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Storefront for Art and Architecture

97 Kenmare Street

New York, NY 10012

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Situation NY

Saturday October 4, 2014 – Friday November 21, 2014

an installation by Jana Winderen and Marc Fornes

Situation NY

October 4 – November 21, 2014

Opening Reception: October 3, 2014, 7pm

An installation by Jana Winderen and Marc Fornes /  THEVERYMANY

On the occasion of the launch of the World Wide Storefront / wwstorefront.org / 

 

 

Reflecting on the contemporary conditions emerging between the digital and the physical realms, the collaboration of Winderen and Fornes collapses sound, light and form in an object with intrinsic sensorial behaviors, inviting 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. 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 tangentially resonating with contemporary debates around the ontology of objects.     

 

SITUATION NY

by Jana Winderen and Marc Fornes / THEVERYMANY


Fabrication by

bengal.fierro

 

Commissioned by 

Storefront for Art and Architecture

 

With the support of 

Robert Rauschenberg Foundation



About the artists:

 

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. Jana's work consists of researching hidden depths with the latest technology and 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 & 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.   www.janawinderen.com

 

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.  He currently lives in New York and is teaching at Princeton and at Harvard GSD.  www.theverymany.com

 

 

About bengal.fierro

Additional and generous support has been kindly provided by Brooklyn based fabrication consultant bengal.fierro including prototyping, laser cutting the 2000 unique parts and developing the powder coating of the customized neon pink color of the installation. ​

 

 

Situation NY is supported by the Robert Rauschenberg Foundation’s Artistic Innovation and Collaboration Program, which supports fearless and innovative collaborations in the spirit of Robert Rauschenberg.  Additional support has been provided by fabrication consultant bengal.fierro.

 


Situation NY is presented on the occasion of the launch of the WorldWide Storefront project. To learn more about it please visit wwstorefront.org

 

Letters to the Mayor

Wednesday April 30, 2014 – Saturday May 24, 2014

Letters to the Mayor
Photo by Jade Doskow.

Letters to the Mayor

April 30 - May 24, 2014

Opening: April 29, 7pm

 

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. 

 

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. 

 

Letters to the Mayor 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. 

 

Letters to the Mayor also presents the eighteen finalists of the Competition of Competitions, 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 Competition of Competitions drew more than 100 entries, which were reviewed by a jury of professionals and visionaries including Amale Andraos (Architect, Work AC), Paola Antonelli (Architecture Curator, MoMA), and Michael Sorkin (Architect and architecture critic).  

 

Letters to the Mayor 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.  


The winners of the Competition of Competitions were announced at the public opening of the exhibition on April 29 at 7pm. Click here.

 

 

Participating Architects

Ellie Abrons, Emily Abruzzo, Nora Akawi, Azra Akšamija, 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 Gürdoğan, Greta Hansen, Roisin Heneghan, Joyce Hwang, Catherine Ingraham, Julia King, María Langarita, Alexandra Lange, Ana María León 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, Rocío Pina, Anna Puigjaner, Danielle Rago, Suchi Reddy, Dagmar Richter, Florencia Rodríguez, 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.


 

Competition of Competitions Finalists

 

ReDesign the Discipline of Architecture 

The Architecture Lobby

 

Open Source Open Space: Hacking the Built Environment 

Boot/Trunk [Nicole Lindahl, Louise Mackie and Samantha Senn]


dePOLITIsign: An open call for the redesign of a USCIS office 

Min Chen & Kristin Enright


Amazonia 2020 

Civic Projects [Kati Rubinyi, Deborah Richmond , Michael Powell, Ewan E. Branda]


Deploy Yourself, Not Your Designs 

The Coalition for the Improvement of Refugee Camps [Marcy Monroe, Lee Dykxhoorn]


Second Nature 

El Corbusier

 

The City is The Room. The Room is The City. 

FormFictionFormat [Elena Palacios Carral, Manijeh Verghese]


Labyrinth

grey_matter(s) [Annie Charleston, William McCommon, Megan McDonough, Shota Vashakmadze]


NO TITLES, A Campaign for Illegal Architecture 

GroundLAB [Sean Billy Kizy, Sara Lum, Rakia Seaborn, Nicholas Sharma]


Taking Buildings Down

INC_A

 

The Discreet Architect

Local Provision Studio [Valeria Federighi, Janet Yoon]

 

Nature, Error, Babies 

Metonymy's Architecture [Tom Nurmi, Jeffrey Dunn, Meagan Lehr, Erika Wilder]


Off-the-Radar: The Architecture of Non-Existing Space 

Mitnick-Roddier [Mireille Roddier, Keith Mitnick]

 

Rezoning the 5th Façade: Redefining New York's City Roof Scape 

normaldesign [Matthias Neumann in collaboration with Shane T. Umman]

 

The Next Suburb

The Thirteenth Hour


Future Factory

Gretchen Wilkins [with Ian Nazareth and students Matthew Ellis, Ken Yip Lai, Sarah Moussa, Francisca Rodriguez, Nicholas Stathopoulos]

 

BLISS: Better Living through Intuitive Soft Surveillance 

Yeadon Space Agency

 

Into the Void: An Architectural Competition on Emptiness

Zooburbia [Felipe Orensanz, Rodrigo Duran]


Credits

Storefront x Voutsa collaboration wallpaper

Dissolvable furniture installation by Piotr Chizinski

Newsprint design by Lauren Francescone


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. 


About Voutsa

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.  In addition to special collaborative projects such as the “Letters to the Mayor” 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.  George Venson, a Texas native and the founder of Voutsa, lives and works in Chinatown, New York.  Pronounced voo-tsa, its origins date back to Greece; George’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.  George holds degrees from Rice University in Economics and Visual Arts.



This exhibition is supported in part by the Norwegian Consulate General New York.

 





 

 

 

 

 

 



Tough Love

Friday February 14, 2014 – Saturday April 12, 2014

An exhibition by Sebastian Errazuriz

Tough Love
Doomed. Sebastian Errazuriz, 2013.

TOUGH LOVE

February 15 - April 12, 2014

Opening: February 14, 7pm

 

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?

 

In this exhibition, culture, in the form of art and design objects, operates as a place to test society’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.

 

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.

 

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.

 

About the artist

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’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’s Important Twentieth Century Design Auction.

 

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’s work is a part of the permanent collection of Coorning Museum of Glass and several important international private collections. Sebastian’s design, fashion, and public artwork have been featured on CNN, Good Morning America, and NY1. 


Errazuriz lives and works in New York, with offices and workshops in Santiago, Chile. 


Errazuriz has a particular hability in reinventing himself and his work. 


Every week, Storefront will release images and short texts explaining and contextualizing the works on display. Follow @storefrontnyc on Twitter and Instagram for updates. 



"Art is a matter of Life or Death"


Sebastian Errazuriz, 2011


Oil paint and tape over stainless steel extinguisher 

Dimensions variable

 

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.

 

#lifedeath

 

 

 

"Rapist"


Sebastian Errazuriz, 2013

Modified Varsity Jacket


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.

 

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.

 

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.

 

#rapistjacket

 


 

 




 

 

“United States of Mexico”


Sebastian Errazuriz, 2013

Graphic logo and adhesive applications on construction safety helmets

Dimensions variable

 

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.

 

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.

 

The “United States of Mexico” logo symbolizes the biggest undocumented group (over 50% of illegal immigrants are Mexican).

 

#unitedstatesmexico





"Doomed"

 

Inkjet on paper face mounted on acrylic

78 3/4 x 70

 

Violence, tragedy and truth telling are the three elements that photographers, editors, producers, curators or artists address through ethic-related questions.

 

“During the U.S.-led war in Iraq, news managers have been faced with many controversial images: the bullet-riddled bodies of Saddam Hussein’s sons (Romano, 2003), the charred re-mains of four U.S. contractors hanging from a bridge in Fallujah (Crain, 2004; Perlmutter & 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).

 

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, & 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).

 

Beyond Iraq, the March 2004 bomb attack on four commuter trains in Madrid resulted in a powerful image by El País photographer Pablo Torres Guerrero—and a difficult choice for editors. Should they 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)?


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).

 

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.

 

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 & Phan, 2005; Memmott, Levin, & Livadas, 2005).

 

Later in 2005, tragic images of victims of Hurricane Katrina, which killed more than 1,300 (Weeks, 2006), became icons of “all that went so tragically wrong” (Lawrence, 2005, p. 1A; Filosa, 2005). Editors and producers were forced to decide whether images of the dead, such as The Toronto Star’s photograph of a body crushed beneath the rubble of a motel in Biloxi, Mississippi, should be published because they captured ‘the true dimensions of the tragedy’(Burnside, 2005, p.F6) or should be withheld because they might be disrespectful to the storm’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?”

 

Susan Keith
Department of Journalism and Media Studies School of Communication, Images in Ethics Codes in an Era of Violence and Tragedy.

 

#doomed

 

 

 

 

"Portrait of US"


Sebastian Errazuriz, 2013

Acrylic paint, ink and natural dyes on cotton

2 Framed sweaters

48 x 80 x 2 each frame

 

“Portrait of US” presents two framed reproductions of the hoodie and sweatshirt that Trayvon Martin was wearing the day he was killed.

 

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 ‘Stand Your Ground’ states are 354% more likely to be cleared of murder.

 

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’s death but also a portrait of our society.

 

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 “Portrait of US,” 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 “Stand Your Ground” law and other discriminating racial laws.

 

100% of the proceeds from the sale of altered hoodies will be donated to the Trayvon Martin Foundation.

 

 #portraitusa

 

 

 

“Captured”


Sebastian Errazuriz, 2013

Oil paint on particle board, gilded antique frame

54 1/2 x 82 1/2 x 3 1/2

 

Painters like Goya, Caravaggio or Rembrandt have historically constructed martyrdom by using aesthetics to manufacture empathy.

 

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.

 

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.

 

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.

 

#captured

 

 

 

 

“Shredded”


Sebastian Errazuriz and Carlton DeWoody, 2013

Office printer, shredder, news clips and video projection

Dimensions variable

 

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.

 

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.

 

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.

 

#shredded

 

 

 

 

“Justice”


Sebastian Errazuriz, 2013

Acrylic and oil paint over wooden baseball bats

Dimensions variable

 

According to the U.S. Justice Department, 25% of women polled admitted having experienced domestic violence.

 

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.

 

The public is invited to download the stencils and create their own Justice bats and share their personal stories.

 

#justicebats

 

 

 

 

“Doomed”


Sebastian Errazuriz, 2013

Oil paint over welding mask

Dimensions variable

 

Statistics indicate that manufacturing jobs in the U.S. have hit a 60 year low.

 

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.

 

Metal fume fever is the most common acute respiratory illness experienced by welders. Chronic Manganese poisoning can cause Parkinson’s-like disease and other respiratory illness.

 

The color of Manganese is pink. 

 

#doomedhelmet

 

 

 

 


“Fuck BP”


Sebastian Errazuriz, 2011

Acrylic paint on oil cans, custom safety pins and industrial grade elastics

Dimensions variable

 

Conceived during the reckless procedures of British Petroleum in the Gulf of Mexico in 2010, “Fuck BP” embodies the public’s anger after irreversible natural disasters produced by multinational oil companies.

 

#oilgrenade

 

 



“Occupy Chairs”


Sebastian Errazuriz, 2011

Acrylic paint on wood

Dimensions variable

 

Originally designed as foldable chairs/signs for the protesters of Occupy Wall Street, “Occupy Chairs” provide the users a sign to protest during the day and a fold out chair to gather together next to their tents at night.

 

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.

 

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.

 

The purposely ambiguous and ironic gesture sacrificed what was previously a “politically correct” 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.

 

The “Occupy Chairs” were first presented at the NY Armory Show, where 99% of attendees tend to constitute the 1%.

 

#occupychairs

 

 

 


“Trapped”


Sebastian Errazuriz, 2013

Oil paint over axes

Dimensions variable

 

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.

 

#trapped

 

 



“Homeless”


Sebastian Errazuriz, 2012

Embroidered wool hat and photograph

An embroidered hat

Dimensions variable

 

New York has over 50,000 homeless people in municipal shelters. 22,000 are children.

Recent statistics show that homelessness has already increased 13 percent more in 2013 than in previous years.

 

#homelesshat

 

 


 



“Tatianna”


Sebastian Errazuriz, 2014

Inkjet on canvas, resin

Blow up of a police poster for a missing child

78 3/4 x 55

 

Tatianna Lindo was reported missing exactly a year and one day from the opening of this exhibition.

 

Her portrait, like many other missing children has been widely circulated online and posted around the city.

 

800,000 children are reported missing each year in the United States. 

 

#tatianna

 

 

 

BEING

Saturday October 12, 2013 – Saturday January 18, 2014

30 Years of Storefront for Art and Architecture

BEING
UNVEIL. Brett Beyer, 2013.

BEING

October 12, 2013 – January 18, 2014

TV Broadcasts: Tuesday evenings at 10 PM on TW channel 67

 

Curated by Eva Franch i Gilabert and Carlos Mínguez Carrasco

Designed by Bittertang
Graphic Design by This is our Work

Curatorial Fellows: Jessica Ngan and Matt Shaw

Curatorial Support: Jordan Anderson, Isabelle Claire Kirkham-Lewitt
Storefront TV Co-producer: E.S.P. TV

 

 

BEING was an exhibition that looked into Storefront’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. 

 

BEING was a collection of actions. BEING was a transversal examination of Storefront’s 30 years of history to better understand the role and transformation of alternative practices in the construction of culture and public life.

 

While looking into archival material, institutional archaeology, and contemporary events, the exhibition presented, acted and projected forms of “being” 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.

 

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.

 

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’s history of making.

 

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’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.


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 Vito Acconci, Liz Diller & Ricardo Scofidio, Dan Graham, Steven Holl, Jenny Holzer, Bjarke Ingels,  Camilo José Vergara, Tadashi Kawamata, Laura Kurgan, LTL, Enric Miralles & Carme Pinós, Antoni Muntadas, Shirin Neshat, Kyong Park,  Kiki Smith,  Michael Webb, Krzysztof Wodiczko, and Lebbeus Woods. among many others.


Opening Reception: October 11, 2013, 7pm

 

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BEING launched Storefront’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.

 

Thanks to the support of previous directors Kyong Park, Shirin Neshat, Sarah Herda and Joseph Grima.

 

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This exhibition was supported in part by an award from the National Endowment for the Arts. Art Works.

 

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.


Special thanks to  SAFEHOUSEUSA.COM  for producing the edition of DREAM duvets by This is our work. 

 

The opening reception of Being is supported by Grolsch.





 


Urban Zoom: Works by David Molander

Saturday August 3, 2013 – Saturday September 7, 2013

A solo exhibition of hyperrealist urban landscapes

Urban Zoom: Works by David Molander
David Molander, Fountain LES, 2013.

David Molander: Urban Zoom

August 3 – September 7, 2013

Opening Reception: August 2, 2013, 7:00 p.m.

 

Urban Zoom was a solo exhibition by contemporary artist and photographer David Molander. The exhibition presented a series of hyperrealist works that go beyond the surreal and expressionistic to depict contemporary urban and social landscapes, including events related to the Occupy Wall Street Movement in September 2011 through a site-specific photographic installation on the Acconci/Holl façade.

 

The works depicted various urban landscapes in New York and Stockholm: an accident on the Lower East Side, the loneliness of the Gowanus Canal, the psychedelic view of a nightclub in Stockholm. By manipulating the images through enlargement, cropping, dissection and zooming, Molander guided the visitor through a metropolitan journey, offering new perspectives of the urban environment.

 

David Molander’s façade installation premiered as part of Storefront’s exhibition, POP: Protocols, Exhibitions, Positions.

 

 

Exhibition Trailer: Urban Zoom: Works by David Molander from Storefront for Art&Architecture on Vimeo.


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David Molander's Urban Zoom was supported by the Consulate General of Sweden, Julie Saul Gallery and Konstnärsnämnden.  The opening reception of Urban Zoom was supported by Grolsch and Heart of Tea.

POP: Protocols, Obsessions, Positions

Tuesday June 18, 2013 – Friday July 26, 2013

POP: Protocols, Obsessions, Positions
Installation: POP: Protocols, Obsessions, Positions

 

POP: Protocols, Obsessions, Positions

June 19 – July 26, 2013

Opening: June 18, 2013, 7pm

 

POP: Protocols, Obsessions, Positions investigated what constitutes a position in architecture today and how that might be generated through the architect’s drawing. This exhibition presented 30 original drawings of the Storefront gallery space at 97 Kenmare Street by an international group of architects asked to go “from protocols, to obsessions, to positions.”

 

As an image based on codes and systems of representation that establish a space of legibility between inherited and new forms, the architectural drawing tends to operate either as a technical tool of communication based on protocols and codes or in a diametrically opposed spectrum as an artistic device completely detached from the constraints of architectural practice. While one end of the spectrum is overcharged by the need to communicate, the complex or mysterious beauty of illegibility haunts the other. While protocols engage with a disciplinary temporality and obsessions are usually atemporal, positions address timely, current issues beyond those typically addressed in the discipline of architecture or an architect’s body of work.

 

The online auction is now closed. 

 

POP presented thirty drawings by thirty architects that addressed both ends of the architectural drawing spectrum, understanding its codes and protocols and deploying the personal obsession of each architect in the articulation of a position now. Architects included: Ada Tolla & Giuseppe Lignano | LOT-EK [New York];  Adam Frampton [Hong Kong-New York]; Alex Maymind [Ann Arbor/Los Angeles]Ania Jaworska [Chicago];  Arturo Scheidegger & Ignacio García Partarrieu | UMWELT [Santiago];  Bernard Tschumi [New York];  Caroline O’Donnell | CODA [Ithaca];  Eric Owen Moss [Los Angeles];  Filipe Magalhaes & Ana Luisa Soares | Fala Atelier [Oporto];  Form_ula [New York];  Gia Wolff [New York];  Hayley Eber | EFGH [New York];  DUS Architects | [Amsterdam]; James Wines [New York];  Juan Herreros [Madrid];  Kohn Pedersen Fox Associates [New York];  Lola Sheppard | Lateral Office [Toronto];  Luis Callejas & Melissa Naranjo | LCLA Office [Medellin-Cambridge];  Marcelo Spina & Georgina Huljich | P-A-T-T-E-R-N-S- [Los Angeles]; Mark Shepard [Buffalo]; Michele Marchetti | Sanrocco [Milan];  Neil Spiller [London];  Norman Kelley [Chicago-New York];  Odile Decq [Paris]; Rafi Segal [New York];   Rojkind Arquitectos | Michele Rojkind & Gerardo Salinas [Mexico DF] Ryan Neiheiser, Giancarlo Valle & Isaiah King | another pamphlet [New York];  Stan Allen [New York];  Veronika Valk [Tallinn];  Viviana Peña | Ctrl G [Medellin];  Yansong Ma | MAD [Beijing]; among others.


Click here to view the selection of works included in the exhibition.

 

On the Facade

David Molander, a Stockholm based artist, has been invited by Storefront for Art and Architecture to design a site-specific photographic work titled "New York Positions", specially designed for the exhibition POP [Protocols, Obsessions, Positions]. Mixed and intertwined with other urban portraits, this installation presents a large-scale image of the events related to the Occupy Wall Street Movement in September 2011 covering the interior facade of the gallery in its entirety. Through special configurations of the facade panels, the piece will create a dialogue with the same New York that witnessed the events, as well as with the 30 representations of Storefront's gallery included in the POP exhibition. While POP investigates what constitutes a position in architecture today and how that might be generated through the architect’s drawing, "New York Positions" reflects on the configurations of sociopolitical positions of the contemporary urban space.

 

POP was Storefront’s second annual architectural drawing show aiming to contribute and transform our understanding of architectural drawings in the 21st century. The drawings on display were auctioned online during the exhibition. Proceeds directly support Storefront’s exhibitions and programs.

 

The opening reception of POP was sponsored by Grolsch.

 


 

No Shame: Storefront for Sale

Wednesday May 1, 2013 – Saturday June 8, 2013

No Shame: Storefront for Sale
Item/Idem, Corpopoly, 2013. Photo by Naho Kubota.

No Shame: Storefront for Sale

May 1 – June 8, 2013

Opening Reception: April 30, 7pm

 

An exhibition that examined how museums and cultural institutions, fueled through private funding, have adopted a system and tradition of celebrating donors to the extent that every single public space (physical or digital; temporary or permanent) can eventually be named. 

 

Contemporary funding strategies for public spaces of cultural production are increasing and diversifying. Within this condition, cultural institutions, funded primarily through individual or corporate giving, have established a complex relationship with donors and funders that sustain and make possible the projects at the core of their mission. In some cases, the entrepreneurial nature of donors has produced a new branded landscape with agendas, objects, or even named buildings that might go beyond the institution’s initial goals. By crowdsourcing artists for new connections between capital and culture, No Shame: Storefront for Sale created a space to investigate experimental ways of exchanging capital and culture, so that every corner of Storefront—from office chairs to the air between its panels to the noise of a 5pm Friday traffic jam—was for sale.

 

No Shame: Storefront for Sale aimed to guide visitors through a critical history of funding for cultural production, and imagined a scenario of total commodification. The exhibition presented a photographic survey of privately funded spaces connected to New York cultural institutions alongside the works of eight artists, architects and designers, who were invited to envision a critical commercial campagin of Storefront's assets. Each project presented a new taxonomy of valuable aspects the institution holds or represents in relation to the city and the citizen, unveiling untapped forms of connection between capital and culture production. The show experimented with the different ways in which individuals, companies, collectives, or nations could fund and acquire different aspects of the non-for profit institution. 

 

Participating artists and architects included Fake Industries Architectural Agonism (Urtzi Grau+Cristina Goberna), Jesse Hlebo, Interboro Partners, item idem, Playlab+Family, Luis Urculo, and Softlab.  


Works in the Exhibition:

Luis Úrculo, Taxidermy, 2013. 

Luis Urculo compares the act of sponsorship to an aggressive sport of hunting, where names and brands hunt for the skin, or the outside part of the gallery, which is the most visible and recognizable side of a building’s body. For “Taxidermy,” Urculo divided the exterior of Storefront’s panels into saleable pieces, which, like a skinned animal, results in a dead body as its identity is given to the sponsor.

 

Item/Idem, Corpopoly, 2013

Ciryl Duval, under his firm Item/Idem proposed a Monopoly game to be played by all the Development Departments of the culture industry of the city in collaboration with the best-situated private companies in the New York Stock Exchange. The game, both ironic and real, reflects on the complex relationship between capital, play and culture.

 

Softlab, Teams for Sale, 2013

Softlab’s Teams for Sale is perhaps a more playful game, where the young firm established a “Storefront soccer league,” with teams of architects in two divisions (Line and Points) that are up for ownership.  Sponsorship opportunities are available through team uniforms and other merchandise.

 

Fake Industries Architectural Agonism, Shut Up Storefront, 2013.

Fake Industries Architectural Agonism suggests that the playing field can be leveled by creating a system of checks-and-balances, where funders have a say in an organization's activities.  For Shut Up Storefront, the artists question what it would take to silence the institution, whose programs (one could argue) consistently activate and sometimes disturb the public when experimenting and expressing radical ideas. The work offered forty-four sponsored ways of silencing the institution, from “shutting down the gallery” to “deactivating the organization’s website” for an hour, a day, a week, or even a month, testing the desire for silence among the organization’s active calendar of projects, films, competitions, pop-ups, benefits, series and exhibitions. 


Jesse Hlebo, Untitled, 2013. 

Hlebo, as a reflection on how cultural funding can operate in the realm of social justice, presented a system of support, encouragement and relief to Guantanamo prisoners through a recorder located at the gallery, and the production of new vinyls to be produced and sent to the prisoners at the end of the exhibition.

 

Interboro Partners, STAABUCKS, 2013.

For STAABUCKS, Interboro Partners created a new currency that can only be acquired by supporting Storefront through volunteer work or promoting the institutional mission. The currency (or “STAABUCKS”) can be used to purchase benefit tickets, books, or even a solo exhibition in the bathroom.

 

PlayLab, ATM, 2013.

PlayLab + Family installed an ATM machine in Storefront’s gallery that generated service fees billable to Storefront as a donation.

 

#noshame @storefrontnyc

 

Aircraft Carrier

Thursday March 7, 2013 – Thursday April 18, 2013

Aircraft Carrier

Aircraft Carrier

March 7th - April 18th, 2013

Opening: March 7th, 2013, 7pm

 

Aircraft Carrier examined the time period between two crises of capitalism in Israel -1973 and 2008- as an approach for understanding some radical changes in Israeli architecture. The eventful year of 1973 marked a watershed in the workings of global capitalism, in American strategic interest in the Middle East, and in Israel’s social, economic and political systems and policies. These elements, shaped by territorial struggles and energy crises, dramatically altered the course of Israeli architecture. Aircraft Carrier dealt with this transformative period through an investigation of the American influences that enabled such innovations and tragedies.

 

The exhibition was accompanied by a book, published by German publisher Hatje Cantz and edited by the curators, which contextualized the phenomena in larger transformative processes. The book includes texts by Milton Friedman, Justin Fowler, and Eeva-Liisa Pelkonen and visual works by participating artists and by Baltimore-based graphic designers, Post Typography. 


Curated by Erez Ella, Milana Gitzin Adiram and Dan Handel.

 

With works by Tal Erez, Assaf Evron, Fernando Guerra, Florian Holzherr, Nira Pereg and Jan Tichy.


 

About the Artists


Florian Holzherr (b. 1970), is a world famous architecture and art photographer. He lives in Munich, New York and works worldwide. His work ranges between art, documentation and architecture and he has worked with artists such as Dan Flavin, Donald Judd and Museums like lacma or the dia art foundation and with architects such as Skidmore Owings and Merrill, Guenther vogt, and MOS.

 

Nira Pereg (b.1969) is an Israeli video artist who lives and works in Tel Aviv. Her recent solo exhibitions have been showcased at the Kunsthalle Düsseldorf, Germany (2012), Hirshhorn Museum, Smithsonian Institution, DC, USA (2011), Chiado Museum, Portugal, Tel Aviv Museum of Art, Israel (2010), Santa Monica Museum of Art, USA (2010). Pereg's work have also been exhibited at PS 1 New York, HDK Berlin, KW Berlin, ZKM Karlsruhe, The Israel Museum of Art and many other museums and galleries. Future exhibitions will be presented at The 9th Shanghai Biennale (October 2012), San Paulo Cultura Judaica, Brazil (September 2012) and Tel Aviv Solo at the CCA, Israel (February 2013). Pereg has won the 'Idud Hayezira'- Israeli Culture ministry prize (2006) and received the 2009 Gottesdiener Foundation Israeli Art Prize for young artists (2010).

 

Jan Tichy (b.1974) lives and work in Chicago. His work combines video, sculpture, architecture, sound and photography, revolving around the underlying narratives encapsulated by specific urban spaces and architectural archetypes. He had solo exhibitions at the Museum of Contemporary Art, Chicago, The Center for Contemporary Art, Tel Aviv, theHerzliya Museum of Contemporary Art, Israel, Wadsworth Atheneum Museum of Art , Connecticut and many more.


Assaf Evron (b. 1977) is an MFA candidate at the School of the Art Institute of Chicago (SAIC). His photographs and photo-based works focus on the structures and forms of the overlooked, and reveal it as a visual state of simultaneous excess and deficiency. Evron has exhibited internationally and has received various awards such as The Cohn Institute Grant (2009, 2010) and The Israeli Ministry of Culture and Education Prize for Young Artists (2010). His works can be found in a range of private and public collections, including those of the Israel Museum in Jerusalem, the Haifa Museum of Art and the Petach Tikva Museum of Art. Evron has earned his BA from the Department of General History at the Tel Aviv University, and is currently finishing his MA studies at The Cohn Institute for the History and Philosophy of Science and Ideas, Tel Aviv University. His thesis dissertation deals with the philosophy of the visual and linear perspective.


Fernando Guerra
 (b. 1970) is a Portuguese photographer. His work is regularly featured in a variety of publications including Casabella, Wallpaper*, Dwell, Icon, Domus, A+U. He collaborates with various Portuguese architects such as Álvaro Siza, Carlos Castanheira, Risco Arquitectos, Manuel Graça Dias + Egas José Vieira, ARX Portugal, in addition to international architects such as Jordi Badia, Zaha Hadid, I. M. Pei.

 

About the Curators 

Erez Ella is the founder of HQ Architects In Tel Aviv. Among others, the office is practicing research, urban planning, and design of housing and public buildings. Prior to establishing HQ. Ella was a Principal at REX and worked as an Associate at OMA. At REX he was co-leading projects include the Museum Plaza in Louisville,Vakko HQ and others, at OMA he served as Project Architect to the Television Cultural Center for China Central Television (TVCC) in Beijing and the Whitney Museum of American Art in New York. He was the Eero Saarinen Professor at the Yale School of Architecture and is currently leading the sustainable design unit at the Bezalel Academyof Art and Design, Jerusalem. He is the editor of the publication Aircraft Carrier (Hajte Cantz, 2012).

 

Milana Gitzin-Adiram was formerly the director and chief curator at MoBY – The Museums of Bat Yam. She structured the masterplan for the museum network and played an instrumental role in making MoBY one of Israel’s leading centers for contemporary art. Prior to MoBy she was the curator and the director of TheHeder contemporary art gallery in Tel Aviv. She finished her study for a Master in art history in the Tal Aviv university, and work as a consulter for art institutes and municipalities. She is the editor of the publication Aircraft Carrier(Hajte Cantz, 2012).

 

Dan Handel is an architect, a PhD candidate at the Technion Israel Institute of Technology, and the inaugural Young Curator at the Canadian Centre for Architecture in Montreal, for which he developed the exhibition First, the Forests (2012). He holds degrees from the Harvard Graduate School of Design, and the Bezalel Academy of Art and Design in Jerusalem. His writing has appeared in Thresholds, Conditions magazine, Pin-Up, Bracket, and theJournal of Landscape Architecture (JOLA), among others. He is the editor of the publicationAircraft Carrier (Hajte Cantz, 2012), and of Manifest, an upcoming journal of American architecture and urbanism.



This exhibition was funded in part by Artis, Orian Ltd. (Partner of the DB Schenker Network) and the Office of Cultural Affairs, Consulate General of Israel in New York. 

 

 


 

The Competitive Hypothesis

Tuesday January 22, 2013 – Thursday February 14, 2013

An exhibition examining the politics behind the architecture competition

The Competitive Hypothesis
THE COMPETITIVE HYPOTHESIS Photograph courtesy of Naho Kubota

The Competitive Hypothesis  

January 22nd - February 14th, 2013
Opening: January 22nd, 2013, 
7pm 

 

The Competitive Hypothesis was an exhibition examining the politics behind the architectural competition. The exhibition, presented in partnership with Think-Space , questioned the current state, purpose and value of architecture competitions. 


Through four curated spaces within the gallery, The Competitive Hypothesis presented major architectural competitions produced within the past few years, objects from competitions used to gain competitive advantages, dioramas of image fragments sourced from a selection of recent urban design renderings, and short texts and self-portraits of some of the unknown minds of significant competition winners (ie. interns). The Competitive Hypothesis highlighted the double meanings inherent in the 'competition': on one hand referring to the competition as a procurement mechanism for projects, on the other referring to an ethos or disposition that permeates work practice. This exhibition turned to both of these possibilities in order to continue an investigation into architecture's present condition.


 

Exhibition Credits

Curated by Adrian Lahoud.

 

Curatorial Team

Ana Dana Beros, Kata Gaspar, Carmelo Rodríguez Cedillo, Daniel Fernández Pascual, Ross Exo Adams, Ivonne Santoyo Orozco, Davide Sacconi

 

Exhibition Design by Amanda Clarke and Adrian Lahoud

Graphic Design by Rafaela Drazic

 


About Think-Space

Think-Space is a wide scale disciplinary intervention using a design competition, exhibition, unconference and publications as its material. More information: http://www.think-space.org

 

This exhibition was organized in partnership with the Zagreb Society of Architects and funded in part by Graham Foundation, Croatian Ministry of Culture and ACO Croatia. 

 

Additional support for Storefront for Art in Architecture's exhibitions and programs are made possible by the Andy Warhol Foundation for the Visual Arts; the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature; public funds from the New York City Department of Cultural Affairs in partnership with the City Council; The Peter T. Joseph Foundation; by its Board of Directors, members and individuals.

 

Past Futures, Present, Futures

Friday October 5, 2012 – Saturday January 12, 2013

Past Futures, Present, Futures
PAST FUTURES, PRESENT, FUTURES Photograph courtesy of Naho Kubota. Curated by Eva Franch. Design by Leong Leong.

 

Exhibition: October 6, 2012 - January 12, 2013   
Past Futures  Opening:   October 5, 7pm 
Present, Futures  Opening:   October 26, 7pm 
 

 

The conception of time , and within it the invention of the future, is perhaps the most radical of human creations. Today, to think about and imagine the prospects for our existence seems more relevant than ever. While one could argue society is always in a state of crisis,  we are today constantly infiltrated by a discourse of crisis in economic, ecologic, social and political terms. Moments of crisis are moments of redefinition, when the institutionalized realms of power open spaces of experimentation and cultural debate to retrace the path toward the future. Utopian desires, the imagination of an other-better future, are part of the contemporary agenda. However, the social and political value of utopian thinking today is being monopolized by notions of self-sufficiency and sustainability, framed altogether by regulations and standard codes. The utopian desire, the image-ability of possible futures, and the poetics of new social forms and expressions are in a moment of directed experimentation. Art and architecture, beyond the production of new forms of capital or building solutions, have the power to re-imagine new forms of collective aspiration. Few cities occupy the public imagination like the island of Manhattan. From cinema and literature to architecture and real estate, New York City exists as a palimpsest of layered dreams and schemes, desires and delusions.  
 
Past Futures, Present, Futures  presented 101 unrealized proposals for New York City, dating from its formation to today with 101 reenactments  by inviting artists, architects, writers and policy-makers to create alternative visions for the present and future of the city. With the belief that art and architecture, beyond the production of new forms of capital or building solutions, has the power to re-imagine new forms of collective aspiration, the exhibition presented a past and future historiography of novel ideas in New York to open discussion about relevant actions in the city, their vectors of desire, methodologies, limits, audiences and agents.  
 
The exhibition opened with all 101   Past Futures on display. Throughout the duration of the exhibition, all Present, Future reenactments were added daily until the closing of the show. On  October 26 at 7pm, a second opening of the show was unveiled displaying all the commissioned reenactments.  

Invited Artists included: 

Aaron Jones [Detroit]
Adria Carbonell [Oman]
Alvaro Urbano [Berlin]
Andreas Angelidakis & Sotiris Vasiliou [Athens]
ABRUZZO BODZIAK, Emily Abruzzo & Gerald Bodziak [New York]
 
AMID.cero9, Cristina Dïaz Moreno & Efrén García Grinda [Barcelona]  
Ants of the Prairie, Joyce Hwang [Buffalo]  
Archmongers, Margaret Bursa & Johan Hybschmann [London]
Architecture Commons, Eugene Chang, Eric Ho & Rick Lam [New York]
 
Arqueología del Futuro/PKMN, Rocio Pina Isla & Carmelo Rodríguez Cedillo [Madrid]  
Arquitectura 911sc, Jose Castillo [Mexico City]  
asensio_mah, Leyre Asensio Villoria & David Mah [Boston]  
Beatrice Galilee [London]
BIG, Bjarke Ingels [New York-Copenhagen]
Bureau des Mesarchitectures, Didier Faustino [Paris]
 
Bureau Spectacular, Jiminez Lai [Chicago]  
SadarVuga, Bostjan Vuga, Andreas Cesarini & Victor Barbalato [Ljubljana]
Candy Chang [New Orleans]
Carolina Trigo [Helsinki]

Christy Cheng [New York]

Christian Kerrigan [London]

RuyKlein, Karel Kelin & David Ruy [New York]
Dennis Maher [Buffalo]
Dread Scott [New York]

dpr-barcelona, Ethel Baraona Pohl & César Reyes Nájera  [Barcelona]

DRDH Architects, Richard Marks [London]

Emre Hüner [Berlin]
Experiments in Architecture and Research (E.A.R.), Jordan Carver [New York]
Fake Industries Architectural Agonism, Cristina Goberna & Urtzi Grau [New York-Barcelona]
Felix Burrichter [New York]
Gaspar Libedinski [Buenos Aires]
Geoff Manaugh & John Becker [New York]
GMG Collective, Kostas Grigoriadis & Eduardo McIntosh [London]

Gravalosdimonte Arquitectos, Patrizia Di Monte & Ignacio Gravalos  [Zaragoza]
ikstudio, Mariana Ibañez & Simon Kim [London]
 
IwamotoScott Architecture with Benjamin Rice [San Francisco]
Jack Hogan [Dublin]

JDS, Julien De Smedt [New York]
Jonathan D Solomon [Syracuse]

Kokkugia, Roland Snooks & Robert Stuart-Smith [New York-London]

Leong Leong, Chris Leong & Dominic Leong [New York]
Liam Young [London]
Lydia Kallipoliti & Sofia Krimizi [New York]
MAS, Philipp von Dalwig [New York]
 
Nooka, Matthew Waldman & Manuel Oh [New York]
Miguel Robles-Durán [New York]
Mimi Zeiger [Los Angeles]
MMX Studio, Jorge Arvizu, Ignacio del Rio, Emmanuel Ramirez & Diego Ricalde [Mexico City]
 
MODU, Phu Hoang & Rachely Rotem [New York]  
MvS Architects, Paul Minifie, Jan van Schaik & Finn Warnock [Melbourne]  
N, David Burns, Adrian Lahoud & Sam Spurr [London-Sydney]
NABITO Architects & Partners, Ale Faticanti & Bebo Ferlito [Barcelona]
NaJa & deOstos, Nannette Jackowski & Ricardo de Ostos [London]
Nancy Nowacek [New York] 
NAO, Srdjan Jovanovic Weiss [New York]
 
Office for Political Innovation, Andrés Jaque  [Madrid]  
Patrick Tierney [San Francisco]

Pedro Gadanho [New York]
Pep Avilés [Barcelona-New York]
Popular Architecture, Casey Mack [New York]
 
Sam Jacoby [London]
San Roco, 2A+P, baukuh, OFFICE KGDVS, Salottobuono [Milan]
 
SCHAUM/SHIEH, Troy Schaum & Rosalyne Shieh [Houston-New York]
STPMJ, Seung Teak Lee & Mi Jung Lim [New York]
SUPERMANOEUVRE, Iain Maxwell & David Pigram [London-Sydney]
 
Snohetta, Laia Clema, Karli Molter, Samantha Stein & Justin Shea [Oslo-New York]
SOFTlab, Michael Szivos [New York]
SO-IL, Florian Idenburg & Jing Liu [New York]
Sou Fujimoto Architects [Tokyo]
Space Group, Gro Bonesmo, Gary Bates & Adam Kurdahl [Oslo]
 
Spec.Ae, Carla Leitao & Ed Keller with Jillian Crandall [New York]  
Sporaarchitects, Adam Hatvani, Tibor Dékány, Orsolya Vadász, Bence Várhidi &
Studio Dror, Dror Benshetrit [New York]  

Tibor Várady [Budapest]
Terreform ONE, Mitchell Joachim, Maria Aiolova & Melanie Fessel [New York]  
VKN, Giancarlo Valle, Isaiah King & Ryan Neiheiser [New York]  

W/-- Projects, Jiminie Ha & Pete Deevakul [New York]

WEATHERS, Sean Lally  [Chicago]
XEFIROTARCH, Hernan Diaz Alonso [Los Angeles]

[list in formation]






 

About the Exhibition Design

The exhibition design by Leong Leong dematerialized the space of the gallery by creating a "heterochronic" landscape through a vertical field of dates and descriptions that emerged as a kaleidoscopic forest of movable thin walls, displaying and reflecting the stories that described the past and future projects contained within the exhibition. Inserted within this field, the F* Room was a circular soft space to be entered barefoot that collapsed images of the visionary projects with the reflection of the visitors through a mirrored wall and 8 screen displays. The exhibition design explored the canonical limits of space and time by disrupting depth perception through a playful use of acoustic, physical and visual fields.

 

A special sound piece inaugurated a permanent audio infrastructure, part of a growing interaction platform embedded within Storefront’s gallery, to enunciate the titles of the projects as passersby walk down the sidewalk in front of the gallery, delivering one word per stride, expanding the acoustic imprint of the gallery by blurring even further the distinction between inside and outside that the Acconci-Holl façade produces.


An upcoming publication of all the projects will allow the exhibition to offer a space of reflection rather than display using the fragmentary nature of the archive as a mode of exhibition and content performance.


---

Curated by Eva Franch

Exhibition Design by Leong Leong
Graphic Design by Project Projects 

Digital Strategy by the Storefront Technology Committee with technology implementation by Control Group, Arup and Digi

Image Support by Planar

Curatorial Research Team: Chialin Chou and Greg Barton

----

This exhibition was funded by the National Endowment for the Arts and Control Group.  Technology support is provided by Planar and the Storefront Technology Committee. Additional support for Storefront for Art in Architecture’s exhibitions and programs are made possible by the Andy Warhol Foundation for the Visual Arts; the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature; public funds from the New York City Department of Cultural Affairs in partnership with the City Council; The Peter T. Joseph Foundation; by its Board of Directors, members and individuals.

 

Planar (NASDAQ: PLNR) is a leading provider of displays for specialty applications where image experience matters. Today’s leading designers utilize Planar’s unique offerings in retail, hospitality, institutional, corporate, sports venues, and a host of other project categories. Planar’s innovative solutions for digital signage and architectural applications range from flat panel screens and bezel-free touch monitors, to the Clarity™ Matrix modular video walls and the Planar® Mosaic™ architectural video walls. Founded in 1983, Planar is headquartered in Oregon, USA, with offices, manufacturing partners, and customers worldwide. For more information, visit www.planar.com .

    


              

 



 

 

 


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