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Series: Image, 55

Image Politics of Climate Change: lntroduction BIRGIT SCHNEIDER, THOMAS NOCKE In September 2013, the Intergovernmental Panel on Climate Change (IPCC) presented its fifth report about climate change during a press conference in Stockholm. On this occasion, the audience was also presented with some of the latest scientific images produced for the new Summary for Policy Makers. In the manner of the previous reports colored global maps, barren graphs and curves served as most simplified condensates for visually communicating the findings of the highly

The Politics and Poetics of the Body Gao Shiming In the latter half of Nineteen Eighty-Four, O’Brien, the thought police, reveals to us what the body means to the mind and humanity—he shows Winston his reflection in the mirror and Winston, looking at himself, beaten and disfigured, finally breaks down. 2005 The crowd, I used to face them once and once again, Trying to tell them apart. But in the crowd, One is All. ‘ALL’, ‘ANY ONE’ AND ‘EVERY ONE’ ‘All’ is referred to when an individual is too weak a representation. It is a col- lective title for the human

Art in Its Regional Political Context: Exhibition and Criticism Wang Nanming As a former critic, I am often asked what criteria I use when planning ex- hibitions. As a matter of fact, the answer is to be found in the exhibitions that I have curated. In all of them I have shown art created by the artists whom I discussed in my ‘avant-avant-garde art’ theory, submitting it to the critical appraisal of academic circles. In times when there are more artists than ever before, solo exhibitions can confirm an artist and simultaneous- ly serve to present new art

Contemporary Art, ›Counter- Environmentalism‹, and the Politics of A-Signification1 JORELLA ANDREWS WORDS FAIL ME Figure 3.1: Sam Durant, We Are the People, vinyl text on electric sign, 77 x 48 x 11 inches. Installation view at Project Row Houses, Houston, Texas, 2003 Photo: Thomas R. Dubrock. Image courtesy of the artist and Blum & Poe Gallery, Los Angeles, CA 1 An earlier version of this essay, using different visual sources and orientated more specifically towards questions of

111Gulf Labor Janna-Mirl Redmann Gulf Labor: The Boycott as Political Activism and Institutional Critique In 2006 the New York based Guggenheim Foundation announced that its latest branch would be established in the United Arab Emirates capital state Abu Dhabi.1 The Guggenheim franchise is one of the cornerstones of Abu Dhabi’s cultural strategy, along with the Louvre Abu Dhabi and a number of other cultural institutions that are being built on the man-made ‘Island of Happiness’, Saadiyat Island. Since 2010 an international artist initia- tive named Gulf

134 The Politics of Design in Postcolonial Kenya Daniel Magaziner Two Landscapes of the Imagination One landscape was small. Imagine a house set within a grove of trees; a stream bubbling nearby; a tiled-roof muffled the sounds of rain, providing a suitable atmosphere for listening to music, or reading, or maybe having a bottle of beer. It was a small house, wood floors, one bedroom with a single bed, covered with a leopard’s skin; more skins on the floor provided a soft cushion for bare feet – and the right ‘African’ atmosphere. It was quiet.1 The other

184 Cheick Diallo: Design between Politics and Poetics Kerstin Pinther, Alexandra Weigand Cheick Diallo’s Fauteuil Mo (Fig. 1), whose characteristic net-like surface also inspired our book cover, is made of steel rods wound with bright red nylon thread. The rods are reinforced steel, found everywhere on the construc- tion sites in Bamako, Mali, while the chair’s sculptural aesthetic quotes the wooden fish traps used along the banks of the River Niger. The Mo Chair thus not only stands for a very special form of material morphosis, but also distils the

Politics, Representation, Visibility: Bruno Serralongue at the Cité Nationale de l’Histoire de l’Immigration Lambert Dousson Figure 1 The following paper will focus on a work by the French artist Bruno Ser- ralongue, born in 1969, which is on show at the permanent exhibition “Repères” (“Marks”) at the Cité Nationale de l’Histoire de l’Immigration (“National City of Immigration History”) in Paris. This work, Manifesta- tions du Collectif de sans-papiers de la Maison des Ensembles 2001-2003, is a series of forty-fi ve photographs, from which the image

The Genealogy of the Politics of the Body in Contemporary Chinese Culture Zhang Nian As a refusal of oppressive ideology, the entry of ‘the body’ into the arena is a factor that has triggered contemporaneity in Chinese culture. It appears as a kind of a mind-body dualism with its logical contradictions causing political parties that embrace Marxism to return once again to a materialistic standpoint. After the Cultural Revolution, Deng Xiao Ping, the man really in power at the time, publicly declared “seeking truth from facts” to be the ruling principal