[AP] Manhattan’s Year of Building Furiously

Frank Gehry’s headquarters for IAC/InterActiveCorp along the West Side Highway

Manhattan’s Year of Building Furiously

Es innegable que NEW YORK es una ciudad multicultural. Ademas de construirse finalmente sobre el eje cental del imaginario urbano contemporaneo.

Cada artista o arquitecto da rienda suelta, a partir de un modico pago de residencia, a su lectura visionaria o capitalista de como hoy la ciudad se permite leer-se. Es asi como este anho la ciudad de NY concentro una cantidad de edificios construidos por los STARTARCHITECTS que llenan, disgregan y fragmentan no solo los discursos urbanos contemporaneos sino tambien nuestra cotidianidad visual. El reflejo de nuestra cultura material no es solo un proceso de clasificacion o de orden sino un estado mental que permite sin lugar a dudas espacios de consumo. Este tipo de espacios abiertos ya han llegado para instalarse en nuestra sociedad del espectaculo, no de luces sino de fricciones y ambiguedades identitarias, que se recluyen finalmente en la mejor oportunidad de demostrar la vigencia, la obedicencia y su estrellato de accion simbolica. El proceso es interesante, la re-copilacion aun mas, pero el juego y la emocion de ver pasar al frente tuyo este desfile, es mas escalofriante, pues no lo puedes negar y menos parar. NEW YORK city es ya un laboratorio de consumo, no sobre lo cotidiano, sino sobre OBRAS, tal cual como lo dijieran o lo anunciaran en la ultima DOCUMENTA, ¿Es la modernidad nuestra antigüedad?.

Solo como pequenos datos, no solo el espacio de reflexion es completado con edificios sino tambien con obras y exposiciones de las cuales se reconocen la ultima exposicion de GORDON MATTA CLARK, la exposicion de ROBERT MOSES, y la condicion vernacular que el mismo KOOLHAAS reconocio en DELIRIUS NEW YORK, esa cualidade MANHATANISMO que es la simultaniedad desplegada de lo cotidiano sobre la cultura material antes mencionada, espcios y su produccion identitaria.

By NICOLAI OUROUSSOFF

Published: December 23, 2007

leido en el NYTIMES.COM

For decades I’ve been whining about how far New York has slipped behind other world cities in the support of serious architecture. While Abu Dhabi, Shanghai, Beijing and even Paris have been pushing the boundaries, churning out one adventurous building after another, our city was wallowing in a swamp of pseudohistoricism and corporate mediocrity that — to skeptics like me, at least — threatened to transform it into a dull theme park for the superrich.

But this year the city may finally have turned a corner. In the past nine months alone New York has witnessed the unveiling of nearly half a dozen major architectural landmarks. Frank Gehry’s headquarters for IAC/InterActiveCorp along the West Side Highway, Jean Nouvel’s luxury residential building in SoHo, Bernard Tschumi’s Blue Building apartments on the Lower East Side and Renzo Piano’s tower for The New York Times may not rank as these architects’ greatest works. But they are serious architecture nonetheless, in an abundance the city hasn’t seen in decades.

Jean Nouvel’s proposed tower in Midtown.

“And they will soon be joined by some outright gems. Ground has been broken on Mr. Gehry’s Beekman Tower, whose crinkly, titanium facade will rise more than 70 stories over downtown; Mr. Nouvel’s 75-story luxury tower next to the Museum of Modern Art in Midtown promises to be the most mesmerizing addition to the skyline since the Chrysler Building in 1930.”

Bernard Tschumi's new residential building at Norfolk and Delancey Streets.

“Like most fairy tales New York’s embrace of architecture has a dark side. If many of these shows pointed up our rich architectural past, they also served to remind us that the majority of today’s projects serve the interests of a small elite. And this trend is not likely to change any time soon. The slow death of the urban middle class, the rise of architecture as a marketing tool, the overweening influence of developers - all have helped to narrow architecture’s social reach just as it begins to recapture the public imagination. From this perspective the wave of gorgeous new buildings can be read as a mere cultural diversion.”

And they will soon be joined by some outright gems. Ground has been broken on Mr. Gehry’s Beekman Tower, whose crinkly, titanium facade will rise more than 70 stories over downtown; Mr. Nouvel’s 75-story luxury tower next to the Museum of Modern Art in Midtown promises to be the most mesmerizing addition to the skyline since the Chrysler Building in 1930.

What is more, this flowering was complemented by some architecture exhibitions with provocative subject matter and fine scholarship, defying the common wisdom that architecture’s popular appeal in mainstream culture is somehow a sign of its growing superficiality. A Gordon Matta-Clark retrospective at the Whitney Museum and “Piranesi as Designer,” an elegant little show at the Cooper-Hewitt, showed that architecture’s current obsession with deep psychological forces is part of a historical continuum.

Gordon Matta-Clark’s “Splitting 32” (1975)

“What is more, this flowering was complemented by some architecture exhibitions with provocative subject matter and fine scholarship, defying the common wisdom that architecture’s popular appeal in mainstream culture is somehow a sign of its growing superficiality. A Gordon Matta-Clark retrospective at the Whitney Museum and ‘Piranesi as Designer,’ an elegant little show at the Cooper-Hewitt, showed that architecture’s current obsession with deep psychological forces is part of a historical continuum.”

The Museum of Modern Art’s architecture and design department meanwhile seems to have new energy now that Barry Bergdoll has taken over as chief curator. In July it opened the hauntingly gorgeous “Lost Vanguard: Soviet Modernist Architecture, 1922-32,” documenting the decay of buildings from one of the most vibrant periods in 20th-century architecture.

An image of Moisei Ginzburg’s Narkomfin complex (1930) from “Lost Vanguard: Soviet Modernist Architecture 1922-32.”

“The Museum of Modern Art’'s architecture and design department meanwhile seems to have new energy now that Barry Bergdoll has taken over as chief curator. In July it opened the hauntingly gorgeous ‘Lost Vanguard: Soviet Modernist Architecture, 1922-32,’ documenting the decay of buildings from one of the most vibrant periods in 20th-century architecture.”

But the revelation of 2007 was “Robert Moses and the Modern City,” staged concurrently at the Queens Museum of Art, the Museum of the City of New York and the Miriam and Ira D. Wallach Art Gallery at Columbia University. A complex portrait of the man who ruled New York’s urban development for more than half a century, the show made a strong case that Moses’ vast infrastructure and slum clearance projects were a nuanced mix of good and bad, as opposed to the outright evil depicted in other accounts. By invoking his legacy, the show raised pointed questions about today’s planning strategies, especially the government’s diminished role in shaping the public realm.

A portrait of Robert Moses, circa 1938

“But the revelation of 2007 was ‘Robert Moses and the Modern City,’ staged concurrently at the Queens Museum of Art, the Museum of the City of New York and the Miriam and Ira D. Wallach Art Gallery at Columbia University. A complex portrait of the man who ruled New York’s urban development for more than half a century, the show made a strong case that Moses’ vast infrastructure and slum clearance projects were a nuanced mix of good and bad, as opposed to the outright evil depicted in other accounts. By invoking his legacy, the show raised pointed questions about today’s planning strategies, especially the government’s diminished role in shaping the public realm.”

Like most fairy tales New York’s embrace of architecture has a dark side. If many of these shows pointed up our rich architectural past, they also served to remind us that the majority of today’s projects serve the interests of a small elite. And this trend is not likely to change any time soon. The slow death of the urban middle class, the rise of architecture as a marketing tool, the overweening influence of developers — all have helped to narrow architecture’s social reach just as it begins to recapture the public imagination. From this perspective the wave of gorgeous new buildings can be read as a mere cultural diversion.

Additionally, New York is about to embark on a handful of vast developments that could alter its character more than any projects since the 1960s. Twenty-five million square feet of commercial space is planned for Midtown. Madison Square Garden and the woeful Knicks may relocate to the site of the James A. Farley Post Office building, which was supposed to be a grand site for a new Penn Station. An enormous expansion of the Columbia University campus into Harlem has enraged local residents. And let’s not forget ground zero, a black hole of political posturing, cynical real estate deals and outright stupidity.

Train tracks leading to Penn Station, below, and the James A. Farley Post Office building, center.

“Additionally, New York is about to embark on a handful of vast developments that could alter its character more than any projects since the 1960s. Twenty-five million square feet of commercial space is planned for Midtown. Madison Square Garden and the woeful Knicks may relocate to the site of the James A. Farley Post Office building, which was supposed to be a grand site for a new Penn Station. An enormous expansion of the Columbia University campus into Harlem has enraged local residents. And let’s not forget ground zero, a black hole of political posturing, cynical real estate deals and outright stupidity. To date, there is little sign that intelligent design will play a major role in any of those projects. On the contrary, every revision heightens our creeping awareness that when serious money is at stake, business will be as usual.”

To date, there is little sign that intelligent design will play a major role in any of those projects. On the contrary, every revision heightens our creeping awareness that when serious money is at stake, business will be as usual.

But it’s the holidays. Cheer up. Drink some eggnog. There will be plenty to worry about in the new year.

link
NYTIMES
www.nytimes.com

Jose Llano
Arquitecto, Diseñador de Delitos & Coreografo del Deseo
editor aparienciapublica
www.aparienciapublica.org
http://aparienciapublica.blogspot.com

________________________________
AMERICA has a rest, where you want to be

[AP] NIME @ Exit Art / New York City

NIME @ Exit Art
New York City

NIME: New Interfaces for Musical Expression.
NIME: creating new performance tools for digital music.
NIME: a graduate course at NYU’s Interactive Telecommunications Program (ITP).

In the sixth annual NIME end-of-semester performance, students will perform on a series of newly designed electronic instruments that aim to keep the “live” in live performance of digital music. The NIME performances are presented by ITP instructors Jamie Allen and Gideon D’Arcangelo. ITP students from R. Luke DuBois’ “Algorithmic Composition” class will present installations and performances as part of the evening’s proceedings.

Computer music is usually played with a keyboard and mouse. Laptop musicians often sit at a desk and give performances that are little more than watching someone engage in “office gestures.” The idea behind NIME is to go beyond the mouse and keyboard, beyond even piano keyboards and drum pads, and develop performance tools that make the most out of the new opportunities that digital music offers. NIME students answer questions like:

- "What will the next generation of musical instruments look like?"
- "What will they be able to do that traditional instruments can’t already do?"
- "What aspects of traditional instruments will we want to retain in digital instruments?"

Over the course of this year’s 14-week course, students are developing projects such as an musical weaving loom, a instrument made of speakers that feed back and make glorious noise, an augmented rocking chair, a musical abacus and a host of others.

NIME @ Exit Art

http://itp.nyu.edu/nime/show/
475 Tenth Avenue
New York, NY
In collaboration with R. Luke DuBois’ ‘Algorithmic Composition’

Thursday, December 13, 2007
Performances 8PM-11PM
Installations begin at 7PM

NIME at ITP
http://itp.nyu.edu/nime
Jamie Allen 347-563-5941, jamie@nyu.edu
Gideon D’Arcangelo 917-750-6950, gideon@nyu.edu

ITP
http://itp.nyu.edu
George Agudow 212-998-1891, george.agudow@nyu.edu

EXIT ART
475 Tenth Avenue (at 36th Street)
New York, NY 10018
(212) 966-7745
info@exitart.org
http://www.exitart.org

Jose Llano
Arquitecto, Diseñador de Delitos & Coreografo del Deseo
editor aparienciapublica
www.aparienciapublica.org
http://aparienciapublica.blogspot.com

________________________________
AMERICA has a rest, where you want to be

[AP] NEW MUSEUM on the New York / SAANA

Suzanne DeChillo/The New York Times
Exterior of the New Museum of Contemporary Art, on the Lower East Side.

NEW MUSEUM on the New York
SAANA

Hace ya unos dias fue inagurado en el barrio SOHO en NYC, el nuevo edificio de NEW MUSEUM (museo de arte contemporaneo) construido por SAANA. La especialidad de la casa es la construccion a partir de la superficie y su dezplazamiento tectonico solo es una un juego FORMAL dejando a la interioridad una propuesta de encajes y solapamientos espaciales, una especie de escultura interior (un trabajo de socavamiento). En este articulo de NYTIMES se presenta otro punto de vista de construccion de la ubicacion y la tematica de uso, esperamos que lo disfruten.

escrito por NICOLAI OUROUSSOFF / NYtimes

Published: November 30, 2007

New York is in the cultural doldrums. The city is bursting with gorgeous art exhibitions, but where is the raw energy? Where is the new blood, intent on upending the establishment? Today, once-rebellious talents often seem to be wandering lost in the constellation of celebrity, where they soon settle into complacency. Designed by the Japanese firm Sanaa, the New Museum of Contemporary Art, on the Bowery at Prince Street on the Lower East Side, is the kind of building that renews your faith in New York as a place where culture is lived, not just bought and sold.

The architects, Kazuyo Sejima and Ryue Nishizawa, conceived the building as a series of mismatched galleries precariously stacked one atop the other. It succeeds on a spectacular range of levels: as a hypnotic urban object, as a subtle critique of the art world and as a refreshingly unpretentious place to view art. But what elevates the building itself to art is the way it captures an unnerving moment in the city’s cultural history with near-perfect pitch. Its ethereal forms hover somewhere between the legacy of a fading bohemian downtown and the ravenous appetites of a society awash in new money. That the building is so artfully rooted in the present means that its haunting quality will probably deepen as the city ages around it.

Ms. Sejima and Mr. Nishizawa may have seemed unlikely candidates to shake up the establishment. The pair is known for work of a high level of refinement and an almost aching sensitivity to a project’s social and physical context. Their most celebrated project, the 21st Century Museum of Contemporary Art in Kanazawa, Japan, is a collection of discrete pavilions enveloped in a glistening one-story glass cylinder — a heavenly village of art whose intricate network of corridors obliterates the conventional museum narrative. Its sleek forms are pieced together with a precision and care that are closer in spirit to the layout of a computer’s circuit board than to the big industrial machines fetishized by the early Modernists.

But the architects decided that aiming for a similar level of refinement at the New Museum would have been unwise. For one thing, the quality of craftsmanship in New York is known to be substandard, compared with the workmanship at construction sites in, say, Japan. And the 60,000-square-foot New Museum building was built on a relatively modest budget of $50 million. More important, the museum was intent on staying tethered to what was left of the rough-and-tumble downtown art scene. The decision to move the institution from SoHo to the Bowery was an effort to tap into its history — its uninhibited characters, seedy settings, voyeuristic attractions and, above all, rejection of bourgeois tastes. The seven-story building stands amid the remnants of this forgotten landscape and a new one. The dirty brick facades of a few restaurant-supply stores and S.R.O.’s flank it on two sides. SoHo’s glitzy boutiques and showrooms are a few blocks to the west; the cheap, pretentious glass towers that embody the latest wave of gentrification are rising to the east and north. The museum serves as a hinge between these two worlds. As it rises, its floors shift back and forth like a pile of boxes stacked ever so carefully. Its protective armor of shimmering aluminum mesh is a great ornamental screen. Exquisitely detailed, it is backed by a second layer of metal panels, giving the surface a subtle depth.

What results is a striking expression of the neighborhood’s warring identities. When the building is approached from Prince Street, the contrast between the instability of the forms and the uniformity of the aluminum gives it a strangely enigmatic glow, evoking both a fading past and a phantom future. As you get closer, the skin becomes tougher and more industrial, echoing what’s left of the neighborhood’s grittier history.

The formal ambiguity is coupled with a fierce desire to bridge the divide between art and everyday life. Only a thin sheet of floor-to-ceiling glass separates the sidewalk from the museum’s ground floor. Inside a lobby and loading dock are set side by side, so that pedestrians can watch the art being moved in and out of the building or gaze across to a small cafe and gallery at the rear of the lobby. From here, visitors can contemplate the chaos of the city in relative silence, forging a seamless connection to the public life of the street. (That seamlessness drives home a practical point, too, since the entire ground floor is open to the public, free.) It’s only when you ascend to the upper floors, however, that you begin to glean the meaning of the museum’s unusual form. By shifting the positions of the various floors, the architects were able to create narrow skylights along the outer edges of the galleries, allowing a soft, diffuse sunlight to wash down their white walls during the day. Rows of fluorescent lights are suspended from the ceilings, and the mix of artificial and natural light gives the spaces a lovely warmth that shifts ever so slightly with the weather or time of day.

This talent for extracting meaning from simple but unexpected choices — like shifting the position of a floor or the texture of a material — is what imbues Sanaa’s architecture with a hint of mystery. Here, that effect surfaces in myriad ways. Because the position of the skylights varies from floor to floor, the quality of the light is never exactly the same. Some gallery floors are compact, some tall, and others far bigger but with lower ceilings. They have an intuitive relationship to one another without becoming repetitive. Most significantly, the design brings the art to life. To focus attention on its new building, the museum chose to open with a show of contemporary sculpture; the walls are left entirely bare. Even so, you can feel the architects’ empathy for the artist’s hand. The gentle shifts in scale, proportion and light heighten your awareness of the surroundings, which, in turn, draws you closer to the artworks. The shifting mood of the rooms constantly encourages you to observe the sculptures from different, unexpected perspectives. That effect is reinforced by the rawness of the spaces — exposed beams, painted white walls, cracked concrete floors. The informal quality makes the art feel wonderfully accessible. There is nothing ostentatious here, none of the fussy detailing or fancy materials that create an invisible barrier between viewer and art in so many contemporary museums and galleries. There are other surprises. A narrow staircase, 50 feet long and 4 feet wide, connects the third and fourth floors, exaggerating the distance between the two and heightening your anticipation to the point of torture. At the top, a narrow wedge of space connects the staircase to the gallery, inducing a sudden sense of compression before you experience the release of stepping into the exhibition. Elsewhere, a few eccentric pockets of space are set in the corners for more intimate installations. It will take some time, of course, to understand what impact the new building, and the art institution it houses, will have on the cultural life of New York. But not since the Museum of Modern Art rattled the foundations of the city’s art establishment in the 1930s has a museum seemed so in touch with the present.

Poised at one edge of a city struggling to regain its creative momentum, the New Museum building embodies a leap of faith. It suggests a breathing space somewhere between the innocence of New York’s artistic past and an encroaching money-driven cynicism. It’s hard to think of another architect who’s been able to capture that uneasy optimism with such grace.

The New Museum of Contemporary Art
From the sidewalk, onlookers inspect the lobby and facade of this seven-story structure on the Lower East Side, which opens tomorrow.

link
NYTIMES
www.nytimes.com

new museum
http://www.newmuseum.org/

Jose Llano
Arquitecto, Diseñador de Delitos & Coreografo del Deseo
editor aparienciapublica
www.aparienciapublica.org
http://aparienciapublica.blogspot.com

__________________________________
AMERICA has a rest, where you want to be

[AP] Reimagining Risk

American Power: What’s Really at Risk?
Mitch Epstein with Joanna Lehan
Thursday, December 6
7:00 p.m.
Donnell Auditorium
20 West 53rd Street

A conversation between photographer Mitch Epstein and Joanna Lehan, Associate Editor, Books at the Aperture Foundation.

Mitch Epstein’s current work, American Power, examines energy usage and the idea of excess in the United States. These pictures were made on forays to energy production sites and their environs. Epstein plays with the definition of American power, probing not just corporate power but the powers of nature, sexuality, consumption, and size.

Environmental risks aside, Epstein has discovered that in the United States, since 9/11, making art freely in public space, and artists themselves, are at risk due to governmental and corporate surveillance and security. Epstein will show images from American Power, and speak about cultural, environmental, and artistic risk.

Mitch Epstein’s photographs are in numerous major museum collections, including New York’s Metropolitan Museum, Museum of Modern Art and Whitney Museum of American Art, the J. Paul Getty Museum in Los Angeles, and the San Francisco Museum of Modern Art. His recent books include Mitch Epstein: Work (Steidl, 2007) and Family Business (Steidl, 2003). Epstein is the recipient of the Berlin Prize in Arts and Letters, Spring 2008, from the American Academy in Berlin.

Admission is free for League members; $10 for non-members. League members may make reservations by emailing rsvp@archleague.org or by calling 212-980-3767. AIA and New York State continuing education credits are available.

LINK
the architecture league
http://www.archleague.org/index-dynamic.php?show=673

Jose Llano
Arquitecto, Diseñador de Delitos & Coreografo del Deseo
editor aparienciapublica
www.aparienciapublica.org
http://aparienciapublica.blogspot.com

________________________________
AMERICA has a rest, where you want to be

[AP] The NY Art Book Fair / PRINTED MATTER

The NY Art Book Fair

New York City no es solo esa ciudad de 8 millones de personas, (que ya es mucho), es un laboratorio de subjetividades y espacios de encuentros y disyunciones de formas y realidades. Es por eso que el encuentro de libros de arte, en el marco de PRINTED MATTER es una gran oportunidad no solo para escudrinar sobre el contenido y forma de cada uno de los escenarios urbanos, post-urbanos y del ambito editorial que existen en el mundo sino que es un observatorio de lecturas solapadas de materias de dudas, y de propuestas sobre nuestra experiencia urbana y cotidiana.


PRINTED MATTER
548 West 22nd Street
28 through 30 September 2007

New York City’s annual fair devoted to contemporary art books, art catalogues, artists' books, art periodicals, and ’zines. Over 120 international exhibitors, from major distributors and antiquarian dealers to independent publishers and artists, occupy a dual-level 20,000 square foot space. The Fair takes place 28 through 30 September, 2007, in the heart of Chelsea’s gallery district at 548 West 22nd Street. A ticketed Benefit Preview on Thursday, 27 September, 6-9 pm, benefits Printed Matter, Inc. Admission to the fair and events is FREE. See www.nyartbookfair.com

Exhibitors and participants from New York City to Oslo and Moscow to Tokyo are convening to share their involvement and activities with contemporary art books. Back by popular demand, Friendly Fire, a curated zone of artists and independent publishers, features artists and art collectives who self-publish in a free-spirited range of forms from books and ‘zines to CDs and DVDs.

Fun and engaging events including book launches, signings, screenings, and music performances take place each day of the fair. Artists present for book signings include Marilyn Minter and Tracey Moffat: see www.nyartbookfair.com for the full schedule. Brooklyn artist j. morrison presents a performative silkscreening station, producing customized bookbags. Performa and ANP Quarterly are all sponsoring publication launches and performances. Lovely Daze is hosting the fair closing party with the launch of the new Numbers issue, a performance by Bec Stupak, and music by Crystal Understanding. Installations include onestar press’ Lawrence Weiner bookcase and a massive photographic installation by Dean Sameshima.

Refocus, Re-title, Release: the Books of Martin Kippenberger is this year's feature exhibition. Curated by Philip Aarons and AA Bronson, this comprehensive exhibition presents over 150 publications by Martin Kippenberger.

Artists Ed Ruscha, Josephine Meckseper, and David Shrigley have created new limited editions for the fair’s opening night Benefit Preview. Tickets are available at three price tiers and each level of admission is accompanied by a limited edition artwork. Ed Ruscha has produced a previously unprinted photographic edition for the high-end ticket (price to be announced). Josephine Meckseper has printed two new photographic editions: a choice of one accompanies the $150 ticket. David Shrigley has created a ticket edition available for the $20 friend ticket, as well as for purchasers of the Ruscha and Meckseper editions. See www.nyartbookfair.com for images as they are available.

This is the second year for Printed Matter's NY Art Book Fair. Last year's runaway success brought in more than 6,000 attendees, and Holland Cotter declared in The New York Times: "The NY Art Book Fair...is evidence that alternative is still vital, sexy, and free."

Exhibitors: 2nd Cannons Publications; ANARTIST; Andrew Roth; ANP Quarterly; ARTFORUM; Art Metropole; Art Monthly; The Art Newspaper; Art on Paper; A.R.T. Press; ArtReview; Artspeak; Autonomedia; Back East Press (James Prez); Banana Books; Boekie Woekie books by artists; BOOKFORUM; Book Works; Booklyn; Border Crossings; Bread and Puppet Press; Eleanor Brown; BUTT Magazine; Bywater Bros. Editions; Cabinet; Carolina Nitsch Contemporary Art; Centre des livres d'artistes; The Center for Book Arts; Charles H. Scott Gallery; Circuit; Cinders Gallery; Creative Time; DADDY THE MAGAZINE; D.A.P/Distributed Art Publishers, Inc.; Dale Wittig; Dalhousie Art Gallery; Darin Klein; David Krut Publishing; Deep Dish TV; Denis Ozanne; Dexter Sinister; Dia Art Foundation; Dobbin Books; The Drawing Center; Ecart Publications / Villa Magica; Edie Fake; Emily Carr Institute Press; Evil Twin Publications; Exit Art; Eye Level Gallery; The Fillip Review; Fluens Forlag (Jasper Sebastian Stürup); free103point9; FREIGHT + VOLUME; GAGARIN THE ARTISTS IN THEIR OWN WORDS; Galerie A; Hard Hat; Heavy Tapes; information as material; Islands Fold; J&L Books; j. morrison; Jack Hanley Gallery; The Journal; Steven Leiber; Librairie 213; lightreading, inc.; Michael Lowe Gallery; Michalis Pichler; Lovely Daze, (Charwei Tsai); LTTR; Scott McCarney VisualBooks / Keith Smith Books; John McWhinnie @ Glenn Horowitz Bookseller; Marcus Campbell Art Books; The MIT Press; modlitbooks; Mount Saint Vincent University Art Gallery; Nieves; onestar press; Our Mouth; Paper Tiger Television; Parkett Publishers; Passenger Books; Peres Projects; Perro Verlag; PictureBox, Inc.; Plug In ICA/Plug In Editions; Pork Salad Press; Presentation House; The Press of the Nova Scotia College of Art and Design (NSCAD University); PRESSPOP, Inc.; Primary Information; Printed Matter, Inc.; Purgatory Pie Press; r.a.m. publications + distribution, inc.; Sara Ranchouse Publishing; Specific Object; spike Art Quarterly; Red76; Regency Arts Press; Revolver; Retard Riot (Noah Lyon); Saint Mary's University Art Gallery; Seems; Slavs and Tatars; Soft Targets; Spike Art Quarterly; Specific Object; Spoonbill & Sugartown, Booksellers; stop over press; TASCHEN; TEXTE ZUR KUNST; THEY SHOOT HOMOS, DON’T THEY?; Three Star Books; Torpedo; USELESS; Virginia L. Green Rare Books, Inc., Visual Studies Workshop Press; White Columns; William Allen; World War 3 Illustrated; Yuri Shibuya; YYZBOOKS; Zucker Art Books.

Printed Matter, Inc. was founded in 1976 by a group of like-minded artists and art workers. Now entering its 31st year, it is the world’s largest non-profit organization devoted to artists’ publications. Printed Matter offers some 15,000 titles by 5,000 artists at its Chelsea storefront, by mail order, and on its website www.printedmatter.org.

For benefit ticket inquires and more information, please visit www.nyartbookfair.com or contact Savannah Gorton, NY Art Book Fair Manager and Programming Coordinator, at 212.925.0325, or sgorton @ printedmatter.org.

For press inquiries, contact AA Bronson, Printed Matter Director, at 212.925.0325, or aabronson @ printedmatter.org or Savannah Gorton, NY Art Book Fair Manager and Programming Coordinator, at 212.925.0325 or sgorton @ printedmatter.org

LINK
printed matter
http://printedmatter.org/


Jose Llano
Arquitecto, Diseñador de Delitos & Coreografo del Deseo
editor aparienciapublica
www.aparienciapublica.org
http://aparienciapublica.blogspot.com/
_________________________________
AMERICA has a rest, where you want to be

[AP] Matando la modernidad cada noche / ::: salon KRITIK :::

Matando la modernidad cada noche
::: salon KRITIK :::

escrito por ROSA LLEÓ
Sobre Panick Attack! Art in the Punk Years BARBICAN LONDRES
Originalmente en La Vanguardia

"Esta canción es sobre el resultado de la crisis de la civilización. Vas por la calle y ves unas cuantas fábricas en ruinas, trozos de periódico con fotos porno tirados por el suelo… Tuerces la esquina y hueles los cubos de basura. Y oyes ese ruido extraño de fondo". Esta fue la introducción que uno de los miembros de Throbbing Gristle hizo de uno de los conciertos que la banda ofreció en el ICA en 1976. Eso mismo día, bajo el nombre de COUMTransmissions,habían presentado una exposición por la que fueron acusados de sádicos, nocivos y destructores de la sociedad. Fueron punks. Treinta años más tarde, el Barbican reivindica su espíritu.

La promesa de futuro y de utopía social construida en los años sesenta se había convertido en una realidad represiva y desilusionada. En el Londres de aquel entonces no era posible escapar de los bloques sin balcones e innumerables pasillos. Parecían prisiones. Bajo la crisis del petróleo y el final de la guerra de Vietnam, en Nueva York tampoco había mucho lugar para la esperanza.

Deambular sin rumbo por diferentes lugares nocturnos, dejándose sumergir en los encuentros que se suceden al azar o en un viaje lisérgico sin ningún objetivo. Como ya anunció Baudelaire, la acción del observador, del flâneur,consiste en caminar por la ciudad para sentir sus vistas, sus olores y sonidos como un observador irónico, alienado y melancólico de la ciudad moderna. Ésta pasa a ser entendida como un hecho estético, un escenario para explorar la propia identidad como sujeto político. Con la dérive situacionista como ejemplo, el movimiento punk intenta construir una nueva mirada a la ciudad fuera del sistema capitalista de posguerra. Una manera de actuar entendida como un conjunto de relaciones sociales entre personas mediadas por imágenes, ajena de la noción de espectáculo que teorizó Guy Debord.

Las canciones de los Clash o los Ramones, los diseños de Jimie Reid o las primeras películas de Jim Jarmuch empezaron a reflejar aquel trauma urbano y la crisis social. La sinestesia cultural de esos años fue total y se celebraba cada noche en el en el Blitz de Londres o en el CBGB y el Mudd Club de Nueva York. Salir se convirtió en una forma más de acción política. El club se convirtió en el nuevo cabaret vanguardista donde se producía la verdadera efervescencia cultural.

La búsqueda de la propia identidad reflejada en un espacio decadente en blanco y negro. En el metro, los muelles abandonados del río Hudson o inyectándose heroína en un club. David Wojnarovic se fotografía en diferentes escenarios de la ciudad con la máscara del poeta simbolista gay Arthur Rimbaud (Arthur Rimbaud in New York,1978-79). En Londres, Gilbert & George filman a los desempleados de la parte este de la ciudad (The world of Gilbert & George,1981). "Nos gusta beber, nos gusta emborracharnos" gritan a coro, orgullosos de cumplir una costumbre tan típicamente inglesa. Una oda al pub y al vagar ebrios por los suburbios de una ciudad gris y reacia a la inmigración. Por la noche, acuden a las fiestas que Derek Jarman celebra junto con otros artistas en un almacén abandonado al sur del Támesis. Allí actuarán los Sex Pistols, Divine será coronada Miss Mundo y Jarman filmará Dance (1977), un vídeo en el que una bailarina de ballet clásico danza alrededor de una hoguera frente al escenario post-industrial del río. En el Tin Pan Alley de Nueva York.

Nan Goldin organiza la proyección de las primeras versiones de The Ballad of Sexual Dependency,un trabajo basado en retratos de sus amigos y conocidos de la escena nocturna neoyorquina.

De maneras distintas, todos respondían con el mismo mensaje de incertidumbre y pérdida de significado mediante la subversión de los códigos. "Jóvenes punk/ Reíros de la vida/ No hay mucho por lo que llorar/ Jóvenes imbéciles/ Vividla ahora/ Porque no hay mucho por lo que morir". (All the young punks,The Clash, 1978).

----------------------------------------------------

esto es ARQUITECTURA
PULENTO y REAL


Jose Llano
Arquitecto, Diseñador de Delitos & Coreografo del Deseo
editor aparienciapublica
www.aparienciapublica.org
http://aparienciapublica.blogspot.com/
____________________________________
AMERICA has a rest, where you want to be

[AP] CONFLUX 07 / NYC

CONFLUX 07
NYC

CONFLUX es un festival de Psicogeografia que se realiza en NYC. Es un espacio de derivas y produccion cotidiana sobre la escala global que se presenta como una oportunidad de lectura y un tipo de trabajo investigativo de las marcas psicogrograficas que el propio sujeto elabora sobre la slogicas urbanas; los trabajos que se presentan son producciones independientes que buscan sobre la base de la practica algo clave, la emergencia de lo "espacial" como produccion de lo everyday life urban.

Desde el 13 al 16 de SEPTIEMBRE

PROGRAMA
http://www.confluxfestival.org/conflux2007/schedule/

LOCACIONES
Luna Lounge
361 Metropolitan Avenue
Brooklyn, NY 11211
718.384.7112
http://lunalounge.com

The Change You Want to See
84 Havemeyer Street
Brooklyn, NY 11211
http://notanalternative.net

Union Docs
322 Union Avenue
Brooklyn, NY 11211
http://uniondocs.org

The Lucky Cat
245 Grand Street
Brooklyn, NY 11211
718.782.0437
http://theluckycat.com

McCarren Park
Nassau Avenue, Bayard, Leonard and N. 12th Streets
Brooklyn, NY 11211
http://www.nycgovparks.org/sub_your_park/park_info_pages/park_info.php?propID=B058

Union Square [south end of park]
Broadway to 4th Avenue, 14th to 17th Streets
New York, NY 10003
http://www.nycgovparks.org/sub_your_park/park_info_pages/park_info.php?propID=M089

Tenement Museum
91 Orchard Street
New York, NY 10002
http://tenement.org

Corner of Clinton St. and Stanton St., in Manhattan
40 Clinton Street
New York, NY 10002

Glowlab@Gitana Rosa Gallery
19 Hope Street 1st Floor No. 7
Brooklyn, NY 11211
718.387.0115
http://gitanarosa.com

Riviera Gallery
103 Metropolitan Avenue
Brooklyn, NY 11211
718.599.5589
http://seeyouattheriviera.com

New General Catalog
140 Franklin Street
Brooklyn, NY 11222
718.687.9747
http://newgeneralcatalog.com

Front Room Gallery
147 Roebling Street
Brooklyn, NY 11211
718.782.2556
http://frontroom.org

McCaig-Welles Gallery
129 Roebling Street
Brooklyn, 11211
718.384.8729
http://mccaigwelles.com

--------------------------------------------------------------

Conflux is the annual New York festival for contemporary psychogeography, the investigation of everyday urban life through emerging artistic, technological and social practice.

The Village Voice describes Conflux as a “network of maverick artists and unorthodox urban investigators… making fresh, if underground, contributions to pedestrian life in New York City, and upping the ante on today’s fight for the soul of high-density metropolises.”

Participants in Conflux share an interest in psychogeography. Projects presented range from interpretations of the classical approach developed by the Situationists to new methods being developed today in cities throughout the world.

At Conflux, participants, along with attendees and the public, put their investigations into action on the city streets. The city becomes a playground, a laboratory and a space for the development of new networks and communities.

Conflux is produced by Glowlab.

CONFLUX 2006
-----------------------------------------------------------------------
Thursday September 13, 2007
10am — 6pm

The Change You Want to See
84 Havemeyer Street
Brooklyn
NY 11211
------------------------------------------------------------------------------

link
CONFLUX
http://confluxfestival.org

GLOWLAB
www.glowlab.com


Jose Llano
Arquitecto, Diseñador de Delitos & Coreografo del Deseo
editor aparienciapublica
www.aparienciapublica.org
http://aparienciapublica.blogspot.com/

_______________________________________________________
AMERICA has a rest, where you want to be

[AP] Urban Attractors and Private Distractors

Urban Attractors and Private Distractors

by Angie Eng, in collaboration with Rich Streitmatter-Tran and a collective of student interns in New York and Ho Chi Minh City with funds from the Jerome Foundation

Urban Attractors and Private Distractors es un BLOG sobre la privacidad del espacio publico de la cultura ESTE. La conformacion de este cuerpo de investigacion es el resultado de lo que se llama Dérives , la cual es efectuada en Ho Chi Minh (Vietnam) and New York City, respectivamente. El colectivo direcciona las preguntas no solo a que tipo de experiencia estamos sometidos desde la condicon de consumo que vivimos sino sobre cual es la experiencia que es significativa hoy en dia:

Como la ciudad se construye dentro de la cultura donde sus habitantes solo tienen en una breve experiencia del espacio fisico privado?

Si hoy el sujeto es capaz de aptarse a este ciberespaciocomo se puede relaciona hoy esta lectura del espacio publico democratico y este ciberespacio heterogeneo?

Como hoy dia se reclamael espacio publico real?

El colectivo organiza una serie de Dérives en ambas ciudades que comenzaran a mostrar la espacialidad publica no solo en la nocion de centro, sino en la misma experiencia del sujeto y su produccion del espacio. Cada participante adjuntara en el blog VIDEOScomo indicadores urbanos de este estudio de dimensiones publicas, las lecturas que se mostraran en este BLOG se terminaran en un WORKSHOP en JUNIO y JULIO. LA INSTALACION TERMINARA EN INVIERNO DEL 2007.

links
UAPD
http://transition.turbulence.org/uapd/?cat=8


Jose Llano
editor aparienciapublica
www.aparienciapublica.org
_____________________________________
AMERICA has a rest, where you want to be