuals (or&nbsp;teams) must meet the following criteria:&nbsp;</div> <div style="color: #000000; font-family: Arial, Helvetica, sans-serif; font-size: 10pt;">&nbsp;</div> <div style="font-family: Arial, Helvetica, sans-serif; font-size: 10pt;"> <ul> <li> <span>The individual (or team) must be professionals in their related architecture, design&nbsp;and/or historic preservation field. Architectural and design historians qualify</span> </li> </ul> <div> <br /> </div> <ul> <li> <span>The project must emphasize design and reflect one (or more) of the fields supported in the category: architecture, landscape architecture, graphic, fashion, industrial and interior design.&nbsp;</span> </li> </ul> <div> <br /> </div> <ul> <li> <span>Faculty in architecture or design schools are welcome to apply. However, their proposed projects must not be part of a course curriculum.&nbsp;</span> </li> </ul> <div> <br /> </div> <ul> <li> <span>Project must take place between January 2015 - December 2015.</span> </li> </ul> <div> <br /> </div> <ul> <li> <span>The individual (or team) must provide evidence that they are current New York State residents. Proof of New York State residency requires two of the documents per individual from the list below. All documentation must contain the individual's name and address. Documentation must be dated no earlier than 2013:</span> </li> </ul> <div> <br /> </div> <span style="font-size: 13px; white-space: pre;">1.)&nbsp;</span> <span style="color: #000000; font-size: 13px;">Telephone Bill</span> <span style="font-size: 13px; white-space: pre;">&nbsp;</span> </div> <div style="font-family: Arial, Helvetica, sans-serif; font-size: 10pt;"> <span style="font-size: 10pt;">2.)&nbsp;Credit card and/or bank statement (name and address page only; <span style="white-space: pre;"> </span>financial&nbsp;</span> <span style="font-size: 10pt;">and account information should be blocked).&nbsp;</span> <span style="font-size: 10pt;">NYS or Federal Tax Form (first <span style="white-space: pre;"> </span>page only; social security and <span style="white-space: pre;"> </span>financial&nbsp;</span> <span style="font-size: 13px;"> </span> <span style="font-size: 10pt;">information should be blocked</span> </div> <div style="font-family: Arial, Helvetica, sans-serif; font-size: 10pt;"> <span style="font-size: 10pt;">3.) Current lease or mortgage agreement for a home residence listing <span style="white-space: pre;"> </span>the&nbsp;<span style="white-space: pre;"> </span> </span> <span style="font-size: 10pt;">individual's name and showing a NYS address.</span> </div> <div style="font-family: Arial, Helvetica, sans-serif; font-size: 10pt;"> <span style="font-size: 13px;">4.)&nbsp;NYS Driver's license or NYS ID card.</span> </div> <div style="font-family: Arial, Helvetica, sans-serif; font-size: 10pt;"> <span style="font-size: 13px;">5.) Voter registration card.</span> </div> <div style="font-family: Arial, Helvetica, sans-serif; font-size: 10pt;"> <br /> <div style="font-family: Arial, Helvetica, sans-serif;"> <ul> <li>The individual (or team) may not be applying for another NYSCA project with another team or with&nbsp;another fiscal sponsor organization.&nbsp;If individuals appear on more than one request, both requests will be deemed ineligible for support.&nbsp;</li> </ul> <div> <!--[if gte mso 9]> <xml> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:View>Normal</w:View> <w:Zoom>0</w:Zoom> <w:TrackMoves /> <w:TrackFormatting /> <w:PunctuationKerning /> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:DoNotPromoteQF /> <w:LidThemeOther>EN-US</w:LidThemeOther> 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none windowtext; padding: 0in;">Ineligible Projects include:</span> </span> <span style="font-size: 10.0pt; font-family: Arial;"> </span> </p> <!--EndFragment--> </div> </div> <div> <div style="background-color: #ffffff; font-family: 'Franklin Gothic Medium', Arial, Helvetica, sans-serif; font-size: 10pt;"> <div style="font-family: 'Franklin Gothic Medium', Arial, Helvetica, sans-serif;"> <!--[if gte mso 9]> <xml> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:View>Normal</w:View> <w:Zoom>0</w:Zoom> <w:TrackMoves /> <w:TrackFormatting /> <w:PunctuationKerning /> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:DoNotPromoteQF /> <w:LidThemeOther>EN-US</w:LidThemeOther> <w:LidThemeAsian>JA</w:LidThemeAsian> 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UnhideWhenUsed="false" QFormat="true" Name="Book Title" /> <w:LsdException Locked="false" Priority="37" Name="Bibliography" /> <w:LsdException Locked="false" Priority="39" QFormat="true" Name="TOC Heading" /> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:Cambria; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <!--[endif] --> <!--StartFragment--> <ul> <li> <span style="font-size: 10.0pt; font-family: Arial; mso-fareast-font-family: &quot;Times New Roman&quot;;">Student projects are ineligible for support. Currently matriculated students must document that their projects are not related to the completion of a degree.&nbsp;</span> </li> </ul> <div> <span style="font-family: Arial;"> <br /> </span> </div> <ul> <li> <span style="font-size: 10.0pt; font-family: Arial; mso-fareast-font-family: &quot;Times New Roman&quot;;">Visual&nbsp;artists whose work references the built environment</span> </li> </ul> <div> <span style="font-family: Arial;"> <br /> </span> </div> <ul> <li> <span style="font-size: 10.0pt; font-family: Arial; mso-fareast-font-family: &quot;Times New Roman&quot;;">Projects that request NYSCA funds for out-of-state travel expenses. (Please note out-of-state travel expenses may be involved in your project; however, you should be prepared to note how you will cover these expenses with funds outside of NYSCA.)&nbsp;</span> </li> </ul> <div> <span style="font-family: Arial;"> <br /> </span> </div> <p class="MsoListParagraph"> <!--[if !supportLists]--> <span style="font-size: 10.0pt; font-family: Symbol; mso-fareast-font-family: Symbol; mso-bidi-font-family: Symbol;">&middot;<span style="font-size: 7pt; line-height: normal; font-family: 'Times New Roman';">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span> </span> <!--[endif]--> <span style="font-size: 10pt; font-family: Arial; border: 1pt none windowtext; padding: 0in;">For additional information, visit&nbsp;<span style="color: windowtext;"> <a href="http://www.arts.ny.gov/">www.arts.ny.gov&nbsp;</a> </span> </span> <span style="font-size: 10.0pt; font-family: Arial; mso-fareast-font-family: &quot;Times New Roman&quot;;"> </span> </p> <p class="MsoListParagraph">&nbsp;</p> <p class="MsoListParagraph">&nbsp;</p> <!--EndFragment--> </div> <div style="font-family: 'Franklin Gothic Medium', Arial, Helvetica, sans-serif;"> <span style="color: #500050; background-color: #ffffff; font-family: Times; font-size: 10pt;"> <div style="color: #000000; font-family: 'Franklin Gothic Medium', Arial, Helvetica, sans-serif; font-size: 10pt;"> <div style="font-family: Arial, Helvetica, sans-serif; font-size: 10pt;"> <span style="text-decoration: underline;"> <strong>NYSCA Independent Projects Timeline</strong> </span>&nbsp;</div> <div style="font-family: Arial, Helvetica, sans-serif;"> <span style="font-size: 10pt;">Please note individuals who do not follow instructions for submission as listed will not be considered.</span> <br /> <br /> </div> <div style="font-family: Arial, Helvetica, sans-serif;"> <strong> <span class="aBn" style="border-bottom-width: 1px; border-bottom-style: dashed; border-bottom-color: #cccccc; position: relative; top: -2px; z-index: 0;"> <span class="aQJ" style="position: relative; top: 2px; z-index: -1;">June 5, 2014</span> </span> </strong> <br />Request for Proposals&nbsp;&nbsp;</div> <div style="font-family: Arial, Helvetica, sans-serif;">If you are interested in applying through Storefront for NYSCA funding, please answer all questions in the application form <span style="text-decoration: underline;">on the right side of this page</span>&nbsp;and email&nbsp;<a href="mailto:al@storefrontnews.org" target="_blank">al@storefrontnews.org</a>&nbsp;answers to each question. Applications should be submitted in a word document with the email subject line "NYSCA Independent Project Application Request" by&nbsp;<span class="aBn" style="border-bottom-width: 1px; border-bottom-style: dashed; border-bottom-color: #cccccc; position: relative; top: -2px; z-index: 0;"> <span class="aQJ" style="position: relative; top: 2px; z-index: -1;">midnight</span> </span>&nbsp;on&nbsp;<span class="aBn" style="border-bottom-width: 1px; border-bottom-style: dashed; border-bottom-color: #cccccc; position: relative; top: -2px; z-index: 0;"> <span class="aQJ" style="position: relative; top: 2px; z-index: -1;">June 5th</span> </span>&nbsp;to be considered. Please note selected individuals may &nbsp;be asked&nbsp;to submit additional application information by&nbsp;<span class="aBn" style="border-bottom-width: 1px; border-bottom-style: dashed; border-bottom-color: #cccccc; position: relative; top: -2px; z-index: 0;"> <span class="aQJ" style="position: relative; top: 2px; z-index: -1;">June 26, 2014</span> </span>.&nbsp;&nbsp;By submitting an application form, individuals agree to submit additional application materials requested to Storefront by this date.&nbsp;</div> <div style="font-family: Arial, Helvetica, sans-serif;">&nbsp;</div> <div style="font-family: Arial, Helvetica, sans-serif;">To request a word document of the application form, email&nbsp;<a href="mailto:al@storefrontnews.org" target="_blank">al@storefrontnews.org</a>.</div> <div style="font-family: Arial, Helvetica, sans-serif; font-size: 10pt;">&nbsp;</div> <div style="font-family: Arial, Helvetica, sans-serif; font-size: 10pt;"> <strong> <span class="aBn" style="border-bottom-width: 1px; border-bottom-style: dashed; border-bottom-color: #cccccc; position: relative; top: -2px; z-index: 0;"> <span class="aQJ" style="position: relative; top: 2px; z-index: -1;">June 16, 2014</span> </span> </strong> </div> <div style="font-family: Arial, Helvetica, sans-serif; font-size: 10pt;">Storefront will contact all applicants to let them know if their project was selected. &nbsp;Individuals not selected are welcome to apply with another institution. &nbsp;Individuals may also withdraw their request to seek support through Storefront at anytime by emailing&nbsp;<a href="mailto:al@storefrontnews.org" target="_blank">al@storefrontnews.org</a>. &nbsp;</div> <div style="font-family: Arial, Helvetica, sans-serif; font-size: 10pt;">&nbsp;</div> <div style="font-family: Arial, Helvetica, sans-serif; font-size: 10pt;"> <strong> <span class="aBn" style="border-bottom-width: 1px; border-bottom-style: dashed; border-bottom-color: #cccccc; position: relative; top: -2px; z-index: 0;"> <span class="aQJ" style="position: relative; top: 2px; z-index: -1;">June 27, 2014</span> </span>&nbsp;</strong>&nbsp;</div> <div style="font-family: Arial, Helvetica, sans-serif; font-size: 10pt;">Storefront will apply for support on behalf of selected artists through NYSCA. Applicants should be available by email&nbsp;<span class="aBn" style="border-bottom-width: 1px; border-bottom-style: dashed; border-bottom-color: #cccccc; position: relative; top: -2px; z-index: 0;"> <span class="aQJ" style="position: relative; top: 2px; z-index: -1;">June 24-26</span> </span>&nbsp;should Storefront need additional information to prepare applications.&nbsp;&nbsp;</div> <div style="font-family: Arial, Helvetica, sans-serif;"> <br /> <strong>November 2014&nbsp;</strong> </div> <div style="font-family: Arial, Helvetica, sans-serif;">In recent years, NYSCA has made grant reward announcements in November.&nbsp; Should your project receive funding, you will be contacted and required to submit to Storefront a W9 to receive funds. Funds will be distributed as they are received.<br /> <br /> </div> <span style="font-family: Arial, Helvetica, sans-serif;"> <b>March 2016</b> </span> <br /> <span style="font-family: Arial, Helvetica, sans-serif;">Funded applicants will be required to submit a final project report to NYSCA in September 2014. Storefront will coordinate final report submission with recipients as necessary.&nbsp;</span> <span style="font-family: Arial, Helvetica, sans-serif;">&nbsp;</span> </div> </span> <span style="color: #500050; font-family: arial, sans-serif; font-size: 16px; background-color: #ffffff;"> </span> <div style="background-color: #ffffff; font-size: 10pt;">&nbsp;</div> <span style="color: #500050; background-color: #ffffff; font-family: Arial, Helvetica, sans-serif; font-size: 10pt;"> <br />For questions, please contact Anu Lill at&nbsp;<a href="mailto:al@storefrontnews.org" target="_blank">al@storefrontnews.org</a> <br />Storefront for Art and Architecture<br />97 Kenmare Street<br />10012 New York, NY<br />Tel.&nbsp;<a href="tel:212.431.5795" target="_blank">212.431.5795</a> <br />Fax&nbsp;<a href="tel:212.431.5755" target="_blank">212.431.5755</a> </span> </div> </div> <div style="font-family: arial, sans-serif; font-size: 16px; background-color: #ffffff;"> <div class="adm" style="margin-top: 5px; margin-bottom: 5px;"> <div class="ajR h4" style="cursor: pointer; color: #500050; font-size: 11px; background-color: #f1f1f1; border: 1px solid #dddddd; clear: both; line-height: 6px; outline-style: none; position: relative; width: 20px;"> </div> </div> </div> </div> </div> </div> </div>
Speechbuster Residency 7 March 2014 16:18:26 EST http://www.storefrontnews.org/programming/eventss?e=609

Wednesday May 14, 2014 – Wednesday May 14, 2014

<p>Storefront for Art and Architecture presents the Speechbuster Residency, a program which inserts public debate within private spaces and activates public discourse through a series of conversations, screenings and events negotiating between the performativity of the Speechbuster, contemporary issues in art and architecture, and the space it occupies.&nbsp;</p> <p>&nbsp;</p> <p>The Speechbuster makes its first stop at the Exhibition Space at RVA located at Rafael Vi&ntilde;oly&rsquo;s New York downtown office.&nbsp;</p> <p>&nbsp;</p> <p>Its second stop will be in an OfficeUS Outpost Office located at 97 Kenmare as part of the OfficeUS project, the 2014<span style="font-size: 12.222222328186035px; font-family: Arial;">&nbsp;United States Pavilion at the 14th International Architecture Exhibition - la Biennale de Venezia in Venice, Italy.</span> </p> <p> <span style="font-size: 12.222222328186035px; font-family: Arial;"> <br /> </span> </p> <p>&nbsp;</p> <div> <div> <b>About the Speechbuster Residency Program</b> </div> <div>The Speechbuster, commissioned by Storefront with the support of the Rauschenberg Foundation and designed collaboratively by architect Jimenez Lai and artist Grayson Cox, embarks on a journey through a series of stimulating spaces in New York City.&nbsp;<span style="font-size: 12.222222328186035px;">For each residency, the performative, multi-function, multi-layer, Storefront gallery-sized table, inserts public debate within private spaces bringing the Storefront programming Series outside of the galley space.&nbsp;</span> </div> <div>&nbsp;</div> <div>&nbsp;&nbsp;</div> </div> <div> <div> <p>&nbsp;</p> <ul> <li> <b>1ST STOP /&nbsp;</b> <span style="font-size: 12px;"> </span> <b>Exhibition Space at&nbsp;</b> <b>Rafael Vi&ntilde;oly Architects <span style="font-size: 12px;">&nbsp;/ MAY 14th, 2014</span>&nbsp;&nbsp;</b> </li> </ul> <p>&nbsp;</p> <p>Located within the headquarters of Rafael Vi&ntilde;oly Architects at 50 Vandam Street in West SoHo, the exhibition space is a 2,450 square foot multi-function workspace with 25-foot ceilings. It regularly hosts meetings, lectures, workshops, events and temporary exhibitions. &nbsp;<b>About Rafael Vi&ntilde;oly Architects:&nbsp;</b> <span style="font-size: 12px;">Founded in 1983 and based in New York City, Rafael Vi&ntilde;oly Architects is an internationally renowned firm with offices in London and Abu Dhabi. The firm has completed an unusually large number of diverse projects on five continents that range in scale from laboratory casework detailing to master planning. Over the past quarter century, the practice&rsquo;s key trademark is the ability to reinvent institutional typologies and integrate the public realm into civic buildings.</span> </p> <p> <span style="font-size: 12px;"> <br /> </span> </p> <p>&nbsp;</p> <ul> <li> <b>2ND STOP / 97 Kenmare OfficeUS Outpost / JUNE 17th, 2014</b> </li> </ul> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <ul> <li> <b>FUTURE LOCATIONS</b> </li> </ul> <p>&nbsp;</p> <p> <span style="font-size: 12.222222328186035px;">If you are interested in partnering with Storefront for a SpeechBuster Residency Program, please send an email to info@storefrontnews.org with the Subject Line: Speechbuster Residency.</span> </p> <div> <br /> </div> </div> <div> <br /> <i>The Speechbuster is made possible by the Robert Rauschenberg Foundation's Artistic Innovation and Collaboration Program, which supports fearless and innovative collaborations in the spirit of Robert Rauschenberg. </i> <br /> </div> <div> <br /> </div> <div> <br /> </div> </div>
Legible Pompei 12 May 2014 09:35:33 EST http://www.storefrontnews.org/programming/starter projectss?e=618

Monday May 12, 2014

<form action="https://www.paypal.com/cgi-bin/webscr" method="post"> <input name="cmd" type="hidden" value="_s-xclick" /> <input name="hosted_button_id" type="hidden" value="GCGJK92BYVXLC" /> <input alt="PayPal - The safer, easier way to pay online!" name="submit" src="https://www.paypalobjects.com/en_US/i/btn/btn_donate_LG.gif" type="image" /> <img src="https://www.paypalobjects.com/en_US/i/scr/pixel.gif" width="1" height="1" /> <br /> <br /> </form> <p> <b>About the Project</b> </p> <p>A global archaeological laboratory, a city half-buried in a mound of lava, a sinkhole for cultural funds, a cipher for Italy&rsquo;s cultural disarray&mdash;Pompeii is all of these things, but it is also a testing ground for preservation theories and practices. Since the Enlightenment, every mission to &lsquo;discover&rsquo; the city has been followed by the invention of techniques to repair and stabilize it. Our installation at the 14th Venice Architecture Biennale describes and performs the problem of preserving Pompeii. The <span style="text-decoration: underline;">Data Fresco</span> diagrams the history of Pompeiian conservation experiments in order to make the site legible to the visitor again. The <span style="text-decoration: underline;">Souvenir Pile</span> offers ersatz Pompeiian matter, cast in resin blocks, to the Biennale public, as a material record of the site and a souvenir of the Italian cultural experience.</p> <p>Please email a photograph of your block in its new home toLegiblePompeii@gmail.com</p> <p>&nbsp;</p> <p> <b>Authors</b>: Lucia Allais &amp; MOS (Michael Meredith, Hilary Sample)</p> <p> <b>Team</b>: Graphic Design: Multimillion (Katie Andresen, Michael Seitz;</p> <p>Research: Justin Fowler, Clelia Pozzi, Louise Decoppet, Frederik Bruggink; MOS: Griffin Ofiesh; Fabrication: Benas Burdulis &amp; Emil Froege</p> <p> <b>With the support of</b>: Elise Jaffe + Jeffrey Brown, Princeton University School of Architecture, Polytek Development Corp., Anonymous, Princeton University (UCRHSS, SEAS, CACPS, Department of French and Italian, IHum, Digital Humanities Initiative), Kara A. Hailey &amp; Nicola T. Allais, Robert Edsell, Storefront for Art and Architecture, Francesca Orsini</p> <p>&nbsp;</p> <p>&nbsp;</p> <p> <b>Lucia Allais</b> is an architectural historian and theorist who specializes in the material history of exchanges between architecture and political institutions in the modern period, especially in a global context. Her work has appeared in the journals Perspecta, Volume, Log and Grey Room, and the edited volumes Governing by Design, Multiple Signatures, Formless Finder, and Global Design History. She is working on a history of monument survival and international bureaucracy in the 20th Century, tentatively titled Designs of Destruction. She has received fellowships from the Princeton Society of Fellows, the Graham Foundation, the Krupp Foundation, the CASVA, and the Radcliffe Institute. She is an Assistant Professor of Architecture at Princeton University, a member of the Aggregate Architectural History Collaborative, and an editor of Grey Room.</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>Located in New York City, <b>MOS</b> is an architecture studio known to produce original and recognizable work that challenges the boundaries between architecture, urbanism, art, and technology. MOS has received numerous awards, including a 2013 AIA New York State Citation for Design for the Lali Gurans Orphanage in Kathmandu, Nepal, the Architecture Award given annually by the American Academy of Arts and Letters; was named one of North America&rsquo;s &ldquo;Emerging Voices&rdquo; by the Architectural League of New York as well as &ldquo;Avant Guardian&rdquo; by Surface Magazine. The firm has been featured by The Creator&rsquo;s Project and in exhibitions at the Museum of Modern Art, the Venice Architectural Biennale, the Wexner Center, the Cooper-Hewitt Museum, the Shenzen Architectural Biennale, Institute of Contemporary Art in Boston, and the Art Institute in Chicago. In 2012 Everything All at Once: The Software, Video, and Architecture of MOS was published by the Princeton Architectural Press.</p> <p> <span style="font-size: 12px;"> <br /> </span> </p> <p> <span style="font-size: 12px;"> <br /> </span> </p> <p class="MsoNormal"> <span style="outline-width: 0px; font-size: 12px;">-------------------------------------------------------------------</span> </p> <p> <span style="font-size: 12px;"> </span> </p> <p>Legible Pompei is part of the Storefront Starter initiative.</p> <p> <img src="../images/tinyMCE_upload/storefront_starter.jpg" width="100" height="100" /> </p> <p>Storefront Starter is a new initiative of Storefront for Art and Architecture that supports innovative and entrepreneurial projects in art and architecture. Storefront Starter is a digital platform of exposure for innovative art and architecture projects that aim to radically transform the built environment. The platform allows and facilitates visionary individuals or groups to financially support innovative ideas. For more information go&nbsp;<a href="../programming/events?preview=true&amp;e=496">here</a>.&nbsp;</p> <div> <br /> </div> <p>&nbsp;</p>
Letters to the Mayor 26 March 2014 14:55:29 EST http://www.storefrontnews.org/programming/exhibitionss?e=612

Wednesday April 30, 2014 – Saturday May 24, 2014

<p> <b>Letters to the Mayor</b> </p> <p> <b>April 30 - May 24, 2014</b> </p> <p> <b>Opening: April 29, 7pm</b> </p> <p>&nbsp;</p> <p>As a civic figure, the architect has the privilege and responsibility to articulate and translate the collective aspirations of society, and specifically of those not able to sit at the decision-making tables.&nbsp;</p> <p>&nbsp;</p> <p>Throughout history, architects have engaged with this responsibility and the structures of economic, political and cultural power in different ways and with varying degrees of success. With the rise of globalization and the homogenization of the contemporary city, the role of the architect in the political arena has often been relegated to answering questions that others have asked. While designing the next economically driven cultural-iconic-touristic object, an increasing amount of both architects and with them, politicians, have forgotten the ethics that should be associated with architectural practice and the potential of design in the construction of public life.&nbsp;</p> <p>&nbsp;</p> <p> <i>Letters to the Mayor</i> presents fifty letters written by international architects to the political leaders of more than 20 cities around the world. Each letter provides a space of reflection for the architect to present ideas and methodologies and express some of the concerns and desires that might contribute to action within political spheres.&nbsp;</p> <p>&nbsp;</p> <p> <i>Letters to the Mayor</i> also presents the <a href="../archive/2010?c=&amp;p=&amp;e=602">eighteen finalists</a> of the <a href="../programming/events?preview=true&amp;e=520">Competition of Competitions</a>, a project launched in 2013 that invited interdisciplinary teams of architects, artists, economists, philosophers, writers, and citizens at large to formulate their visions of the future of architecture and cities in the form of a competition brief. With the intention to provoke long-standing conventions of the architecture competition, the first edition of the <a href="../programming/events?preview=true&amp;e=520">Competition of Competitions</a> drew more than 100 entries, which were reviewed by a jury of professionals and visionaries including <b>Amale Andraos </b>(Architect, Work AC), <b>Paola Antonelli </b>(Architecture Curator, MoMA), and <b>Michael Sorkin</b> (Architect and architecture critic). &nbsp;</p> <p>&nbsp;</p> <p> <i>Letters to the Mayor </i>is thus a compilation of briefs, facts, desires and dreams for the construction of our cities foundations and horizons. All competition briefs and letters will be sent to each respective City Mayor after being presented at the Storefront gallery. &nbsp;</p> <p> <span style="font-size: 12px;"> <b> <span style="text-decoration: underline;"> <br /> </span> </b> </span> </p> <p> <span style="font-size: 12px;"> <a href="../programming/competitions?c=&amp;p=&amp;e=615"> <b> <span style="text-decoration: underline;">The winners of the Competition of Competitions were announced at the public opening of the exhibition on April 29 at 7pm. Click here.</span> </b> </a> </span> </p> <p>&nbsp;</p> <p>&nbsp;</p> <p> <b>Participating Architects</b> </p> <p>Ellie Abrons, Emily Abruzzo, Nora Akawi, Azra Ak&scaron;amija, Zahra Ali Baba, Suad Amiry, Arielle Assouline-Lichten, Ana Dana Beros, Bronwyn Breitner, Alessandra Cianchetta, Odile Decq, Sonja Duempelmann, Keller Easterling, Pia Ednie-Brown, Frida Escobedo, Daniela Fabricius, Yvonne Farrell, Daisy Froud, Rosalie Genevro, Cristina Goberna, Selva G&uuml;rdoğan, Greta Hansen, Roisin Heneghan, Joyce Hwang, Catherine Ingraham, Julia King, Mar&iacute;a Langarita, Alexandra Lange, Ana Mar&iacute;a Le&oacute;n Crespo, Ariane Lourie Harrison, Jing Liu, Yeoryia Manolopoulou, Mpho Matsipa, Mitch McEwen, Shelley McNamara, Meredith Miller, Sissil Morseth Gromholt, Elizabeth O'Donnell, Marina Otero, Mariana Pestana, Roc&iacute;o Pina, Anna Puigjaner, Danielle Rago, Suchi Reddy, Dagmar Richter, Florencia Rodr&iacute;guez, Saskia Sassen, Deborah Schneiderman and Scott Lizama, Annabelle Selldorf, Maria Smith, Michael Sorkin, Esther Sperber, Benedetta Tagliabue, Martha Thorne, Nathalie de Vries, Marion Weiss, Sarah Whiting, Mabel Wilson, Kim Yao, Marisa Yiu, Alejandro Zaera Polo, Mimi Zeiger, Zoka Zola, and more.</p> <div> <br /> </div> <p>&nbsp;</p> <p> <b> <a href="../archive/2010?c=&amp;p=&amp;e=602">Competition of Competitions Finalists</a> </b> </p> <p>&nbsp;</p> <p> <a href="https://www.dropbox.com/s/qm6oli3zzydewfg/10070.%20compettion%20of%20competitions_PR_PD2.pdf">ReDesign the Discipline of Architecture</a>&nbsp;</p> <p> <i>The Architecture Lobby</i> </p> <p>&nbsp;</p> <p> <a href="https://www.dropbox.com/s/4rrhi0023pkpi9r/10022%20Boot-Trunk.pdf">Open Source Open Space: Hacking the Built Environment&nbsp;</a> </p> <p> <i>Boot/Trunk [Nicole Lindahl, Louise Mackie and Samantha Senn]</i> </p> <p> <i> <br /> </i> </p> <p> <a href="https://www.dropbox.com/s/9qlszzfarsg6pqd/10043_depolitisign.pdf">dePOLITIsign: An open call for the redesign of a USCIS office&nbsp;</a> </p> <p> <i>Min Chen &amp; Kristin Enright</i> </p> <p> <i> <br /> </i> </p> <p> <a href="https://www.dropbox.com/s/xe5lz3qb9tjaig2/10047.%20Amazonia%202015.pdf">Amazonia 2020&nbsp;</a> </p> <p> <i>Civic Projects [Kati Rubinyi, Deborah Richmond , Michael Powell, Ewan E. Branda]</i> </p> <p> <i> <br /> </i> </p> <p> <a href="https://www.dropbox.com/s/aa4ozgzaadgsmh9/10042.%20team%2010042_finalcompetition.pdf">Deploy Yourself, Not Your Designs&nbsp;</a> </p> <p> <i>The Coalition for the Improvement of Refugee Camps [Marcy Monroe, Lee Dykxhoorn]</i> </p> <p> <i> <br /> </i> </p> <p> <a href="https://www.dropbox.com/s/mu8pbdp9wp47cvu/10072.%20el_corbusier_comp_of_comp.pdf">Second Nature&nbsp;</a> </p> <p> <i>El Corbusier</i> </p> <p>&nbsp;</p> <p> <a href="https://www.dropbox.com/s/5ra7w1arcrvdsey/10026_COCFinalSubmission.pdf">The City is The Room. The Room is The City.&nbsp;</a> </p> <p> <i>FormFictionFormat [Elena Palacios Carral, Manijeh Verghese]</i> </p> <p> <i> <br /> </i> </p> <p> <a href="https://www.dropbox.com/s/9x800f1ubx1skpm/10062.%20Entry%2010062_Labyrinth.pdf">Labyrinth</a> </p> <p> <i>grey_matter(s) [Annie Charleston, William McCommon, Megan McDonough, Shota Vashakmadze]</i> </p> <p> <i> <br /> </i> </p> <p> <a href="https://www.dropbox.com/s/249h9bayiun5e63/10030.%20GroundLAB_notitles_08.13.2013.pdf">NO TITLES, A Campaign for Illegal Architecture&nbsp;</a> </p> <p> <i>GroundLAB [Sean Billy Kizy, Sara Lum, Rakia Seaborn, Nicholas Sharma]</i> </p> <p> <i> <br /> </i> </p> <p> <a href="https://www.dropbox.com/s/lelcmqzrpq5tqmp/10016.%20_TBD.pdf">Taking Buildings Down</a> </p> <p> <i>INC_A</i> </p> <p>&nbsp;</p> <p> <a href="https://www.dropbox.com/s/6w91cf3rz057qcn/10019.%20THE%20DISCREET%20ARCHITECT.pdf">The Discreet Architect</a> </p> <p> <i>Local Provision Studio [Valeria Federighi, Janet Yoon]</i> </p> <p>&nbsp;</p> <p> <a href="https://www.dropbox.com/s/tljed6di684xb0s/10035.%20CofC%2010035.pdf">Nature, Error, Babies&nbsp;</a> </p> <p> <i>Metonymy's Architecture [Tom Nurmi, Jeffrey Dunn, Meagan Lehr, Erika Wilder]</i> </p> <p> <i> <br /> </i> </p> <p> <a href="https://www.dropbox.com/s/2lqd4s5phfiwdk0/10057_COC.pdf">Off-the-Radar: The Architecture of Non-Existing Space&nbsp;</a> </p> <p> <i>Mitnick-Roddier [Mireille Roddier, Keith Mitnick]</i> </p> <p>&nbsp;</p> <p> <a href="https://www.dropbox.com/s/qp5t33pyumkeni8/10069.%20CoC_10069.pdf">Rezoning the 5th Fa&ccedil;ade: Redefining New York's City Roof Scape&nbsp;</a> </p> <p> <i>normaldesign [Matthias Neumann in collaboration with Shane T. Umman]</i> </p> <p>&nbsp;</p> <p> <a href="https://www.dropbox.com/s/7ljlkhgljfl9igy/10074.pdf">The Next Suburb</a> </p> <p> <i>The Thirteenth Hour</i> </p> <p> <i> <br /> </i> </p> <p> <a href="https://www.dropbox.com/s/tr65i3ys7nf8xgw/10066.%20FF-FINAL2.pdf">Future Factory</a> </p> <p> <i>Gretchen Wilkins [with Ian Nazareth and students Matthew Ellis, Ken Yip Lai, Sarah Moussa, Francisca Rodriguez, Nicholas Stathopoulos]</i> </p> <p>&nbsp;</p> <p> <a href="https://www.dropbox.com/s/36xzw7e2trovr1q/10063.%20BLISS.pdf">BLISS: Better Living through Intuitive Soft Surveillance&nbsp;</a> </p> <p> <i>Yeadon Space Agency</i> </p> <p>&nbsp;</p> <p> <a href="https://www.dropbox.com/s/a8o2a0f0illx0fe/10073.%20Into%20the%20Void.pdf">Into the Void: An Architectural Competition on Emptiness</a> </p> <p> <i>Zooburbia [Felipe Orensanz, Rodrigo Duran]</i> </p> <p> <i> <br /> </i> </p> <p> <b>Credits</b> </p> <p>Storefront x Voutsa collaboration wallpaper</p> <p> <span style="font-size: 12.222222328186035px;">Dissolvable furniture installation by Piotr Chizinski</span> </p> <p> <span style="font-size: 12.222222328186035px;">Newsprint design by Lauren Francescone</span> </p> <p> <span style="font-size: 12.222222328186035px;"> <br /> </span> </p> <p> <i>The wallpaper installation by George Vousta is as an investigation into the language of power, mirroring the activities commonly associated with The Mayor. Shovels, ties, microphones, bows, ribbon ceremonies and handshakes construct a pattern that in digital repeat, creates a chaotic background noise, rhythmically echoing the letters across the room.&nbsp;</i> </p> <p> <span style="font-size: 12.222222328186035px;"> <br /> </span> </p> <p> <span style="font-size: 12.222222328186035px;"> <b>About Voutsa</b> </span> </p> <p> <b> <span style="font-size: 12.222222328186035px;"> </span> </b> </p> <p>Voutsa is a New York-based lifestyle and interiors brand that specializes in signature hand-illustrated and digitally reworked wallpapers, custom murals and wall installations. &nbsp;In addition to special collaborative projects such as the &ldquo;Letters to the Mayor&rdquo; piece designed for Storefront for Art and Architecture, Voutsa produces seasonal collections of digitally printed wallpapers as well as custom textiles and objet, available online and in showrooms around the country. &nbsp;George Venson, a Texas native and the founder of Voutsa, lives and works in Chinatown, New York. &nbsp;Pronounced voo-tsa, its origins date back to Greece; George&rsquo;s grandparents immigrated to the US through Ellis Island, changing their name in the process to Venson. In an effort to usurp this transition, George formed Voutsa LLC in their honor and in honor of the American Dream. &nbsp;George holds degrees from Rice University in Economics and Visual Arts.</p> <div> <br /> </div> <p> <span style="font-size: 12.222222328186035px;"> <br /> </span> </p> <p> <span style="font-size: 12.222222328186035px;">This exhibition is supported in part by the Norwegian Consulate General New York.</span> </p> <p>&nbsp;</p> <p> <span style="font-size: 12.222222328186035px;"> <img src="../images/tinyMCE_upload/English_ConsGen_logo_level_2newyork_copy.jpg" width="250" height="86" /> <br /> </span> </p> <div> <br /> </div> <p> <i> <br /> </i> </p> <p> <i> <img src="../images/tinyMCE_upload/Lettersto-the-mayor_giff_smallsmall.gif" width="500" height="500" /> <br /> </i> </p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <div> <br /> </div> <div> <br /> </div>
Winners: Competition of Competitions 30 April 2014 09:03:56 EST http://www.storefrontnews.org/programming/competitionss?e=615

Tuesday April 29, 2014 – Tuesday April 29, 2014

<p>With more than 100 entries and 18 finalists, Storefront is pleased to announce the winners of the Competition of Competitions.</p> <p>&nbsp;</p> <p> <b>1st PRIZE&nbsp;</b> </p> <p> <a href="https://www.dropbox.com/s/atjv3endl11utgg/team10042_competitionsummary.docx">Deploy Yourself, Not Your Designs</a> </p> <p>The Coalition for the Improvement of Refugee Camps&nbsp;</p> <p>[Marcy Monroe, Lee Dykxhoorn]</p> <p> <b> <br /> </b> </p> <p> <b>2nd PRIZE</b> </p> <p> <a href="https://www.dropbox.com/s/b9oevzj3jlo5ert/labyrinth.pdf">Labyrinth</a> </p> <p>grey_matter(s)&nbsp;</p> <p>[Annie Charleston, William McCommon, Megan McDonough, Shota Vashakmadze]</p> <p>&nbsp;</p> <p> <b>3rd PRIZE</b> </p> <p> <a href="https://www.dropbox.com/s/b5bzqqv1k88d5ix/10047.%20Amazonia%202015.pdf">Amazonia 2020</a>&nbsp;</p> <p> <i>Civic Projects&nbsp;</i> </p> <p> <i>[Kati Rubinyi, Deborah Richmond , Michael Powell, Ewan E. Branda]</i> </p> <div> <i> <br /> </i> </div> <p>&nbsp;</p> <p>&nbsp;and</p> <p>&nbsp;</p> <p> <a href="https://www.dropbox.com/s/rjgg7z992x7zpn2/Open%20Source%20Open%20Space%20-%20BOOT%20TRUNK.doc">Open Source Open Space: Hacking the Built Environment</a> </p> <p>Boot/Trunk</p> <p>[Nicole Lindahl, Louise Mackie and Samantha Senn]</p> <p>&nbsp;</p> <p> <b>HONORABLE MENTIONS</b> </p> <p>&nbsp;</p> <p> <span style="text-decoration: underline;"> <a href="https://www.dropbox.com/s/5ra7w1arcrvdsey/10026_COCFinalSubmission.pdf">The City is The Room. The Room is The City</a> </span> </p> <p>FormFictionFormat&nbsp;</p> <p>[Elena Palacios Carral, Manijeh Verghese]</p> <p>&nbsp;</p> <p> <span style="text-decoration: underline;"> <a href="https://www.dropbox.com/s/9qlszzfarsg6pqd/10043_depolitisign.pdf">dePOLITIsign: An open call for the redesign of a USCIS office</a> </span> </p> <p>Min Chen &amp; Kristin Enright</p> <p>&nbsp;</p> <p> <span style="text-decoration: underline;"> <a href="https://www.dropbox.com/s/2lqd4s5phfiwdk0/10057_COC.pdf">Off-the-Radar: The Architecture of Non-Existing Space</a> </span> </p> <p>Mitnick-Roddier&nbsp;</p> <p>[Mireille Roddier, Keith Mitnick]</p> <p>&nbsp;</p> <p> <span style="text-decoration: underline;"> <a href="https://www.dropbox.com/s/tr65i3ys7nf8xgw/10066.%20FF-FINAL2.pdf">Future Factory</a> </span> </p> <p>Gretchen Wilkins&nbsp;</p> <p>[with Ian Nazareth and students Matthew Ellis, Ken Yip Lai, Sarah Moussa, Francisca Rodriguez, Nicholas Stathopoulos]</p> <p>&nbsp;</p> <p> <span style="text-decoration: underline;"> <a href="https://www.dropbox.com/s/qp5t33pyumkeni8/10069.%20CoC_10069.pdf">Rezoning the 5th Facade: Redefining New York's City Roof Scape</a> </span> </p> <p>normaldesign&nbsp;</p> <p>[Matthias Neumann in collaboration with Shane T. Umman]</p> <p>&nbsp;</p> <p> <span style="text-decoration: underline;"> <a href="https://www.dropbox.com/s/mu8pbdp9wp47cvu/10072.%20el_corbusier_comp_of_comp.pdf">Second Nature</a> </span> </p> <p>El Corbusier</p> <p>&nbsp;</p> <p> <span style="text-decoration: underline;"> <a href="https://www.dropbox.com/s/a8o2a0f0illx0fe/10073.%20Into%20the%20Void.pdf">Into the Void: An Architectural Competition on Emptiness</a> </span> </p> <p>Zooburbia&nbsp;</p> <p>[Felipe Orensanz, Rodrigo Duran]&nbsp;</p> <p>&nbsp;</p> <p> <b>STOREFRONT SPECIAL PRIZE</b> </p> <p>&nbsp;</p> <p> <span style="text-decoration: underline;"> <a href="https://www.dropbox.com/s/lelcmqzrpq5tqmp/10016.%20_TBD.pdf">Taking Buildings Down</a> </span> </p> <p>INC_A</p>
OfficeUS: CALL FOR OUTPOSTS 21 April 2014 12:05:10 EST http://www.storefrontnews.org/programming/projectss?e=614

Monday April 21, 2014 – Saturday May 31, 2014

<p> <img src="../images/tinyMCE_upload/officeUs_call-for-outposts.gif" width="600" height="600" /> </p> <p>&nbsp;</p> <p>OfficeUS is inviting 90 architects worldwide to participate in the activities of a global architectural office. Members contribute their voices, expertise and skills to OfficeUS on a regular basis at a level of engagement they specify--from full time to a few hours a week.&nbsp;</p> <div> <br /> </div> <p> <span style="font-size: 12.222222328186035px;">Office</span> <i>US</i>&nbsp;is an architecture collective that aims to redefine the terms of design and production of architecture on the global scale. Participation in&nbsp;<span style="font-size: 12.222222328186035px;">Office</span> <i>US</i>&nbsp;is an act of architectural generosity towards the production of ideas and projects beyond current social, economical, pedagogical and disciplinary constraints.</p> <p>&nbsp;</p> <p>Eligible applicants are highly skilled, speculative and visionary architects. Applicants must have a professional degree in architecture or a demonstrated ability within the field of architecture, design, urban planning, engineering and/or city planning. They could be working within corporate offices, small firms, government agencies, universities or independently.</p> <p>&nbsp;</p> <p> <span style="font-size: 12.222222328186035px;">Office</span> <i>US</i>&nbsp;Outpost Architects will participate from their local base in the development and implementation of 25 projects in collaboration with the 6&nbsp;<span style="font-size: 12.222222328186035px;">Office</span> <i>US</i>&nbsp;Partners in residence at the&nbsp;<span style="font-size: 12.222222328186035px;">Office</span> <i>US</i>&nbsp;Headquarters in the US Pavilion at the 2014 Venice Architecture Biennale.</p> <p>&nbsp;</p> <p>Throughout the 25 weeks of the Venice Architecture Biennale, a series of 25&nbsp;<span style="font-size: 12.222222328186035px;">Office</span> <i>US</i>&nbsp;Issues (ranging from Public Housing to Smart Materials) will provide the framework of&nbsp;<span style="font-size: 12.222222328186035px;">Office</span> <i>US&nbsp;</i>inquiry.</p> <p>&nbsp;</p> <p>Powered by an on line platform, and under the direction of&nbsp;<span style="font-size: 12.222222328186035px;">Office</span> <i>US</i>&nbsp;Partners, the&nbsp;<span style="font-size: 12.222222328186035px;">Office</span> <i>US&nbsp;</i>Outpost Architects will provide key expertise, skills, production capabilities and strategic local knowledge for the development of projects during the Venice Biennale. The projects will be ultimately compiled in the OfficeUS New World book and exhibit in the spring of 2015 at the Storefront for Art and Architecture in New York.</p> <p>&nbsp;</p> <p>The network will be organized and managed by Therrien-Barley working under the guidance of Storefront for Art and Architecture and curators Eva Franch i Gilabert, Ana Miljacki and Ashley Schafer.</p> <p>&nbsp;</p> <p>Applications will be accepted on a rolling basis until all positions are filled. The application fee is $15.</p> <p>&nbsp;</p>
Behind Tough Love: Member's Studio Visit with Sebastian Errazuriz 26 March 2014 10:18:16 EST http://www.storefrontnews.org/programming/eventss?e=611

Wednesday April 16, 2014 – Wednesday April 16, 2014

<p> <b> <span style="font-size: 12px;">Behind <i>Tough Love</i>:&nbsp;</span> </b> </p> <p> <b> <span style="font-size: 12px;">Member's Studio Visit with Sebastian Errazuriz</span> </b> </p> <p> <b> <span style="font-size: 12px;">April 16, 2014</span> </b> </p> <p> <b> <span style="font-size: 12px;">6:30pm</span> </b> </p> <p> <b> <span style="font-size: 12px;"> <br /> </span> </b> </p> <p> <b> <span style="font-size: 12px;">Storefront for Art and Architecture is pleased to offer <a href="../info/supporters">Storefront Members</a> a private and casual tour of artist-designer Sebastian Errazuriz's studio in Brooklyn, New York on April 16th.</span> </b> </p> <p>&nbsp;</p> <p> <a href="../programming/events?preview=true&amp;e=600"> <i>Tough Love</i> </a>, Storefront's current exhibition, is a solo exhibition by Sebastian Errazuriz and will close just days before this tour. The exhibition addresses some of the most pressing issues being faced in the United States today.&nbsp;</p> <p>&nbsp;</p> <p>The tour will begin at 6:30pm and refreshments, snacks and conversations on the role of the artist in contemporary culture will be offered.&nbsp;</p> <p>&nbsp;</p> <p> <i> <b>This tour is free for Storefront Members and a guest</b>. If you are a Storefront Member and would like to attend, please send your RSVP to membership@storefrontnews.org. If you are interested in attending by becoming a member, <a href="../get_involved/membership">click here</a>.</i> </p> <p>&nbsp;</p> <p>I<span style="font-size: 12.222222328186035px;">f you have any questions, please email membership@storefrontnews.org.&nbsp;</span> </p> <div> <br /> </div>
Definitions Series: Risk 7 February 2014 15:19:51 EST http://www.storefrontnews.org/programming/seriess?e=603

Tuesday April 8, 2014 – Tuesday April 8, 2014

<p> <b>Definitions Series: Risk</b> </p> <p> <b>April 8, 2014</b> </p> <p> <b>7pm</b> </p> <p>&nbsp;</p> <p> <b>Definitions Series: Risk</b> with Thom Mayne, Eric Owen Moss, Stephen Phillips and Eva Franch i Gilabert presented a discussion on the &ldquo;institutionalization&rdquo; of &ldquo;experimentation&rdquo; and cultural politics and power of TAKING RISKS.</p> <p>&nbsp;</p> <p>This event was open to all with reserved seats available to Storefront members. If you are interested in&nbsp;becoming a Storefront member,&nbsp;<a href="http://www.storefrontnews.org/support">click here</a>.&nbsp;</p> <p>&nbsp;</p> <p> <b>About the participants</b> </p> <p> <b>Thom Mayne</b> </p> <p>Thom Mayne founded Morphosis as an interdisciplinary, collective practice involved in experimental design and research in 1972. &nbsp;He is co-founder of the Southern California Institute of Architecture and Distinguished Professor at UCLA Architecture and Urban Design. &nbsp;Mayne's distinguished honors include the Pritzker Prize (2005) and the AIA Gold Medal (2013). &nbsp;</p> <p>&nbsp;</p> <p> <b>Eric Owen Moss</b> </p> <p>Eric Moss, FAIA, received a Bachelor of Arts from UCLA in 1965, his Masters of Architecture from UC Berkeley in 1968 and a second Masters of Architecture from Harvard in 1972. EOMA has been the recipient of over 100 local, national, and international design awards. Eric Owen Moss has held teaching positions at major universities around the world including Harvard, Yale, Columbia, University of Applied Arts in Vienna, and the Royal Academy in Copenhagen. Moss has been a longtime professor at the Southern California Institute of Architecture (SCI-Arc), and has served as its director since 2003.</p> <p>&nbsp;</p> <p> <b>Stephen Phillips</b> </p> <p>Stephen Phillips, AIA, Ph.D. is Associate Professor and Director of the Cal Poly Los Angeles Metropolitan Program in Architecture and Urban Design, and Visiting Faculty at SCI-Arc. He is Principal in the award-wining firm Stephen Phillips Architects (SPARCHS). As a graduate of Yale, Penn, and Princeton, he has received fellowships, grants, and awards from the Getty Research Institute, the Smithsonian American Art Museum, the Graham Foundation, the Bruno Zevi Foundation, the Canadian Center for Architecture, the AIA, and the ACSA, among many others.&nbsp;</p> <p> <b> <br /> </b> </p> <p> <b>About the book</b>&nbsp;</p> <p> <b>LA [Ten]: Interviews on Los Angeles Architecture, 1970s-1990s</b> </p> <p> <b>Stephen Phillips</b> </p> <p> <b>Published by Lars M&uuml;ller, 2013</b> </p> <p>With contributions by Neil Denari, Thom Mayne, Franklin Israel, Eric Owen Moss, Michael Rotondi, Craig Hodgetts, Wes Jones, Frederick Fisher, Coy Howard, Hsinming Fung</p> <p> <br />Catapulted to fame by the international media in and around the 1980s, a loosely affiliated cadre of experimental architects, the so-called L.A. Ten, emerged to define the future of Los Angeles architecture.</p> <p>&nbsp;</p> <p>In the new book L.A. [Ten]: Interviews on Los Angeles Architecture 1970s-1990s by author/editor Stephen Phillips of the Cal Poly L.A. Metro Program&mdash;architects Neil Denari, Frederick Fisher, Ming Fung, Craig Hodgetts, Coy Howard, Wes Jones, Thom Mayne, Eric Owen Moss, Michael Rotondi, and former associates of the late Franklin Israel offer a casual, witty, and approachable retrospective on the characters, environment, and cultural history of L.A. architecture as they remember it.</p> <p>&nbsp;</p> <p>------------------------------------------------------------------------------------------------------------</p> <p>The Definitions Series invites a series of individuals to construct, propose and articulate definitions of a specified term.</p> <p>&nbsp;</p> <p>Special thanks to Cal Poly, HMC Architects and Morphosis Architects for sponsoring this event.&nbsp;</p> <p>&nbsp;</p> <p> <img src="../images/tinyMCE_upload/HMC_Architects_Color.jpg" width="250" height="42" />&nbsp;&nbsp;&nbsp;<img src="../images/tinyMCE_upload/calpoly_logo_new.jpg" width="200" height="61" /> </p> <p>&nbsp;</p> <p>&nbsp;</p> <p> <img src="../images/tinyMCE_upload/morphosis-logo-2in_new_forweb.jpg" width="200" height="49" /> </p>
OfficeUS: PARTNERS 7 July 2014 11:39:10 EST http://www.storefrontnews.org/programming/projectss?e=630

Tuesday April 1, 2014

<p>Office<i>US</i>, the U.S. Presentation at the 14th International Architecture Exhibition&thinsp;&mdash;&thinsp;la Biennale di Venezia, announced today the Partners of OfficeUS: Arielle Assouline-Lichten, Curtis Roth, Cooking Sections: Daniel Fern&aacute;ndez Pascual &amp; Alon Schwabe, Manuel Shvartzberg Carri&oacute;, Matteo Ghidoni, and M-A-U-S-E-R: Mona Mahall &amp; Asli Serbest.</p> <p>&nbsp;</p> <p>The Office<i>US</i> Partners were selected from an international open call hosted by Storefront for Art and Architecture in Fall 2013. Eva Franch i Gilabert, Ana Miljački and Ashley Schafer, curators of the U.S. Pavilion project, Office<i>US</i>, selected the partners.&nbsp;</p> <p>&nbsp;</p> <p>Over the twenty-five weeks of the Biennale, these eight architects, who include two collaborative pairs, will work in conversation with visiting experts and various outpost offices around the world to reconsider the projects exhibited in the pavilion and to construct an agenda for the future production of architecture.&nbsp;</p> <p>&nbsp;</p> <p>Office<i>US</i> is still accepting applications for outpost offices as part of the project. Application materials can be found at http://officeus.org/apply/.</p> <p>&nbsp;</p> <p> <b>About the Partners</b> </p> <p>&nbsp;</p> <p> <b>Arielle Assouline-Lichten</b> </p> <p>Arielle holds a Master of Architecture from the Harvard Graduate School of Design, and a bachelor degree in Critical Theory and Visual Media from New York University. She is the co-founder of Slash Projects, a multi-disciplinary design firm based in Brooklyn, New York. Her work focuses on experience as a driver for new design opportunities between physical and interactive space. Prior to founding Slash Projects, Arielle has worked for BIG, Sn&oslash;hetta, and Kengo Kuma Architects. She recently led a campaign seeking retroactive recognition of Denise Scott Brown by the Pritzker Prize and is passionate about establishing equality for designers through digital activism.</p> <p>&nbsp;</p> <p>As Partner of Office<i>US</i>, Arielle investigates the secondary figures in US architecture and new modes of operation for empowerment.&nbsp;</p> <p>&nbsp;</p> <p> <b>Curtis Roth</b> </p> <p>Curtis is a recent graduate of the Massachusetts Institute of Technology where he earned his Master of Architecture degree with a concentration on post-war histories and theories of architecture. While at MIT Curtis was awarded the AIA Henry Adams Medal, as well as the Ralph Adams Cram Thesis Prize. Curtis was most recently the 2013-2014 Howard E. LeFevre &rsquo;29 Emerging Practitioner Fellow at the Knowlton School of Architecture at the Ohio State University where he curated a retrospective exhibition of the work of the fictional neo-avant-garde group Superimpossible. Prior to his appointment as the LeFevre Fellow, Curtis served as the Knowlton School of Architecture&rsquo;s Richard W. Trott &rsquo;61 Distinguished Visiting Professor where he taught both studios and history seminars in the Architecture and Landscape Architecture departments. He has worked professionally for Howeler + Yoon Architecture and Opsys Landscape Infrastructure Lab, both located in Boston.</p> <p>&nbsp;</p> <p>As Partner of Office<i>US</i>, Curtis is the office&rsquo;s Confabulist of Archival Comedies (CAC), a role which entails simulating new collective architectural memories by repurposing the affective magic of comedy as a device for re-wiring architectural history.&nbsp;</p> <p>&nbsp;</p> <p> <b>Daniel Fern&aacute;ndez Pascual &amp; Alon Schwabe</b> </p> <p>Based in London, Daniel Fern&aacute;ndez Pascual and Alon Schwabe create new critical methods of mapping territories and urbanism through their trajectory of geopolitical cooking performances. After meeting at the Centre for Research Architecture, Goldsmiths, University of London, they founded Cooking Sections: a research-practice that cooks site-specific edible maps of boundaries, thresholds, events, buildings, architectures, landscapes, oddities and anomalies. Past performances have taken place at Storefront for Art and Architecture, New York; The Bartlett, London; Institut F&uuml;r Raumexperimente, Berlin; dOCUMENTA(13); TEDx Talks, Madrid; Halle14, Leipzig; Polytechnic Architecture School ETSAM, Madrid; Fiorucci Art Trust, London amongst others. They have been associate residents participating in The Politics of Food program, at Delfina Foundation, London.</p> <p>&nbsp;</p> <p>As Office<i>US</i> Partners, Cooking Sections speculate on US architectural exports by looking at the spaces of production and consumption of food. During the course of the project, they will develop a cookbook drawing from OfficeUS Repository and realize their recipes publicly.</p> <p>&nbsp;</p> <p> <b>Manuel Shvartzberg Carri&oacute;</b> </p> <p>Originally from Spain and Argentina, Manuel studied at the Bartlett School of Architecture and holds an MA in Aesthetics and Politics from CalArts. Among others, he has worked for OMA&thinsp;/Rem Koolhaas and was project architect for David Chipperfield Architects from 2006 to 2012. Manuel is a co-founder of the experimental practice Hunter &amp; Gatherer, dedicated to developing speculative projects on contemporary art, architecture and culture, and is a founding partner of Matterberg Architects, based in London and New York City. He has published and exhibited his work internationally and has taught at various institutions, including CalArts and the University of Southern California. Currently he is based in New York City where he is enrolled in the PhD in Architecture program at Columbia University and is a graduate fellow of the Institute for Comparative Literature and Society.</p> <p>&nbsp;</p> <p>As Office<i>US</i> Partner, Manuel is interested in how to re-design &ldquo;architecture&rdquo; as a particular set of socio-technical practices connected to economic and political imaginaries. How do the theatrics of economization affect the architecture profession, and vice-versa? Are we doomed to be global financial capitalism&rsquo;s window dressers? Can we think of other political capacities for architecture?</p> <p>&nbsp;</p> <p> <b>Matteo Ghidoni</b> </p> <p>Matteo is an architect, editor and publisher based in Milan. He has been guest professor at the Istituto Universitario d&rsquo;Architettura di Venezia, the Politecnico in Milan, the Royal Danish Academy of Arts in Copenhagen and the Pontificia Universidad Javeriana in Bogot&agrave;. As founding partner of the research agency Multiplicity, his work has been exhibited at Kunstwerke in Berlin (2003), the Venice Biennale (2003), the Mus&eacute;e d&rsquo;art moderne in Paris (2003), the ZKM in Karlsruhe (2004) and the Beijing Biennial (2004). In 2005, he founded the architectural office Salottobuono, which has served as editor of the Instructions and Manuals section of Abitare magazine (2007-10) and as creative director of Domus magazine (2011, 2012). The office has taken part in the Venice Biennale (2008, 2012), published the Manual of Decolonization (2010) and designed the Italian Pavilion in 2010. Matteo is co-founder and Editor-in-Chief of San Rocco magazine, an independent international publication about architecture. San Rocco was awarded the Icon Award as best emerging architecture practice (2012) and the Graham Foundation Grant for Advanced Studies in the Fine Arts (2013).&nbsp;</p> <p>&nbsp;</p> <p>As Office<i>US</i> Partner, Matteo Ghidoni is the Head of the Department of Radical Realism. Matteo deals with issues of extreme professional pragmatism and the logic of proper exploitation of given conditions as possible ways toward a truly genuine architecture for the city. Rather than focusing on singularity of buildings and the romantic figure of the architect, the department contributes to the construction of a shareable and manipulable knowledge of architecture.&nbsp;</p> <p>&nbsp;</p> <p> <b>Mona Mahall &amp; Asli Serbest</b> </p> <p>Based in Stuttgart and Istanbul, Mona Mahall and Asli Serbest, M-A-U-S-E-R, represent the practice and research of the Micro Architecture Unit Star Energy Ray. As an undisciplined, collaborative studio they reflect and produce architecture in and through different media. Their only, quasi-universal, principle is that ideas&thinsp;&ndash;&thinsp;although being shaped by certain linguistic, social, political, technological, and interpretative conditions&thinsp;&ndash;&thinsp;dominate their strategies, procedures, and objects. Therefore, M-A-U-S-E-R&rsquo;s work can come as building, installation, video, graphic, sound, text, etc.&thinsp;&ndash;&thinsp;depending on the idea behind. It can use existing forms or develop anti-forms. It is shown in their self-published magazine Junk Jet, in their texts for e-flux journal, Perspecta, etc., and in their exhibitions at K&uuml;nst&ndash;lerhaus Stuttgart, General Public, Berlin, Storefront for Art and Architecture, New York, etc. Mona and Asli each completed a PhD on a critical reflection of modern speculative architecture. Currently, M-A-U-S-E-R holds the chair of fundamentals of design at the Stuttgart State Academy of Art.</p> <p>&nbsp;</p> <p>As Partners of Office<i>US</i>, Mona and Asli integrate what is usually separate. Depending on the moment, they become webmasters, existentialist philosophers, Palm Jockeys, members of the cabin crew, or architects that from a long way off look like flies.&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p>
Manifesto Series: On Monumentality 26 February 2014 13:51:32 EST http://www.storefrontnews.org/programming/seriess?e=607

Tuesday March 18, 2014 – Tuesday March 18, 2014

<p> <b>March 18, 2014</b> </p> <p> <b>7pm</b> </p> <p>&nbsp;</p> <p>Political and ideological beliefs are at the core of discussions on monumentality, from the CIAM conferences and conversations in the aftermath of WWII, to more recent investigations of loss, mourning and memory.</p> <p>&nbsp;</p> <p> <b>On Monumentality</b> presented 11 contemporary manifestations of the ideas, forms and spaces that represent and signify collective aspiration today.</p> <p>&nbsp;</p> <p>The event, organized in collaboration with the "Monument to Cold War Victory" competition, examined through varying notions of monumentality the enduring genre of war monuments, memorials, and institutionally framed and commissioned artworks. &nbsp;</p> <p>&nbsp;</p> <p>With Constantin Boym, Mary Ellen Carroll, Sasha Chavchavadze, Adeola Enigbokan, Yeveniy Fiks, Lillian Gerson, Peter Goin, Stamatina Gregory, Justin Jampol, Vitaly Komar, Lisi Raskin, Dread Scott, and Srdjan Jovanovic Weiss.</p> <p> <span style="font-size: 12px;"> <br /> </span> </p> <p> <span style="font-size: 12px;">This event was open to all. Seat reservations at Storefront Series events are available to Storefront members. If you are interested in becoming a Storefront member, <a href="../get_involved/membership">click here</a>.&nbsp;</span> </p> <p>&nbsp;</p> <p>&nbsp;</p> <p> <b>About the participants</b> </p> <p> <b> </b> </p> <p> <b>Constantin Boym </b>is a New York-based artist, designer, and a founder of Boym projects.</p> <p>&nbsp;</p> <p> <b>Mary Ellen Carroll </b>is a conceptual artist living and working in Houston, Texas and New York City. She is the recipient of numerous grants and honors, including a Guggenheim Fellowship, a Rockefeller Fellowship, a MacDowell Colony Fellowship and a Pollack/Krasner Award. She was awarded a fellowship from the Pennies from Heaven Fund, for her contribution to New York City as a visual artist for work that is advanced, experimental, and socially visionary. Carroll teaches architecture at Rice University in Houston, Texas, where in 2009 she realized Project Prototype 180, a work of art that aimed to make architecture performative by inverting an acre of land and the domestic structure that is on it 180 degrees. Her work has been exhibited at numerous galleries and institutions around the world, including the Whitney Museum of American Art, New York; the ICA, London; Museum fur Volkerkunde, Munich; the ICA, Philadelphia; MOMUK, Vienna; and the Renaissance Society, Chicago.</p> <p>&nbsp;</p> <p> <b>Sasha Chavchavadze</b> is an artist who has exhibited her paintings, drawings and installations internationally for twenty-five years. Her interdisciplinary Cold War project, Museum of Matches(www.museumofmatches.com), was presented in exhibitions at Kentler International Drawing Space and the Rotunda Gallery in Brooklyn; as a &ldquo;one-room Cold War museum&rdquo; at Proteus Gowanus; as excerpts in the magazines Cabinet, Bomb and NYFA Current; and as a book by Proteotypes in 2011. Chavchavadze is the founder and co-creative director of Proteus Gowanus Interdisciplinary Gallery in Brooklyn where she has for ten years creatively developed numerous exhibitions and projects, including the Berlin Tunnel Project and Battle Pass, which she recently presented at the Museum of Modern Art.</p> <p> <span style="font-size: 12px;"> <br /> </span> </p> <p> <b>Adeola Enigbokan</b> is an artist, teacher, and environmental psychologist practicing urban interventions in New York City.</p> <p>&nbsp;</p> <p> <b>Yevgeniy Fiks&nbsp;</b> <span style="font-size: 12.222222328186035px;">was born in Moscow in 1972 and has been living and working in New York since 1994. Fiks has produced many projects on the subject of the Post-Soviet dialog in the West, among them the exhibition and book project &ldquo;Lenin for Your Library?&rdquo; and &ldquo;Communist Guide to the Museum of Modern Art."</span> </p> <p> <span style="font-size: 12.222222328186035px;"> <br /> </span> </p> <p> <span style="font-size: 12.222222328186035px;"> <span style="color: #222222; line-height: normal; background-color: #ffffff; font-size: 12px; font-family: Arial;"> <b>Lillian Gerson</b>'s&nbsp;</span> <span style="color: #222222; line-height: normal; background-color: #ffffff; font-family: Helvetica; font-size: 12px;">playfully intricate architectural installations challenge traditional narratives and established notions of truth, while inciting reactions of curiosity and wonder. Past projects include a temporary travel agency installed in an empty Italian Ice shop in Williamsburg, a mock park ranger booth at Socrates Sculpture Park, a miniature museum on Governors Island, and an immersive recreation of Far Rockaway post-Hurricane Sandy.</span> </span> </p> <p>&nbsp;</p> <p> <b>Peter Goin</b> is an American photographer best known for his work within the altered landscape, specifically his photographs published in the book Nuclear Landscapes. His work has been shown in over fifty museums nationally and internationally and he is the recipient of two National Endowment for the Arts Fellowships. Goin is currently a Foundation Professor of Art in Photography and Videography at the University of Nevada, Reno. He has also done extensive rephotography work in the Lake Tahoe region. Peter's photographs have been exhibited in more than fifty museums nationally and internationally, and he is the recipient of two National Endowment for the Arts Fellowships. He lives in Reno, Nevada.</p> <p>&nbsp;</p> <p> <b>Stamatina Gregory </b>is an independent curator and critic based in New York. She has recently organized projects for the Institute of Contemporary Art at the University of Pennsylvania, The Austrian Cultural Forum in New York, and the Venice Biennale. She is the Associate Dean at the School of Art at the Cooper Union.</p> <p>&nbsp;</p> <p> <b>Justin Jampol</b> is the Executive Director and Founder of The Wende Museum and Archive of the Cold War in Culver City, CA.&nbsp;</p> <p>&nbsp;</p> <p> <b>Vitaly Komar</b> is a Russian-born painter and performance artist, based in New York.</p> <p>&nbsp;</p> <p>Since 1998, Brooklyn-based artist <b>Lisi Raskin</b> has traveled to the Arctic Circle, former East German and Yugoslav Atomic bunkers, and through the American west exploring the intersection of nuclear-age fears and utopian mythologies as they manifest in oral histories and the architectures of the Cold War. Raskin&rsquo;s on-site research has informed the making of paintings, drawings, objects, videos, and large, constructed environments that she has exhibited internationally. In 2013, Raskin was the recipient of a Creative Time Global Residency grant that she used to explore Soviet infrastructural projects, war museums, and monuments in Kabul and Herat in Afghanistan.This research will be the subject of two upcoming solo shows that open in April at Churner and Churner and Art in General in New York.</p> <p>&nbsp;</p> <p> <b>Dread Scott</b> makes revolutionary art to propel history forward.&nbsp;</p> <p>&nbsp;</p> <p> <b>Srdjan Jovanovic Weiss</b> is a Harvard educated architect, studying the spatial appearance of post-communist ideologies.</p> <div> <br /> </div> <div> <br /> </div> <p>&nbsp;</p> <p>&nbsp;</p>
FUN-DA-MENTALS: 2014 Spring Benefit After Party 7 March 2014 09:07:09 EST http://www.storefrontnews.org/programming/eventss?e=608

Tuesday March 11, 2014 – Tuesday March 11, 2014

<p> <img src="../images/tinyMCE_upload/BENEFIT-2014_e_low.gif" width="500" height="500" /> </p> <p>&nbsp;</p> <p> <b>FUN-DA-MENTALS</b> </p> <p> <b>THE AFTER PARTY</b> </p> <p>&nbsp;</p> <p> <b>Storefront's 2014 Spring Benefit</b> </p> <p> <b>March 11, 2014</b> </p> <p> <b>Capitale, New York</b> </p> <p> <b>130 Bowery</b> </p> <p> <b>9:00-11:30pm</b> </p> <p> <b> <br /> </b> </p> <p> <b>FUN-DA-MENTAL I: Open bar&nbsp;</b> </p> <p> <b>FUN-DA-MENTAL II: MUSIC BY DJ Jon Santos, commonspace</b> </p> <p> <b>FUN-DA-MENTAL III: YOU</b> </p> <p> <b>FUN-DA-MENTAL IV: VENETIAN CHINA TOWN BANKING CHIC DRESS CODE</b> </p> <p>&nbsp;</p> <p> <i>Storefront's 2014 Spring Benefit took place at Capitale in New York from 6:30-9:00pm. The event honored radical visionaries Meredith Monk &amp; Olafur Eliasson and celebrated the selection of Storefront as the Commissioner of the US Pavilion at the 2014 Venice Architecture Biennale.&nbsp;</i> </p> <div> <br /> </div> <div> <br /> </div> <div> <img src="../images/tinyMCE_upload/afterparty2.gif" width="300" height="300" /> <br /> </div> <p>&nbsp;</p>
2014 Spring Benefit: On the Fringe (of Fundamentals) 14 January 2014 16:13:19 EST http://www.storefrontnews.org/programming/eventss?e=599

Tuesday March 11, 2014 – Tuesday March 11, 2014

<p> <b> <span style="font-size: 14px;"> 2014 STOREFRONT SPRING BENEFIT</span> </b> </p> <p> <b> <span style="font-size: 20px;"> <br /> </span> </b> </p> <p> <b> <span style="font-size: 26px;">ON THE FRINGE (OF FUNDAMENTALS)</span> </b> </p> <p> <b> <span style="font-size: 26px;"> <br /> </span> </b> </p> <p> <b> <span style="font-size: 26px;"> MARCH 11, 2014</span> </b> </p> <p> <b>Honoring&nbsp;</b> </p> <p> <b> <span style="font-size: 20px;">Meredith Monk and Olafur Eliasson</span> </b> </p> <p> <b>Cocktails, Hors D'Oeuvres and a Silent Art Auction</b> </p> <p> <b>Capitale, New York</b> </p> <p> <b>130 Bowery</b> </p> <p> <b>6:30 - 9:00PM</b> </p> <p>&nbsp;</p> <p>Storefront for Art and Architecture&rsquo;s <b>2014 Spring Benefit: On the Fringe (of Fundamentals)</b>&nbsp;was a toast to&nbsp;Storefront&rsquo;s appointment as the Commissioner of the U.S. Pavilion at the 2014 Venice Architecture Biennale.&nbsp;</p> <p>&nbsp;</p> <p>In response to &ldquo;Fundamentals: Absorbing Modernity,&rdquo; Rem Koolhaas&rsquo; theme for this year&rsquo;s Venice Architecture Biennale Storefront presented Office<i>US</i>, an experimental project that investigates the contributions of US architecture offices over the last 100 years. On March11. 2014 we will celebrate the launch of this project and Storefront&rsquo;s commitment to fearless work that reflects on fundamentals in art and architecture through the support of alternative practices. The event will take place at Capitale, the old Savings Bank headquarters on the Bowery designed by Stanford White, of McKim, Mead, and White, and built in 1893 in a Roman Classical Style. That night, On the Fringe will honor two fundamental figures for Storefront: <b>Meredith Monk</b> and <b>Olafur Eliasson</b>.</p> <p>&nbsp;</p> <p> <b>Silent auction featuring works by artists and architects including</b> </p> <p> <b>Vito Acconci / Arktura LLC / Daniel Arsham / Atelier Van Lieshout / Erieta Attali / Brett Beyer / BroLab / James Carpenter / Mary Ellen Carroll / Todd Eberle / Sebastian Errazuriz / Terence Gower / Alexandra Grant / Ann Hamilton / Rachel Harrison / Virva Hinnemo / Steven Holl / Alfredo Jaar / Andr&eacute;s Jaque / Natalie Jeremijenko / Louis I. Kahn / Jane Kaplowitz / Lisa Kereszi / Jon Kessler / Rem Koolhaas / Arcady Kotler / Sze Tsung Leong / David Levinthal / Christina McPhee / Paul Miller / Robert Montgomery / Shirin Neshat / Sarah Oppenheimer / Manfred Pernice / Tobias Putrih / Jon Pylypchuk / Pedro Reyes / Mark Robbins / Peter Scott / Denise Scott Brown / Kiki Smith / Jing Liu and Florian Idenburg/SO-IL / Mikhael Subotzky / Do-Ho Suh / Studio Drift / Stephen Talasnik / Zefrey Throwell / Janaina Tschape / Bernard Tschumi / Meyer Vaisman / Karin Waisman / Lawrence Weiner / Dustin Yellin / Andrea Zittel</b> </p> <p> <b> <br /> </b> </p> <p> <b>Storefront thanks the&nbsp;</b> </p> <p> <b> <span style="font-size: 26px;"> Benefit Committee</span> </b> </p> <p>&nbsp;</p> <p> <b>Storefront Circle</b> </p> <p>Todd DeGarmo</p> <p>Lauren Kogod and David Smiley</p> <p>Robert M. Rubin and St&eacute;phane Samuel</p> <p>&nbsp;</p> <p> <b>Storefront Council</b> </p> <p>Bloomberg</p> <p>Elise Jaffe + Jeffrey Brown</p> <p>Diller Scofidio + Renfro</p> <p>EvensonBest</p> <p>Kohn Pedersen Fox Associates (KPF)&nbsp;</p> <p>Artur Walther</p> <p>&nbsp;</p> <p> <b>Benefactor</b> </p> <p>Arup</p> <p>Carlos Brillembourg and Karin Waisman</p> <p>Gensler</p> <p>Michael A. Manfredi &amp; Marion Weiss</p> <p>Sara P. Meltzer</p> <p>Miller Blaker</p> <p>NRI</p> <p>Sylvia Smith</p> <p>Turner Construction Company&nbsp;</p> <p>&nbsp;</p> <p> <b>Patron</b> </p> <p>1100 Architect, David Piscuskas + Juergen Riehm</p> <p>Artek USA Inc.</p> <p>Mahnaz and Adam Bartos</p> <p>Bernsohn &amp; Fetner LLC</p> <p>Enrique Norten Architecture PC</p> <p>Belmont Freeman</p> <p>FXFOWLE Architects, LLP</p> <p>Edmund Hollander</p> <p>HWKN (HollwichKushner)</p> <p>Marvel Architects</p> <p>Perkins Eastman</p> <p>William Prince / PARC Office</p> <p>Reddymade Design</p> <p>Douglass Rice</p> <p>Sn&oslash;hetta</p> <p>Barbara Wilks</p> <p>&nbsp;</p> <p> <b>Sponsor</b> </p> <p>Michelle Addington</p> <p>Alexander Gorlin Architects</p> <p>Amale Andraos and Dan Wood</p> <p>Amanda Angelini</p> <p>Anonymous</p> <p>Paola Antonelli</p> <p>The Architect's Newspaper</p> <p>Andrew Bartle</p> <p>Laurie Beckelman</p> <p>Nils and Maddy Burke-Vigeland</p> <p>Susan Chin and Charles McKinney</p> <p>Beatriz Colomina</p> <p>Jane + John Comfort</p> <p>Control Group</p> <p>Cooper Joseph Studio</p> <p>James Dart</p> <p>Christina R. Davis</p> <p>Kyle DeWoody</p> <p>Keller Easterling</p> <p>Karen Fairbanks and Scott Marble</p> <p>Richard Flood</p> <p>Hal Foster</p> <p>Alexander Gal&aacute;n</p> <p>Charles Gepp</p> <p>Jeanne Giordano + Bob Frasca&nbsp;</p> <p>Richard Gluckman</p> <p>Claudia Gould</p> <p>Terence Gower</p> <p>Cristina Grajales</p> <p>Lisa J. Green</p> <p>Peter Guggenheimer</p> <p>Michael Haverland</p> <p>Roya Khadjavi Heidari&nbsp;</p> <p>Steven Holl</p> <p>Barbara Jakobson</p> <p>Steven Incontro and David Joselit</p> <p>Natalie Kovacs</p> <p>Lydia Kallipoliti&nbsp;</p> <p>Andrew Laing</p> <p>MADE Architecture</p> <p>Margaret Sullivan Studio</p> <p>Marian Goodman Gallery</p> <p>Jennifer Marmon</p> <p>Melissa Marsh</p> <p>Mercedes A. Mestre</p> <p>Edwin Meulensteen</p> <p>Toshiko Mori</p> <p>Musica Sacra</p> <p>P.P.O.W</p> <p>Spyros Papapetros</p> <p>Margery Perlmutter</p> <p>Lisa Phillips</p> <p>Barbara G. Pine</p> <p>Sandro Marpillero and Linda Pollak</p> <p>Peter Reed</p> <p>Charles Renfro</p> <p>Anne Rieselbach and Grant Marani</p> <p>Ronnette Riley</p> <p>Fernando Romero</p> <p>Jesse Reiser and Nanako Umemoto, RUR Architecture PC</p> <p>Joel Sanders</p> <p>Annabelle Selldorf</p> <p>SO-IL</p> <p>Galia Solomonoff</p> <p>Betsy Sussler</p> <p>Lybess Sweezy</p> <p>Frederieke Taylor</p> <p>Suzan Tillotson</p> <p>Amanda Topaz</p> <p>Bernard Tschumi and Kate Linker</p> <p>Wayne Turett</p> <p>Henry Urbach</p> <p>Carol A. Willis</p> <p>Mabel &nbsp;Wilson</p> <p>Karen Wong</p> <p>WXY Architecture</p> <p>ZERZA Architects</p> <p>&nbsp;</p> <p> <span style="font-size: 26px;"> </span> </p> <div style="width: 100%; text-align: left;"> </div> <div style="width: 100%; text-align: left;"> <div style="padding: 5px 0px; margin: 2px; width: 100%; text-align: left;"> <div style="padding-top: 5px; padding-bottom: 5px; margin: 2px; width: 100%;"> <span style="font-size: xx-small; font-family: Helvetica,Arial;">If you were unable to attend the event and would like to make a contribution to Storefront's 2014 Spring Benefit, please click below:</span> </div> </div> </div> <form action="https://www.paypal.com/cgi-bin/webscr" method="post"> <input name="cmd" type="hidden" value="_s-xclick" /> <input name="hosted_button_id" type="hidden" value="XSLDWYJJHUUQN" /> <input alt="PayPal - The safer, easier way to pay online!" name="submit" src="https://www.paypalobjects.com/en_US/i/btn/btn_donate_LG.gif" type="image" /> <img src="https://www.paypalobjects.com/en_US/i/scr/pixel.gif" width="1" height="1" /> <br /> <br /> <img src="../images/tinyMCE_upload/BENEFIT-2014_e_low.gif" width="500" height="500" /> </form> <p>&nbsp;</p>
Screening Series: Visiting Splitting 10 February 2014 09:54:54 EST http://www.storefrontnews.org/programming/filmss?e=605

Thursday March 6, 2014 – Thursday March 6, 2014

<p> <b>Screening Series: Visiting Splitting</b> </p> <p> <b>March 6, 2014</b> </p> <p> <b>7pm</b> </p> <p>&nbsp;</p> <p> <i>Screening Series: Visiting Splitting</i>&nbsp;was a film screening and discussion with Kelly Baum, Liza B&eacute;ar, Jessamyn Fiore, GH Hovagimyan, Mark Wigley and Marcelo L&oacute;pez-Dinardi. The event included a screening of Gordon Matta-Clark's renowned <i>Splitting</i> as well as the film <i>Visit to Humphrey Street</i>, which had never been presented publicly and has no declared author. &nbsp;</p> <p>&nbsp;</p> <p>In 1974, artist Gordon Matta-Clark explicitly asked the gallerist Holly Solomon for a house. He was in the search of a place for his next building cut. The Solomons offered him a house that was later known under the name <i>Splitting</i>, and later become one of Matta-Clark's canonical works. The film <i>Visit to Humphrey Street House</i> (34:59) &ndash;&ndash;which has never been presented publicly and has no declared author&ndash;&ndash; records the famous bus trip that Solomon organized to take a group of artists to visit the house located at the 322 of Humphrey Street in Englewood, New Jersey.&nbsp;</p> <p>&nbsp;</p> <p>This event was open to all.&nbsp;</p> <div> <br /> </div> <p> <iframe width="500" height="281" frameborder="0" src="http://player.vimeo.com/video/88538593"> </iframe> </p> <div> <span style="font-size: 12px;"> <div style="font-size: 12px;"> <b> <br /> </b> </div> <div style="font-size: 12px;"> <b>About the participants</b> </div> <div style="font-size: 12px;"> <b>Kelly Baum</b> </div> <div style="font-size: 12px;">Kelly Baum has been working as a curator and scholar for almost fifteen years. Prior to her arrival at Princeton in 2008, she held curatorial positions at the Museum of Fine Arts, Houston, and the Blanton Museum of Art at the University of Texas at Austin. Kelly has organized several exhibitions, including Carol Bove; Jedediah Caesar; The Sirens&rsquo; Song; Transactions; Nobody's Property: Art, Land, Space, 2000&ndash;2010; Doug Aitken: migration (empire); Felix Gonzalez-Torres: &ldquo;Untitled&rdquo;; and New Jersey as Non-Site, for which she received a Warhol Curatorial Research Fellowship. Kelly also has published dozens of essays on subjects ranging from Ana Mendieta and Santiago Sierra to Mich&egrave;le Bernstein and the Situationist International in such journals as October, Art Journal, TDR: The Drama Review, and the Princeton University Art Museum's Record. In addition to overseeing the museum&rsquo;s Sarah Lee Elson, Class of 1984, International Artist in Residence Program and serving as a curatorial adviser to the University&rsquo;s campus art committee, she is currently researching the exhibition Beckett&rsquo;s Decade, to open in spring 2017.</div> <div style="font-size: 12px;"> <br /> </div> <div style="font-size: 12px;"> <b>Jessamyn Fiore</b> </div> <div style="font-size: 12px;">Jessamyn Fiore is a New York based independent curator and writer. She was the Director of Thisisnotashop, a not for profit gallery space in Dublin, Ireland, from 2007-2010. She co-founded The Writing Workshop in 2007 with Jessica Foley, which functioned as a collaborative forum for writers and artists. Fiore is co-director of the Estate of Gordon Matta-Clark with her mother, Jane Crawford, Matta-Clark&rsquo;s widow. She curated 112 Greene Street: The Early Years (1970&ndash;1974) at David Zwirner in New York (2011), which led to the critically acclaimed, eponymous catalogue, published by David Zwirner and Radius Books (2012). She curated a second exhibition for David Zwirner in New York titled Gordon Matta-Clark: Above and Below(2013). Currently she has curated two exhibitions both on now: a solo exhibition by Clive Murphy titled Post Neo Proto Demoat Magnan Metz Gallery in Chelsea, New York until April 12 and The Balloon, a group exhibition inspired by Donald Barthelme&rsquo;s short story &ldquo;The Balloon&rdquo; including the work of six artists from New York, Iceland, and Ireland and featuring Gordon Matta-Clark&rsquo;s &ldquo;Sky Hook/Drawing for a Balloon Building&rdquo; series, at Rawson Projects in Greenpoint, Brooklyn until March 23rd. Her original one-act play Blast from The Past, based on the writings of Robert Smithson and Gordon Matta-Clark, is soon to be published by the Bureau for Open Culture.</div> <div style="font-size: 12px;"> <br /> </div> <div style="font-size: 12px;"> <span style="font-size: 12.222222328186035px;"> <b>GH&nbsp;</b> </span> <b>Hovagimyan</b> </div> <div style="font-size: 12px;"> <span style="font-size: 12.222222328186035px;">GH Hovagimyan</span> <span style="font-size: 12.222222328186035px;">is an experimental artist working in a variety of forms. An Internet and new media pioneer, his works ranges from hypertext works to digital performance art, interactive installations and HD video.</span> </div> <div style="font-size: 12px;"> <br /> </div> <div style="font-size: 12px;">His works have been exhibited at MoMA, Mass MoCA, The Whitney Museum, The New Museum, The Walker Art Center, Jeu De Paume, MAC Marseille, MAC Lyon, Pompidou Center, Lincoln Center, ICA The Clocktower, The Kitchen, The Alternative Museum, Eyebeam Art &amp; Technology, List Visual Arts Center, La Gaite Du Lyrique, Stuttgart Kunstverein, Steim Institute, the Moscow Center for Contemporary Art, Postmasters Gallery, Pace Digital Gallery</div> <div style="font-size: 12px;"> <br /> </div> <div style="font-size: 12px;">He has also exhibited works in major festivals and art fairs including; Art Basel Miami, Pulse Miami, Art Cologne, Split Film Festival, Conflux Festival, Video Dumbo, Scope Art Fair, Frieze Art Fair, Avignon Numerique, The Documenta, Interferences 2nd International Festival of Urban Multimedia Arts, Les Musiques, Marseille and Prix Ars Electronica 98 where he won an award for his collaborative work with Peter Sinclair. &nbsp;</div> <div style="font-size: 12px;"> <b> <br /> </b> </div> <div style="font-size: 12px;"> <b>Liza B&eacute;ar</b> </div> <div style="font-size: 12px;">Since the mid 1970s Liza Bear has created an intriguing body of work that consistently focuses attention on communications issues-specifically the use of media by the press and the disempowered role of the public in communications policy. Central to Bear's work is a desire to tie the means of production (technology) to the reasons for production (capitalistic advantage, national ideology, etc.). While Bear's concerns are global, her approach is always personal and experimental-collapsing the norms of narrative and documentary, subjective authorship and objective document.</div> <div style="font-size: 12px;"> <br /> </div> <div style="font-size: 12px;"> <b>Mark Wigley</b> </div> <div style="font-size: 12px;">An accomplished scholar and design teacher, Mark Wigley has written extensively on the theory and practice of architecture and is the author of Constant&rsquo;s New Babylon: The Hyper-Architecture of Desire (1998); White Walls, Designer Dresses: The Fashioning of Modern Architecture (1995); and The Architecture of Deconstruction: Derrida&rsquo;s Haunt (1993). He co-edited The Activist Drawing: Retracing Situationalist Architectures from Constant&rsquo;s New Babylon to Beyond (2001). Wigley has served as curator for widely attended exhibitions at the Museum of Modern Art, New York; The Drawing Center, New York; Canadian Centre for Architecture, Montreal; and Witte de With Museum, Rotterdam. He received both his Bachelor of Architecture (1979) and his Ph.D. (1987) from the University of Auckland, New Zealand.</div> <div style="font-size: 12px;"> <br /> </div> <div style="font-size: 12px;"> <b>Marcelo L&oacute;pez-Dinardi</b> </div> <div style="font-size: 12px;">A researcher, educator and trained architect, studied his first year of architecture in his native Chile, and obtained his BArch from the School of Architecture of the Polytechnic University of Puerto Rico (PUPR), Cum Laude. Co-founded the research group CIUDADLAB in 2004, has been Assistant Professor of design studio, research and representation at the PUPR, where he directed the 2009-2010 Lectures Series Sense Recession: What Comes Next?, and also directed the Roundtable Series for four years. From 2008-2011 edited the journal Polimorfo, which he also co-founded. Has written for Entorno, Domus, Planning Perspectives, CCGSAPP, invited juror at the UPR, GSAPP, Barnard + Columbia College, Pratt Institute, Parsons, and NJIT, lectured at Cooper Union, exhibited his drawings in San Juan and Berlin, and his architectural design work has been awarded several times. After relocating to New York, where he currently lives, He developed the thesis Destructive Knowledge: Tools for Learning to Un-Dō around the work of the artist Gordon Matta-Clark, obtaining an MS in Critical, Curatorial and Conceptual Practices in Architecture of the GSAPP at Columbia University. He is a partner of A(n) Office, based in New York and an Adjunct Faculty at the School of Architecture of the New Jersey Institute of Technology and the Architecture Department at Barnard + Columbia College.</div> <div style="font-size: 12px;"> <br /> </div> <div style="font-size: 12px;">&nbsp;</div> </span> </div>
Definitions Series: R. Buckminster Fuller: World Man 20 February 2014 10:05:35 EST http://www.storefrontnews.org/programming/seriess?e=606

Tuesday February 25, 2014 – Tuesday February 25, 2014

<p> <b>Definitions Series: R. Buckminster Fuller: World Man</b> </p> <p> <b>February 25, 2014</b> </p> <p> <b>7pm</b> </p> <p>&nbsp;</p> <p>Storefront presented&nbsp;<i>Definitions Series: R. Buckminster Fuller: World Man </i>with Stan Allen, Alejandro Zaera-Polo, and Daniel L&oacute;pez-P&eacute;rez for&nbsp;a conversation about some of the key terms that constitute the body of Fuller&rsquo;s "World Man" lecture and book. &ldquo;Prime Design, Automation, Law of Conservation of Energy, Wealth, Universe, System, Total Challenge&hellip;&rdquo; are amongst a few of the terms and definitions that are put forth providing an abstract but suggestive outline of Fuller&rsquo;s &ldquo;geometry of thinking.&rdquo;</p> <p>&nbsp;</p> <p>For R. Buckminster Fuller, words and concepts were intimately related. &ldquo;[T]he Number of the words in the dictionary grow,&rdquo; he asserted in his &ldquo;World Man&rdquo; lecture, &ldquo;because we have more aspects of subjects to consider.&rdquo; Fuller saw language as an invaluable resource &ndash; as a tool to be used not only for sharing ideas with others but also for developing ideas. Language was not an end in itself but rather a discursive process, through which he created and explored new concepts. Iterative and evolving, like his models of nature&rsquo;s laws, Fuller&rsquo;s terminology never becomes static, his words and concepts move and extend from one area of relevance to another; from the scale of the human body, to that of the universe.</p> <p>&nbsp;</p> <p>This event was open to all.&nbsp;</p> <p>&nbsp;</p> <p> <b>About the Book</b> </p> <p> <i>R. Buckminster Fuller: World Man</i> presents the original typescript of Fuller&rsquo;s never-before-published Kenneth Stone Kassler memorial Lecture. Delivered at the Princeton university school of Architecture in 1966 &ndash; a year before his masterwork took shape at Expo &rsquo;67 in Montreal &ndash; the lecture encapsulates his radical thinking at the height of his career. Reflecting on the severe challenges facing the global ecology, Fuller delivers an impassioned rallying cry to architects to shape their universe by responding to its underlying principles &ndash; a cry as relevant today as it was in the visionary designer&rsquo;s own time.</p> <p> <b> <br /> </b> </p> <p> <b>About the participants</b> </p> <p> <b>Stan Allen</b> is an architect and George Dutton &rsquo;27 Professor of architectural Design at the Princeton University School of Architecture, where he served as dean from 2002 to 2012. His practice, SAA/Stan Allen Architect, has realized buildings and projects from single family houses to urban master plans, in the United States and abroad. The extensive catalog of architectural and urban strategies he developed to respond to the complexity of the modern city is presented in Points and Lines: Diagrams and Projects for the City (1999), and his essays are collected in Practice: architecture, technique and representation (2009). His most recent book is Landform Building: Architecture&rsquo;s New Terrain (2011).</p> <p> <b>&nbsp;</b> </p> <p> <b>Alejandro Zaera-Polo</b> is Dean of the Princeton University School of Architecture. The internationally renowned architect and scholar previously served as dean of the Berlage institute in Rotterdam, occupied the Berlage Chair at the Delft University of Technology in the Netherlands, and held the Norman R. Foster Visiting Professorship of Architectural Design at Yale University. Widely published in leading journals, such as El Croquis, Quaderns, and A+U, his essays are collected in The Sniper&rsquo;s Log: An Architectural Perspective of Generation &ndash; X (2012). The award-winning work of Zaera-Polo&rsquo;s firm, AZPA, includes the Yokohama International Port Terminal in Japan, distinguished by its dramatic form and innovative use of materials.</p> <p>&nbsp;</p> <p> <b>Daniel L&oacute;pez-P&eacute;rez</b> is an Assistant Professor of Architectural Design and a founding faculty member of the Architecture Program at the University of San Diego. L&oacute;pez-P&eacute;rez received a Ph.D. in the History and Theory of Architecture at Princeton University, a Master of Science in Advanced Architectural Design (with Honors) from Columbia University, and an AA Diploma from the Architectural Association. A Fuller Scholar, L&oacute;pez-P&eacute;rez is currently completing the manuscript of a book entitled From Spheres to Atmospheres, R. Buckminster Fuller&rsquo;s Spherical Atlas, 1944&ndash;1980.</p> <p>&nbsp;</p> <p>&nbsp;</p> <div> <br /> </div> <p> <iframe width="500" height="281" frameborder="0" src="http://player.vimeo.com/video/87709387"> </iframe> </p>
Reading Images Series: Environments of Extraction 10 February 2014 09:09:20 EST http://www.storefrontnews.org/programming/seriess?e=604

Friday February 21, 2014 – Friday February 21, 2014

<p> <b>Reading Images Series: Environments of Extraction</b> </p> <p> <b>February 21, 2014</b> </p> <p> <b>7pm</b> </p> <p>&nbsp;</p> <p> <i>Reading Images Series: Environments of Extractio</i>n included a discussion&nbsp;with Neeraj Bhatia, Dr. Paul Fennelly, Rob Holmes, and Justin Fowler on the occasion of the launch of <i>The Petropolis of Tomorrow</i>.&nbsp;</p> <p>&nbsp;</p> <p>Resource extraction and urbanism have always had an intimate love/hate relationship. In the past fifty years, we have witness this relationship yield a series of global infrastructures and cities that are increasingly impacting and influencing all aspects of the globe. As these infrastructures, landscapes and territories become inadvertently integrated into the contemporary city, how can they be reconceived to address issues of urbanism that sit outside the logistics of resource extraction? During this panel discussion, we will examine the role of resource extraction on urbanism and question how design can hybridize these infrastructures with the competing forces of economics, geopolitics, cultural values, and ecologies.&nbsp;</p> <p>&nbsp;</p> <p>Limited copies were available for purchase at the event.</p> <p>&nbsp;</p> <p> <b>About the participants</b> </p> <p> <b>Neeraj Bhatia</b> </p> <p> <b>Research Director &mdash; The Petropolis of Tomorrow, Principal &mdash; The Open Workshop</b> </p> <p>Neeraj Bhatia is an Urban Designer and Licensed Architect whose work resides at the intersection of politics, infrastructure and urbanism. He is a co-director of the non-profit research collective, InfraNet Lab, founder of the design practice, The Open Workshop, and Assistant Professor of Architecture at The California College of the Arts where he is co-coordinator of The Urban Agency. He is co-editor of The Petropolis of Tomorrow, Bracket [Goes Soft], &mdash;Arium: Weather + Architecture and co-author of Pamphlet Architecture 30: Coupling - Strategies for Infrastructural Opportunism.</p> <p>&nbsp;</p> <p> <b>Dr. Paul Fennelly</b> </p> <p> <b>Senior Vice President, Global Director, Sales and Marketing &mdash; AECOM Global Environment Business Line</b> </p> <p> <span style="font-size: 12px;">Dr. Paul Fennelly is Senior Vice President, Global Director of Sales and Marketing for AECOM&rsquo;s Global Environment Business Line. Dr. Fennelly oversees strategic planning, sales, marketing, client relations and business development serving clients in worldwide industrial market sectors of Oil &amp; Gas, Power/Energy, Manufacturing, Chemical/Pharmaceutical, Mining and Minerals, Transportation as well as government organizations. The author of 50 scientific articles and presentations, Dr. Fennelly holds a Ph.D. in Chemistry from Brandeis University and a BS in Chemistry from Villanova University.</span> </p> <p>&nbsp;</p> <p> <b>Rob Holmes</b> </p> <p> <b>Landscape Architect, Professor of Virginia Tech's National Capital Region Master of Landscape Architecture, Co-founder of Dredgefest Research Collaborative, Co-Founder of Mammoth</b> </p> <p>Rob Holmes teaches and practices landscape architecture in Virginia. He recently held visiting positions at The Ohio State University and Louisiana State University. His work explores new modes of design in the context of contemporary urbanization, industrial networks, and large-scale anthropogenic landscape change. He is co-founder of Mammoth, a blog about infrastructures, logistics, landscapes, and architectural possibilities, and the Dredge Research Collaborative, which studies human sediment handling practices in the Anthropocene and organizes the DredgeFest event series.&nbsp;</p> <p>&nbsp;</p> <p> <b>Justin Fowler, Princeton University, Founding Editor of Manifest</b> </p> <p>Justin Fowler is a PhD candidate at the Princeton School of Architecture and a founding editor of Manifest, a journal of American architecture and urbanism. He received his Master of Architecture at the Harvard University Graduate School of Design and previously studied Government and the History of Art and Architecture at the College of William and Mary. He has worked as a designer for Dick van Gameren Architecten in Amsterdam, Somatic Collaborative in Cambridge, and managed research and editorial projects at the Columbia University Lab for Architectural Broadcasting (C-Lab) in New York.</p> <p>&nbsp;</p> <p> <iframe width="500" height="281" frameborder="0" src="http://player.vimeo.com/video/87405907"> </iframe> </p> <p>&nbsp;</p> <p> <b>About the book</b> </p> <p> <i>The Petropolis of Tomorrow</i> </p> <p> Neeraj Bhatia &amp; Mary Casper </p> <p>Format: Hardcover, 576 Pages</p> <p>Publisher: Actar / Architecture at Rice</p> <p> <a href="http://www.amazon.ca/Petropolis-Tomorrow-Neeraj-Bhatia/dp/0989331784/ref=sr_1_1?ie=UTF8&amp;qid=1386175132&amp;sr=8-1&amp;keywords=petropolis+of+tomorrow">Buy online</a> </p> <p>&nbsp;</p> <p>In recent years, Brazil has discovered vast quantities of petroleum deep within its territorial waters, inciting the construction of a series of cities along its coast and in the ocean. We could term these developments as Petropolises, or cities formed from resource extraction. The Petropolis of Tomorrow is a design and research project, originally undertaken at Rice University that examines the relationship between resource extraction and urban development in order to extract new templates for sustainable urbanism. Organized into three sections: Archipelago Urbanism, Harvesting Urbanism, and Logistical Urbanism, which consist of theoretical, technical, and photo articles as well as design proposals, The Petropolis of Tomorrow elucidates not only a vision for water-based urbanism of the floating frontier city, it also speculates on new methodologies for integrating infrastructure, landscape, urbanism and architecture within the larger spheres of economics, politics, and culture that implicate these disciplines.&nbsp;</p> <p>&nbsp;</p> <p>Articles by: Neeraj Bhatia, Luis Callejas, Mary Casper, Felipe Correa, Brian Davis, Far&egrave;s el-Dahdah, Rania Ghosn, Carola Hein, B&aacute;rbara Loureiro, Clare Lyster, Geoff Manaugh, Alida C. Metcalf, Juliana Moura, Koen Olthuis, Albert Pope, Maya Przybylski, Rafico Ruiz, Mason White, Sarah Whiting</p> <p>&nbsp;</p> <p>Photo Essays by: Garth Lenz, Peter Mettler, Alex Webb</p> <p>&nbsp;</p> <p>Research/ Design Team: Alex Gregor, Joshua Herzstein, Libo Li, Joanna Luo, Bomin Park, Weijia Song, Peter Stone, Laura Williams, Alex Yuen</p> <p>&nbsp;</p>
Tough Love 19 January 2014 06:07:14 EST http://www.storefrontnews.org/programming/exhibitionss?e=600

Friday February 14, 2014 – Saturday April 12, 2014

<p> <b>TOUGH LOVE</b> </p> <p> <b>February 15 - April 12, 2014</b> </p> <p> <b>Opening: February 14, 7pm</b> </p> <p>&nbsp;</p> <p>Courts have one sole task: to fulfill the demands of justice. Cultural institutions have over time adopted more than one task. The question this exhibition poses is: What is the task of cultural institutions today?</p> <p>&nbsp;</p> <p>In this exhibition, culture, in the form of art and design objects, operates as a place to test society&rsquo;s deeds. This exhibition calls into question citizenship, art and design as acts of passive observance by inserting active forces within the viewer, the buyer or the cultural consumer with consequences beyond the gallery walls.</p> <p>&nbsp;</p> <p>Tough Love unloads a series of objects, from clothing to paintings, and traces social burdens that each of us carry. The exhibition reminds us that justice and evil are not things that are witnessed but exercised by acts of difference and indifference. Tough Love reminds us that too often we limit ourselves to just being humans, forgetting the responsibility we have to act as citizens, and conversely, that as citizens of narrow ideological lands, we often forget our humanity.</p> <p>&nbsp;</p> <p>The work of Sebastian Errazuriz collapses product design and artistic practice with socially engaged positions. The works in this exhibition unveil questions of inequality, violence, fear or terror through a series of pieces that dwell on spaces of familiarity and uncanniness, simultaneously appealing and atrocious. Taking as context an over-informed society, the works presented force us not only to look and reflect on what is happening, but to reconsider our responsibilities as citizens.</p> <p>&nbsp;</p> <p> <b>About the artist</b> </p> <p>Sebastian Errazuriz, born in Santiago, Chile in 1977, was raised in London. Errazuriz took art classes in Washington, film courses in Edinburgh, and earned a design degree in Santiago. He later received his Master&rsquo;s in Fine Arts from New York University. At age 28, Sebastian became the second living South American artist to have work auctioned at Sotheby&rsquo;s Important Twentieth Century Design Auction.</p> <p>&nbsp;</p> <p>Errazuriz was selected as one of the top emerging designers by I.D. Magazine in 2007, and received the title of Chilean Designer of the Year in 2010. His large-scale, public artwork has received critical acclaim, and his furniture pieces are incorporated in over forty international exhibitions in cities such as Tokyo, New York, Paris and Barcelona. His design work has been incorporated in exhibitions and pop up shows at the Copper Hewitt, National Museum of Design in New York, The Vitra Museum in Weil AM Rheim in Germany, and the National Museum of Fine Arts in Santiago, Chile. Sebastian&rsquo;s work is a part of the permanent collection of Coorning Museum of Glass and several important international private collections. Sebastian&rsquo;s design, fashion, and public artwork have been featured on CNN, Good Morning America, and NY1.&nbsp;</p> <p> <span style="font-size: 12px;"> <br /> </span> </p> <p> <span style="font-size: 12px;">Errazuriz lives and works in New York, with offices and workshops in Santiago, Chile.&nbsp;</span> </p> <p> <span style="font-size: 12px;"> <br /> </span> </p> <p> <span style="font-size: 12px;">Errazuriz has a particular hability in reinventing himself and his work.&nbsp;</span> </p> <p> <span style="font-size: 12px;"> <br /> </span> </p> <p> <i>Every week, Storefront will release images and short texts explaining and contextualizing the works on display. Follow @storefrontnyc on Twitter and Instagram for updates.&nbsp;</i> </p> <p> <i> <br /> </i> </p> <p> <i> <br /> </i> </p> <p> <i> <span style="font-size: 24px;"> <b>"Art is a matter of Life or Death"</b> </span> </i> </p> <p> <i> <span style="font-size: 14px;"> <br /> </span> </i> </p> <p> <i> <span style="font-size: 14px;"> Sebastian Errazuriz, 2011
</span> </i> </p> <p> <i> <span style="font-size: 14px;"> Oil paint and tape over stainless steel extinguisher&nbsp;</span> </i> </p> <p> <i> <span style="font-size: 14px;"> Dimensions variable</span> </i> </p> <p>&nbsp;</p> <p>Statistics show a direct correlation between the existence of properly maintained fire extinguishers and a decrease in large fire hazards inside the home.
This sculpture might save your life (and your home) one day.</p> <p>&nbsp;</p> <p>#lifedeath</p> <p>&nbsp;</p> <p> <img src="../images/tinyMCE_upload/Life_Death_-_Errazuriz.jpg" width="500" height="334" /> </p> <p>&nbsp;</p> <p>&nbsp;</p> <p> <i> <span style="font-size: 24px;"> <b>"Rapist"</b> </span> </i> </p> <p> <i> <span style="font-size: 14px;"> <br /> </span> </i> </p> <p> <i> <span style="font-size: 14px;">Sebastian Errazuriz, 2013</span> </i> </p> <p> <i> <span style="font-size: 14px;">Modified Varsity Jacket</span> </i> </p> <p> <i> <span style="font-size: 14px;"> <br /> </span> </i> </p> <p>According to statistics one in five women on a given college campus will be raped; 85 percent of those women will know their attackers; and 90 percent of those rapes will go unreported. The male student athletes accused of rape often receive support from the schools while the girls tend to suffer public shame until silenced.</p> <p>&nbsp;</p> <p>According to legal reports, athletes represent a disproportionately high percentage of sexual attackers. School administrations, coaches and even the community tend to defend them because they represent the values of the school and because of the power and ultimately, money involved. Considering the NCAA estimates college sports generate about $6 billion in revenue a year, one could infer that money often stands in the way of justice.</p> <p>&nbsp;</p> <p>The jacket and its potential sale will help fund the legal defense of a future victim of college rape and provide a broader public awareness and discussion of the issue.</p> <p>&nbsp;</p> <p>#rapistjacket</p> <p>&nbsp;</p> <p> <i> <span style="font-size: 14px;"> <img src="../images/tinyMCE_upload/Rapist-low-2-short.jpg" width="500" height="500" /> <br /> </span> </i> </p> <p> <i>&nbsp;</i> </p> <p>&nbsp;</p> <p> <i> <img src="../images/tinyMCE_upload/Rapist-low-1-short.jpg" width="500" height="500" /> <br /> </i> </p> <p> <i> <br /> </i> </p> <p> <i> <img src="../images/tinyMCE_upload/Rapist-low-2-short.jpg" width="500" height="500" /> <br /> </i> </p> <p>&nbsp;</p> <p>&nbsp;</p> <div> <p> <i> <span style="font-size: 24px;"> <b>&ldquo;United States of Mexico&rdquo;</b> </span> </i> </p> <p> <i> <span style="font-size: 14px;"> <br /> </span> </i> </p> <p> <i> <span style="font-size: 14px;">Sebastian Errazuriz, 2013</span> </i> </p> <p> <i> <span style="font-size: 14px;">Graphic logo and adhesive applications on construction safety helmets</span> </i> </p> <p> <i> <span style="font-size: 14px;">Dimensions variable</span> </i> </p> <p>&nbsp;</p> <p>Recent statistics show that in some states almost 50% of construction workers are undocumented. This information suggests that many sectors of the U.S. economy are dependent on immigrant labor.</p> <p>&nbsp;</p> <p>Unfortunately current federal immigration policy denies them the right to work legally, forcing them into an underground economy where low pay, dangerous working conditions, and abusive practices are common.</p> <p>&nbsp;</p> <p>The &ldquo;United States of Mexico&rdquo; logo symbolizes the biggest undocumented group (over 50% of illegal immigrants are Mexican).</p> <p>&nbsp;</p> <p>#unitedstatesmexico</p> <p> <i> <span style="font-size: 14px;"> <br /> </span> </i> </p> <p> <i> <span style="font-size: 14px;"> <img src="../images/tinyMCE_upload/United-States-of-Mexico-low-forweb.jpg" width="500" height="500" /> <br /> </span> </i> </p> <p> <img src="../images/tinyMCE_upload/United-States-of-Mexico-low-3-forweb.jpg" width="500" height="500" /> </p> <p> <img src="../images/tinyMCE_upload/United-States-of-Mexico-low-2-forweb.jpg" width="500" height="500" /> </p> <p> <i> <span style="font-size: 24px;"> <b> <br /> </b> </span> </i> </p> <p> <i> <span style="font-size: 24px;"> <b> <br /> </b> </span> </i> </p> <p> <i> <span style="font-size: 24px;"> <b>"Doomed"</b> </span> </i> </p> <p>&nbsp;</p> <p> <i> <span style="font-size: 14px;">Inkjet on paper face mounted on acrylic</span> </i> </p> <p> <i> <span style="font-size: 14px;">78 3/4 x 70</span> </i> </p> <p>&nbsp;</p> <p>Violence, tragedy and truth telling are the three elements that photographers, editors, producers, curators or artists address through ethic-related questions.</p> <p>&nbsp;</p> <p>&ldquo;During the U.S.-led war in Iraq, news managers have been faced with many controversial images: the bullet-riddled bodies of Saddam Hussein&rsquo;s sons (Romano, 2003), the charred re-mains of four U.S. contractors hanging from a bridge in Fallujah (Crain, 2004; Perlmutter &amp; Major, 2004), nude Iraqi prisoners being humiliated at Abu Ghraib prison (Hersh, 2004), and the retaliatory beheading of U.S. contractor Nick Berg (Walt, 2004).</p> <p>&nbsp;</p> <p>Even images that some viewed as patriotic became controversial. Questions were raised about the impression given by images widely used in U.S. media (Schwalbe, Keith, &amp; Silcock, 2003) that seemed to show a mass of Baghdad residents hailing U.S. troops after the toppling of a statue of Saddam Hussein on April 9, 2003, when wider angle versions published abroad and on the Internet showed that the crowd was far smaller (Fahmy, 2004).</p> <p>&nbsp;</p> <p>Beyond Iraq, the March 2004 bomb attack on four commuter trains in Madrid resulted in a powerful image by El Pa&iacute;s photographer Pablo Torres Guerrero&mdash;and a difficult choice for editors. Should they&nbsp;<span style="font-size: 12.222222328186035px;">show news that included a bloody femur, crop the photo, digitally re-move the body part, or not use a photograph that left no doubt about the horror of the attack (Day, 2004; Irby, 2004)?</span> </p> <p> <span style="font-size: 12.222222328186035px;"> <br /> </span> </p> <p>In September 2004, still and video images depicted the bloodied bodies of Russian children, victims of a commando raid on hostage takers who killed more than 300 at a school in Beslan (Rivard, 2004).</p> <p>&nbsp;</p> <p>The December 2004 tsunami in Asia brought more images of tragedy and destruction (Winslow, 2005), as did bombings of three Underground trains and a bus that killed more than 50 people in London on July 7, 2005.</p> <p>&nbsp;</p> <p>Questions were raised about whether news media outlets acted responsibly in airing leaked images of unexploded bombs seized in investigations of the London attacks (Associated Press, 2005) and in publishing camera phone photographs made by survivors of the London blasts and the crash landing of AirFrance Flight 358 in Toronto on August 2, 2005 (Madore &amp; Phan, 2005; Memmott, Levin, &amp; Livadas, 2005).</p> <p>&nbsp;</p> <p>Later in 2005, tragic images of victims of Hurricane Katrina, which killed more than 1,300 (Weeks, 2006), became icons of &ldquo;all that went so tragically wrong&rdquo; (Lawrence, 2005, p. 1A; Filosa, 2005). Editors and producers were forced to decide whether images of the dead, such as The Toronto Star&rsquo;s photograph of a body crushed beneath the rubble of a motel in Biloxi, Mississippi, should be published because they captured &lsquo;the true dimensions of the tragedy&rsquo;(Burnside, 2005, p.F6) or should be withheld because they might be disrespectful to the storm&rsquo;s victims or offend readers. How well are the ethics guidelines given to visual journalists and those who work with them keeping up with these challenges?&rdquo;</p> <p>&nbsp;</p> <p>Susan Keith
Department of Journalism and Media Studies School of Communication, Images in Ethics Codes in an Era of Violence and Tragedy.</p> <p>&nbsp;</p> <p>#doomed</p> <p>&nbsp;</p> <p> <img src="../images/tinyMCE_upload/Doomed_Poster_-_Errazuriz.jpg" width="500" height="749" /> </p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p> <i> <span style="font-size: 24px;"> <b>"Portrait of US"</b> </span> </i> </p> <p> <i> <span style="font-size: 14px;"> <br /> </span> </i> </p> <p> <i> <span style="font-size: 14px;">Sebastian Errazuriz, 2013</span> </i> </p> <p> <span style="font-size: 14.44444465637207px;"> <i>Acrylic paint, ink and natural dyes on cotton</i> </span> </p> <p> <span style="font-size: 14.44444465637207px;"> <i>2 Framed sweaters</i> </span> </p> <p> <span style="font-size: 14.44444465637207px;"> <i>48 x 80 x 2 each frame</i> </span> </p> <p>&nbsp;</p> <p>&ldquo;Portrait of US&rdquo; presents two framed reproductions of the hoodie and sweatshirt that Trayvon Martin was wearing the day he was killed.</p> <p>&nbsp;</p> <p>Newspapers announced that George Zimmerman was found not guilty of murdering unarmed black teenager on July 13, 2013. Civil rights leaders argued that Zimmerman had probably targeted Martin because he was black. Statistics prove that white people who kill black people in &lsquo;Stand Your Ground&rsquo; states are 354% more likely to be cleared of murder.</p> <p>&nbsp;</p> <p>The images depicting the framed hoodie were presented to the court during of the Zimmerman trial in a similar manner as paintings are presented at auctions to the scrutinizing public. They constituted not only evidence of Trayvon&rsquo;s death but also a portrait of our society.</p> <p>&nbsp;</p> <p>Complementing the replicas, a series of altered hoodies are available for sale. They are fashion garments of anger and protest one can dare to wear. With &ldquo;Portrait of US,&rdquo; aesthetics and politics come together to create a movement that has the potential to become a social force for the much-needed modifications to the &ldquo;Stand Your Ground&rdquo; law and other discriminating racial laws.</p> <p>&nbsp;</p> <p>100% of the proceeds from the sale of altered hoodies will be donated to the Trayvon Martin Foundation.</p> <p>&nbsp;</p> <p>&nbsp;#portraitusa</p> <p>&nbsp;</p> <p> <img src="../images/tinyMCE_upload/Portrait_of_US_-_Errazuriz.jpg" width="500" height="315" /> </p> <p>&nbsp;</p> <p>&nbsp;</p> <p> <i> <span style="font-size: 24px;"> <b>&ldquo;Captured&rdquo;</b> </span> </i> </p> <p> <i> <span style="font-size: 14px;"> <br /> </span> </i> </p> <p> <i> <span style="font-size: 14px;">Sebastian Errazuriz, 2013</span> </i> </p> <p> <span style="font-size: 14.44444465637207px;"> <i>Oil paint on particle board, gilded antique frame</i> </span> </p> <p> <span style="font-size: 14.44444465637207px;"> <i>54 1/2 x 82 1/2 x 3 1/2</i> </span> </p> <p>&nbsp;</p> <p>Painters like Goya, Caravaggio or Rembrandt have historically constructed martyrdom by using aesthetics to manufacture empathy.</p> <p>&nbsp;</p> <p>Sgt Sean Murphy, a photographer for the Massachusetts State Police pictured the alleged Boston bomber Dzhokhar Tsarnaev on April 19, 2013 in a dry-docked boat in Watertown, just outside Boston during his capture by special police forces. On July 18, 2013, Sgt Sean Murphy published the image above in Boston Magazine as a response to the image portrayed of Tsarnaev in The Rolling Stone August issue.</p> <p>&nbsp;</p> <p>Hours before this image was taken, Tsarnaev witnessed the death of his brother. Friends and colleagues of Tsarnaev still do not understand what happened to their neighbor.</p> <p>&nbsp;</p> <p>Dzhokhar Tsarnaev faces a probable death sentence based on large amounts of evidence that allegedly will prove him guilty of an attack that killed three and injured hundreds.</p> <p>&nbsp;</p> <p>#captured</p> <p>&nbsp;</p> <p> <img src="../images/tinyMCE_upload/Captured_3_-_Errazuriz.jpg" width="500" height="375" /> </p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p> <i> <span style="font-size: 24px;"> <b>&ldquo;Shredded&rdquo;</b> </span> </i> </p> <p> <i> <span style="font-size: 14px;"> <br /> </span> </i> </p> <p> <i> <span style="font-size: 14px;">Sebastian Errazuriz and Carlton DeWoody, 2013</span> </i> </p> <p> <span style="font-size: 14.44444465637207px;"> <i>Office printer, shredder, news clips and video projection</i> </span> </p> <p> <span style="font-size: 14.44444465637207px;"> <i>Dimensions variable</i> </span> </p> <p>&nbsp;</p> <p>In the United States, authorities do not maintain a record of civilians permitted to acquire, possess, carry, sell or transfer a firearm or ammunition. Privately owned guns in the U.S. are estimated to be approximately 310,000,000. With an average of approximately 30,000 deaths a year caused by firearms, one would expect strong government control.</p> <p>&nbsp;</p> <p>The printer reproduces a selection of past newspaper articles announcing different gun massacres that have happened in the United States. The non-stop roll of terrifying articles manages to exist for barely enough time to be read by the viewer, before they are destroyed and forgotten by the shredder.</p> <p>&nbsp;</p> <p>Each shredded news clip of gun massacres over the past 10 years is framed and available for sale. This artwork will continue to evolve and will only be completed by the artist when a comprehensive gun law is passed in the United States.</p> <p>&nbsp;</p> <p>#shredded</p> <p>&nbsp;</p> <p> <img src="../images/tinyMCE_upload/Shredded_-_Errazuriz.jpg" width="500" height="334" /> </p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p> <i> <span style="font-size: 24px;"> <b>&ldquo;Justice&rdquo;</b> </span> </i> </p> <p> <i> <span style="font-size: 14px;"> <br /> </span> </i> </p> <p> <i> <span style="font-size: 14px;">Sebastian Errazuriz, 2013</span> </i> </p> <p> <span style="font-size: 14.44444465637207px;"> <i>Acrylic and oil paint over wooden baseball bats</i> </span> </p> <p> <span style="font-size: 14.44444465637207px;"> <i>Dimensions variable</i> </span> </p> <p>&nbsp;</p> <p>According to the U.S. Justice Department, 25% of women polled admitted having experienced domestic violence.</p> <p>&nbsp;</p> <p>There are approximately 1 million domestic violence incidents each year.
On average, 3 females and 1 male are murdered by their partners each day in the United States.</p> <p>&nbsp;</p> <p>The public is invited to download the stencils and create their own Justice bats and share their personal stories.</p> <p>&nbsp;</p> <p>#justicebats</p> <p>&nbsp;</p> <p> <img src="../images/tinyMCE_upload/Justice_-_Errazuriz.jpg" width="500" height="650" /> </p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p> <i> <span style="font-size: 24px;"> <b>&ldquo;Doomed&rdquo;</b> </span> </i> </p> <p> <i> <span style="font-size: 14px;"> <br /> </span> </i> </p> <p> <i> <span style="font-size: 14px;">Sebastian Errazuriz, 2013</span> </i> </p> <p> <i> <span style="font-size: 14px;">Oil paint over welding mask</span> </i> </p> <p> <i> <span style="font-size: 14px;">Dimensions variable</span> </i> </p> <p>&nbsp;</p> <p>Statistics indicate that manufacturing jobs in the U.S. have hit a 60 year low.</p> <p>&nbsp;</p> <p>Despite the harrowing conditions in which many of the workers endure on a daily basis, both the workers and the industry know that without policy changes, their jobs are dooming.</p> <p>&nbsp;</p> <p>Metal fume fever is the most common acute respiratory illness experienced by welders. Chronic Manganese poisoning can cause Parkinson&rsquo;s-like disease and other respiratory illness.</p> <p>&nbsp;</p> <p>The color of Manganese is pink.&nbsp;</p> <p>&nbsp;</p> <p>#doomedhelmet</p> <p>&nbsp;</p> <p>&nbsp;</p> <p> <img src="../images/tinyMCE_upload/Doomed_helmet_-_Errazuriz.jpg" width="500" height="749" /> </p> <p>&nbsp;</p> <p>&nbsp;</p> <p> <i> <span style="font-size: 24px;"> <b> <br /> </b> </span> </i> </p> <p> <i> <span style="font-size: 24px;"> <b>&ldquo;Fuck BP&rdquo;</b> </span> </i> </p> <p> <i> <span style="font-size: 14px;"> <br /> </span> </i> </p> <p> <i> <span style="font-size: 14px;">Sebastian Errazuriz, 2011</span> </i> </p> <p> <i> <span style="font-size: 14px;">Acrylic paint on oil cans, custom safety pins and industrial grade elastics</span> </i> </p> <p> <i> <span style="font-size: 14px;">Dimensions variable</span> </i> </p> <p>&nbsp;</p> <p>Conceived during the reckless procedures of British Petroleum in the Gulf of Mexico in 2010, &ldquo;Fuck BP&rdquo; embodies the public&rsquo;s anger after irreversible natural disasters produced by multinational oil companies.</p> <p>&nbsp;</p> <p>#oilgrenade</p> <p>&nbsp;</p> <p> <img src="../images/tinyMCE_upload/Fuck_BP_3_-_Errazuriz.jpg" width="500" height="334" /> </p> <p>&nbsp;</p> <p> <i> <span style="font-size: 24px;"> <b> <br /> </b> </span> </i> </p> <p> <i> <span style="font-size: 24px;"> <b> <br /> </b> </span> </i> </p> <p> <i> <span style="font-size: 24px;"> <b>&ldquo;Occupy Chairs&rdquo;</b> </span> </i> </p> <p> <i> <span style="font-size: 14px;"> <br /> </span> </i> </p> <p> <i> <span style="font-size: 14px;">Sebastian Errazuriz, 2011</span> </i> </p> <p> <i> <span style="font-size: 14px;">Acrylic paint on wood</span> </i> </p> <p> <i> <span style="font-size: 14px;">Dimensions variable</span> </i> </p> <p>&nbsp;</p> <p>Originally designed as foldable chairs/signs for the protesters of Occupy Wall Street, &ldquo;Occupy Chairs&rdquo; provide the users a sign to protest during the day and a fold out chair to gather together next to their tents at night.</p> <p>&nbsp;</p> <p>The second part of the project consisted of creating a refined version of the chair enhanced to emulate commercial pop art in an attempt to attract the rich collectors of the 1% to buy the complaints of the 99% and take them home like a Trojan horse.</p> <p>&nbsp;</p> <p>The third and final step of the project consisted of a declaration to the press of fabricated doubts about how much of the profits obtained from the sale of the chairs would be donated to the 99% movement.</p> <p>&nbsp;</p> <p>The purposely ambiguous and ironic gesture sacrificed what was previously a &ldquo;politically correct&rdquo; artwork to question how our own position towards social inequality changes depending on what position on the income bracket we hold at any given time.</p> <p>&nbsp;</p> <p>The &ldquo;Occupy Chairs&rdquo; were first presented at the NY Armory Show, where 99% of attendees tend to constitute the 1%.</p> <p>&nbsp;</p> <p>#occupychairs</p> <p>&nbsp;</p> <p> <img src="../images/tinyMCE_upload/Occupy_5_-_Errazuriz.jpg" width="500" height="334" /> </p> <p>&nbsp;</p> <p>&nbsp;</p> <p> <i> <span style="font-size: 24px;"> <b> <br /> </b> </span> </i> </p> <p> <i> <span style="font-size: 24px;"> <b>&ldquo;Trapped&rdquo;</b> </span> </i> </p> <p> <i> <span style="font-size: 14px;"> <br /> </span> </i> </p> <p> <i> <span style="font-size: 14px;">Sebastian Errazuriz, 2013</span> </i> </p> <p> <i> <span style="font-size: 14px;">Oil paint over axes</span> </i> </p> <p> <i> <span style="font-size: 14px;">Dimensions variable</span> </i> </p> <p>&nbsp;</p> <p>Axes were incorporated into public institutions as a safety measure should fire victims find themselves in a position where they needed to cut themselves out of an exit.</p> <p>&nbsp;</p> <p>#trapped</p> <p>&nbsp;</p> <p> <img src="../images/tinyMCE_upload/Trapped_-_Errazuriz.jpg" width="500" height="312" /> </p> <p>&nbsp;</p> <p> <i> <span style="font-size: 24px;"> <b> <br /> </b> </span> </i> </p> <p> <i> <span style="font-size: 24px;"> <b> <br /> </b> </span> </i> </p> <p> <i> <span style="font-size: 24px;"> <b>&ldquo;Homeless&rdquo;</b> </span> </i> </p> <p> <i> <span style="font-size: 14px;"> <br /> </span> </i> </p> <p> <i> <span style="font-size: 14px;">Sebastian Errazuriz, 2012</span> </i> </p> <p> <span style="font-size: 14.44444465637207px;"> <i>Embroidered wool hat and photograph</i> </span> </p> <p> <span style="font-size: 14.44444465637207px;"> <i>An embroidered hat</i> </span> </p> <p> <span style="font-size: 14.44444465637207px;"> <i>Dimensions variable</i> </span> </p> <p>&nbsp;</p> <p>New York has over 50,000 homeless people in municipal shelters. 22,000 are children.</p> <p>Recent statistics show that homelessness has already increased 13 percent more in 2013 than in previous years.</p> <p>&nbsp;</p> <p>#homelesshat</p> <p>&nbsp;</p> <p>&nbsp;</p> <p> <br /> <img src="../images/tinyMCE_upload/Homeless_-_Errazuriz.jpg" width="500" height="749" /> </p> <p>&nbsp;</p> <p> <i> <span style="font-size: 24px;"> <b> <br /> </b> </span> </i> </p> <p> <i> <span style="font-size: 24px;"> <b> <br /> </b> </span> </i> </p> <p> <i> <span style="font-size: 24px;"> <b>&ldquo;Tatianna&rdquo;</b> </span> </i> </p> <p> <i> <span style="font-size: 14px;"> <br /> </span> </i> </p> <p> <i> <span style="font-size: 14px;">Sebastian Errazuriz, 2014</span> </i> </p> <p> <span style="font-size: 14.44444465637207px;"> <i>Inkjet on canvas, resin</i> </span> </p> <p> <span style="font-size: 14.44444465637207px;"> <i>Blow up of a police poster for a missing child</i> </span> </p> <p> <span style="font-size: 14.44444465637207px;"> <i>78 3/4 x 55</i> </span> </p> <p>&nbsp;</p> <p>Tatianna Lindo was reported missing exactly a year and one day from the opening of this exhibition.</p> <p>&nbsp;</p> <p>Her portrait, like many other missing children has been widely circulated online and posted around the city.</p> <p>&nbsp;</p> <p>800,000 children are reported missing each year in the United States.&nbsp;</p> <p>&nbsp;</p> <p>#tatianna</p> <p>&nbsp;</p> <p>&nbsp;</p> <p> <img src="../images/tinyMCE_upload/Tatianna_-_Errazuriz.jpg" width="500" height="706" /> </p> <p>&nbsp;</p> </div>
Reading Series: MANIFESTO ARCHITECTURE 23 January 2014 14:25:58 EST http://www.storefrontnews.org/programming/seriess?e=601

Saturday February 8, 2014 – Saturday February 8, 2014

<p> <b>February 8, 2014</b> </p> <p> <b>7-9pm</b> </p> <p>&nbsp;</p> <p>On the occasion of the launch of&nbsp;<b>Manifesto Architecture: The Ghost of Mies</b> by Beatriz Colomina, Storefront presented the inauguration of the Reading Series.</p> <p>&nbsp;</p> <p>For this event, Giuliana Bruno, Craig Buckley, Beatriz Colomina, Nikolaus Hirsch and Mark Wasiuta presented excerpts of the book and other readings followed by a discussion on the topics and questions at hand moderated by Eva Franch.</p> <p>&nbsp;</p> <p> <b>Manifesto Architecture: The Ghost of Mies</b> is the third volume of the series Critical Spatial Practice edited by Nikoalus Hirsch and Markus Miessen.</p> <p>&nbsp;</p> <p>Storefront Series events are open to the public.</p> <p>&nbsp;</p> <p> <iframe width="500" height="281" frameborder="0" src="http://player.vimeo.com/video/87279870"> </iframe> </p> <p>&nbsp;</p> <p>&nbsp;</p> <p> <b>About the book</b> </p> <p>Beatriz Colomina</p> <p>Critical Spatial Practice 3&nbsp;</p> <p> <b>Manifesto Architecture: The Ghost of Mies</b> </p> <p>&nbsp;</p> <p>Edited by Nikolaus Hirsch, Markus Miessen&nbsp;</p> <p>Featuring artwork by Dan Graham&nbsp;</p> <p>&nbsp;</p> <p>February 2014, English</p> <p>10.5 x 15 cm, 110 pages, 39 color and 70 b/w ills., softcover with dust jacket</p> <p>ISBN 978-3-95679-000-3</p> <p>&nbsp;</p> <p>Read more <a href="http://www.sternberg-press.com/index.php?pageId=1481&amp;l=en&amp;bookId=375&amp;sort=year">here</a>.&nbsp;</p>
Competition of Competitions: Finalists 31 January 2014 16:35:01 EST http://www.storefrontnews.org/programming/competitionss?e=602

Friday January 31, 2014 – Friday January 31, 2014

<p> <b>With more than 100 entries and a long process of selection, Storefront presents the 18 finalists of the Competition of Competitions.</b> </p> <p>&nbsp;</p> <p>The finalists' submissions were exhibited as part of&nbsp;<i>Letters to the Mayor</i>, an exhibition focusing on the relationship between architecture and politics.</p> <p>&nbsp;</p> <p>Learn more about the competition <a href="../programming/events?preview=true&amp;e=520">here</a>.</p> <p>&nbsp;</p> <p>THE WINNERS OF THE COMPETITION OF COMPETITIONS CAN BE VIEWED <a href="../programming/competitions?c=&amp;p=&amp;e=615">HERE</a>.</p> <p>&nbsp;</p> <p> <b>The 18 Finalists of the Competition of Competitions are:</b> </p> <p>&nbsp;</p> <p> <a href="https://www.dropbox.com/s/f93kvrlmydjyh1g/10070.%20compettion%20of%20competitions_PR_PD2.pdf">ReDesign the Discipline of Architecture</a>&nbsp;</p> <p> <i>The Architecture Lobby</i> </p> <p>&nbsp;</p> <p> <a href="https://www.dropbox.com/s/0y8s8qzq6uk9dev/10022%20Boot-Trunk.pdf">Open Source Open Space: Hacking the Built Environment</a>&nbsp;</p> <p> <i>Boot/Trunk [Nicole Lindahl, Louise Mackie and Samantha Senn]</i> </p> <p> <i> <br /> </i> </p> <p> <a href="https://www.dropbox.com/s/kpp1pyvh1telxxn/10043_depolitisign.pdf">dePOLITIsign: An open call for the redesign of a USCIS office</a>&nbsp;</p> <p> <i>Min Chen &amp; Kristin Enright</i> </p> <p> <i> <br /> </i> </p> <p> <a href="https://www.dropbox.com/s/tz2au66dphiptp3/10047.%20Amazonia%202015.pdf">Amazonia 2020</a>&nbsp;</p> <p> <i>Civic Projects [Kati Rubinyi, Deborah Richmond , Michael Powell, Ewan E. Branda]</i> </p> <p> <i> <br /> </i> </p> <p> <a href="https://www.dropbox.com/s/nijql4r09p8kju4/10042.%20team%2010042_finalcompetition.pdf">Deploy Yourself, Not Your Designs</a>&nbsp;</p> <p> <i>The Coalition for the Improvement of Refugee Camps [Marcy Monroe, Lee Dykxhoorn]</i> </p> <p> <i> <br /> </i> </p> <p> <a href="https://www.dropbox.com/s/haqrpddrdd2opys/10072.%20el_corbusier_comp_of_comp.pdf">Second Nature</a>&nbsp;</p> <p> <i>El Corbusier</i> </p> <p>&nbsp;</p> <p> <a href="https://www.dropbox.com/s/isa2iuf7zj173nz/10026_COCFinalSubmission.pdf">The City is The Room. The Room is The City.</a>&nbsp;</p> <p> <i>FormFictionFormat [Elena Palacios Carral, Manijeh Verghese]</i> </p> <p> <i> <br /> </i> </p> <p> <a href="https://www.dropbox.com/s/hetsek99tv3zzsi/10062.%20Entry%2010062_Labyrinth.pdf">Labyrinth</a> </p> <p> <i>grey_matter(s) [Annie Charleston, William McCommon, Megan McDonough, Shota Vashakmadze]</i> </p> <p> <i> <br /> </i> </p> <p> <a href="https://www.dropbox.com/s/69kmrjmq6m2e6nr/10030.%20GroundLAB_notitles_08.13.2013.pdf">NO TITLES, A Campaign for Illegal Architecture</a>&nbsp;</p> <p> <i>GroundLAB [Sean Billy Kizy, Sara Lum, Rakia Seaborn, Nicholas Sharma]</i> </p> <p> <i> <br /> </i> </p> <p> <a href="https://www.dropbox.com/s/0jezz38rzyy44c2/10016.%20_TBD.pdf">Taking Buildings Down</a> </p> <p> <i>INC_A</i> </p> <p>&nbsp;</p> <p> <a href="https://www.dropbox.com/s/nd8tc86epb8aef9/10019.%20THE%20DISCREET%20ARCHITECT.pdf">The Discreet Architect</a> </p> <p> <i>Local Provision Studio [Valeria Federighi, Janet Yoon]</i> </p> <p>&nbsp;</p> <p> <a href="https://www.dropbox.com/s/bpzizq8j9512x73/10035.%20CofC%2010035.pdf">Nature, Error, Babies</a>&nbsp;</p> <p> <i>Metonymy's Architecture [Tom Nurmi, Jeffrey Dunn, Meagan Lehr, Erika Wilder]</i> </p> <p> <i> <br /> </i> </p> <p> <a href="https://www.dropbox.com/s/s8ubopjk0ecohid/10057_COC.pdf">Off-the-Radar: The Architecture of Non-Existing Space</a>&nbsp;</p> <p> <i>Mitnick-Roddier [Mireille Roddier, Keith Mitnick]</i> </p> <p>&nbsp;</p> <p> <a href="https://www.dropbox.com/s/rktwzr2q99eiyyi/10069.%20CoC_10069.pdf">Rezoning the 5th Fa&ccedil;ade: Redefining New York's City Roof Scape</a>&nbsp;</p> <p> <i>normaldesign [Matthias Neumann in collaboration with Shane T. Umman]</i> </p> <p>&nbsp;</p> <p> <a href="https://www.dropbox.com/s/c9yp5xgycirpafj/10074.pdf">The Next Suburb</a> </p> <p> <i>The Thirteenth Hour</i> </p> <p> <i> <br /> </i> </p> <p> <a href="https://www.dropbox.com/s/fb7a6jewulg4s1g/10066.%20FF-FINAL2.pdf">Future Factory</a> </p> <p> <i>Gretchen Wilkins [with Ian Nazareth and students Matthew Ellis, Ken Yip Lai, Sarah Moussa, Francisca Rodriguez, Nicholas Stathopoulos]</i> </p> <p>&nbsp;</p> <p> <a href="https://www.dropbox.com/s/idhnmg23whkl5e4/10063.%20BLISS.pdf">BLISS: Better Living through Intuitive Soft Surveillance</a>&nbsp;</p> <p> <i>Yeadon Space Agency</i> </p> <p>&nbsp;</p> <p> <a href="https://www.dropbox.com/s/tmvbp0nwlvkqync/10073.%20Into%20the%20Void.pdf">Into the Void: An Architectural Competition on Emptiness</a> </p> <p> <i>Zooburbia [Felipe Orensanz, Rodrigo Duran]</i> </p>
Lauren Thorson: Station Model: 10012 13 January 2014 12:07:25 EST http://www.storefrontnews.org/programming/pop-upss?e=597

Tuesday January 14, 2014 – Saturday January 18, 2014

<p> <img src="../images/tinyMCE_upload/Thorson_gif_500.gif" width="500" height="472" /> </p> <p>&nbsp;</p> <p>Week 12 / Jan 14 - 18, 2014</p> <p>Station Model: 10012</p> <p>Lauren Thorson</p> <p>&nbsp;</p> <p> <b>About the project</b> </p> <p>Station Model: 10012 will serve as a live weather reporting station and archive based upon digital and analog collection of meteorological observations for zip code 10012.</p> <p>&nbsp;</p> <p> <span style="font-size: 12.222222328186035px;">For live weather plotting updates,&nbsp;</span> <a href="http://station-model.tumblr.com/">click here</a> <span style="font-size: 12.222222328186035px;">.</span> </p> <p>&nbsp;</p> <p> <span style="font-size: 12.222222328186035px;"> <b>About the artist</b> </span> </p> <p>Born in Des Moines, Iowa, Lauren Thorson received her MFA from the Minneapolis College of Art &amp; Design. She is a fifty-percent of the design studio, Studio Set and currently a Designer-In-Residence, Visiting Faculty at Virginia Commonwealth University. She has exhibited and lectured nationally; worked as a designer and has been published internationally, recently being named one of The Walker Art Center's &ldquo;Ten Artists to Watch in 2013.&rdquo; She has served as co-chair for the IEEE VIS Arts Program for the past two years, while actively pursuing research in data visualization with the University of Minnesota's Interactive Visualization Lab since 2011.</p> <div> <br /> </div> <p>For regular updates, please visit&nbsp;<a href="https://www.facebook.com/storefront?ref=hl">Facebook</a>&nbsp;and/or&nbsp;<a href="https://twitter.com/storefrontnyc">Twitter</a>&nbsp;and/or&nbsp;<a href="http://instagram.com/storefrontnyc">Instagram</a>.&nbsp;</p> <p>&nbsp;</p> <p>@storefrontnyc @lauren_thorson</p>
Andrew Kovacs: Architectural Cliff 6 January 2014 15:18:25 EST http://www.storefrontnews.org/programming/pop-upss?e=594

Tuesday January 7, 2014 – Saturday January 11, 2014

<p>Week 11 / Jan 7 - 11, 2014</p> <p>Architectural Cliff</p> <p>Andrew Kovacs</p> <p>&nbsp;</p> <p> <b>About the project</b> </p> <p> <i>The ambition for the Storefront Residency is to install a &lsquo;Architectural Cliff&rsquo; in the narrowest part of the gallery. &lsquo;Architectural Cliff&rsquo; is a vertical architectural model that will exploit part to part relationships, formal contiguities, the everyday, and the architectural. Oscillating between a collection and a hoard, &lsquo;Architectural Cliff&rsquo; is composed of everyday objects that have architectural qualities as well as architectural models. This collision and compaction of objects forms a 3-dimensional spatial coalition that is a proposal for a space of architectural mountaineering. Each piece of &lsquo;Architectural Cliff&rsquo; will be documented and cataloged by their inherent architectural qualities such as form, color, size, mass, etc., before being placed into the organized spatial hoard. This grotesque vertical beast will grow and evolve over the 5 day residency period until it fully fills and occupies the narrowest space at Storefront.&nbsp;</i> </p> <div>-Andrew Kovacs</div> <div> <br /> </div> <div> <b>About the artist</b> </div> <div>Andrew Kovacs was born in Chicago, Illinois. He has worked for RE X in New York City, OMA/Rem Koolhaas in Rotterdam and Atelier Bow-Wow in Tokyo. &nbsp;In 2011 Kovacs received a Howard Crosby Butler Traveling Fellowship in Architecture from Princeton University for his proposal A Tale of Two Masterplans to study the architecture and urbanism of the two major cities in Kazakhstan &ndash; Astana and Almaty. His written work on architecture and urbanism has been published in journals such as PIDGIN, PROJECT, and CLOG.&nbsp;</div> <div> <br /> </div> <div> <p>For regular updates, please visit&nbsp;<a href="https://www.facebook.com/storefront?ref=hl">Facebook</a>&nbsp;and/or&nbsp;<a href="https://twitter.com/storefrontnyc">Twitter</a>&nbsp;and/or&nbsp;<a href="http://instagram.com/storefrontnyc">Instagram</a>.&nbsp;</p> <p>&nbsp;</p> <p>@storefrontnyc @afkovacs</p> </div>
GIF Library 14 January 2014 15:41:19 EST http://www.storefrontnews.org/programming/projectss?e=598

Wednesday January 1, 2014

<p> <img src="../images/tinyMCE_upload/Giff_Library/baltic-triangle-animation-low.gif" width="709" height="234" /> </p> <p> <img src="../images/tinyMCE_upload/guggenheim-landscape-big.gif" width="960" height="720" /> </p> <p>&nbsp;</p> <p>&nbsp;</p> <p> <img src="../images/tinyMCE_upload/FULLER_NETWORK-PATENTS.gif" width="1000" height="286" /> </p> <p> <img src="../images/tinyMCE_upload/website-archive_repository22.gif" width="2560" height="1368" /> </p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p> <img src="../images/tinyMCE_upload/website-archive_repository.gif" width="2560" height="1368" /> </p> <p> <img src="../images/tinyMCE_upload/websitegif-officeus3.gif" width="2211" height="1189" /> </p> <p>&nbsp;</p> <p> <img src="../images/tinyMCE_upload/websitegif-officeus2.gif" width="1000" height="538" /> </p> <p> <img src="../images/tinyMCE_upload/websitegif-officeus.gif" width="2211" height="1189" /> </p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p> <img src="../images/tinyMCE_upload/issues_gif_jeffrey.gif" width="1950" height="1950" /> </p> <p> <img src="../images/tinyMCE_upload/agenda1.gif" width="1000" height="750" /> </p> <p>&nbsp;</p> <p> <img src="../images/tinyMCE_upload/OfficeUS_Issues_LAUNCH2.gif" width="1950" height="1950" /> </p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p> <img src="../images/tinyMCE_upload/cocktail_final_partial.gif" width="2000" height="1216" /> </p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p> <img src="../images/tinyMCE_upload/0418_save_the_date.gif" width="800" height="800" /> </p> <p> <img src="../images/tinyMCE_upload/20140421_outpost-gif_final.gif" width="800" height="800" /> </p> <p> <img src="../images/tinyMCE_upload/20140421_outpost-gif.gif" width="800" height="800" /> </p> <p> <img src="../images/tinyMCE_upload/Save-the-Date-OPENING.gif" width="800" height="800" /> </p> <p> <img src="../images/tinyMCE_upload/officeUs_call-for-outposts.gif" width="600" height="600" /> </p> <p>&nbsp;</p> <p>&nbsp;</p> <p> <img src="../images/tinyMCE_upload/Lettersto-the-mayor_giff_smallsmall.gif" width="500" height="500" /> </p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p> <img src="../images/tinyMCE_upload/palace-of-the-soviets.gif" width="800" height="800" /> </p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p> <img src="../images/tinyMCE_upload/afterparty2.gif" width="300" height="300" /> </p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p> <img src="../images/tinyMCE_upload/Gif2.gif" width="567" height="567" /> </p> <p> <img src="../images/tinyMCE_upload/Benefit_Gif1.gif" width="500" height="360" /> </p> <p> <img src="../images/tinyMCE_upload/manifesto-architecture.gif" width="500" height="500" /> </p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p> <img src="../images/tinyMCE_upload/being-closing---low.gif" width="500" height="281" /> </p> <p> <img src="../images/tinyMCE_upload/BENEFIT-2014_e.gif" width="800" height="800" /> </p>
$UPPORT / from drama$ to dream$ 23 December 2013 09:15:07 EST http://www.storefrontnews.org/programming/eventss?e=593

Monday December 23, 2013

<p> <img src="../images/tinyMCE_upload/support.gif" width="500" height="500" /> </p> <p>&nbsp;</p> <p> <b> <br /> </b> </p> <form action="https://www.paypal.com/cgi-bin/webscr" method="post"> <p> <br /> <b>Make a 100% tax-deductible contribution before Dec 31st to Storefront for Art and Architecture's annual fund.</b> <br /> <br />Click the DONATE button below.<br />&nbsp;<br /> OR SEND US A CHECK&nbsp;<br /> <br />STOREFRONT FOR ART AND ARCHITECTURE<br />97 KENMARE</p> <p>10012 NEW YORK, NY</p> </form> <p> <b> <br /> </b> </p> <p> <b>Feeling generous? Want to become a member or give a friend a Sf gift?</b> </p> <p>&nbsp;</p> <p>Here are some options:</p> <p>&nbsp;</p> <p>- A one year <a href="../support">Storefront Membership</a>. From $100 to $5,000.</p> <p>&nbsp;</p> <p>- A <a href="../books/store">Storefront Manifesto Series Book</a>. At $20 + shipping.</p> <p>&nbsp;</p> <p>&nbsp;</p> <p> <img src="../images/tinyMCE_upload/2013.12.09-Manifesto-Series-medium.gif" width="120" height="89" /> </p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>- A Dream Duvet cover with 30 years of unfulfilled Storefront dreams. Limited edition of 10. At $250 + shipping. Email membership@storefrontnews.org for details.&nbsp;</p> <p>&nbsp;</p> <p> <img src="../images/tinyMCE_upload/Dream_05.jpg" width="204" height="153" /> </p> <p>For inquiries, please write to membership@storefrontnews.org.</p> <p>&nbsp;</p> <p>See you in 2014.&nbsp;</p> <p>&nbsp;</p> <div> <br /> </div> <form action="https://www.paypal.com/cgi-bin/webscr" method="post"> <input type="hidden" name="cmd" value="_s-xclick" /> <input type="hidden" name="hosted_button_id" value="YZLXAHXCEDX2Y" /> <input type="image" src="https://www.paypalobjects.com/en_US/i/btn/btn_donate_LG.gif" name="submit" alt="PayPal - The safer, easier way to pay online!" /> <img src="https://www.paypalobjects.com/en_US/i/scr/pixel.gif" width="1" height="1" /> </form> <form action="https://www.paypal.com/cgi-bin/webscr" method="post"> <br /> </form>
studio nāv and Nick Axel: Itinerary 20 December 2013 08:32:36 EST http://www.storefrontnews.org/programming/eventss?e=590

Saturday December 21, 2013 – Saturday December 21, 2013

<p class="MsoNormal"> <b>December 21, 2013</b> </p> <p class="MsoNormal"> <b>4pm-5pm</b> </p> <p class="MsoNormal"> <b> <span> <span class="fsl"> <span> <span class="fsl"> <span class="text_exposed_show">By studio nāv and </span> </span> </span> </span> </span> </b> <span> <b> </b> <span class="fsl"> <b> </b> <span> <b> </b> <span class="fsl"> <b> <span class="text_exposed_show">nick axel</span> </b> </span> </span> </span> </span> </p> <p>&nbsp;</p> <p>To round off a 5-day residency for "Younger than Storefront" at Storefront for Art and Architecture and as part of the exhibition <i>BEING</i>, we invite you to take part in a final event hosted by the artists. A gathering centered around a rock and a text that records the journey across an ocean, through a city, and into an institution. Investigating movement and presence in the form of a spatial installation, a sound intervention, and a word performance.</p> <p>&nbsp;</p> <p>Please join us for drinks and conversation.</p> <p>&nbsp;</p> <p>Free and open to the public.&nbsp;</p> <p> <span> <span class="fsl"> <span class="text_exposed_show"> <br /> </span> </span> </span> </p> <p> <span style="font-size: 12.222222328186035px;">----------------------------------------------------------------------------------------------------------------</span> </p> <p> <span style="font-size: 12.222222328186035px;"> <span class="text_exposed_show" style="font-size: 12.222222328186035px;"> </span> </span> </p> <p> <span> <span class="fsl"> <span class="text_exposed_show"> <br /> <b> <a href="../programming/projects?c=&amp;p=&amp;e=588"> studio nāv : "anachronistic drift"</a> </b> <br /> (1)5 days<br /> the Atlantic Ocean, traversed in a cargo vessel. in-between: a deviant time-space.<br /> the city of New York, an encounter. wandering. <br /> a quarried rock, taken from its origin to another.<br /> an error. a deviance. a weight.<br /> a vessel of deep time. a resistance.<br /> an acceptance. a bearing of indifference. a new instrument.<br /> <br /> <b> <a href="../programming/projects?c=&amp;p=&amp;e=589">Nick Axel : &ldquo;MAKING BEING DOING&rdquo;</a> <br /> </b> A residency. <br /> To spend time in a place. To reside. To be, somewhere. <br /> An intention. An invitation. A promise. A responsibility.<br /> <br /> On the conditions of being and the subject of the institution.<br /> A five part tale about the traversal of territorialized space.<br /> Where does this journey get us? Will we ever get there? What is to be done along the way?</span> </span> </span> </p> <p> <span> <span class="fsl"> <span class="text_exposed_show"> <br /> </span> </span> </span> </p> <p> <span> <span class="fsl"> <span class="text_exposed_show">----------------------------------------------------------------------------------------------------------------</span> </span> </span> </p> <p> <span> <span class="fsl"> <span class="text_exposed_show"> </span> </span> </span> </p> <p> <span> <span class="fsl"> <span class="text_exposed_show"> <br /> </span> </span> </span> </p> <p> <i> <span> <span class="fsl"> <span class="text_exposed_show">This event is generously supported by the</span> </span> </span> Royal Norwegian Consulate General.</i> </p> <p> <i> <br /> </i> </p> <p> <i> <img src="../images/tinyMCE_upload/English_ConsGen_logo_level_2newyorklrgBW.jpg" width="200" height="69" /> <br /> </i> </p>
studio nāv: "anachronistic drift" 16 December 2013 07:47:18 EST http://www.storefrontnews.org/programming/pop-upss?e=588

Tuesday December 17, 2013 – Saturday December 21, 2013

<p> <span style="font-size: 12px; line-height: 16px;">Week 10 / Dec 17 - 21</span> </p> <p> <span style="font-size: 12px; line-height: 16px;">"anachronistic drift"</span> </p> <p> <span style="font-size: 12px; line-height: 16px;">studio nāv</span> <span style="font-size: 12px; line-height: 16px;">&nbsp;</span> </p> <p> <b> <br /> </b> </p> <p> <b>About the project</b> </p> <p> <i>A space comes into existence when vectors of direction, velocities and time are set in motion. Most&nbsp;</i> <i>spaces are defined by the meeting of numerous programs and desires; few more than the metropolis.&nbsp;</i> </p> <p> <i> <br /> </i> </p> <p> <i>Following the ten day traversal of the atlantic ocean; the vast &ldquo;in-between&rdquo; separating our&nbsp;</i> </p> <p> <i>continental frontiers (Europe and America) - we seek to examine how (deviant) time-space could shape&nbsp;</i> <i>and re-imagine our encounter with the city of New York. As such diffusing the borders between real, i</i> <i>maginary, unproductive and (ana)chronistic space.&nbsp;</i> </p> <p> <i> <br /> </i> </p> <p> <i>Storefront offers a rare physical manifestation of encouraged interactivity and unanticipated encounters&nbsp;</i> <i>purveying the urban environment. We believe this disclosure can lower the threshold and allow for a broader audience to approach us;&nbsp;</i> <i>not only to inform themselves, but expand our own understanding of the context we have immersed</i> <i>&nbsp;ourselves within.&nbsp;</i> </p> <p> <i> <br /> </i> </p> <p> <i>Emphasising the potential of this space we hope to create an experience raising questions around being, time and participation.</i> </p> <p>-studio nāv</p> <p>&nbsp;</p> <p> <b>About the artists</b> </p> <p>studio nāv consists of Carl Fransson and Thomas Paltiel, two architects and thinkers currently based in Stockholm and Trondheim. While educated primarily at Edinburgh College of Art where they both received their degrees in Architecture, their professional and educational experience has been more widespread: from Ecole Nationale Superieure d&rsquo;architecture de Paris Belleville to Charles Pictet Architects and Fantastic Norway. Most recently the studio took part in the 2013 Lisbon Architecture Triennale.</p> <p>&nbsp;</p> <p>Exploring emotive as well as intellectual reflection, their work locates itself somewhere between socio-political constructs and abstract expressionism. Whether it is architectures of temporality or permanence, the underlying ambition is to create or make visible the potential and/or particularity of a given context. Contrary to explicating answers their projects communicate a desire to initiate a process of questions, meetings and change; corralling attention to the manifold ideas about the forces and sensibilities of living.</p> <p>&nbsp;</p> <p> <i>This artist in residency is sponsored in by the Norwegian Ministry of Affairs and by Norsk Form, the Foundation for Design and Architecture in Norway.&nbsp;</i> </p> <p>&nbsp;</p> <p>&nbsp;</p> <p> <img src="../images/tinyMCE_upload/NorwegianMinistryForeign.jpg" width="180" height="104" />&nbsp; &nbsp; &nbsp; &nbsp;&nbsp;<img src="../images/tinyMCE_upload/NORSK_FORM_copy.jpg" width="300" height="66" /> </p> <p>&nbsp;</p>
NICK AXEL: MAKING BEING DOING 16 December 2013 07:55:05 EST http://www.storefrontnews.org/programming/pop-upss?e=589

Tuesday December 17, 2013 – Saturday December 21, 2013

<p> Week 10 / Dec 17 - 21 </p> <p> MAKING BEING DOING </p> <p> Nick Axel </p> <p>&nbsp;</p> <p> <b>About the project</b> </p> <p> <i>What is a residency for? What does one do during a residency? One works. But what is work? In this particular sense work is a verb, but an empty verb at that. Apparently ambivalent, an economic form of the market teaches us that work is anything but neutral. Instead, work is highly prejudicial not only towards what fills its emptiness, but how it digests and what it excretes.</i> </p> <p> <i> <br /> </i> </p> <p> <i>Work is also a noun, and a proper noun if you will. We are used to having various metrics such as efficiency, operativity, or the somewhat-mystical affinity, being used to judge whether something is Work, or if it&rsquo;s just something that was done. Be it economic or otherwise, we could therefore deduce that the basic condition for work is its potential for being judged as such.</i> </p> <p> <i> <br /> </i> </p> <p> <i>This residency seeks to reveal the limits of work by performatively radicalizing a Duchampesque critique of the cultural institution and its centralization of discursive power. Within the milieu of Storefront, technically speaking, everything regarding my spatiotemporal presence, from the food I eat to the movements I make to the thoughts I think, can become work. The task at hand is therefore to exhaust my presence to its utmost capacities. Every thought, every action, every emotion, every sensation is to become manifest. I do not seek to make work per se; I merely seek to do that which can be called work.</i> </p> <p>-Nick Axel</p> <p>&nbsp;</p> <p> <b>About the artist</b> </p> <p>Nick Axel is an architect, critic, and theorist, currently studying at the Centre for Research Architecture at Goldsmiths. His work seeks to meditate on the uniquely architectural instantiation of power as both a problem and a solution, both a question and an answer, both impossible and inevitable. He is currently researching the potential role and opportunity for architecture to act critically within the contemporary logics of oil-based urbanization in North America.&nbsp;</p> <p>&nbsp;</p> <p>Below are works produced by the artist throughout his residency.</p> <p>&nbsp;</p> <p> <b>On the conditions of being and the subject of the institution</b> </p> <p> <i>A five-part tale about the traversal of territorialized space.</i> </p> <p>&nbsp;</p> <p> <i> <b>Part One</b> </i> </p> <p>The institution institutions, as Heidegger would have said.</p> <p>The institution does something.</p> <p>But the institution is a noun. Then, we can ask, what is it?</p> <p>The institution is the institution.</p> <p>It is something. It is not something else; the institution is not a duck. Otherwise it would not be the institution - it would be a duck.&nbsp;</p> <p>The institution is surrounded by everything it is not.</p> <p>The institution is everything except for everything else.</p> <p>The institution is that. Being in the presence of that line. The binding of place.</p> <p>&ldquo;Ladies and gentleman, I begin by drawing a line&rdquo;</p> <p>The institution marks territory; it demarcates space.</p> <p>The institution is registered by bodies as the bodies recognize themselves as being in the institution&rsquo;s space. The institution registers bodies in its space.</p> <p>The institution is not the body is not space.</p> <p>But then something ontological happened. Discourse happened.</p> <p>The institution became debatably not not the space became debatably not not the body.</p> <p>Yes or no became maybe became yes and no.</p> <p>Together with plausible doubt came zealous conviction.</p> <p>Collapse happened. Not of space, but vision.</p> <p>The institution is not discourse. The institution is the place of discourse.</p> <p>The institution became discourse. Discourse became an institution.</p> <p>But this does not mean the institution stopped institutioning; it can do nothing else.</p> <p>Lines did not disappear; instead they multiplied, proliferated, procreated.</p> <p>The state of matter became relative.</p> <p>As it became more difficult to determine which side of the line one laid on, it became less important.&nbsp;</p> <p>As the institution became regarded solely for the marks it makes, they themselves became neutralized.</p> <p>If the drawing of a line became itself the constitution of an institution, what became of the institution? And the body? Space?</p> <p>And also, how are lines drawn anyway?</p> <p>&nbsp;</p> <p>&nbsp;</p> <p> <b> <i>Part Two</i> </b> </p> <p>
The institution does not simply exist. But yet, somehow, institutions exist.</p> <p> <span style="font-size: 12px;">The institution exists somewhere, in the territory.</span> </p> <p> <span style="font-size: 12px;">We can try to look at the territory, but when we focus our sight, we find that there is something else there than what and where we thought the territory was.</span> </p> <p> <span style="font-size: 12px;">We cannot say what it is we see, but we can say that we see things. These things, not others.</span> </p> <p> <span style="font-size: 12px;">Our sight is impressed with the image of shapely forms. Presences are suggested as intuition.</span> </p> <p> <span style="font-size: 12px;">We can say that we see many things, though bound together, united by their being seen.</span> </p> <p> <span style="font-size: 12px;">When we look we do not see what there is to be seen, but merely what it is we see.</span> </p> <p>&nbsp;</p> <p>&nbsp;</p> <p>Looked at or not, every thing is to be seen. Yet not every thing can be looked at nor seen.</p> <p> <span style="font-size: 12px;">Seeing is not the seeing of something, but instead the not seeing of everything else.</span> </p> <p> <span style="font-size: 12px;">It is in this act of framing that the body and the institution are joined in difference.</span> </p> <p> <span style="font-size: 12px;"> <br /> </span> </p> <p> <span style="font-size: 12px;">The body is a space. It is a line.&nbsp;</span> <span style="font-size: 12px;">The institution wants a space, needs lines to make one.</span> </p> <p> <span style="font-size: 12px;">The institution lives when its lines are recognized as constituting a space.</span> </p> <p> <span style="font-size: 12px;">The lines of the institution are distinct from the line of the body.</span> </p> <p> <span style="font-size: 12px;">The body is a line that can draw lines.</span> </p> <p> <span style="font-size: 12px;">The institution hopes these marks will remain.</span> </p> <p> <span style="font-size: 12px;">The institution is a temporal technology that works on the psychic register.</span> </p> <p> <span style="font-size: 12px;">The institution is a result of the body projecting outside of itself, but the institution is not the projected body.</span> </p> <p> <span style="font-size: 12px;">Lines bodies draw are lines of institution.</span> </p> <p> <span style="font-size: 12px;">The body inscribes the territory with the markings of that which is not there in the face of what is.</span> </p> <p> <span style="font-size: 12px;">We draw because we want. But do we want to draw? Do we want to want?</span> </p> <p> <span style="font-size: 12px;">What is wanted wants to be wanted, or else it would not be.</span> </p> <p> <span style="font-size: 12px;">The institution is that which makes bodies draw lines for it, to want it.</span> </p> <p> <span style="font-size: 12px;">The institution is vicarious.</span> </p> <p> <span style="font-size: 12px;">The institution makes the body an instrument.</span> </p> <p> <span style="font-size: 12px;">The body &lsquo;becomes&rsquo; institutional.</span> </p> <p> <span style="font-size: 12px;">The institution is parasitic, a livelihood which depends on its allure of bodies.</span> </p> <p> <span style="font-size: 12px;">The institution is not a hungry body, but a hunger.</span> </p> <p> <span style="font-size: 12px;">The institution is a ghost that never had a body, a presence that wants nothing other than to be&nbsp;</span> </p> <p>present, than to haunt.</p> <p>&nbsp;</p> <p>&nbsp;</p> <p> <i> <b>Part Three</b> </i> </p> <p>Both the body and the institution must survive. They are alive.</p> <p>Time destroys everything, caught between entropy and decay.</p> <p>The space of what is lost stands to be refilled; what falls into disorder, to be ordered once again.</p> <p>&nbsp;</p> <p>The institution is a bodies&rsquo; desire.</p> <p>Bodies share amongst each other within the affinity of their desire.</p> <p>The institution is a product of the imagination, an idea.</p> <p>The institution is the place where desire lives.</p> <p>The institution is a sign pointing towards the beyond. It makes claims of other life.</p> <p>The institution is a promise, a signifying chain. It says, &ldquo;your desire is here&rdquo;.</p> <p>The institution is a lie that we want to believe in but never be confirmed of.</p> <p>The institution is an eternal questioning.</p> <p>The body is an answer that can never suffice.</p> <p>&nbsp;</p> <p>The institution establishes expectation, yet the locus of failure lays within the body.</p> <p>The institution needs us to yearn for it, yet we yearn regardlessly. It needs us to want it, but we just need.</p> <p>Strife wed the two.</p> <p>Another institution draws the line of judgement, yet it is not that institution that is judged.</p> <p>It is not that institution towards which our discontent grows, but instead that which lied.</p> <p>The institution and the body become the object of discontent, even more for that they both are and continue to be.</p> <p>Presence becomes the problem for its appearance as the solution.</p> <p>&nbsp;</p> <p>&nbsp;</p> <p> <i> <b>Part Four</b> </i> </p> <p>The institution does not determine what belongs to it.</p> <p>The body determines whether it relates to the institution.</p> <p>The body determines how it relates to the institution.</p> <p>The institution merely determines the appearance of what is belonged to.</p> <p>The institution is representational.</p> <p>The institution makes claims about what lays within its space.</p> <p>The institution determines the truth value of its speech.</p> <p>The institution creates a space called desire, but not desire.</p> <p>The institution maintains a persistence of desire.</p> <p>The space of the institution and its contents bear no necessary relation.</p> <p>Dissonance is a form of expression.</p> <p>Dissonance speaks nothing of that which produces it. It does not touch the dissonant elements.</p> <p>Dissonance is not oriented towards incongruency, but the calling of whatever congruency incongruent.</p> <p>Dissonance registers on the production of desire.&nbsp;</p> <p>Dissonance effects not whether or not the results of congruency are desired, but whether the act of congruence itself is desired.</p> <p>What is the desire, or fear, of dissonance?</p> <p>Why should the institution fear a dissonant presence of the body, or the body a dissonant presence in the institution?</p> <p>To fear dissonance is to act as an agent of that other institution from which discontent originates.</p> <p>But dissonance is not merely incongruency.</p> <p>Discourse makes dissonance a projective act.</p> <p>The dissonant act interprets the relation between expectation and demand, between desire and need.</p> <p>Dissonance predicts the location and appropriates the position of judgement to judge otherwise.</p> <p>Dissonance is an act, trick. It creates conviction only in order to mislead it, to use it towards other ends.&nbsp;</p> <p>Dissonance aspires to be the biggest lie, that which we hold to be most true.</p> <p>The dissonant puts their themselves &nbsp;at risk, the risk of being swept away and losing ones self.</p> <p>Dissonance demands a fanatic dedication to a schizophrenic sincerity.</p> <p>&nbsp;</p> <div> <br /> </div> <div> <b> <i>Part Five</i> </b> </div> <div> <div>Dissonance is not satisfying.</div> <div>Dissonance reveals the impossibility of satisfaction.</div> <div>Dissonance does something.</div> <div>Without dissonance, we will forever be condemned to being the object of discontent.</div> <div>Contention is a tool, a weapon.</div> <div>Being is to be at war.</div> <div>We do not choose whether we fight, nor whether fighting happens..&nbsp;</div> <div>Can war be fought against?</div> <div>The illusion of peace is sustained by a continuous exchange.</div> <div>A desire to exchange desire.</div> <div>Desire must persist for it to be exchanged.&nbsp;</div> <div>The institution is the medium for exchange.</div> <div>The institution cannot be exchanged.</div> <div>The institution represents the desire of its space.</div> <div>Desire is an idea.</div> <div>An idea is desire.</div> <div>An idea is always true.</div> <div>Truth is the weapon.</div> <div>Truth must be believed in.</div> <div>Desire must be sought after.</div> <div>We are made to act.&nbsp;</div> <div>If action is made, we can make action.</div> <div>Yet all we can do is do. All we can do is act.</div> <div>We do because we desire.</div> <div>What we do represents that desire.</div> <div>Bodies speak, but actions are speech.</div> <div>We ourselves cannot convince. We ourselves cannot be imitated. Only what we do can.</div> <div>Imitation can only be of actions.</div> <div> <br /> </div> <div>Act rhetorically. Do to persuade</div> <div>Action happens.&nbsp;</div> <div>Persuasive forces are at work and at play.</div> <div>To not do is not to not be embattled in war.</div> <div>In conflict is agency.</div> <div>The dissonant acts in the context of harmony&rsquo;s illusion.</div> <div>Dissonance reveals the conditions of war that constitutes place.</div> <div>Dissonance lays bare the territory for it to be inhabited consciously.</div> </div>
Miryana Todorova: Expanded Objects for Shared Living 5 December 2013 08:31:50 EST http://www.storefrontnews.org/programming/pop-upss?e=587

Tuesday December 10, 2013 – Saturday December 14, 2013

<p>Week 09 / Dec 10 - 14</p> <p> <span style="font-size: 12.222222328186035px;">"Expanded Objects for Shared Living"</span> </p> <p>Miryana Todorova</p> <p>&nbsp;</p> <p> <b>About the project</b> </p> <p> <i>My project is about collapsible and expandable structures that can flip from enclosures to extensions of body and existing architecture. Movables, hybrids, clusters, skins, shells, dwellings and parasites become the trigger for performative encounters and collaborative situations in public space. These objects open up a space for discourse about spontaneous community, coming out as a result of a struggle with a structure, and challenge the boundaries of what can be shared, negotiated or exchanged.</i> </p> <p> <i> <br /> </i> </p> <p> <i>The project focuses on utopian visionary ideas of enabling more spontaneity and risk-taking in public space, provoking solidarity patterns of behavior and interdependency that can empower people to claim and inhabit space differently. Part of Storefront will become a temporary open lab station for generating new forms, strategies and possibilities that combine architecture, fashion, product design, body politics, social mobility and hybridization.</i> </p> <p>-Miryana Todorova</p> <div> <br /> </div> <div> <b>About the artist</b> </div> <div> <div>Miryana Todorova (b.1984 Sofia, Bulgaria) is a visual artist who lives and works between Sofia and NY. The major concern in her work is questioning the politics of public space and how people occupy it. Her projects combine painting, performance, video and public interventions to examine the body in relation to temporary structures &nbsp;and potential collapse. Miryana holds a MFA Fine Arts degree from the School of Visual Arts, NY. She has participated in numerous exhibitions both in Europe and the US including <i>Dissident Desire: Exercises of Critical Body Building</i> at District Kunst- und Kulturf&ouml;rderung, Berlin, <i>SpaceLab</i> at the Spinnerei, Leipzig, <i>Movables</i> at Frosch&amp;Portmann gallery, NY, <i>New York Temporary</i> at the Center of Photography and the Moving Image, NY, <i>Geometry of Time</i> at the Regional History Museum, Plovdiv, <i>The Bulgarian Pavilion</i> at Credo Bonum gallery, Sofia, <i>Temporary Status</i> at Immigrant Movement International, NY, Dwelling-In-Travel part of the 16th Week of Contemporary Art, Plovdiv, <i>Object Not Found</i> at Parlour, Venice, <i>Art in Odd Places</i> Public Art festival <i>Pedestrian</i>, NY, and <i>Making It</i> at the Deutsche Bank gallery, NY. Miryana is the recipient of the Gaudenz B. Ruf Award for New Bulgarian Art, category Young Artist (2011) and was a participant and fellow at the Skowhegan School of Painting and Sculpture (2012) and ZK/U-Center for Art and Urbanistics Berlin (2013).&nbsp;</div> </div> <div> <br /> </div> <div> <br /> </div>
HAPPY BIRTHDAY LINA BO BARDI 26 November 2013 07:50:38 EST http://www.storefrontnews.org/programming/seriess?e=586

Thursday December 5, 2013 – Thursday December 5, 2013

<p> <b>December 5, 2013</b> </p> <p> <b>7 -9pm</b> </p> <p>&nbsp;</p> <p>Storefront for Art and Architecture and PIN-UP Magazine cordially presented&nbsp;<b>LINA BO BARDI'S 99TH BIRTHDAY PARTY</b>, celebrating<span style="font-size: 12px;">&nbsp;the 99th birthday of our favorite Italian-Brazilian architect and Modernist iconoclast.&nbsp;</span> </p> <p>&nbsp;</p> <p>To honor the occasion, we presented: THE NEW WORLD OF LINA BO BARDI, a video of Bo Bardi's work created by Ouida Angelica Biddle and Nicolau Vergueiro with live musical accompaniment by HISHAM BHAROOCHA. With personal messages<span style="font-size: 12px;">&nbsp;to Lina broadcasted at the Storefront TV Studio.</span> </p> <p> <b> </b> </p> <p>&nbsp;</p> <p> <b> <img src="../images/tinyMCE_upload/Lina-99-05.gif" width="450" height="394" /> <br /> </b> </p> <p> <b> <br /> </b> </p> <p>&nbsp;</p>
SILVERSHED_ZELLNERPLUS 18 November 2013 07:41:06 EST http://www.storefrontnews.org/programming/pop-upss?e=585

Tuesday November 19, 2013 – Saturday November 23, 2013

<p>Week 06 /&nbsp;<span style="font-size: 12px; line-height: 16px;">Nov 19 - 23, 2013</span> </p> <p>SILVERSHED_ZELLNERPLUS</p> <p>&nbsp;</p> <p> <b>About the project</b> </p> <p> <i>What is the relationship between art, architecture and the city? Where do we draw the lines? Where do they blur? How can these terms be productively engaged to yield new ways of seeing how we inhabit our roles as artists, architects, urbanists, writers and curators.</i> </p> <p> <i>
We are two artists, one artist run space and one architect working collaboratively across our fields (art, architecture and urbanism) and across the country, in Los Angeles and New York City.&nbsp;</i> </p> <p> <i> <br /> </i> </p> <p> <i>
Combining our work backgrounds and studies in art, architecture, landscape architecture and critical theory, we intend to produce a series of events, objects and writings that will raise questions around the status of art, architecture and the city.&nbsp;</i> </p> <p> <i> <br /> </i> </p> <p> <i>During the residency we intend to produce, on a daily basis, the following artifacts, writings, and performances: &nbsp;
</i> </p> <p> <i>A. Artifacts: constructions, drawings, maquettes, and sculptures.</i> </p> <p>&nbsp;</p> <p> <i>B. Writings: Manifestos, essays, poems, stories, and interviews. &nbsp; 
</i> </p> <p> <i>C. Performances: Talks, group discussions, lectures, a closing event.</i> </p> <p> <span style="font-size: 12px;">&nbsp;</span> </p> <p> <b> <i>Events</i> </b> </p> <p> <b>Wednesday, November 20</b> </p> <p> <b>4-5pm</b> </p> <p class="MsoNormal"> <b>Lecture: Peter Zellner</b> </p> <p class="MsoNormal"> <b>Silvereconomies</b> </p> <p> <!--[if gte mso 9]> <xml> <o:DocumentProperties> <o:Revision>0</o:Revision> <o:TotalTime>0</o:TotalTime> <o:Pages>1</o:Pages> <o:Words>104</o:Words> <o:Characters>597</o:Characters> <o:Company>Storefront For Art and Architecture</o:Company> <o:Lines>4</o:Lines> <o:Paragraphs>1</o:Paragraphs> <o:CharactersWithSpaces>700</o:CharactersWithSpaces> <o:Version>14.0</o:Version> </o:DocumentProperties> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:View>Normal</w:View> <w:Zoom>0</w:Zoom> <w:TrackMoves /> <w:TrackFormatting /> <w:PunctuationKerning /> <w:ValidateAgainstSchemas /> 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mso-hansi-theme-font:minor-latin;} --> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> </p> <p class="MsoNormal"> <i>As part of Silvershed's residency at Storefront for Art and Architecture, Peter Zellner will present three recent projects.&nbsp;&nbsp;Zellner will use the lecture to explore linking ordinary things &ldquo;as they are&rdquo; to a series of architectural causes.&nbsp;&nbsp;&nbsp;In this case the things are a free standing gallery building, a series of almost temporary art structures and a family house.&nbsp;&nbsp;The causes are an ordinary strip of commercial structures, a large industrial warehouse and a hillside property. The lecture will be conducted outside of Storefront and Zellner will attempt his first outdoor evening lecture, come attired appropriately as it will be cold.</i> </p> <p class="MsoNormal"> <i> <br /> </i> </p> <p class="MsoNormal"> <b>Wednesday, November 20</b> </p> <p class="MsoNormal"> <b>5-7pm</b> </p> <p class="MsoNormal"> <b>Silvershed Reader #2 Launch</b> </p> <p class="MsoNormal"> <i>Silvershed Reader #2 Launch 

As part of Silvershed's residency at Storefront for Art and Architecture, we'd like to invite you to celebrate the launch of the newest installment of the Silvershed Reader with us this Wednesday, November 20th.&nbsp;</i> </p> <p class="MsoNormal"> <i>
&ldquo;Silvershed Reader #2 presents three artist-organized essays examining a selection of themes observable in contemporary art today.&nbsp;</i> </p> <p class="MsoNormal"> <i>&nbsp;</i> </p> <p class="MsoNormal"> <i> </i> </p> <p class="MsoNormal"> <i>Silvershed collaboratively wrote Pro Fem, Yes Wave, and the intro and outro texts from 2011-2013. Christopher K. Ho first published The Clinton Crew online and in print as a part of his 2012 show Privileged White People at Forever &amp; Today. 

Pro Fem both perceives and proposes a radical re-thinking of how femininity may be ethically imaged; Yes Wave examines philosophical text-based art that communicates personal truths within a larger struggle of information management; The Clinton Crew explores a sentiment sourced in so-called &lsquo;provisional&rsquo; painting and sculpture that speaks both to privilege and ethics in the post-Clinton age; and Hashtagging outlines an ethics of collaborative labeling, sorting, and sharing, and investigates how the algorithmic juxtaposition of decontextualized pictures on the net produce both misunderstanding and new meaning.</i> </p> <p> <span style="font-size: 12px;"> <br /> </span> </p> <div> <b>About the artists</b> </div> <div> <div> <b>Yunhee Min</b> is an artist based in Los Angeles. She is interested in painting as foremost a studio practice, where hands-on engagement with the material and the activity of making take priority. As she continues to explore spatiality ranging from the ephemeral spaces of painting to built environments, abstraction continues to be her fundamental approach both in her painting and site-projects. Rather than subscribing to the myth of abstraction as an aesthetic style of reduction, she is interested in approaching abstraction as an operation, as an ongoing process of making new relations and connections through material engagement. &nbsp;</div> <div> <br /> </div> <div> <b>Patrick Meagher</b> creates personal-history driven work about architecture, technology and economics revolving around the Internet at the turn of the millennium. His work explores transitions within the new economy concerning globalization, informatization and intercultural communication, and how digital technology affects understandings of the spiritual.</div> <div> <br /> </div> <div> <b>Peter Zellner</b> established the award winning firm ZELLNERPLUS in 2004. &nbsp;Based in Venice, California the firm&rsquo;s projects include public and private art galleries, residences, and work spaces in Los Angeles, San Francisco, Mexico and New York. &nbsp;Peter Zellner is a Faculty member at SCI-Arc where he coordinates the Future Initiatives program.&nbsp;</div> <div> <br /> </div> <div>For regular updates, visit us on <a href="https://www.facebook.com/storefront">Facebook</a> or follow us on <a href="http://www.twitter.com/storefrontnyc">Twitter</a>.</div> <div>@storefrontnyc</div> <div> <br /> </div> </div>
Weather (Un)Control 4 November 2013 10:51:13 EST http://www.storefrontnews.org/programming/projectss?e=580

Tuesday November 12, 2013 – Saturday November 16, 2013

<p class="MsoNormal"> <b> <i>Weather (Un)Control</i> </b> </p> <p class="MsoNormal"> <b>November 12 &ndash; 16, 2013 </b> </p> <p class="MsoNormal"> <span style="font-size: 12px; line-height: 16px;">By MODU</span> </p> <p class="MsoNormal">Opening Reception: November 13, 7pm</p> <p class="MsoNormal">At The Old School (233 Mott Street) Room 2.2&nbsp;</p> <p class="MsoNormal">Open 12pm - 6pm</p> <!--EndFragment--> <p class="MsoNormal">Presented as part of Marfa Dialogues/NY</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Ten percent of New York City buildings sustained storm damage during Hurricane Sandy. While billions of dollars have been spent on the recovery effort, the storm&rsquo;s invisible effects still linger in the air. Health risks in the indoor air of buildings&mdash;in the form of mold and dust&mdash;are beyond the reach of health officials. After Hurricane Sandy, neither the federal nor the city governments monitored indoor air quality, relying mostly on air quality monitors on building rooftops, where the air is usually clearer.&nbsp;</p> <p class="MsoNormal"> <i> <br /> </i> </p> <p class="MsoNormal"> <i>Weather (Un)Control </i>refocuses attention on indoor air contaminants, particularly dust. The dust in these buildings&mdash;including asbestos, silica, and gypsum&mdash;was caused by the storm damage but substantially more by the rebuilding efforts that followed. The installation includes an indoor weather system generated by two forms of air contamination: dust and static electricity. <i>Weather (Un)Control</i> combines an artificial dust with static electricity to create a &ldquo;dust wall&rdquo;. Dust is charged with static electricity and creates drawings on a paper wall, highlighting a hidden risk of post-Sandy rebuilding: the more you &ldquo;clean up&rdquo;, the dustier it can become.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Since there are no government agencies monitoring indoor air quality, oversight has been left to the individual policies of insurance companies. Rather than conduct air quality tests, the insurance industry relies on visual inspection to determine contamination of the air as well as potential insurance risk. <i>Weather (Un)Control</i> highlights the inefficiency of visual inspection with &ldquo;dust wall&rdquo; drawings that remain invisible unless lit with ultraviolet light. The drawings are based on the air quality&mdash;both composition and particle count&mdash;of the displayed air samples. The captured air is from the Environmental Protection Agency&rsquo;s post-Sandy monitor locations, including both outdoor locations and indoor air from nearby buildings. The air quality from the indoor samples has high levels of asbestos, silica, or gy&shy;psum, which is the basis for the &ldquo;dust wall&rdquo; drawings. One side of the wall uses positive ions that attract dust to create the indoor air drawings; the other uses negative ions that repel dust to clean the wall. However, the negative ions in the &ldquo;clean room&rdquo; pass through the paper wall, causing even more dust to gather on the &ldquo;dirty room&rdquo; side. <i>Weather (Un)Control</i> reveals the cyclical and invisible nature of air contamination after extreme weather events, unseen and overlooked by insurance companies.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <span style="font-size: 12px; font-style: italic;">-------------------------------------------------------------------------------------------------------------------</span> </p> <p class="MsoNormal"> <span style="font-size: 12px; font-style: italic;"> <br /> </span> </p> <p class="MsoNormal"> <b>About MODU</b> </p> <p class="MsoNormal">MODU is an interdisciplinary architecture practice specializing in smart design that connects people. Based in New York with an associate office in London, MODU has completed projects in New York, Miami, Beijing, London, and Athens. Co-directed by Phu Hoang and Rachely Rotem, the practice has won international design competitions and awards sponsored by the Beijing Architecture Biennial, Dumbo Arts Festival, Core77, Creative Time, Art Basel, and the Architectural League of New York. MODU was recently awarded a commendation in the 2013 &ldquo;21 for 21,&rdquo; an international award that recognizes architects who will &ldquo;lead the next generation of architects in the 21st&nbsp;century.&rdquo; MODU has also received research grants from the Robert Rauschenberg Foundation and the New York State Council on the Arts. Projects designed by MODU have been widely publicized in publications including the Financial Times, the Huffington Post, the Boston Globe, Domus, and Interior Design. MODU&rsquo;s interdisciplinary approach has led to projects that bridge several disciplines of the built environment, from architecture to interiors to public installations.<span style="font-size: 12px;">&nbsp;&nbsp;</span>Contact MODU at&nbsp;<span style="font-size: 12px;">212-343-4203</span>&nbsp;or&nbsp;<span style="font-size: 12px;">info@MODUarchitecture.com</span>.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">&nbsp;<span style="font-size: 12px;">Contact MODU at&nbsp;</span> <span style="font-size: 12px;"> </span> <a href="file://localhost/tel/212-343-4203"> <span style="color: windowtext; text-decoration: none; text-underline: none;">212-343-4203</span> </a> <span style="font-size: 12px;"> </span> <span style="font-size: 12px;">&nbsp;or </span> <span style="font-size: 12px;"> </span> <a href="mailto:info@MODUarchitecture.com"> <span style="color: windowtext; text-decoration: none; text-underline: none;">info@MODUarchitecture.com</span> </a> <span style="font-size: 12px;"> </span> <span style="font-size: 12px;">.</span> </p> <!--[if gte mso 9]> <xml> <o:DocumentProperties> <o:Template>Normal.dotm</o:Template> <o:Revision>0</o:Revision> <o:TotalTime>0</o:TotalTime> <o:Pages>1</o:Pages> <o:Words>24</o:Words> <o:Characters>138</o:Characters> <o:Company>Storefront</o:Company> <o:Lines>1</o:Lines> <o:Paragraphs>1</o:Paragraphs> <o:CharactersWithSpaces>169</o:CharactersWithSpaces> <o:Version>12.0</o:Version> </o:DocumentProperties> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> <w:UseFELayout /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <p>&nbsp;</p> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <i>-------------------------------------------------------------------------------------------------------------------</i> </p> <p class="MsoNormal"> <i> <br /> </i> </p> <p class="MsoNormal"> <i>This installation is part of Marfa Dialogues NY.<span style="mso-spacerun: yes;">&nbsp; </span>For more information visit <a href="http://www.marfadialogues.org"> <span style="color: windowtext; text-decoration: none; text-underline: none;">www.marfadialogues.org</span> </a>.</i> </p> <p class="MsoNormal"> <i> <br /> </i> </p> <p class="MsoNormal"> <i>Weather (Un)Control has been generously supported by the Robert Rauschenberg Founda&shy;&shy;&shy;tion and the New York State Council on the Arts.&nbsp;</i> <i>Engineering for Weather (Un)Control has been developed by Amanda Parkes/Skinteractive Studio</i> </p> <!--[if gte mso 9]> <xml> <o:DocumentProperties> <o:Template>Normal.dotm</o:Template> <o:Revision>0</o:Revision> <o:TotalTime>0</o:TotalTime> <o:Pages>1</o:Pages> <o:Words>13</o:Words> <o:Characters>77</o:Characters> <o:Company>Storefront</o:Company> <o:Lines>1</o:Lines> <o:Paragraphs>1</o:Paragraphs> <o:CharactersWithSpaces>94</o:CharactersWithSpaces> <o:Version>12.0</o:Version> </o:DocumentProperties> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> <w:UseFELayout /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <p>&nbsp;</p> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> <!--[if gte mso 9]> <xml> <o:DocumentProperties> <o:Template>Normal.dotm</o:Template> <o:Revision>0</o:Revision> <o:TotalTime>0</o:TotalTime> <o:Pages>1</o:Pages> <o:Words>30</o:Words> <o:Characters>173</o:Characters> <o:Company>Storefront</o:Company> <o:Lines>1</o:Lines> <o:Paragraphs>1</o:Paragraphs> <o:CharactersWithSpaces>212</o:CharactersWithSpaces> <o:Version>12.0</o:Version> </o:DocumentProperties> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> <w:UseFELayout /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <p> <img src="../images/tinyMCE_upload/Marfa_Dialogues_NY_Partnerships04.png" width="500" height="59" /> </p> <p class="MsoNormal"> <!--[if !mso]> <mce:style> <! v:* {behavior:url(#default#VML);} o:* {behavior:url(#default#VML);} w:* {behavior:url(#default#VML);} .shape {behavior:url(#default#VML);} --> <!--[endif] --> <!--[if gte mso 9]> <xml> <o:DocumentProperties> <o:Template>Normal.dotm</o:Template> <o:Revision>0</o:Revision> <o:TotalTime>0</o:TotalTime> <o:Pages>1</o:Pages> <o:Words>552</o:Words> <o:Characters>2597</o:Characters> <o:Company>Storefront</o:Company> <o:Lines>70</o:Lines> <o:Paragraphs>40</o:Paragraphs> <o:CharactersWithSpaces>3867</o:CharactersWithSpaces> <o:Version>12.0</o:Version> </o:DocumentProperties> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> <w:UseFELayout /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! 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Dolan Morgan and Cameron Blaylock: The Weathermen Turn Themselves In 8 November 2013 12:54:41 EST http://www.storefrontnews.org/programming/pop-upss?e=584

Monday November 11, 2013 – Saturday November 16, 2013

<p>Week 05 / Nov 12-16</p> <p>The Weathermen Turn Themselves In</p> <p>Dolan Morgan and Cameron Blaylock</p> <p>&nbsp;</p> <p> <b>About the project</b> </p> <p>The Weathermen Turn Themselves In charts a world where families are raised not in houses but hurricanes; where duplex apartments don&rsquo;t sit on the street but pelt us from the sky; where finance companies operate not in skyscrapers but from the top floor of a tornado. &nbsp;The Weathermen Turn Themselves In finally asks the absurd question: what if architecture and weather switched positions? By reversing the natural world with our constructed environment, we examine not only the boundaries, limitations and correlations between the two &ndash; but also between that which we can control and that which we cannot. The afternoon forecast is a 90% chance of condo squalls, and we&rsquo;re advised to stay inside the comfort of our storms. Now, quick: what is an umbrella.</p> <p>&nbsp;</p> <p> <b>About the artists</b> </p> <p>Dolan Morgan is the author of That&rsquo;s When the Knives Come Down, a short story collection forthcoming in 2014. He lives in Brooklyn and edits The Atlas Review. His work can be found in The Believer, Field, Pank, Armchair/Shotgun, The Collagist and elsewhere.&nbsp;</p> <p>&nbsp;</p> <p>Cameron Blaylock is a Brooklyn-based photographer and artist. Cameron's recent projects include Visions, a collaboration with writer Dolan Morgan; An Apple A Day&hellip;, an art-making-on-consecutive-days project shown in conjunction with New York poetry series The Highwaymen NYC; and Typecast, an investigation into the "towers-in-the-parks" typology that was presented at the New Museum's 2013 Ideas City StreetFest. In 2010, Cameron received a European diploma in fine arts from Bauhaus-University.</p> <p>&nbsp;</p> <p>For regular updates, please visit <a href="https://www.facebook.com/storefront?ref=hl">Facebook</a> and/or <a href="https://twitter.com/storefrontnyc">Twitter</a> and/or <a href="http://instagram.com/storefrontnyc">Instagram</a>.&nbsp;</p> <p>&nbsp;</p> <p>@storefrontnyc @dolanmorgan @cameronblaylock @weathersale</p> <div> <br /> </div>
The great and the secret show / The look out gallery 4 November 2013 11:09:30 EST http://www.storefrontnews.org/programming/filmss?e=581

Friday November 8, 2013 – Sunday November 17, 2013

<p> <i> <b>The great and the secret show / The look out gallery</b> </i> </p> <p class="MsoNormal">By Katarzyna Krakowiak</p> <p class="MsoNormal">November 8 &ndash; 17, 2013 </p> <p class="MsoNormal">At The Penn Station Post Office</p> <p class="MsoNormal">Corridors Open 12pm &ndash; 6pm</p> <p class="MsoNormal">Sound Installation Open 24 hours</p> <p class="MsoNormal">Presented as part of Performa13</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> Opening + artist walkthrough: November 8, 6pm </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <i>&ldquo;In perceiving, our whole body vibrates in unison with the stimulus (&hellip;) Hearing is, like all sense perception, a way of seizing reality with all our body, including our bones and viscera&rdquo; &nbsp;</i> <i>-Gonzalez-Crussi</i> </p> <p class="MsoNormal"> <i> <br /> </i> </p> <p> <iframe width="500" height="281" frameborder="0" src="http://player.vimeo.com/video/78841485"> </iframe> </p> <p> <a href="http://vimeo.com/78841485">The great and the secret show / The look out gallery by Katarzyna Krakowiak</a> from <a href="http://vimeo.com/user1877785">Storefront for Art&amp;Architecture</a> on <a href="https://vimeo.com">Vimeo</a>.</p> <p class="MsoNormal"> <i> <span style="font-family: FilosofiaRegular;">&nbsp;</span> </i> </p> <p class="MsoNormal">The historic James A. Farley Post Office is today one of the biggest empty building in Manhattan.<span style="mso-spacerun: yes;">&nbsp; </span>While in the mid-twentieth century more than 16,000 workers inhabited the building, today, less than 200 workers occupy the space during busy periods, leaving many rooms, corridors, vaults, chambers and storage spaces vacant. While the role of the post office is currently undergoing massive transformation, the building itself is under a great urban and architectural interrogation. </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <i>The great and the secret show / The look out gallery </i>considers sound as an archeology depicting the temporality, materiality, speed or intensity of bodies, objects and systems. The installation guides visitors through a typically closed route of empty rooms and corridors across the building where past and present sounds of the postal service mechanisms and processes are performed, revealing the fascinating history of the spaces, and reflecting on the vast urban scale of the building. The sound and resonating performance transform the walls of the hallway into a vibrating membrane, producing an intimate experience that synthesizes the past and the present of the Post Office.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Katarzyna Krakowiak takes what the workers call &ldquo;the look out gallery&rdquo; as a starting point for her installation. The look out gallery takes its name from a system of secret corridors that connect the thousands of rooms of the old Post Office building and allow surveillance of the work environment. In its heyday, small eyeholes allow assigned postal policeman to control the working environment through an analogue CCTV. Using a pre-recorded collection of sounds of closing doors, cards being discarded, stamping postcards, and other past and present Post Office activities, the performance raises questions of labor, public services, and hierarchy in the most visited urban space of years past.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <!--[if gte mso 9]> <xml> <o:DocumentProperties> <o:Template>Normal.dotm</o:Template> <o:Revision>0</o:Revision> <o:TotalTime>0</o:TotalTime> <o:Pages>1</o:Pages> <o:Words>41</o:Words> <o:Characters>195</o:Characters> <o:Company>Storefront</o:Company> <o:Lines>5</o:Lines> <o:Paragraphs>3</o:Paragraphs> <o:CharactersWithSpaces>290</o:CharactersWithSpaces> <o:Version>12.0</o:Version> </o:DocumentProperties> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-fareast-font-family:Cambria; mso-hansi-font-family:Cambria; mso-bidi-font-family:"Times New Roman";} --> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> </p> <p class="MsoNormal">Krakowiak&rsquo;s installation reminds us that our bodies and memories are made also through sounds. Her sound archeology depicts &ndash;perhaps better than an image or a text- the temporality, materiality, speed and intensity of bodies, objects and systems.</p> <p class="MsoNormal">&nbsp;</p> <p> <!--[if gte mso 9]> <xml> <o:DocumentProperties> <o:Template>Normal.dotm</o:Template> <o:Revision>0</o:Revision> <o:TotalTime>0</o:TotalTime> <o:Pages>1</o:Pages> <o:Words>450</o:Words> <o:Characters>2119</o:Characters> <o:Company>Storefront</o:Company> <o:Lines>57</o:Lines> <o:Paragraphs>33</o:Paragraphs> <o:CharactersWithSpaces>3155</o:CharactersWithSpaces> <o:Version>12.0</o:Version> </o:DocumentProperties> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> <w:UseFELayout /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-fareast-font-family:Cambria; mso-hansi-font-family:Cambria; mso-bidi-font-family:"Times New Roman";} --> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> </p> <p class="MsoNormal">Visitors can access the installation in two forms and temporalities. From 12pm to 6pm by walking through the path of corridors and rooms specially open for the performance, or any time (24 hours a day) during normal Postal Service office hours, where the visitor can experience the echo of the installation through the vibration of the walls and windows that connect the public spaces of the building with the installation rooms. </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">This exhibition is presented as part of Performa13. &nbsp;For more information visit&nbsp;<a title="Performa" href="http://13.performa-arts.org/">http://13.performa-arts.org/.</a>&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <i> <img src="../images/tinyMCE_upload/130402_Performa_Logo_185u1.jpg" width="450" height="41" /> </i> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">----------------------------------------------------------------------------------------------------------------------------</p> <p class="MsoNormal"> <b>About the Artist</b> </p> <p class="MsoNormal">Katarzyna Krakowiak (b. 1980) is a sculptor working mostly with immaterial phenomena in architecture and arts. In 2006 Krakowiak graduated from the Sculpture Transplantation Studio at the Academy of Fine Arts in Poznań, under Miros<span style="font-family: &quot;Lucida Grande&quot;; mso-bidi-font-family: &quot;Lucida Grande&quot;;">⌅</span>aw Ba<span style="font-family: &quot;Lucida Grande&quot;; mso-bidi-font-family: &quot;Lucida Grande&quot;;">⌅</span>ka. Significant exhibitions include Who Owns the Air? at Galeria Foksal (Warsaw), Game and Theory, South London Gallery (London). Her works were presented in group exhibitions at, among others, KUMU Museum (Tallinn) and HMKV (Dortmund), 13th Venice Architecture Biennale, G&ouml;teborg Biennale and most recently Lisbon Architecture Triennale. She holds PhD in New Media Arts from Academy of Fine Arts in Warsaw. </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Since 2012 Krakowiak has conceived a series of large-scale sound installations that investigate sound and social organization imposed by architecture. Krakowiak made her debut on the international art scene with a radical and uncompromising gesture at the Polish Pavilion where she <span style="mso-spacerun: yes;">&nbsp;</span>emptied out the entire building and transformed the space into a vibrating structure of sound generated by neighboring pavilions. Visitors could eavesdrop on all the different noises emitted from these other pavilions as evidence of the typical workings of the building and the human activities occurring within, which usually remain unnoticed.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>About Performa</b> </p> <p class="MsoNormal">Founded in 2004 by art historian and curator RoseLee Goldberg, Performa is the leading organization dedicated to exploring the critical role of live performance in the history of twentieth-century art and to encouraging new directions in performance for the twenty-first century.&nbsp;Its biennial is the only one dedicated to commissioning, presenting and exploring new visual art performance across disciplines. For three weeks,&nbsp;November 1 &ndash; 24, 2013, Performa and a consortium of innovative organizations will band together to transform New York City into an international platform for celebrating live art. More than 100 separate events presented at over 40 venues will showcase new work in an innovative program, breaking down the boundaries between visual art, music, dance, poetry, fashion, architecture, graphic design, and the culinary arts.</p> <p> <span style="font-size: 12px;">---------------------------------------------------------------------------------------------------------------------------</span>&nbsp;</p> <p>&nbsp;</p> <p class="MsoNormal"> <i>This project has been made possible with the support of the Adam Mickiewicz Institute, <a href="http://culture.pl"> <span style="color: windowtext; text-decoration: none; text-underline: none;">culture.pl</span> </a> and is presented in partnership with Performa.</i> </p> <p class="MsoNormal"> <i> <br /> </i> </p> <p class="MsoNormal"> <b>About The Adam Mickiewicz Institute</b> </p> <p class="MsoNormal"> <i>The Adam Mickiewicz Institute is a state cultural institution which aims to promote Polish culture around the world and actively participate in international cultural exchange. The Adam Mickiewicz Institute has successfully launched its projects across 26 countries including Great Britain, Russia, Israel, Benelux countries, Spain, Austria, Sweden, France, Germany, Ukraine, Lithuania, Algeria, Morocco, India, Japan and China. As part of these projects IAM has organized over 4,000 cultural events which gathered an audience of 40 million people across three continents.&nbsp;</i> </p> <p class="MsoNormal"> <i> <br /> </i> </p> <p class="MsoNormal"> <i> <img src="../images/tinyMCE_upload/english_color_01.png" width="200" height="44" /> <br /> </i> </p>
ARCHITECTURE or CAPITALISM / ARCHITECTURE and CAPITALISM 24 October 2013 08:34:55 EST http://www.storefrontnews.org/programming/seriess?e=578

Tuesday November 5, 2013 – Tuesday November 5, 2013

<p class="MsoNormal"> <b>ARCHITECTURE OR CAPITALISM / ARCHITECTURE AND CAPITALISM</b> </p> <p class="MsoNormal">November 5, 2013</p> <p class="MsoNormal">7pm</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <i> Let me tell you a wonderful, old joke from Communist times. A guy was sent from East Germany to work in Siberia. He knew his mail would be read by censors, so he told his friends: &ldquo;Let&rsquo;s establish a code. If a letter you get from me is written in blue ink, it is true what I say. If it is written in red ink, it is false.&rdquo; After a month, his friends get the first letter. Everything is in blue. It says, this letter: &ldquo;Everything is wonderful here. Stores are full of good food. Movie theatres show good films from the west. Apartments are large and luxurious. The only thing you cannot buy is red ink.&rdquo; This is how we live. We have all the freedoms we want. But what we are missing is red ink: the language to articulate our non-freedom. The way we are taught to speak about freedom&mdash; war on terror and so on&mdash;falsifies freedom. And this is what you are doing here. You are giving all of us red ink. &nbsp; - Slavoj Žižek,&nbsp;</i> <i>Sept 17, 2010, Liberty Square, New York</i> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Over the last few decades, capitalism has entered every single aspect of culture. If we fantasized about postmodernism being the end of capitalism in its lateness, it seems that today, on the contrary, capitalism is as agile as ever. As&nbsp;<span style="font-size: 12.222222328186035px; line-height: 16px;">Žižek</span> <span style="font-size: 12px; line-height: 16px;">&nbsp;argues in his joke about the Red Ink, we do not have the tools to start imagining alternatives.&nbsp;</span> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Faced with this <i>impossibility,</i>&nbsp;o<span style="font-size: 12.222222328186035px; line-height: 16px;">n the occasion of the book launch of <i> Architecture and Capitalism</i> <b> </b> edited by <b>Peggy Deamer</b>,&nbsp;</span> <span style="font-size: 12.222222328186035px; line-height: 16px;">Storefront presented</span>&nbsp;<span style="font-size: 12.222222328186035px; line-height: 16px;">a forum where some of the book contributors and other leading figures in the discourse around politics, economy, architecture and the city presented and discussed some historical and contemporary references on how alternatives have been articulated in the past and how we might be able to articulate them today.&nbsp;</span> </p> <p class="MsoNormal"> <span style="font-size: 12.222222328186035px; line-height: 16px;"> <br /> </span> </p> <p class="MsoNormal"> <span style="font-size: 12.222222328186035px; line-height: 16px;">Participants included Thomas Angotti, Peggy Deamer,&nbsp;</span> <span style="font-size: 12.222222328186035px; line-height: 16px;">Quilian Riano and Michael Sorkin, among others.&nbsp;</span> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <iframe width="500" height="281" frameborder="0" src="http://player.vimeo.com/video/79435481"> </iframe> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">------------------------------------------------------------------------------------------------------------</p> <p class="MsoNormal"> <b> About the book</b> </p> <p class="MsoNormal"> <i> <b>Architecture and Capitalism: 1845 to the Present</b> </i> </p> <p class="MsoNormal"> <i> <b> </b> </i> </p> <p class="MsoNormal"> <b>Edited by Peggy Deamer</b> </p> <p class="p1">&nbsp;</p> <p class="p1">"Architecture and Capitalism tells a story of the relationship between the economy and</p> <p class="p1">architectural design. Eleven historians each discuss in brand new essays the time</p> <p class="p1">period they know best, looking at cultural and economic issues, which in light</p> <p class="p1">of current economic crises you will find have dealt with diverse but surprisingly</p> <p class="p1">familiar economic issues. Told through case studies, the narrative begins in the</p> <p class="p1">mid-nineteenth century and ends with 2011, with introductions by editor Peggy</p> <p class="p1">Deamer to pull the main themes together so that you can see how other architects</p> <p class="p1">in different times and in different countries have dealt with similar economic</p> <p class="p1">conditions. By focusing on what previous architects experienced, you have the</p> <p class="p1">opportunity to avoid repeating the past."</p> <p class="p1">&nbsp;</p> <p class="p1">With new essays by Pier Vittorio Aureli, Ellen Dunham-Jones, Keller</p> <p class="p1">Easterling, Lauren Kogod, Robert Hewison, Joanna Merwood-Salisbury, Robin</p> <p class="p1">Schuldenfrei, Deborah Gans, Simon Sadler, Nathan Rich, and Michael Sorkin."</p> <p class="MsoNormal">&nbsp;</p> <p class="p1">Peggy Deamer is a professor of architecture at Yale University, New Haven, USA.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Publisher: Routledge, New York</p> <p class="MsoNormal">English, 2013,&nbsp;</p> <p class="MsoNormal"> <span style="font-size: 12.222222328186035px; line-height: 16px;">Paperback: $40</span> </p> <p class="MsoNormal"> <span style="font-size: 12.222222328186035px; line-height: 16px;">978-0-415-53488-8&nbsp;</span> </p> <p class="MsoNormal"> <span style="font-size: 12px; line-height: 16px;">Hardback: $150.00</span> </p> <p class="p1">ISBN: 978-0-415-53487-1</p> <p class="p1">&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <img src="../images/tinyMCE_upload/arch_and_capitalism.jpg" width="431" height="648" /> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">---------------------------------------------------------------------------------------------------------</p> <div class="gmail_default" style="font-family: arial,helvetica,sans-serif;"> <p class="MsoNormal"> <b> Quotes from the book</b> </p> <p class="MsoNormal"> <b> <br /> </b> </p> <p class="MsoNormal"> <b>"</b>&nbsp;<span style="font-size: 12px; line-height: 16px;">There&rsquo;s certainly a conspiracy to make habitation and haberdashery</span> </p> <p class="p1">commutative and we must take care not to let the Man camouflage</p> <p class="p1">us from ourselves by dappling us with art-for-art bromides and celebrity,</p> <p class="p1">studding our skulls with diamonds. Nor should we surrender to our own</p> <p class="p1">side&rsquo;s dour, paternalist theories (so often produced between sips of Sancerre</p> <p class="p1">as if the way we live our lives is just incidental) and simply assume that all</p> <p class="p1">iconoclasm is just another strategy of bourgeois repression. Call it negation</p> <p class="p1">if you insist. We cross the bridge of irony or cynicism at some risk: who</p> <p class="p1"> <span style="font-size: 12px; line-height: 16px;">wants a joyless revolution?</span>" &nbsp; M. Sorkin.&nbsp;</p> </div> <p class="MsoNormal"> <span style="font-size: 12px; line-height: 16px;">----------------------------------------------------------------------------------------------------------</span> </p> <p class="MsoNormal"> <b>About the participants&nbsp;</b> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b> Tom Angotti </b>is Professor of Urban Affairs and Planning at Hunter College and the Graduate Center, City University of New York, and Director of the Hunter College Center for Community Planning &amp; Development (CCPD). His recent book, New York For Sale: Community Planning Confronts Global Real Estate (MIT Press, 2008) won the Paul Davidoff Award in 2009 and International Planning History Society Book Prize in 2010. New Village Press recently published Service-Learning in Design and Planning: At the Boundaries, which he co-edited with Cheryl Doble and Paula Horrigan. The New Century of the Metropolis: Enclave Development and Urban Orientalism was published by Routledge in 2012. His other books include Metropolis 2000: Planning Poverty and Politics, Housing in Italy and a book of short stories, Accidental Warriors. Through the CCPD and in collaboration with others, Tom has completed studies on New York City&rsquo;s PlaNYC2030, Wal-Mart, NYU&rsquo;s expansion plan, Fresh Direct, and Atlantic Yards. He has collaborated on many community-based plans and written about community land trusts. He is founder and co-editor of Progressive Planning Magazine, and Participating Editor for the journals Latin American Perspectives and Local Environment. He is a Fellow at the American Academy in Rome and served as Fulbright Specialist in India, Italy and Vietnam. Tom previously served as a senior planner with the City of New York and Commonwealth of Massachusetts, and was a Peace Corps Volunteer in Peru.&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>Peggy Deamer</b> is the Assistant Dean and Professor at Yale School of Architecture. Deamer is a principal in the firm of Deamer Architects. Projects by her and her former firm, Deamer + Phillips, have been featured in various publications including Architecture, Architectural Record, Vogue, and the New York Times. Articles by Ms. Deamer have appeared in Assemblage, Praxis, Perspecta, Harvard Design Magazine, and other journals and anthologies.. Her seminar and advanced studio of 2000&ndash;2001 were the subjects of The Millennium House, published by Monacelli Press in 2004. She was the co-editor of Re-Reading Perspecta and the forthcoming Building (in) the Future: Recasting Labor in Architecture. Her theory work analyzes the relationship among architectural labor, craft, and subjectivity. </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>Cindi Katz</b> <span style="font-size: 12.222222328186035px;">&nbsp;is Professor of Geography in Environmental Psychology and Women&rsquo;s Studies at the Graduate Center of the City University of New York. Her work concerns social reproduction and the production of space, place and nature; children and the environment, and the consequences of global economic restructuring for everyday life. She has published widely on these themes as well as on social theory and the politics of knowledge in edited collections and in journals such as Society and Space, Social Text, Signs, Feminist Studies, Annals of the Association of American Geographers, Social Justice, and Antipode. She is the editor (with Janice Monk) of Full Circles: Geographies of Gender over the Life Course (Routledge 1993) and of Life&rsquo;s Work: Geographies of Social Reproduction (with Sallie Marston and Katharyne Mitchell) (Blackwell 2004). She recently completed Growing up Global: Economic Restructuring and Children&rsquo;s Everyday Lives with University of Minnesota Press in 2004. 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mso-hansi-theme-font:minor-latin;} --> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> </p> <p class="MsoNormal"> <b>Quilian Riano </b>is the founder and principal of DSGN AGNC, a collaborative design/research studio exploring political engagement through architecture, urbanism, art &amp; activism. DSGN AGNC&rsquo;s work has been featured at the Venice Biennale, Harvard University, Cornell University, New York&rsquo;s Center for Architecture, The Van Alen Institute, Parsons The Newschool for Design, The Queens Museum of Art, The Austrian Cultural Forum, Boston Society of Architects, etc. Quilian holds a Masters of Architecture from Harvard University's Graduate School of Design and currently teaches design studio at Parsons, The New School for Design and Pratt Institute of Technology. In practice and academia, Quilian works with community groups and trans-disciplinary teams to create comprehensive research that can be used to propose a variety of targeted policies, actions and designs at various scales &mdash; from pamphlets to architectures to landscapes.</p> <p class="MsoNormal"> <b> <br /> </b> </p> <p class="MsoNormal"> <b>Michael Sorkin</b> is the principal of the Michael Sorkin Studio in New York City, a design practice devoted to both practical and theoretical projects at all scales with a special interest in the city. Recent projects include masterplanning in Hamburg and Schwerin, Germany, planning for a Palestinian capital in East Jerusalem, campus planning at the University of Chicago, and studies of the Manhattan waterfront and Arverne, Queens. The studio is the recipient of a variety of awards, including three I.D. Awards and a Progressive Architecture Award. Sorkin is the Director of the Graduate Urban Design Program at the City College of New York. From 1993 to 2000 he was Professor of Urbanism and Director of the Institute of Urbanism at the Academy of Fine Arts in Vienna. Previously, Sorkin has been professor at numerous schools of architecture including Cooper Union (for ten years), Columbia, Yale (holding both Davenport and Bishop Chairs), Harvard, Cornell (Gensler Chair), Nebraska (Hyde Chair), Illinois, Pennsylvania, Texas, and Minnesota. Sorkin lectures widely and is the author of many articles in a wide range of both professional and general publications and is currently contributing editor at Architectural Record and Metropolis. For ten years, he was the architecture critic of The Village Voice. His books include Variations on A Theme Park, Exquisite Corpse, Local Code, Giving Ground (edited with Joan Copjec), Wiggle (a monograph of the studio's work), Some Assembly Required, Other Plans, The Next Jerusalem, and After The Trade Center (edited with Sharon Zukin). Forthcoming are Weed, AZ. and Work On The City, among others. Michael Sorkin was born in Washington, D.C. and received his architectural training at Harvard and MIT. </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">&nbsp;</p>
Katya Tylevich: Word bites picture 4 November 2013 12:20:06 EST http://www.storefrontnews.org/programming/pop-upss?e=582

Monday November 4, 2013 – Saturday November 9, 2013

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<w:LsdException Locked="false" Priority="37" Name="Bibliography" /> <w:LsdException Locked="false" Priority="39" QFormat="true" Name="TOC Heading" /> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:Cambria; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> </p> <p> <span style="font-size: 12px; line-height: 16px;">Week 04 / Nov 5 - 9</span> </p> <p> <span style="font-size: 12px; line-height: 16px;">Word bites picture</span> </p> <p class="MsoNormal">Katya Tylevich</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>About the project</b> </p> <p class="MsoNormal">&lsquo;Word bites picture&rsquo; draws from my work writing about art and architecture, but subverts the idea of expository writing. For the project, I ask an artist, photographer or architect to send me an image he or she has created. In response to that image, I write a 500-word short fiction story. During my five-day residency, I will create at least one short story a day in response to one respective image. Each day, one more &lsquo;companion work&rsquo; will join others on the wall of theresidency space, so that the works of fiction act as abstract captions to the images. Though not exactly an exquisite corpse, the spontaneous energy of the project is similar. Viewers will likely find their brains trying to make sense of the resulting art-fiction creatures. It&rsquo;s necessary for these modular pieces to exist in a public space, so that they can assemble into a whole and face different interpretations. The project further addresses the cannibalism of all art, literature, and architecture: new movements do not exist without predecessors, which isn&rsquo;t to say that the results aren&rsquo;t entirely original. Among the people submitting images for the &lsquo;Word bites picture&rsquo; -project are artist Micha&euml;l Borremans and Vito Acconci.</p> <p class="MsoNormal">-Katya Tylevich</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>About the artist</b> </p> <p class="MsoNormal">Katya Tylevich is an arts, architecture and design journalist based in Los Angeles. She is Editor-at-Large for arts journal Elephant, Contributing Editor for architecture magazine MARK and art journal White Zinfandel, and frequent contributor to magazines like Domus, Pin-up and FRAME. Recently, Katya wrote the text for photographer Todd Hido&rsquo;s book Excerpts From Silver Meadows, published by Nazraeli Press. Her interviews and essays appear in books like Pin-Up: Interviews, published by powerHouse Books, and Operations In Populated Areas, which accompanies an exhibition of the same name at the Gallery of Contemporary Art in Wrocław. She has essays on Brutalism and Postmodernism forthcoming in a Thames &amp; Hudson book on architecture, and her short fiction story, &lsquo;Sustained Release,&rsquo; written in response to three paintings by Micha&euml;l Borremans, will be published in the artist&rsquo;s catalog, As sweet as it gets, from Hatje Cantz in February 2014. Currently, Katya is working on a book for Laurence King Publishing, which examines contemporary artworks in unexpected ways, to be published in 2015. Together with her brother, Alexei, Katya is co-founder of Friend &amp; Colleague, a company producing original content and art projects. She was born in Minsk, Belarus and runs a website called Happy Nothing.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">---------------------------</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b> <i>Boa constricted.</i> </b> </p> <p class="MsoNormal">by Katya Tylevich</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <img src="../images/tinyMCE_upload/Borremans_HoveringWood.low.jpg" width="450" height="303" /> </p> <p class="MsoNormal">Micha&euml;l Borremans, <i>The Hovering Wood</i>, 2011. Oil on Canvas. Courtesy David Zwirner, New York/London and Zeno X Gallery, Antwerp.&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <i>Our family was never very poor, but pretended to be, to keep the evil eye uninterested. Good health was met with knocks on wood. Bad health was welcomed like an irritating houseguest, with a begrudging hospitality. A long night&rsquo;s sleep was considered suitable for cats and other indulged animals that had nine lives to waste &mdash; you know, on rapid eye movement.</i> </p> <p class="MsoNormal"> <i> <br /> </i> </p> <p class="MsoNormal"> <i>The older generations in our home would point to various nocturnal creatures as fine examples of living things with proper work ethics. The daytime sleeping patterns of those animals were struck from record, in lectures meant to motivate and probably shame. I never felt humiliated, however. I was eager to follow instructions and to please, so I took the lectures at face value and tried to emulate those animals that I thought burned the midnight oil, like horseshoe crabs, rats, owls, and opossums.</i> </p> <p class="MsoNormal"> <i> <br /> </i> </p> <p class="MsoNormal"> <i>In short order, my nighttime prowls grew quite intolerable for my family. What did me in, I think, were all the seed and peanut shells I&rsquo;d left around the home. Also, the rustling I liked to do while everybody else was giving way to bodily weaknesses, shutting their eyes and drifting into apneas, paralyses and other forms of stinky human rest.</i> </p> <p class="MsoNormal"> <i> <br /> </i> </p> <p class="MsoNormal"> <i>For those few nights that I had acted as a rodent, I&rsquo;d crept around our single-family home, thinking of all the things I could accomplish in my extra waking hours. Mostly, I snacked and watched TV. As morning rolled around, I usually found myself blinking awake in front of the early news broadcast. Perhaps upon waking, I did feel humiliated, though nobody was up early enough to catch me in my disappointed state. I was disgusted by my personal failure to control my sleepy, weepy body, and its susceptibility to routine, and to gum disease, early-onset heartburn and probably, at some point, to some other sort of chronic pain.</i> </p> <p class="MsoNormal"> <i> <br /> </i> </p> <p class="MsoNormal"> <i>My father told me that if my hot prowls were to continue, that in all fairness &mdash; literal man though he was, and head of a literal household (those were different times) &mdash; the family would have no choice but to treat me like a house animal and not a feral one, because I did, after all, live in their house and exterminating me was not an option. In other words, he said, they&rsquo;d have to have me immunized and spayed or neutered. At that age, I had already had several vaccinations and was no pussy when it came to needles and blood. But I did have to look the latter threats up in a dictionary. I still resent you for that fucking joke, old man.</i> </p> <p class="MsoNormal"> <i> <br /> </i> </p> <p class="MsoNormal"> <i>Then in an act entirely out of character, I screamed that, if that&rsquo;s how they wanted it, then fine, then, fine, that I would turn myself in at an animal shelter so that a better family could adopt me there.</i> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <i>That may be memory playing tricks on me, actually. When and where this childhood took place, there were no shelters for used, abandoned animals, only streets and garbage dumps and alleyways and pounds. It&rsquo;s probably more likely that my act, entirely out of character, was screaming that I was going to run off to the streets like an outdoor cat and wouldn&rsquo;t they be sorry when I didn&rsquo;t come back home that night or ever, even though I could remember our address, and would for the rest of my living days. To which my family, phlegmatic but in unison, knocked on all the wood available to them in that very wooden house.</i> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">--------------------</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b> <i>Speak to a representative.&nbsp;</i> </b> </p> <p class="MsoNormal">by Katya Tylevich</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <img src="../images/tinyMCE_upload/Ottmar.jpg" width="450" height="619" /> </p> <p class="MsoNormal">Otmar Thormann. <i>COWBOY, STOCKHOLM 1968.&nbsp;</i> </p> <p class="MsoNormal"> <i> <br /> </i> </p> <p class="MsoNormal"> <i>We had good reason to resent each other: our respective fantasies for how to fill the days had little in common. We were able to get a good night&rsquo;s sleep every night, and they chose not to; we ate three different meals a day at regular hours, and they began their mornings with a coffee and a cigarette &mdash; they ended their nights, also in the mornings, with a coffee and a cigarette, and, this time, whiskey. We had never been in a fist-fight, and they hadn&rsquo;t either, but they acted aggressively, as though they could stop clenched hands without elevated heart rates, with only a few, well placed, attractive bulging veins. We were healthy, but jealous. They were ill, but satisfied.</i> </p> <p class="MsoNormal"> <i> <br /> </i> </p> <p class="MsoNormal"> <i>We decided that we would rather be ill and satisfied, too, so we invited them to join us on neutral territory &mdash; how about the woods? &mdash; for a kind of workshop, in which they could teach us how to be more like them. &lsquo;And vice versa,&rsquo; we offered, but the bargain was declined. Our broader invitation, however, was met with an affirmative. We were surprised, and had a tough go of trying to contain our excitement.</i> </p> <p class="MsoNormal"> <i> <br /> </i> </p> <p class="MsoNormal"> <i>More or less, we communicated by way of polite bows and cordial turns of &lsquo;would you please&rsquo;; we also shuffled our feet as a form of active deference. They responded with crude gestures, abbreviations and colloquialisms. One of them stuck a tongue between the index and middle fingers &mdash; you know, one of those. We tried to mimic their manners and motions, but failed to seem confident doing so. They said, &lsquo;The woods are fine with us, but it will have to be east of the train tracks,&rsquo; a geographic symbolism that sent cold shivers down our spines, as expected, but still we nodded in agreement, not wanting to sound ungrateful or, god forbid, afraid.&nbsp;</i> </p> <p class="MsoNormal"> <i> <br /> </i> </p> <p class="MsoNormal"> <i>We arrived on time, and they were a no-show. We built a fire, following exactly the written instructions we had packed the night before. We made shish kabobs &nbsp;(pork, chicken, and vegetarian), and cooked potatoes over an open fire. Despite our diligence, the potatoes were too raw when we bit into them, a failure that brought us all close to tears.&nbsp;</i> </p> <p class="MsoNormal"> <i> <br /> </i> </p> <p class="MsoNormal"> <i>We wondered aloud to each other, whether this wasn&rsquo;t part of our desired learning process, this failure and abandonment, and then I did the unthinkable, by excusing myself from this passive self-criticism &mdash; &lsquo;What is this, North Korea?&rsquo; I yelled (and some of us shrugged, because what&rsquo;s from stopping this from being North Korea?) &mdash; and I tore the written instructions in two, kicked the dirt up with my feet and tried hard to lose my temper.&nbsp;</i> </p> <p class="MsoNormal"> <i> <br /> </i> </p> <p class="MsoNormal"> <i>That&rsquo;s when they came in all swagger and cocked index fingers. &lsquo;Lesson number one, losers! Never be on time.&rsquo; But I had already learned my lesson. I started packing my bags vigorously, so that the gesture couldn&rsquo;t go unnoticed. We shouted for me to stop, while they shouted for me to keep going. I kept going, overcome by the desire to please, more than to leave.&nbsp;</i> </p> <p class="MsoNormal"> <i> <br /> </i> </p> <p class="MsoNormal"> <i>Naturally, I was having trouble sustaining my temper at a simmer; it usually flat-lined, as if the stove had never been turned on at all. But I was somewhat determined, so I weakly put on necessary airs: &lsquo;My blood is boiling, everybody! Don&rsquo;t make it overflow!&rsquo; I tried to recreate some of the lewd gestures that they had always made look effortless. But I probably raised the wrong fingers or had the wrong tongue. My gesture was like a starter pistol firing: As if on cue, they attacked us, we tried to defend ourselves, and in a matter of minutes, all found a singular easy target and a common ground. They turned on me with their combined list of sniveling grievances and empty threats. &nbsp;I said, &lsquo;What is this North Korea?&rsquo; They either told me I was not a patriot or overly patriotic, I didn&rsquo;t ask them to repeat, and don&rsquo;t care to remember.</i> </p> <p class="MsoNormal"> <i> <br /> </i> </p> <p class="MsoNormal"> <i>Mostly, I was disheartened by the fact that I had no black eyes or central bruises to show for such a corporeal experience. My clothing was a bit scuffed up, but then again, I was wearing an outfit suitable for woodsmanship, wear, tear and otherwise. What was the use? I repatriated with the like-minded, but it was never the same between us again. They couldn&rsquo;t trust that when I closed my eyes at night, that I was actually sleeping soundly.&nbsp;</i> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">--------------------</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b> <i>Scheduled to arrive.</i> </b> </p> <p class="MsoNormal">by Katya Tylevich</p> <div> <br /> </div> <div> <img src="../images/tinyMCE_upload/VITO.jpg" width="450" height="253" /> <br /> </div> <div> Vito Acconci. <i>Under-Plaza</i>, 2010. Courtesy of Acconci Studio.&nbsp; </div> <div> <br /> </div> <div> <div> <i>He isn&rsquo;t a nervous flier, but he is a nervous sleeper. Beyond the security gates, he faces a long flight, and he&rsquo;s nervous that if he doesn&rsquo;t sleep across the ocean, he won&rsquo;t make it through the next day, which is an important one, having to do with reputation and capital.&nbsp;</i> </div> <div> <i> <br /> </i> </div> <div> <i>He likes to think of himself as an accountable man. He is an accountable man. He is not an accountant, but people sometimes take him for one; they stop him in the streets and ask for a free consultation, which he gives to the best of his armchair ability. When, at the airport ticket counter, he&rsquo;s asked whether he had alone packed his suitcases, he answers truthfully that his significant (in all ways) other had also played a significant role in the organization of items in his bags.</i> </div> <div> <i> <br /> </i> </div> <div> <i>Security waves him through with polite nods, but only after two fingers too many have been forced to snap the elastic of his boxer-briefs. That&rsquo;s right, he&rsquo;s not predictable in all ways. And yes, he&rsquo;s understanding of the men and women in uniform who have to do their jobs and snap the elastic of his slim-fit wear as a consequence of his (unnecessary?) honesty.</i> </div> <div> <i> <br /> </i> </div> <div> <i>Seated next to him in business class, his business associate, who&rsquo;s also a friend &mdash; but a friend kept at arm&rsquo;s length &mdash; tells him, &lsquo;Here, have this.&rsquo; What is it? It&rsquo;s a schedule IV controlled substance, which has helped countless victims of insomnia. &lsquo;Don&rsquo;t be a pussy,&rsquo; his business associate adds.&nbsp;</i> </div> <div> <i> <br /> </i> </div> <div> <i>Hem and haw. He doesn&rsquo;t want to be a pussy, after all. He&rsquo;s never taken this drug, or many others, aside from a dabble here and there of the usual suspects, but alright! Half a schedule IV controlled substance down the gullet and we&rsquo;re ready for take-off. &lsquo;Since I only took half, does that make it a schedule II?&rsquo; he jokes unsuccessfully, and closes his eyes to fall into a deep and restless snoozer.</i> </div> <div> <i> <br /> </i> </div> <div> <i>Once a victim of insomnia, he now becomes a victim of rare but serious side-effects, and rises while the seatbelt sign is still on, walks without waking toward the flight deck (&lsquo;It&rsquo;s the cockpit, people!&rsquo; he yells) and pushes his way toward the business class kitchenette, where flight attendants usually stir and shake &lsquo;another gin and tonic?&rsquo; when it is safe for them to walk about he cabin. And it is certainly unsafe for them to do so now.&nbsp;</i> </div> <div> <i> <br /> </i> </div> <div> <i>&lsquo;Sir, we&rsquo;re going to need to ask you to sit down. Sir, please sit down. Sir, right now, you&rsquo;re in violation of federal safety laws and regulations?&rsquo;&nbsp;</i> </div> <div> <i> <br /> </i> </div> <div> <i>His fellow passengers hog-tie him while flight attendants:</i> </div> <div> <i>a. look on, doe-eyed</i> </div> <div> <i>b. play the hero</i> </div> <div> <i>c. calm the passengers with &lsquo;another gin and tonic?&rsquo;</i> </div> <div> <i>d. &lsquo;I&rsquo;ll be taking care of you on our flight, this evening.&rsquo;</i> </div> <div> <i> <br /> </i> </div> <div> <i>The pilots make an emergency landing. He wakes up. He&rsquo;s horrified to find out what has happened. His business associate is horrified, afraid he&rsquo;ll be accused of distributing a schedule IV controlled substance. His business associate hires an expensive attorney, but doesn&rsquo;t share the legal counsel. Our would-be accountant hires a lesser-known attorney, by recommendation of a family friend. Our would-be accountant is put on trial. He&rsquo;s found guilty of lesser charges. Community service. Humiliation. Significant fights with his significant other. Separation. Anxiety. A distrust of the mental healthcare system. The elastic of his boxer-briefs are permanently loose, from this day forward.&nbsp;</i> </div> <div> <i> <br /> </i> </div> <div> <i>And life&rsquo;s unfair, and life&rsquo;s unkind, and he is never mistaken for an accountant again. It must have been the way he&rsquo;d carried himself, before.&nbsp;</i> </div> <div> <i> <br /> </i> </div> <div> <p class="MsoNormal">--------------------</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b> <i>En route to a chipped shoulder.</i> </b> </p> <p class="MsoNormal">by Katya Tylevich</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <img src="../images/tinyMCE_upload/SecondConstruction1.jpg" width="450" height="633" /> </p> <p class="MsoNormal">Epsen Dietrichson. <i>Second Construction #1.</i> </p> </div> <div> <i> <div> <br /> </div> <div>His country of origin left something to be desired in terms of international clout, but it had afforded him an adolescence surrounded by, what might be considered (in a proverbial sense) to be &lsquo;paradise&rsquo;: warm blue skies, cold blue waters, sand dunes and caf&eacute;s. He had spent his young adulthood not inhaling, cigarette between two fingers, trying to finesse a lazy dissonance. &nbsp;</div> <div> <br /> </div> <div>His proper adulthood. That one took place in a country of greater importance, but lesser natural beauty, which suited him, because he was attracted to what he&rsquo;d only dreamed about when surrounded by loveliness: a harsh natural climate, a harsh social climate, a lack of space, and other brutal physical realities. &lsquo;Come in, make yourself uncomfortable.&rsquo; And he did, settling into the routine aches and embarrassments of a grey city, in which people barked at each other and lifted their legs to piss on everything and everybody within pissing range.&nbsp;</div> <div> <br /> </div> <div>Even in an acerbic capital, he retained some of his gentle disposition. He remained sleepy in his motions. He smiled politely if he happened upon eye-contact with an approaching face and body. Once, he smiled politely at a mugger. After he was robbed at knifepoint, he wrote home that he&rsquo;d &lsquo;never felt so alive,&rsquo; a clich&eacute; to which he finally felt entitled. He mailed the letter, addressed to his country of origin, but to nobody who lived there in particular.</div> <div> <br /> </div> <div>He found companionship in a big, brown shepherd dog that (who) ended up outliving all the other pups in the neighborhood by six years. The shepherd met old age, who introduced her to depression. A veterinarian, specializing in geriatric canine anxiety, prescribed canine benzodiazepines, electroconvulsive therapy, group sessions, and, as another humane option, euthanasia.&nbsp;</div> <div> <br /> </div> <div>Thanks for the canine benzodiazepines, doc, and he and the shepherd left with pursed lips. Four years later, still melancholy, the shepherd passed (of a broken heart). (No. Actually, of a canine heart-attack, caused by rich diet, infrequent exercise, low sex drive, lethargy, and high cholesterol.)</div> <div> <br /> </div> <div>After the shepherd&rsquo;s passing, his apartment felt empty, and he decided to experiment with some of the canine benzodiazepines. He had an adverse reaction after the first try and ended up with a bladder infection, feeling no less anxious. He was uncomfortable for the duration of his antibiotics course. During this healing process, he looked at photographs of his country of origin and wished that he had taken his dog there, so that &lsquo;Pancake&rsquo; &mdash; a diminutive, short for Pamela &mdash; could have run on the beaches, which were all dog-friendly, because to be unfriendly seemed a waste of time, breath and resources.</div> <div> <br /> </div> <div>He didn&rsquo;t have to live alone, but chose to. There was a woman who took interest in him, but he declined the offer with a smile. There was a man who took interest in him. He was flattered, but declined the offer with a wink. He sometimes wondered whether what he felt was satisfaction or inertia. Even with a reoccurring bladder infection, existence was more or less cozy.&nbsp;</div> <div> <br /> </div> <div>You know, he took the vet up on that euthanasia offer. But when he showed up without the shepherd (dust to dust), the veterinary staff regretted to inform him that they were not accepting new or human patients. He made a pun about impatience. He tried to make a fuss but couldn&rsquo;t, so he retraced his steps back home, hoping that he would be held up at knifepoint somewhere along that so-familiar route. &nbsp; &nbsp;</div> <div> <br /> </div> </i> </div> <div> <br /> </div> </div>
CRITICAL HALLOWEEN 2013: CorporateAvantGarde 11 September 2013 14:28:29 EST http://www.storefrontnews.org/programming/eventss?e=566

Thursday October 31, 2013 – Thursday October 31, 2013

<div align="left" style="color: #222222; line-height: normal; background-color: #ffffff; font-family: Arial, Helvetica, sans-serif; font-size: 22pt;"> <b> <div align="center" style="text-align: center;"> <div align="left" style="text-align: left;"> <!--[if gte mso 9]> <xml> <o:DocumentProperties> <o:Template>Normal.dotm</o:Template> <o:Revision>0</o:Revision> <o:TotalTime>0</o:TotalTime> <o:Pages>1</o:Pages> <o:Words>5</o:Words> <o:Characters>33</o:Characters> <o:Company>Storefront</o:Company> <o:Lines>1</o:Lines> <o:Paragraphs>1</o:Paragraphs> <o:CharactersWithSpaces>40</o:CharactersWithSpaces> <o:Version>12.0</o:Version> </o:DocumentProperties> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 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mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman"; mso-fareast-font-family:"Times New Roman"; mso-bidi-font-family:"Times New Roman";} --> <!--[endif] --> <!--StartFragment--> <p class="MsoNormal">&nbsp;</p> <div align="center" style="text-align: center;"> <div align="left" style="text-align: left;"> <div align="center" style="text-align: center;"> <div align="left" style="text-align: left;"> <div align="center" style="text-align: center;"> <div align="left" style="text-align: left;"> <div align="center" style="text-align: center;"> <div align="left" style="text-align: left;"> <p class="MsoNormal"> <span style="font-size: 20.0pt; mso-bidi-font-size: 12.0pt;">CRITICAL HALLOWEEN</span> </p> </div> </div> </div> </div> </div> </div> </div> </div> <p class="MsoNormal"> <span style="font-size: 20.0pt; mso-bidi-font-size: 12.0pt;">CORPORATEAVANTGARDE</span> </p> <b> <div align="center" style="text-align: center;"> <div align="left" style="text-align: left;"> <p class="MsoNormal"> <span style="font-size: 20pt;"> <br /> </span> </p> <p class="MsoNormal"> <span style="font-size: 20pt;"> <span style="white-space: pre;"> </span>CRITICAL HALLOWEEN</span> </p> </div> </div> </b> <div align="center" style="text-align: center;"> <div align="left" style="text-align: left;"> <b> <div align="center" style="text-align: center;"> <div align="left" style="text-align: left;"> <p class="MsoNormal"> <span style="font-size: 20pt;"> <span style="white-space: pre;"> </span>CORPORATEAVANTGARDE</span> </p> </div> </div> </b> </div> </div> <p class="MsoNormal"> <b> </b> <span style="font-size: 20.0pt; mso-bidi-font-size: 12.0pt;">&nbsp;</span> </p> </div> </div> <div align="left"> <div style="font-size: 16pt;"> <p class="MsoNormal"> <b> </b> </p> <div align="left" style="margin: 0px; padding: 0px; border: 0px; outline: #000000; font-size: 28.88888931274414px; vertical-align: baseline; background-color: transparent; background-position: initial initial; background-repeat: initial initial;"> <div style="margin: 0px; padding: 0px; border: 0px; outline: #000000; font-size: 28.88888931274414px; vertical-align: baseline; background-color: transparent; background-position: initial initial; background-repeat: initial initial;"> <b> <div align="left"> <div style="font-size: 16pt;"> <div align="left"> <div> <span style="font-size: medium;"> <br /> </span> </div> <div> <!--[if gte mso 9]> <xml> <o:DocumentProperties> <o:Revision>0</o:Revision> <o:TotalTime>0</o:TotalTime> <o:Created>2013-06-21T02:25:00Z</o:Created> <o:LastSaved>2013-06-21T02:25:00Z</o:LastSaved> <o:Pages>1</o:Pages> <o:Words>4</o:Words> <o:Characters>27</o:Characters> <o:Company>Storefront For Art and Architecture</o:Company> <o:Lines>1</o:Lines> <o:Paragraphs>1</o:Paragraphs> <o:CharactersWithSpaces>30</o:CharactersWithSpaces> <o:Version>14.0</o:Version> </o:DocumentProperties> <o:OfficeDocumentSettings> <o:AllowPNG /> 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mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:Cambria; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <!--[endif] --> <!--StartFragment--> <b> <span style="font-size: 20pt; font-family: Helvetica;">9:30pm - Late</span> </b> </p> <p class="MsoNormal"> <b> <span style="font-size: 20pt; font-family: Helvetica;"> <br />The Malt House / 461 West 126th St</span> </b> </p> </div> </div> </div> </div> </b> </div> </div> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>Live music by Hess is More /&nbsp;</b> </p> <p class="MsoNormal"> <b>DJ performance by Sergio Rebelo aka M Blanche /&nbsp;</b> </p> <p class="MsoNormal"> <b>Dancing All Night /&nbsp;</b> </p> <p class="MsoNormal"> <b> </b> </p> <div align="left" style="margin: 0px; padding: 0px; border: 0px; outline: #000000; font-size: 28.88888931274414px; vertical-align: baseline; background-color: transparent; background-position: initial initial; background-repeat: initial initial;"> <div style="font-size: 16pt;"> <p class="MsoNormal"> <b>Open Bar /&nbsp;</b> </p> </div> </div> <p class="MsoNormal"> <b>Costume Competition in partnership with Hyperallergic /&nbsp;</b> </p> <p class="MsoNormal"> <b>Photos by Cameron Blaylock /&nbsp;</b> </p> <p class="MsoNormal">&nbsp;</p> </div> <div style="font-size: 16pt;"> <div style="color: #222222; font-family: Arial, Helvetica, sans-serif; font-size: 16pt; line-height: normal;"> <b> <div align="left" style="font-size: 29px;"> <div style="font-size: 16pt;"> </div> </div> </b> </div> </div> </div> </b> </div> <form action="https://www.paypal.com/cgi-bin/webscr" method="post"> <!--[if gte mso 9]> <xml> <o:DocumentProperties> <o:Template>Normal.dotm</o:Template> <o:Revision>0</o:Revision> 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href="../programming/projects?c=&amp;p=&amp;e=583">HERE</a> to view the winners of the 2013 Costume Competition. </b> </p> <p class="MsoNormal"> <b> <br /> </b> </p> <p class="MsoNormal"> <b>Critical Firms</b> </p> <p class="MsoNormal">Belmont Freeman Architects</p> <p class="MsoNormal">Diller Scofidio + Renfro</p> <p class="MsoNormal">FR-EE&nbsp;</p> <p class="MsoNormal">HWKN</p> <p class="MsoNormal"> <span style="font-size: 12px; line-height: 16px;">Terreform ONE</span> </p> <p class="MsoNormal">Toshiko Mori Architects</p> <p class="MsoNormal">Weiss / Manfredi&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>Committee Members</b> </p> <p class="MsoNormal">+POOL</p> <p class="MsoNormal">Allied Works Architecture</p> <p class="MsoNormal">Maria Aiolova</p> <p class="MsoNormal">Lauren Altman</p> <p class="MsoNormal">Felix Burrichter, PIN-UP</p> <p class="MsoNormal">Colin Curley</p> <p class="MsoNormal">Charles Curran</p> <p class="MsoNormal">Liz Dimmit</p> <p class="MsoNormal">Harrison Atelier</p> <p class="MsoNormal">Andria Hickey</p> <p class="MsoNormal">Sachi Hoshikawa</p> <p class="MsoNormal">Nickie Huang</p> <p class="MsoNormal">Merica May Jensen</p> <p class="MsoNormal">Lydia Kallipoliti</p> <p class="MsoNormal">Lauren Keady</p> <p class="MsoNormal">Marc Kushner, HWKN,&nbsp;<i>Critical Firm&nbsp;</i> &nbsp;</p> <p class="MsoNormal">Jessica Knobloch</p> <p class="MsoNormal">Kelsey Lents</p> <p class="MsoNormal">Alda Ly</p> <p class="MsoNormal">Michael Manfredi, Weiss Manfredi, <i>Critical Firm</i> </p> <p class="MsoNormal">Alex Mustonen, Snarkitecture</p> <p class="MsoNormal">Stephanie Pereira &nbsp;</p> <p class="MsoNormal">PlayLab</p> <p class="MsoNormal">Charles Renfro, DS+R,&nbsp;<i>Critical Firm</i> </p> <p class="MsoNormal">Fernando Romero, FR-EE, <i>Critical Firm &nbsp;</i> </p> <p class="MsoNormal">Ramses S. Serrano / Stribling &amp; Associates</p> <p class="MsoNormal">James and Hayes Slade</p> <p class="MsoNormal">Troy Conrad Therrien</p> <p class="MsoNormal">Steven Thomson</p> <p class="MsoNormal">Alexei Tylevich</p> <p class="MsoNormal">Melinda Wang</p> <p class="MsoNormal">Christian Wassmann&nbsp;</p> <p class="MsoNormal">Marion Weiss, Weiss Manfredi,<i> Critical Firm</i> </p> <p class="MsoNormal">Dong-Ping Wong, Family &nbsp; &nbsp;</p> <p class="MsoNormal">Karen Wong&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Sponsored by</p> <p class="MsoNormal"> <span style="font-size: 16px; text-align: right; font-family: Arial,Helvetica,sans-serif;"> <br /> </span> </p> <p class="MsoNormal"> <span style="font-size: 16px; text-align: right; font-family: Arial,Helvetica,sans-serif;">&nbsp;</span> <span style="font-family: Comic Sans MS,Verdana,Helvetica,sans-serif;"> <img src="https://origin.ih.constantcontact.com/fs015/1101822207214/img/410.jpg" alt="Dougs logo" width="278" height="63" />&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;</span> </p> <div align="center" style="text-align: center; font-size: 20pt; font-family: 'Arial Black', 'Avant Garde';"> <div align="right" style="text-align: right; font-family: Arial, Helvetica, sans-serif; font-size: 12pt;"> <div> <b> <div align="left" style="text-align: left; font-family: Comic Sans MS,Verdana,Helvetica,sans-serif;"> <span style="text-align: center;"> <b> <b> <p> <b> </b> </p> <div align="left" style="text-align: left; font-family: Comic Sans MS,Verdana,Helvetica,sans-serif;"> <span style="text-align: center;"> <b> <b> <p>&nbsp;</p> </b> </b> </span> </div> </b> </b> </span> </div> </b> </div> </div> </div> <p class="MsoNormal">Costume Competition in partnership with</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <img src="../images/tinyMCE_upload/Hyperallergic-LOGO-071112.jpg" width="400" height="47" /> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Cocktails by&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <div style="font-family: Arial, Helvetica, sans-serif; font-size: 12pt;"> <div> <b> <i> <p> <img src="https://origin.ih.constantcontact.com/fs015/1101822207214/img/411.jpg" alt="Cruzen" width="73" height="71" />&nbsp; &nbsp;<img src="https://origin.ih.constantcontact.com/fs015/1101822207214/img/386.jpg" alt="Effen" width="86" height="26" />&nbsp; &nbsp;&nbsp;<img src="https://origin.ih.constantcontact.com/fs015/1101822207214/img/389.jpg" alt="Hornitos" width="100" height="26" />&nbsp;&nbsp;<img src="https://origin.ih.constantcontact.com/fs190/1101822207214/img/654.jpg" width="79" height="75" /> <img src="../images/tinyMCE_upload/BrooklynBrewery.png" width="80" height="80" />&nbsp;</p> </i> </b> </div> </div> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Hosted by</p> <p class="MsoNormal"> <img src="../images/tinyMCE_upload/Janus_logo.jpg" width="300" height="116" /> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b> <br /> </b> </p> <p class="MsoNormal"> <b> <br /> </b> </p> <p class="MsoNormal"> <b> <img src="../images/tinyMCE_upload/final_forweb.gif" width="500" height="500" /> <br /> </b> </p> <p class="MsoNormal"> <b> <br /> </b> </p> <p class="MsoNormal"> <b> <br /> </b> </p> <p class="MsoNormal"> <b> <br /> </b> </p> <p class="MsoNormal"> <b>HOW TO GET THERE</b> </p> <p class="MsoNormal"> <b>HINT: CAUTION</b> </p> <div> <br /> </div> <p class="MsoNormal">(From downtown)</p> <p class="MsoNormal"> <b>By Subway</b> </p> <p class="MsoNormal">Take express A or D train uptown. Videotape yourself and your friends on the subway in composite form and email videos to info@storefrontnews.org. Get off at 125th Street. Exist W 127th and St Nicholas Ave SW corner. Turn left and walk two blocks until 127th becomes 126th (ooooooh). Entrance on the right.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>Tell the Cab</b> </p> <p class="MsoNormal">126th and Amsterdam. Walk east on 126th until you see composite figures entering a building on your left. Exit.&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <img src="../images/tinyMCE_upload/Screen_Shot_2013-10-31_at_2.31.00_PM.png" width="500" height="448" /> </p> </form>
CRITICAL HALLOWEEN 2013 CorporateAvantGarde Costume Competition Winners 7 November 2013 13:03:22 EST http://www.storefrontnews.org/programming/eventss?e=583

Thursday October 31, 2013 – Thursday October 31, 2013

<p> <b>COSTUME COMPETITION 2013&nbsp;</b> </p> <p> <b> <br /> </b> </p> <p> <b>WINNERS</b> </p> <p> <b>11 PRIZES</b> </p> <p>&nbsp;</p> <p>Golden Egg to the best political statement: "Burden of Life"</p> <p> <span style="font-size: 12px; line-height: 16px;">Golden Egg to best social critic: "Employee of the month" &nbsp;</span> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Golden Egg to best data visualization: "Bio City World Map"&nbsp;</p> <p class="MsoNormal">Golden Egg to best digital costume: "Facetime"</p> <p class="MsoNormal">Golden Egg to best model : "Ito's Models"</p> <p class="MsoNormal">Golden Egg to best quote: "Knife in the Watercooler"</p> <p class="MsoNormal">Golden Egg to best group costume "Emoji Architecture"</p> <p class="MsoNormal">Golden Egg to best couple costume: "Business Park and Cord Management"</p> <p class="MsoNormal">Golden Egg to best individual costume: "Absolute Sugiyama Rice"</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">The 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font-size:12.0pt; font-family:Cambria; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> </p> <p class="MsoNormal">&nbsp;</p> <p> <b>JURY</b> </p> <p>The jury for the 2013 Critical Halloween Costume Competition consisted of four individuals with different relations to the words and worlds of Corporate and Avant Garde: Jacob Reidel currently working at Ennead Architects and one of the editors of the magazine CLOG; Max Sanjulian, an ex-SOMer that started his own firm and music band with the title Inferno Blanco; Charles Renfro, partner of an office of hundreds intending to be 3; and Eva Franch i Gilabert, Storefront Director.&nbsp;</p>
Di Fang: COLUMBUS RESORT 28 October 2013 17:19:54 EST http://www.storefrontnews.org/programming/pop-upss?e=579

Monday October 28, 2013 – Saturday November 2, 2013

<p> <span style="font-size: 12.222222328186035px;">Week 03 / Oct 28 - Nov 2</span> </p> <p> <span style="font-size: 12.222222328186035px; line-height: 16px;">COLUMBUS RESORT</span> </p> <p> <span style="font-size: 12.222222328186035px; line-height: 16px;">Di Fang</span> </p> <p> <span style="font-size: 12.222222328186035px;"> <br /> </span> </p> <p> <span style="font-size: 12.222222328186035px;"> <b>About the project</b> </span> </p> <p class="MsoNormal"> <i>My project is to unfold interactions among people who engage in gambling. I am inspired by a group of retired Chinese people who get together everyday doing gambling at the Columbus Park. They use chips to bet on card game and Chinese chess. This forms an interesting phenomenon as the gambling itself servers as a channel for retired people to connect with each other in the public space. </i> </p> <p class="MsoNormal"> <i>&nbsp;</i> </p> <p class="MsoNormal"> <i>My working process and the interaction with public will be uploaded to social media during my five-day residency. My project is to design the &ldquo;gambling space&rdquo; and develop the relationship between human and space. I will provide chips to people who come to Storefront and gambling. </i>-Di Fang<i> </i> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">For thorough project updates, please visit http://www.columbus-resort.tumblr.com.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>About the artist</b> </p> <p class="MsoNormal">Di Fang is a Chinese artist based in New York City. His works convey not only the evolution of urbanization, but also my political attitudes. He is interested in social commentary, references to news, and views himself as a tourist in my videos and multimedia installations. His works reflect on the rapid and chaotic changes that he is involved in with today&rsquo;s society. It encourages the viewer to think and question.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">For more, visit <a href="http://www.columbus-resort.tumblr.com">Tumblr</a>,&nbsp;<a href="http://www.facebook.com/storefront">Facebook</a>&nbsp;or&nbsp;<a href="https://twitter.com/storefrontnyc">Twitter</a>.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">@storefrontnyc @Fang_Di</p>
Hunger & Decadence: Croquembouches 17 October 2013 12:38:35 EST http://www.storefrontnews.org/programming/eventss?e=573

Friday October 25, 2013 – Friday October 25, 2013

<p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>BEING/DISRUPT:&nbsp;</b> </p> <p class="MsoNormal"> <b>HUNGER AND DECADENCE:</b>&nbsp;<b>CROQUEMBOUCHES</b> </p> <p class="MsoNormal"> <b>October 25</b> </p> <p class="MsoNormal"> <b>6pm</b> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">As part of the exhibition <i> <a href="../programming/exhibitions?c=&amp;p=&amp;e=554">BEING</a> </i>, Storefront presented DISRUPT: Croquembouches, an installation-banquet on the connections and connotations between Food and Architecture. The event follow a<span style="font-size: 12px; line-height: 16px;">&nbsp;day-long installation by Savinien Carcostea, which included an 9-foot tall cone of Croquembouches, a traditional French dessert, that was on display at Storefront's gallery throughout the day and was offered to visitors from 6-7pm.&nbsp;</span> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">The conversation raised the points of contact between food and architecture: From the social and political connotations of what, how, and where we eat, to the similarities and differences of the research and distribution processes, to the performativity of the act of eating as a way of producing bubbles of negotiation. The conversation include contribuitions by Jan Aman, Levan Asabashvili, Edward Eigen, and&nbsp;<span style="font-size: 12px;">Yehuda Safran,</span>&nbsp;<span style="font-size: 12px;">among others.</span> </p> <p class="MsoNormal"> <span style="font-size: 12px;"> <br /> </span> </p> <p class="MsoNormal"> <span style="font-size: 12px;">7,000 Croquembouches were available for consumption.</span> </p> <p class="MsoNormal"> <span style="font-size: 12px;"> <br /> </span> </p> <p class="MsoNormal"> <span style="font-size: 12px;">This event was free and open to the public.</span> </p> <p class="MsoNormal"> <span style="font-size: 12px;"> <br /> </span> </p> <p class="MsoNormal"> <span style="font-size: 12px;"> <br /> </span> </p> <p> <iframe width="500" height="281" frameborder="0" src="http://player.vimeo.com/video/79307167"> </iframe> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>HUNGER</b> </p> <p class="MsoNormal">According to City Harvest, 1.5 million New Yorkers are struggling against hunger. A new restaurant of refined decadence is always opening around the corner.&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>DECADENCE</b> </p> <p class="MsoNormal">"The croquembouche, a pyramid of small cream puffs welded by caramel, inscribes itself in the tradition of classic French pastry as a decorative centerpiece. It is also a modular structure, and as such can be understood within a contemporary formal framework. Created by Antonin Car&ecirc;me, the celebrated early nineteenth century pastry chef who stated that &ldquo;the most noble of all the arts is Architecture, and its greatest manifestation is the art of the pastry chef&rdquo;, the croquembouche is in fact an avant-garde work of Architecture, both structural and spatial."</p> <p class="MsoNormal"> <span style="font-size: 12px; line-height: 16px;">A historic construction somehow contemporary, a mixture of high cuisine, art, architecture, and cinema, the croquembouche is a disconcerting structure whose humorous appearance has long dismissed it as an outdated typology having no place outside of celebrations. Now is the time for the croquembouche to be celebrated." -&nbsp;Savinien Caracostea</span> </p> <p class="MsoNormal"> <span style="font-size: 12px; line-height: 16px;"> <br /> </span> </p> <p class="MsoNormal"> <span style="font-size: 12px; line-height: 16px;"> <b>About the artist</b> </span> </p> <p class="MsoNormal">Savinien Caracostea has degrees in Architecture from the Harvard Graduate School of Design and Cornell University, a degree in Pastry Arts from the French Culinary Institute, and has extensive experience in film, photography, and graphic design. With an interest in cross-disciplinary spaces, events and publications, he consults and offers creative direction in Edible, Cinematic Architecture. For more, please visit www.savinien.com.&nbsp;</p> <p>&nbsp;</p>
Brett Beyer: Archiphoto 21 October 2013 15:09:34 EST http://www.storefrontnews.org/programming/pop-upss?e=577

Monday October 21, 2013 – Saturday October 26, 2013

<p> <span style="font-size: 12.222222328186035px;">Week 02 /&nbsp;</span> <span style="font-size: 12.222222328186035px; line-height: 16px;">Oct 21-25</span> </p> <p> <span style="font-size: 12.222222328186035px;">Archiphoto</span> </p> <p> <span style="font-size: 12.222222328186035px;">Brett Beyer</span> </p> <p> <span style="font-size: 12.222222328186035px;"> <br /> </span> </p> <p> <span style="font-size: 12.222222328186035px;"> <b>About Archiphoto</b> </span> </p> <p> <!--[if gte mso 9]> <xml> <o:DocumentProperties> <o:Revision>0</o:Revision> <o:TotalTime>0</o:TotalTime> <o:Created>2013-06-21T02:25:00Z</o:Created> <o:LastSaved>2013-06-21T02:25:00Z</o:LastSaved> <o:Pages>1</o:Pages> <o:Words>55</o:Words> <o:Characters>320</o:Characters> <o:Company>Storefront For Art and Architecture</o:Company> <o:Lines>2</o:Lines> <o:Paragraphs>1</o:Paragraphs> <o:CharactersWithSpaces>374</o:CharactersWithSpaces> <o:Version>14.0</o:Version> </o:DocumentProperties> <o:OfficeDocumentSettings> 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Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 6" /> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 6" /> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 6" /> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 6" /> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 6" /> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 6" /> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 6" /> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 6" /> <w:LsdException Locked="false" Priority="19" 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mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman";} --> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> </p> <p class="MsoNormal"> <i>"I see Storefront as a permeable space that is changing and expanding.<span style="mso-spacerun: yes;">&nbsp;&nbsp; </span>For this residency I will attempt to push my idea of what an architectural photograph can be.&nbsp; I will use sculptural, photographic, and architectural methods to create works that reflect the space and my own interpretation of it.&nbsp; I will create images that are real and constructed at the same time."&nbsp;</i> </p> <p class="MsoNormal">-Brett Beyer</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>About the artist</b> </p> <p class="MsoNormal">Brett Beyer is an architectural and fine art photographer based in Brooklyn, New York.<span style="mso-spacerun: yes;">&nbsp; </span>He received his degree in studio art from Bard College in 2000.<span style="mso-spacerun: yes;">&nbsp; </span>His aerial interior photography has been published by The New York Times Magazine, Cornell AAP, and Fast Company.<span style="mso-spacerun: yes;">&nbsp; </span>Some of his architectural clients include OMA, SOM, SCAPE, and Studio V.<span style="mso-spacerun: yes;">&nbsp; </span>His group exhibitions include &ldquo;5 Beekman&rdquo; as part of Visions, a group show at Storefront for Art and Architecture&rsquo;s 30th anniversary gala.<span style="mso-spacerun: yes;">&nbsp; </span>In 2012 he was included in the photography awards publication American Photography 28.<span style="mso-spacerun: yes;">&nbsp; </span>He is currently working on an aerial photography project documenting the construction of the new World Trade Center in lower Manhattan.&nbsp;<span style="font-size: 12.222222328186035px; line-height: 16px;">For more visit www.brettbeyer.com.</span> </p> <p 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Extrapolation Factory: Junk Mail Machine 19 October 2013 11:47:13 EST http://www.storefrontnews.org/programming/pop-upss?e=575

Tuesday October 15, 2013 – Saturday October 19, 2013

<p class="MsoNormal">Week 01 / Oct 15-19</p> <p class="MsoNormal">The Extrapolation Factory</p> <p class="MsoNormal">Junk Mail Machine<br /> Elliott P. 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style="color: windowtext; text-decoration: none; text-underline: none;"> <a href="http://www.extrapolationfactory.com/">The Extrapolation Factory</a>&nbsp;</span>has built an experimental futuring machine which prompts visitors to envision new and augmented needs, as well as the businesses/services that might arise in response. &nbsp;The Junk Mail Machine rapidly translates visitors&rsquo; future-visions into &ldquo;future junk mail&rdquo; &ndash; to be sent to an address of the visitor&rsquo;s choice, as well as to be displayed in the exhibition space. Junk mail outcomes might promote services such as: Future Malpractice Lawyers, Cheap Polygamy Divorce (get 2nd half price), Artisanal Bootlegged GMO, 1-800-DRONEINJURY, Reputation Index services, Alibi Services, Future Drugs, Canal Street DIY Biofuel, etc.</p> <p class="MsoNormal">&nbsp;</p> <p> <!--[if gte mso 9]> <xml> <o:DocumentProperties> <o:Revision>0</o:Revision> <o:TotalTime>0</o:TotalTime> <o:Created>2013-06-21T02:25:00Z</o:Created> <o:LastSaved>2013-06-21T02:25:00Z</o:LastSaved> <o:Pages>1</o:Pages> <o:Words>161</o:Words> <o:Characters>921</o:Characters> <o:Company>Storefront For Art and Architecture</o:Company> <o:Lines>7</o:Lines> <o:Paragraphs>2</o:Paragraphs> <o:CharactersWithSpaces>1080</o:CharactersWithSpaces> <o:Version>14.0</o:Version> </o:DocumentProperties> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:View>Normal</w:View> <w:Zoom>0</w:Zoom> <w:TrackMoves /> <w:TrackFormatting 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Visitors engaged with custom futuring tools, props, and diagrams to imagine these future scenarios. The resulting junk mail communicates these imagined outcomes, as well as implicitly hinting at the implications of the scenarios.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <!--[if gte mso 9]> <xml> <o:DocumentProperties> <o:Revision>0</o:Revision> <o:TotalTime>0</o:TotalTime> <o:Created>2013-06-21T02:25:00Z</o:Created> <o:LastSaved>2013-06-21T02:25:00Z</o:LastSaved> <o:Pages>1</o:Pages> <o:Words>81</o:Words> <o:Characters>468</o:Characters> <o:Company>Storefront For Art and Architecture</o:Company> <o:Lines>3</o:Lines> <o:Paragraphs>1</o:Paragraphs> <o:CharactersWithSpaces>548</o:CharactersWithSpaces> <o:Version>14.0</o:Version> </o:DocumentProperties> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:View>Normal</w:View> <w:Zoom>0</w:Zoom> <w:TrackMoves /> <w:TrackFormatting /> <w:PunctuationKerning /> <w:ValidateAgainstSchemas /> 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mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> </p> <p class="MsoNormal"> <b>The Extrapolation Factory</b> is an imagination-based studio for design-lead futures studies. &nbsp;We focus on developing future scenarios, embodied as artifacts in familiar, present-day contexts. &nbsp;The studio proposes a method for collaboratively envisioning possible futures with diverse participants, experts and non-experts, and doing so in a variety of accessible ways. &nbsp;With this work, the Extrapolation Factory is examining the value of rapidly imagining, prototyping, deploying and evaluating ideas of possible futures on an extended time scale. &nbsp;<br /> <!--[if !supportLineBreakNewLine]--> <br /> <!--[endif]--> </p>
BEING 23 August 2013 10:54:48 EST http://www.storefrontnews.org/programming/exhibitionss?e=554

Saturday October 12, 2013 – Saturday January 18, 2014

<p> <i> </i> </p> <p> <i> <b>BEING</b> </i> </p> <p class="MsoNormal">October 12, 2013 &ndash; January 18, 2014</p> <p class="MsoNormal"> <span style="font-size: 12px; line-height: 16px;"> <a href="../programming/projects?c=&amp;p=&amp;e=574">TV Broadcasts</a>: Tuesday&nbsp;evenings at&nbsp;10 PM&nbsp;on TW channel 67</span> </p> <p class="MsoNormal">&nbsp;</p> <p>Curated by Eva Franch i Gilabert and Carlos M&iacute;nguez Carrasco</p> <p class="MsoNormal">Designed by Bittertang<br />Graphic Design by This is our Work</p> <p class="MsoNormal">Curatorial Fellows: Jessica Ngan and Matt Shaw</p> <p class="MsoNormal">Curatorial Support: Jordan Anderson, Isabelle Claire Kirkham-Lewitt<br />Storefront TV Co-producer: E.S.P. TV</p> <p class="MsoNormal">&nbsp;</p> <p>&nbsp;</p> <p> <span style="font-family: arial,helvetica,sans-serif;"> <span style="outline-width: 0px; outline-style: initial; outline-color: initial; font-size: 12px; vertical-align: baseline; background-image: initial; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: transparent; font-style: italic; background-position: initial initial; background-repeat: initial initial; padding: 0px; margin: 0px; border: 0px initial initial;">BEING </span> <span style="outline-width: 0px; outline-style: initial; outline-color: initial; font-size: 12px; vertical-align: baseline; background-image: initial; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: transparent; font-style: italic; background-position: initial initial; background-repeat: initial initial; padding: 0px; margin: 0px; border: 0px initial initial;">was</span>&nbsp;an exhibition that looked into Storefront&rsquo;s 30 years of history of dreaming, amplifying, questioning, unveiling, connecting, disrupting, merging, reacting and experimenting in relation to individuals, ideas and spaces from its past, present and future.&nbsp;</span> </p> <p>&nbsp;</p> <p> <span style="font-size: small; line-height: normal; color: #222222;"> </span> </p> <p> <span style="font-family: arial,helvetica,sans-serif;"> <span style="font-size: 12px; font-style: italic;">BEING</span>&nbsp;was a collection of actions.&nbsp;<span style="font-style: italic;">BEING</span>&nbsp;was a transversal examination of Storefront&rsquo;s 30 years of history to better understand the role and transformation of alternative practices in the construction of culture and public life.</span> </p> <p> <span style="font-family: arial,helvetica,sans-serif;">&nbsp;</span> </p> <p> <span style="font-family: arial,helvetica,sans-serif;">While looking into archival material, institutional archaeology, and contemporary events, the exhibition presented, acted and projected forms of &ldquo;being&rdquo; Storefront for Art and Architecture by providing a set of historical and experiential acts around 9 action verbs: Question, Dream, Unveil, Connect, Disrupt, Amplify, React, Merge and Experiment.</span> </p> <p> <span style="font-size: small; line-height: normal; color: #222222;"> </span> </p> <p> <span style="font-family: arial,helvetica,sans-serif;">&nbsp;</span> </p> <p> <span style="font-family: arial,helvetica,sans-serif;">Each one of these actions were presented as a series of installations that allowed the visitor to understand in more depth the mechanisms, methodologies and aspirations of an institution dedicated to the production of radical and alternative practices, while inviting and enabling the visitor to act.</span> </p> <p> <span style="font-family: arial,helvetica,sans-serif;">&nbsp;</span> </p> <p> <span style="font-family: arial,helvetica,sans-serif;">As if entering into a living organism, each constantly changing environment, constructed as an experiment in and of itself, informed, armed, and provoked the viewer while indirectly revealing the ways in which the organization functions and its social and cultural positions. After engaging each environment, the visitor leaves with a series of real-time experiences that carry simultaneously Storefront&rsquo;s history of making.</span> </p> <p> <span style="font-family: arial,helvetica,sans-serif;">&nbsp;</span> </p> <p> <span style="font-family: arial,helvetica,sans-serif;">From a waterbed of unfulfilled dreams containing unsuccessful grant applications, unrealized exhibition proposals or frustrated conversations and encounters, to a compilation of instructions towards disruption, to a TV Broadcast studio station installed in Storefront&rsquo;s basement for the unveiling of relevant contemporary issues, the exhibition aimed to bring together all the individuals invested in the discussion and production of alternative work to propose new ways of action.</span> </p> <p> <span style="font-family: arial,helvetica,sans-serif;"> <br /> </span> </p> <p>The exhibition included works previously on display at Storefront by a varied range of artists and architects in specific moments in their trajectory. Artists included&nbsp;<b>Vito Acconci, Liz Diller &amp; Ricardo Scofidio, Dan Graham, Steven Holl, Jenny Holzer, Bjarke Ingels, &nbsp;Camilo Jos&eacute; Vergara, Tadashi Kawamata, Laura Kurgan, LTL, Enric Miralles &amp; Carme Pin&oacute;s, Antoni Muntadas, Shirin Neshat, Kyong Park, &nbsp;Kiki Smith, &nbsp;Michael Webb, Krzysztof Wodiczko, and Lebbeus Woods.</b>&nbsp;<span style="font-size: 12px;">among many others.</span> <span style="font-size: small; line-height: normal; color: #222222;"> </span> </p> <p> <span style="font-family: arial,helvetica,sans-serif;"> <br /> </span> </p> <p> <span style="font-family: arial,helvetica,sans-serif;"> </span> </p> <p> <span style="font-size: 12.222222328186035px;">Opening Reception: October 11, 2013, 7pm</span> </p> <p>&nbsp;</p> <p> <span style="font-size: 12.222222328186035px;">-------------------------------------------------------------------------------------------------------------</span> </p> <p>&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <i>BEING&nbsp;</i>launched Storefront&rsquo;s Critical History Project, a conference, an exhibition, a film, and a book that work together to understand the role of Storefront for Art and Architecture in the construction of architectural discourse within the last thirty years. Presented on the occasion of the organization's thirtieth anniversary, the project aims to reevaluate the past, scope, impact, and residue of the most relevant projects undertaken by the institution and position them in contemporary culture to assess the present and future role of alternative positions within the field of architecture.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Thanks to the support of previous directors Kyong Park, Shirin Neshat, Sarah Herda and Joseph Grima.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">-------------------------------------------------------------------------------------------------------------</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <i>This exhibition was supported in part by an award from the National Endowment&nbsp;for&nbsp;the Arts. Art Works.</i> </p> <p class="MsoNormal"> <i>&nbsp;</i> </p> <p class="MsoNormal"> <!--[if gte mso 9]> <xml> <o:DocumentProperties> <o:Template>Normal.dotm</o:Template> <o:Revision>0</o:Revision> <o:TotalTime>0</o:TotalTime> <o:Pages>1</o:Pages> <o:Words>85</o:Words> <o:Characters>485</o:Characters> <o:Company>Storefront</o:Company> <o:Lines>4</o:Lines> <o:Paragraphs>1</o:Paragraphs> <o:CharactersWithSpaces>595</o:CharactersWithSpaces> <o:Version>12.0</o:Version> </o:DocumentProperties> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman"; mso-fareast-font-family:"Times New Roman";} --> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> </p> <p class="MsoNormal"> <!--[if gte mso 9]> <xml> <o:DocumentProperties> <o:Template>Normal.dotm</o:Template> <o:Revision>0</o:Revision> <o:TotalTime>0</o:TotalTime> <o:Pages>1</o:Pages> <o:Words>85</o:Words> <o:Characters>485</o:Characters> <o:Company>Storefront</o:Company> <o:Lines>4</o:Lines> <o:Paragraphs>1</o:Paragraphs> <o:CharactersWithSpaces>595</o:CharactersWithSpaces> <o:Version>12.0</o:Version> </o:DocumentProperties> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> <w:UseFELayout /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman"; mso-fareast-font-family:"Times New Roman"; mso-bidi-font-family:"Times New Roman";} --> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> </p> <p class="MsoNormal"> <i>The Critical History Project, a conference, exhibition, film and publication celebrating 30 years of Storefront for Art and Architecture is made possible by The Andy Warhol Foundation for the Visual Arts, F.J. Sciame Construction Co., Inc., the Graham Foundation for the Advanced Studies in the Fine Arts and through generous contributions from a group of individuals directly supporting 30 years of Storefront including David Adjaye, Minsuk Cho, Beatriz Colomina, Claudia Gould, Steven Holl, Steve Incontro, Bjarke Ingels, David Joselit, Galia Solomonoff, Mabel Wilson, and Karen Wong.</i> </p> <p class="MsoNormal"> <i> <br /> </i> </p> <p class="MsoNormal"> <!--[if gte mso 9]> <xml> <o:DocumentProperties> <o:Template>Normal.dotm</o:Template> <o:Revision>0</o:Revision> <o:TotalTime>0</o:TotalTime> <o:Pages>1</o:Pages> <o:Words>25</o:Words> <o:Characters>121</o:Characters> <o:Company>Storefront</o:Company> <o:Lines>3</o:Lines> <o:Paragraphs>1</o:Paragraphs> <o:CharactersWithSpaces>180</o:CharactersWithSpaces> <o:Version>12.0</o:Version> </o:DocumentProperties> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman"; mso-fareast-font-family:"Times New Roman"; mso-bidi-font-family:"Times New Roman";} --> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> </p> <p class="MsoNormal"> <i>Special thanks to&nbsp;<a href="http://safehouseusa.com/"> <span style="text-decoration: none; color: windowtext;">SAFEHOUSEUSA.COM</span> </a>&nbsp;for producing the edition of DREAM duvets by This is our work.&nbsp;</i> </p> <p class="MsoNormal"> <i>&nbsp;</i> </p> <p class="MsoNormal"> <i>The opening reception of Being is supported by Grolsch. <br /> </i> </p> <p class="MsoNormal"> <i> <br /> </i> </p> <p class="MsoNormal"> <i> <br /> </i> </p> <p class="MsoNormal"> <i> <br /> </i> </p> <p class="MsoNormal"> <i> <img src="../images/tinyMCE_upload/NEA-logo-color.jpg" width="150" height="107" /> <br /> </i> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <i> <br /> </i> </p>
Since Now From Then 2 October 2013 14:13:20 EST http://www.storefrontnews.org/programming/seriess?e=571

Saturday October 12, 2013 – Saturday October 12, 2013

<p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>October 12, 11am-7pm</b> </p> <p class="MsoNormal"> <b>SuperPier</b> </p> <p class="MsoNormal"> <b>Free and open to the public</b> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">The cultural, political and social context that produced - 30 years ago - Storefront for Art and Architecture has radically changed, yet the need to produce alternatives to the contemporary forces that shape public life are still as vital as ever. </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <i>Since Now From Then</i> is a conference that takes the&nbsp;form of a day-long conversation on the first and next 30 years of Storefront for Art and Architecture and its role addressing contemporary questions in a broader cultural context. The program brings together prominent figures from both inside and outside the organization&rsquo;s past history to discuss three of the foundations at the core of the institution&rsquo;s mission: Experiments, Alternatives, and Public.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">The day-long program of table discussions includes presentations, discussions and special performances addressing past and future understandings of what it means to produce experiments, alternatives and public life today.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Organized in conjunction with the exhibition<i> <a href="../programming/exhibitions?c=&amp;p=&amp;e=554">BEING</a>, Since Now From Then</i> provides a space to interrogate&mdash;in the past, present and future sense&mdash;Storefront&rsquo;s role as a catalyst for experimentation in artistic and architectural practices, as a platform for alternative ideological and disciplinary positions, and as a public forum for ethical and political conversations. </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">The conference is held around, at and within a 99-seat, Storefront-sized table (The &ldquo;Speechbuster&rdquo;) designed by Jimenez Lai and Grayson Cox. Over the course of the day, the table changes its configuration to accommodate different forms of conversation and performances.<span style="mso-spacerun: yes;">&nbsp; </span> </p> <p class="MsoNormal"> <span style="mso-spacerun: yes;"> <br /> </span> </p> <p class="MsoNormal"> <span style="mso-spacerun: yes;">Participants include Carson Chan, Michael Young, Florian Idenburg, Jing Liu, Hitoshi Abe, Craig Buckley, Joseph Grima, Sarah Herda, Snarkitecture, Chus Martinez, Steven Madoff, Beatrice Galilee, Pedro Gadanho, Beatriz Colomina, Andres Jaque, Francisca Benitez, Cristina Goberna, Amala Andraos, Jimenez Lai, Claudia Gould, Minsuk Cho, Kyong Park, Victoria Bugge Oye, Shirin Neshat and Eva Franch i Gilabert.</span> </p> <p class="MsoNormal"> <span style="mso-spacerun: yes;"> <br /> </span> </p> <p> <iframe width="500" height="281" frameborder="0" src="http://player.vimeo.com/video/81536525"> </iframe> </p> <p class="MsoNormal"> <span style="mso-spacerun: yes;"> <br /> </span> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <i>This conference is supported by a grant from the New York Council for the Humanities. </i> </p> <p class="MsoNormal"> <!--[if gte mso 9]> <xml> <o:DocumentProperties> <o:Template>Normal.dotm</o:Template> <o:Revision>0</o:Revision> <o:TotalTime>0</o:TotalTime> <o:Pages>1</o:Pages> <o:Words>35</o:Words> <o:Characters>204</o:Characters> <o:Company>Storefront</o:Company> <o:Lines>1</o:Lines> <o:Paragraphs>1</o:Paragraphs> <o:CharactersWithSpaces>250</o:CharactersWithSpaces> <o:Version>12.0</o:Version> </o:DocumentProperties> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman"; mso-fareast-font-family:"Times New Roman";} --> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> </p> <p class="MsoNormal"> <i> <br /> </i> </p> <p class="MsoNormal"> <i>Any views, findings, conclusions or recommendations expressed in this program do not necessarily represent those of the National Endowment for the Humanities.</i> </p> <p class="MsoNormal"> <i> <br /> </i> </p> <p class="MsoNormal"> <i>The Critical History Project, a conference, exhibition, film and publication celebrating 30 years of Storefront for Art and Architecture, is made possible by The Andy Warhol Foundation for the Visual Arts, F.J. Sciame Construction Co., Inc., the Graham Foundation for the Advanced Studies in the Fine Arts and through generous contributions from a group of individuals directly supporting 30 years of Storefront including David Adjaye, Minsuk Cho, Beatriz Colomina, Claudia Gould, Steven Holl, Steve Incontro, Bjarke Ingels, David Joselit, Galia Solomonoff, Mabel Wilson, and Karen Wong.</i> </p> <p class="MsoNormal"> <i> <br /> </i> </p> <p class="MsoNormal"> <i>The Speechbuster is made possible by the Robert Rauschenberg Foundation's Artistic Innovation and Collaboration Program, which supports fearless and innovative collaborations in the spirit of Robert Rauschenberg.&nbsp;</i> </p> <p class="MsoNormal"> <i> <br /> </i> </p> <p class="MsoNormal"> <i> <br /> </i> </p> <p class="MsoNormal"> <i> <br /> </i> </p> <p class="MsoNormal"> <i> <br /> </i> </p> <p class="MsoNormal"> <b> <img src="../images/tinyMCE_upload/Being_SinceNow_800x450_Final.gif" width="500" height="281" />&nbsp;<br /> </b> </p> <div> <b> <br /> </b> </div> <p class="MsoNormal"> <!--[if gte mso 9]> <xml> <o:DocumentProperties> <o:Template>Normal.dotm</o:Template> <o:Revision>0</o:Revision> <o:TotalTime>0</o:TotalTime> <o:Pages>1</o:Pages> <o:Words>87</o:Words> <o:Characters>498</o:Characters> <o:Company>Storefront</o:Company> <o:Lines>4</o:Lines> <o:Paragraphs>1</o:Paragraphs> <o:CharactersWithSpaces>611</o:CharactersWithSpaces> <o:Version>12.0</o:Version> </o:DocumentProperties> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman"; mso-fareast-font-family:"Times New Roman";} --> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> </p> <p class="MsoNormal">&nbsp;</p>
Storefront TV: Season 1 17 October 2013 15:47:53 EST http://www.storefrontnews.org/programming/filmss?e=574

Friday October 11, 2013 – Wednesday January 15, 2014

<p class="MsoNormal"> <span style="font-size: 12px; line-height: 16px;">LAST ON STOREFRONT TV:</span> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>JANUARY 18 &mdash; DREAM + BEING CLOSING PARTY</b> </p> <p class="MsoNormal"> <b>E.S.P. TV</b>&nbsp;<b>&nbsp;</b> </p> <div style="font-size: 12.222222328186035px;"> <div style="font-size: 12.222222328186035px;"> <br /> </div> <div style="font-size: 12.222222328186035px;">BEING: The Gameshow</div> <div style="font-size: 12.222222328186035px;"> <span style="font-size: 12.222222328186035px; line-height: 16px;">E.S.P. TV confronts the idea to "Dream" through the repurposing of a TV game show. The game show phenomena is intrinsically tied to american television broadcasting and middle class domestic living. &nbsp;Each generation of TV viewers had their own show dedicated to fantasy-turned-reality, presenting the material wealth of the middle class as attainable prizes.&nbsp;</span> </div> <div style="font-size: 12.222222328186035px;"> <br /> </div> <div style="font-size: 12.222222328186035px;">Contestants vie against each other for money, prizes, vacations, new lives. For our live taping event, contestants will be challenged on their knowledge of &nbsp;domestic life in New York City, today. Yes, they live here, but do they really exist here?&nbsp;</div> </div> <div> <br /> </div> <p class="MsoNormal"> <span style="font-size: 12.222222328186035px;">---------------------------------------------------------------------------------------------------------------</span> <br />Storefront TV Studio events are free and open to the public. There is limited capacity within the studio and livestream is available at the Storefront Gallery. Programs are broadcasted live at http://www.ustream.tv/channel/storefront-tv.&nbsp;</p> <p class="MsoNormal"> <span style="font-size: 12.222222328186035px;">---------------------------------------------------------------------------------------------------------------</span> </p> <div> <span style="font-size: 12.222222328186035px;"> <br /> </span> </div> <p class="MsoNormal">---------------------------------------------------------------------------------------------------------------</p> <p class="MsoNormal"> <b>PAST AND FUTURE PROGRAMS of the pilot season of the STOREFRONT TV STUDIO</b> </p> <p class="MsoNormal"> <span style="font-size: 12.222222328186035px;">---------------------------------------------------------------------------------------------------------------</span> </p> <p class="MsoNormal"> <span style="font-size: 12.222222328186035px;"> <br /> </span> </p> <p class="MsoNormal"> <span style="font-size: 12.222222328186035px;"> <br /> </span> </p> <p class="MsoNormal"> <b>OCTOBER</b> </p> <p class="MsoNormal"> <span style="font-size: 12px; line-height: 16px;">----------------------------------------------------------------------------------------------------------------</span> </p> <div> <span style="font-size: 12px; line-height: 16px;"> <br /> </span> </div> <p class="MsoNormal"> <b>OCTOBER 11 &mdash; CONNECT</b> </p> <p class="MsoNormal"> <b>E.S.P. TV<br /> </b>For the opening of BEING, E.S.P. TV&nbsp;broadcasted the first of 6 programs recorded in&nbsp;the Storefront TV Studio.&nbsp;Shows are produced&nbsp;for Manhattan Neighborhood Network&nbsp;public television (MNN) and aired on Tuesday&nbsp;nights at 10PM on TW channel 67. After airing, the episodes are&nbsp;posted online at storefrontnews.org.</p> <p class="MsoNormal"> <br /> <b>OCTOBER 15 &mdash; UNVEIL</b> </p> <p class="MsoNormal"> <b>Who's Afraid of the Big Bad Box?&nbsp;</b> </p> <p class="MsoNormal"> <b>Michael Young<br /> </b>Performance 1: Fear of Constraint is a&nbsp;performance enacting episodes from the&nbsp;350-year love affair between architecture and&nbsp;drawing restraints from Desargues Theorem to&nbsp;Parametric Representation.</p> <p class="MsoNormal"> <br /> <b> <a href="https://vimeo.com/81220512">OCTOBER 22 &mdash; DISRUPT</a> </b> </p> <p class="MsoNormal"> <b> <a href="https://vimeo.com/81220512">E.S.P. TV</a> <br /> </b>Presenting the second of 6 programs&nbsp;recorded in the Storefront TV Studio with Georgia (Brian Close as Justin Tripp), Cibo Matto (Hatori and Honda), and Matt Werth (Rvng records). Special guest movements by Maggie Lee and India Salvor Menuez. The space transforms to a living organism.&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">The&nbsp;show is produced for Manhattan Neighborhood&nbsp;Network public television (MNN), to be&nbsp;aired on Tuesday nights at 10PM&nbsp;<span style="font-size: 12.222222328186035px; line-height: 16px;">on TW channel 67</span> <span style="font-size: 12px; line-height: 16px;">. After airing,&nbsp;the episodes are posted online at storefrontnews.org website.</span> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b> <a href="https://vimeo.com/80026597">OCTOBER 27&mdash; QUESTION</a> </b> </p> <p class="MsoNormal"> <b> <a href="https://vimeo.com/80026597">E.S.P. TV&nbsp;presents "Just Desserts"</a> <br /> </b> <span style="font-size: 12.222222328186035px;">The third of</span>&nbsp;6 programs&nbsp;recorded in the Storefront TV Studio, E.S.P. TV presents a cooking show with Saffron Eclair and Beby Hi! montaging past and present celebrity cooking shows, product commercials, and cues in social etiquette under a bizarre canopy of the absurd.&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">The&nbsp;show is produced for Manhattan Neighborhood&nbsp;Network public television (MNN),&nbsp;to be aired on Tuesday nights at 10PM&nbsp;<span style="font-size: 12.222222328186035px; line-height: 16px;">on TW channel 67</span> <span style="font-size: 12px; line-height: 16px;">.&nbsp;After airing, the episodes are posted online&nbsp;at storefrontnews.org.</span> </p> <p class="MsoNormal"> <span style="font-size: 12px; line-height: 16px;"> <br /> </span> </p> <p class="MsoNormal"> <span style="font-size: 12px; line-height: 16px;"> <b>NOVEMBER</b> </span> </p> <p class="MsoNormal"> <span style="font-size: 12px; line-height: 16px;">----------------------------------------------------------------------------------------------------------------</span> </p> <p class="MsoNormal"> <span style="font-size: 12px; line-height: 16px;"> <br /> </span> </p> <p class="MsoNormal"> <b>NOVEMBER 13 &mdash; REACT</b> </p> <p class="MsoNormal"> <span style="font-size: 12px; line-height: 16px;"> </span> </p> <p class="MsoNormal"> <b>Perchance: A Talk Show of P's<br /> </b> <b>Prem Krishnamurthy<br /> </b>This first program will feature Peter Rostovsky, artist, Guillermo E. Brown of the band Pegasus Warning, and a surprise guest TBA. Over a three month period, like a hijacked episode of Sesame Street&nbsp;or a linguistically-challenged late night show,&nbsp;&ldquo;Perchance&rdquo; dedicates itself to the letter P by&nbsp;presenting a polyphony of people within its&nbsp;performative program.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>NOVEMBER 21 &mdash; AMPLIFY</b> </p> <p class="MsoNormal"> <b>E.S.P. TV</b> <b> <br /> </b> <span style="font-size: 12.222222328186035px;">The fourth of</span> <span style="font-size: 12.222222328186035px;">&nbsp;6 programs&nbsp;with Robert Pietrusko. For this event, the artist transforms the broadcast studio into an oscillator. Six Microphones is a sound installation composed entirely of feedback. No sounds are generated, they are only amplified. The piece is an act of organized listening -- listening to the space, to the audience and to itself.&nbsp;</span> </p> <p class="MsoNormal"> <span style="font-size: 12.222222328186035px;"> <br /> </span> </p> <p class="MsoNormal"> <span style="font-size: 12.222222328186035px;">This installation is a participatory and sound-based installation. There is no script as such. The audience is invited to move through the work to thereby interact with the work. We visualize sound by raising ohm through our equipment and screening on montiors. All monitors are used for the opening event this way. There is ongoing historic footage, past E.S.P. TV material, news, and a monitor as osciliscope.&nbsp;</span> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">The&nbsp;show is produced for Manhattan Neighborhood&nbsp;Network public television (MNN),&nbsp;to be aired on Tuesday nights at 10PM&nbsp;<span style="font-size: 12.222222328186035px; line-height: 16px;">on TW channel 67</span> <span style="font-size: 12px; line-height: 16px;">.&nbsp;After airing, the episodes are posted online&nbsp;at storefrontnews.org.</span> </p> <p class="MsoNormal"> <span style="font-size: 12px; line-height: 16px;"> <br /> </span> </p> <p class="MsoNormal"> <span style="font-size: 12px; line-height: 16px;"> <b>DECEMBER</b> </span> </p> <p class="MsoNormal"> <b> <span style="font-size: 12px; line-height: 16px;"> </span> </b> </p> <p class="MsoNormal"> <span style="font-size: 12px; line-height: 16px;">----------------------------------------------------------------------------------------------------------------</span> </p> <div> </div> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>DECEMBER 11 &mdash; MERGE</b> </p> <p class="MsoNormal"> <b>Perchance: A Talk Show of P's</b> </p> <p class="MsoNormal"> <b>6-7pm<br /> </b> <b>Prem Krishnamurthy</b> </p> <p class="MsoNormal"> <span style="font-size: 12px; line-height: 16px;"> </span> </p> <p class="MsoNormal">Episode II of "Perchance" features actress Parker Posey, who amongst countless film roles starred in 1995's Party Girl; Alexander Provan, editor of online magazine Triple Canopy and a participant in the 2014 Whitney Biennial; and Ksenya Samarskaya, a.k.a. 'Postrophe, who may or may not speak about letters such as Pe, Pi, and P.&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Hosted by Prem Krishnamurthy of Project Projects, Paper Monument, and P!, "Perchance" is a talk show with a single organizing principle: all guests' names (or pseudonyms) must start with the letter "P".&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Like a hijacked episode of Sesame Street or a linguistically-challenged late night show, &ldquo;Perchance&rdquo; dedicates itself to the letter P by presenting a polyphony of people within its performative program.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>DECEMBER 17 &mdash; DISRUPT</b> </p> <p class="MsoNormal"> <b>E.S.P. TV</b> <b> <br /> </b> </p> <p class="MsoNormal"> <span style="font-size: 12.222222328186035px;">The fifth of</span> <span style="font-size: 12.222222328186035px;">&nbsp;6 programs&nbsp;with Erica Magrey and Jennifer Juniper Stratford.&nbsp;</span>Studio visitors will browse a selection of corporate model androids produced by I.M.Communications, programmed with business and leadership skills, assertiveness training, and a range of social and artistic talents to ensure a well-rounded personality. Multiple levels of space, thought, and being bleed into one another in order to express, distress, and undress the I.M. Communications ethos.&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">The&nbsp;show is produced for Manhattan Neighborhood&nbsp;Network public television (MNN),&nbsp;to be aired on Tuesday nights at 10PM.&nbsp;After airing, the episodes are posted online&nbsp;at storefrontnews.org.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <span style="font-size: 12px; line-height: 16px;"> <b>JANUARY</b> </span> </p> <p class="MsoNormal"> <span style="font-size: 12px; line-height: 16px;">----------------------------------------------------------------------------------------------------------------</span> </p> <div> <span style="font-size: 12px; line-height: 16px;"> <br /> </span> </div> <p class="MsoNormal"> <b>JANUARY 7 &mdash; UNVEIL</b> </p> <p class="MsoNormal"> <b>Who's Afraid of the Big Bad Box?&nbsp;</b> </p> <p class="MsoNormal"> <b>Michael Young</b> </p> <p class="MsoNormal">Performance 2: Fear of Tone is a&nbsp;drawing performance in three parts by&nbsp;Michael Young exploring the changing conditions&nbsp;of architecture&rsquo;s technological mediation.&nbsp;In this performance, &ldquo;Fear of Tone,&rdquo; the line is&nbsp;lost into the groundless matrix of illuminated&nbsp;pixels formerly known as painting.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>JANUARY 7 &mdash; UNVEIL</b> </p> <p class="MsoNormal"> <b>Who's Afraid of the Big Bad Box?&nbsp;</b> </p> <p class="MsoNormal"> <b>Michael Young</b> </p> <p class="MsoNormal">For Performance 3: Fear of&nbsp;Reproduction, fear of reproduction of&nbsp;the aesthetic act of cut and paste collage is&nbsp;revealed to be the source of serial repetitions&nbsp;of copy/paste in smaller and smaller, tighter&nbsp;and tighter, bit by bit mash-ups.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>JANUARY 15 &mdash; QUESTION</b> </p> <p class="MsoNormal"> <b> <b>Perchance: A Talk Show of P's<br /> </b> <b>Prem Krishnamurthy</b> <br /> </b> </p> <p class="MsoNormal">Episode III of "Perchance" features gallerist&nbsp;<b>P</b>enny&nbsp;<b>P</b>ilkington, pioneer of the East Village art scene;&nbsp;<b>P</b>hillip Niemeyer, polymath designer, lawyer, and music video director; and Rob Giampietro a.k.a.&nbsp;<b>P</b>rofessor&nbsp;<b>P</b>izza, who will help us to understand the constitution and contemporary contours of this paradigmatically palatable provender.&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Hosted by Prem Krishnamurthy of Project Projects, Paper Monument, and P!, "Perchance" is a talk show with a single organizing principle: all guests' names (or pseudonyms) must start with the letter "P". Like a hijacked episode of Sesame Street or a linguistically-challenged late night show, &ldquo;Perchance&rdquo; dedicates itself to the letter P by presenting a polyphony of people within its performative program.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>JANUARY 18 &mdash; DREAM</b> </p> <p class="MsoNormal"> <b>E.S.P. TV</b> <b> <br /> </b> </p> <p class="MsoNormal"> <b>7:00 - 8:00pm ESPTV Gameshow (at the Storefront TV Studio)</b> </p> <p class="MsoNormal"> <b>8:00 - 9:00pm BEING Closing drinks (at the gallery)</b> </p> <div> <div> <br /> </div> <div>BEING: The Gameshow</div> <div> <span style="font-size: 12.222222328186035px; line-height: 16px;">E.S.P. TV confronts the idea to "Dream" through the repurposing of a TV game show. The game show phenomena is intrinsically tied to american television broadcasting and middle class domestic living. &nbsp;Each generation of TV viewers had their own show dedicated to fantasy-turned-reality, presenting the material wealth of the middle class as attainable prizes.&nbsp;</span> </div> <div> <br /> </div> <div>Contestants vie against each other for money, prizes, vacations, new lives. For our live taping event, contestants will be challenged on their knowledge of &nbsp;domestic life in New York City, today. Yes, they live here, but do they really exist here?&nbsp;</div> <div> <br /> </div> <div>Custom prizes for house and home, built by artist Clive Murphy, will be awarded to the winning contestant. With the right answer, they just might take home the object of their Crate and Barrel dreams.</div> </div> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">The&nbsp;show is produced for Manhattan Neighborhood&nbsp;Network public television (MNN),&nbsp;to be aired on Tuesday nights at 10PM.&nbsp;After airing, the episodes are posted online&nbsp;at storefrontnews.org.</p> <p class="MsoNormal">&nbsp;</p> <p> <iframe width="500" height="377" frameborder="0" src="http://player.vimeo.com/video/87613910"> </iframe> </p> <p class="MsoNormal"> <span style="font-size: 12.222222328186035px;">-------------------</span> <br />Be sure to get Twitter updates @storefrontnyc @esptvnyc @p_exclamation</p> <p class="MsoNormal"> <span style="font-size: 12.222222328186035px;">-------------------</span> <br /> <br /> <b>About the Presenters</b> </p> <p class="MsoNormal"> <!--[if gte mso 9]> <xml> <o:DocumentProperties> <o:Revision>0</o:Revision> <o:TotalTime>0</o:TotalTime> <o:Pages>1</o:Pages> 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Name="Bibliography" /> <w:LsdException Locked="false" Priority="39" QFormat="true" Name="TOC Heading" /> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:Cambria;} --> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> </p> <p class="MsoNormal"> <b> E.S.P. TV </b> <span style="font-size: 12px; line-height: 16px;"> is a multi faceted organization that acts as a live studio broadcast, a program on public access television, and a theatrical performance. All events are taped live with a crew of cameramen, sound engineer, and video mixing team using analog broadcast media. Tapings of E.S.P. TV are in front of an audience with live green-screening, signal manipulation and video mixing. The show is then edited and produced for Manhattan Neighborhood Network public television (MNN), to be aired every Tuesday night at 10PM. After airing, the episodes are posted online at www.esptvnyc.com for later viewing. Our core mission is to preserve public broadcast, as well as showcase the ongoing use and ability of analog media in a digitally run world.&nbsp;</span> <span style="font-size: 12.222222328186035px; line-height: 16px;">E.S.P. TV is an organization&nbsp;directed by Scott Kiernan and Victoria&nbsp;Keddie&nbsp;dedicated to promoting the performing&nbsp;and media based arts.&nbsp;</span> </p> <p class="MsoNormal">@esptvnyc</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b> Who's Afraid of the Big Bad Box?</b> </p> <p class="MsoNormal"> <i>A drawing performance in three parts by&nbsp;Michael Young exploring the changing&nbsp;conditions of architecture&rsquo;s technological&nbsp;mediation.&nbsp;</i> </p> <p class="MsoNormal"> <i> <br /> </i> </p> <p class="MsoNormal"> <b>Michael Young</b> is an architect and educator practicing in New York City where he is a founding partner of the architectural design studio Young &amp; Ayata. Their practice is focused on both speculative research and architectural projects. Michael currently teaches studios and seminars at The Cooper Union, Yale University, and Princeton University. His drawings have been exhibited recently in New York, Los Angeles, Barcelona, and in Lexington, Kentucky and are featured as part of the Drawing Center&rsquo;s Viewing Program in New York. Michael earned his MArch II degree from Princeton University and his BArch from Cal Poly San Luis Obispo and is a registered architect in the State of New York.&nbsp; In addition to practice and teaching, Michael is invested in writing and research in relation to the confluence of geometry, representation, and aesthetics.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b> Perchance: A Talk Show of P's <br /> </b> <span style="font-size: 12.222222328186035px;"> </span> <i>Prem&nbsp;Krishnamurthy of Project Projects, Paper&nbsp;Monument, and P! conducts a talk show with&nbsp;a single organizing principle: all guests&rsquo; names&nbsp;(or pseudonyms) must start with the letter &ldquo;P&rdquo;.</i> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>Prem Krishnamurthy</b> is a New York-based designer and curator. As a founding principal of award-winning design studio Project Projects, he has collaborated with clients including the Art Institute of Chicago, Bard Center for Curatorial Studies, Bozar Brussels, Guggenheim Museum, Mercosul Biennial, M+ Museum (Hong Kong), MoMA, RISD Museum, SALT Istanbul, Whitney Museum, and others. Project Projects is a two-time finalist for the Cooper Hewitt National Design Museum&rsquo;s National Design Awards. Prem is also the director/curator of P!, a multidisciplinary exhibition space in New York City&rsquo;s Chinatown. Since opening in September 2012, P!&rsquo;s exhibitions with &Aring;b&auml;ke, Thomas Brinkmann, Katarina Burin, Christine Hill, Katarzyna Krakowiak, Karel Martens, Sarah Oppenheimer, Amie Siegel, Soci&eacute;t&eacute; R&eacute;aliste, and others have been covered by publications including Artforum, Frieze, Art in America, ArtReview, Design Observer, The New York Times, The New Yorker, and The Wall Street Journal. He has edited books including MATRIX / Berkeley: A Changing Exhibition of Contemporary Art (with Elizabeth Thomas) and Speculating on Change (with Vyjayanthi Rao and Carin Kuoni, forthcoming). Prem is the Associate Editor of the art journal Paper Monument and serves on the Board of Directors of the online editorial platform Triple Canopy. </p> <p class="MsoNormal">&nbsp;@p_exclamation</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <span style="font-size: 12.222222328186035px;">-------------------</span> <span style="font-size: 12.222222328186035px;">&nbsp;</span> </p> <p class="MsoNormal"> <b>ABOUT STOREFRONT TV</b> </p> <p class="MsoNormal">As part of Storefront for Art and Architecture&rsquo;s 30th Anniversary exhibition <i> <a href="../programming/exhibitions?c=&amp;p=&amp;e=554">BEING</a> </i>, the organization launched the Storefront TV Studio, a platform for the broadcast of contemporary issues, ideas and projects that react to pressing challenges in public life throughout the history or Storefront, from the Gulf War to the Affordable Health Care Act. The Storefront TV Studio works as a live archive of present but also past projects developed by Storefront and brings art, news and ideas to audiences online through experimental formats. Programmed throughout the course of the exhibition is &ldquo;Storefront TV: Season 1,&rdquo; a series of talk shows, interviews and performances broadcast live from the Storefront basement on Ustream.</p> <p class="MsoNormal"> <span style="font-size: 12.222222328186035px;">-------------------</span> <span style="font-size: 12.222222328186035px;">&nbsp;</span> </p> <p class="MsoNormal"> <!--[if !mso]> <mce:style> <! v:* {behavior:url(#default#VML);} o:* {behavior:url(#default#VML);} w:* {behavior:url(#default#VML);} .shape {behavior:url(#default#VML);} --> <!--[endif] --> <!--[if gte mso 9]> <xml> <o:DocumentProperties> <o:Revision>0</o:Revision> <o:TotalTime>0</o:TotalTime> <o:Pages>1</o:Pages> <o:Words>126</o:Words> <o:Characters>724</o:Characters> <o:Company>Storefront For Art and Architecture</o:Company> <o:Lines>6</o:Lines> <o:Paragraphs>1</o:Paragraphs> <o:CharactersWithSpaces>849</o:CharactersWithSpaces> <o:Version>14.0</o:Version> </o:DocumentProperties> 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