Sep 1

SI-Lead-FINAL-RSo psyched for this!

Swiss Institute is delighted to present the 2nd Edition of its Annual Architecture and Design Series entitled PAVILLON DE L’ESPRIT NOUVEAU: A 21st Century Show Home. Curated by Felix Burrichter, the editor and creative director of award-winning architecture and design magazine PIN–UP, the exhibition channels the visionary irreverence of Le Corbusier for a 21st century take on domesticity.

In such amazing company. Whoa. Holy…

Lindsey Adelman, Nanu Al-Hamad, Aranda\Lasch, Alessandro Bava, Josh Bitelli, Camille Blin, Laureline Galliot, Konstantin Grcic, Paul Kopkau, Kram/Weisshaar, Joris Laarman, Max Lamb, Le Corbusier, Piero Lissoni, Philippe Malouin, Shawn Maximo, Jasper Morrison, Jonathan Muecke, Marlie Mul, Ifeanyi Oganwu, Leon Ransmeier, Sean Raspet, Jessi Reaves, Guto Requena, RO/LU, Rossi Bianchi, Julika Rudelius, Soft Baroque, Robert Stadler, Ian Stell, Katie Stout, Elisa Strozyk, Studio Drift, Patricia Urquiola, Christian Wassmann, Bethan Laura Wood.

More here. And more soon :)

Please enjoy the time and space.

              

Aug 31

WE’VE ALWAYS LOVED THE PAST. ESPECIALLY NOW THAT IT HAS BEEN SET FREE BY THE INTERNET… RELEASED FROM THE LINEAR ACADEMIC LENS OF TIME. ISN’T THE PAST SORTA CULMINATING IN THE PRESENT? SO, WE WANT TO LINGER BACK THERE AGAIN FROM THE PERSPECTIVE OF NOW. AFTER ALL, EVERYTHING IS ALWAYS CHANGING ALL OF THE TIME… EVEN THE PAST. Originally posted february 8, 2011.
No. 44 (1968) – Franz Erhard Walther
distance – pause – distance – pause
…   time periods
rhythm –  fatigue –  exertion – rest – introversion – catalysis – transformation
Via Avalanche Issue # 4 Spring 1972
Please enjoy the time and space and consciousness that recognizes it.

              

Aug 29

The journey in my mind from hearing Fritz describe this and projecting a bunch of imagined scenes in my mind to seeing actual images of the place start to appear on Instagram then Skyping with him… and now to see it here.

Super energized by the complexity and wholeness of this project. I hope to visit!

Part 2 coming through Frieze in Sept. Originally via the Walker Art Center.

              

Aug 28

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Some nice Franz West vibes via hoolawhoop :) a certain kind of nudity and art has been looking right lately. I believe I may be in the final stages of becoming a hippy… 100%. It’s not nostalgia, it’s more saudade.

From the catalogue: Franz West, ‘Proforma’, Museum Moderner Kunst Stiftung Ludwig Wien, 1996

              

Aug 26

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MAN-O-MAN-O-MAN-O-MAN

Trix + Robert Haussmann book designed by Dan Solbach (pic above) for Fri Art-Centre d’art de Fribourg / Kunsthalle Freiburg, Fribourg 2015.

Discovered it on Void()… always a bewilderingly amazing and inspired piece of magic.

The exhibit includes this fantastic mirror installation…

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Plus a bunch of their mirrors…

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And a bunch of their furniture and object work.

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Holy shit I love Robert and Trix Haussmann.

Please enjoy the time and space.

PURPOSE / URGENCY              

Aug 24

Urgency is a wretched condition. I hate that. So it’s hard to discuss it here. There are specific sorts of urgency that make sense to me. Familial exigencies, for example. Or, it’s November and New York is getting cold, and there are increasing numbers of people without shelter or food, whom you pass every day as it grows colder. Urgency in ‘the culture,’ on the other hand, seems to be tied to an anxiety about keeping up and not missing out. That mandate might be parsed like this: stay on top of work deadlines, all the while steadily shunting your worker- self in a direction you sense to be ‘upward;’ maintain a passable grasp on current events; register technological shifts, debates of the moment, new books and movies; and follow the doings and opinions of people to whom you grant authority via steady drips of pictures and remarks. These are marketplace feelings. They’re linked to the way that desire and taste and identification are swapped and leveraged. This probably used to be more of a Western metropolitan thing, but digital culture has helped to transubstantiate the market into a gas, it gets to be some kind of Terran atmospheric condition. In terms of cultural urgency, the obvious forerunner was fashion, or what’s become the global fashion system, which compels you to internalize subtle shifts in the atmosphere, and where seduction plus insecurity yields the sense of urgency. It’s banal to observe that fashion is a ‘control structure,’ and that kind of phrase makes it sound doomy when it’s also a source of such pleasure and play, but there it is. Maybe urgency too often boils down to chasing fashion. Then there’s digital culture, which is about staying abreast of new products and current updates, and also achieving the state of being able to tap into your shit at all conceivable times and in all possible places, in order to simultaneously render every facet of your selfhood as accessible and as secure as possible. Which is paradoxical, and more interesting for that. But these anxieties only end up calling The Cloud down upon us. The Cloud represents the air-tight control structure as platinum-certified MBA turd. The dream of the market is that if everything can be reduced to a common currency, i.e. binary code, this allows effortless transmission with no value lost on the conversion, with the aim that anything, virtual or material, may eventually be frictionlessly exchanged for absolutely anything else. But not by you. And then there’s the art world. The urgency that we deserve revolves around knowledge and competition and the pursuit of intellectual trends, but sometimes just worrying over What Are The Wealthy Into, which is a dead end, or What Are The Youth Up To, which elicits a reaction along the lines of: “We ’re pleased to have the sinking feeling that they’re up to something important but unintelligible.” Crowded from behind even as your face mashes up on the out-door. I do believe that the urge to keep up with exhibitions and events, through travel and participation and trade mags, is ultimately a professional, or even a professionalizing, quality. But I don’t see myself as a professional, and I don’t think art is a job.

Seth Price

via Mousse

Please enjoy the time and space.

L’urgenza è una condizione maledetta. La odio. Per questo mi è così difficile parlarne qui. Ci sono tipi specifici di urgenza che capisco bene. Le esigenze familiari, ad esempio. Op- pure, è novembre e a New York comincia a fare freddo, e man mano che la temperatura scende, si vedono ogni giorno sempre più persone senza tetto, né cibo. Oppure capita il contrario: fa un caldo inverosimile a no- vembre, di nuovo. L’urgenza nella “cultura”, invece, sembra più legata all’ansia di stare al passo con ciò che succede senza perdersi nulla. È una missione che si potrebbe espli- citare così: rispettare le scadenze di lavoro e al contempo orientare la propria identità professionale in una direzione che deve es- sere “in ascesa”; mantenersi passabilmen- te informati sui fatti del giorno; registrare i cambiamenti tecnologici, i dibattiti del mo- mento, i film e i libri in uscita; e seguire le azioni e le opinioni delle persone conside- rate autorevoli attraverso somministrazioni costanti di immagini e di dichiarazioni. È la percezione del mercato, che registra i flus- si di scambio e acquisizione dei valori del desiderio, del gusto e dell’identificazione. Probabilmente in passato era un fenomeno più tipico del contesto metropolitano occi-

dentale ma la cultura digitale ha contribuito a trasformare il mercato in un gas, per cui è diventato una sorta di condizione atmo- sferica terrestre. Quando si parla di urgenza culturale, l’ovvia antesignana è la moda, o ciò che è diventato il sistema moda globale, che ci obbliga a interiorizzare i mutamenti sottili nell’atmosfera, e dove la seduzione sommata all’insicurezza produce senso di urgenza. Suona banale definire la moda una “struttura di controllo”: è un’etichetta che la fa apparire oscura mentre è anche una fonte di grande piacere e divertimento, ma tant’è. Forse l’urgenza si riduce troppo spesso a in- seguire la moda. Poi c’è la cultura digitale, che vuol dire stare al passo con i nuovi pro- dotti e gli aggiornamenti, e anche consegui- re una capacità di connessione con le pro- prie menate sempre e ovunque allo scopo di rendere al contempo qualunque aspetto di sé massimamente accessibile ma sicuro. Il che è paradossale, e proprio per questo tanto più interessante. Ma queste ansie non fanno altro che richiamare la “Nuvola” su di noi. La “Nuvola” rappresenta la struttura di controllo ermetica in quanto stronzata certi- ficata dalle massime istituzioni finanziarie. Il sogno del mercato è ridurre qualunque cosa a una valuta unica, per esempio il codi- ce binario, per consentire una trasmissione

facilitata al massimo senza perdita di valore alcuno nella conversione, con l’obiettivo di rendere in futuro qualunque cosa, virtuale o materiale, interscambiabile senza difficoltà con qualunque altra cosa. Ma non diretta- mente da te. E poi c’è il mondo dell’arte. L’ur- genza che ci meritiamo ha a che fare con la conoscenza e la competizione e il persegui- mento di tendenze intellettuali, ma qualche volta vuol dire anche solo preoccuparsi di Cosa Piace ai Ricchi, il che è un vicolo cieco, o Cosa Fanno i Giovani, che suscita una rea- zione del tipo: “Siamo lieti di avere la spiace- vole sensazione che stiano facendo qualcosa di importante ma incomprensibile”. Spin- ti dalla folla che si accalca da dietro con la faccia ormai spiaccicata contro la porta d’u- scita. Credo che l’urgenza di stare al passo con esposizioni ed eventi, attraverso viaggi e partecipazioni e riviste specializzate, sia alla fine una qualità professionale, o addirittura professionalizzante. Ma io non mi considero un professionista, e non penso che l’arte sia una professione.

di Seth Price

via Mousse

Si prega di godere il tempo e lo spazio.

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Aug 15

WE’VE ALWAYS LOVED THE PAST. ESPECIALLY NOW THAT IT HAS BEEN SET FREE BY THE INTERNET… RELEASED FROM THE LINEAR ACADEMIC LENS OF TIME. ISN’T THE PAST SORTA CULMINATING IN THE PRESENT? SO, WE WANT TO LINGER BACK THERE AGAIN FROM THE PERSPECTIVE OF NOW. AFTER ALL, EVERYTHING IS ALWAYS CHANGING ALL OF THE TIME… EVEN THE PAST.
Originally Posted September 17th, 2010…
The work of ROLU, rosenlof/lucas, ro/lu is featured in the new issue of Dwell.
The hard copy hasn’t arrived in the mail yet but the online photos by Dean Kaufman are great! Chk the slideshow!
It was an honor to work with great clients, Andrew Blauvelt and Scott Winter, and of course Julie Snow, one of our favorite architects.
Please enjoy the time and space and change that happens in them.