Critical Spatial Practice

  • Sol Perez Martinez
  • ‘By living we learn’ (1)

    ‘Understanding the present as the development of the past, are we not preparing also to understand the future as the development of the present?’ (2)

  • Thandi Loewenson
  • ‘Our spacecraft, Cyclops 1, will soar into deep abyssimal [sic] space beyond the epicycles of the seventh heaven. Our posterity, the Black Scientists, will continue to explore the celestial infinity until we control the whole of outer space.’
    “Dr.” Nkoloso, ‘The Moon and I’, Abercornucopia, 10 January 1964.

  • Cecilie Sachs Olsen / zURBS (www.zurbs.org)
  • ‘I speak and speak,’ Marco says, ‘but the listener retains only the words he is expecting. (…) It is not the voice that commands the story: it is the ear.’
    Italo Calvino, Invisible Cities

  • Janet McGaw
  • In this series I ask ’what happens when words become material? Ecological? Unstable? Can we sever concepts from the continents of abstract thought that precede us?’ I have tossed words into familiar environments – my paddock, kitchen, and backyard – inviting other critters – yoghurt, bacteria, dirt, introduced grasses, ancient seeds, sun, fire, rain, time – to collaborate with me.

  • Rafael Guendelman Hales
  • ‘To some degree, the histories of displaced objects are analogous to human displacements, migrations and exiles.’

  • Julieanna Preston
  • In each live art and associated writing piece, I attempted to shed language spoken and written as strictly meaning-making expressive exercises. In each project, voice, sound and noise become the gestures that help me flush out the liveness of things one vibration searching for another, and another, and so on. This effort depends on reclaiming, or better, becoming wildness – unruly, relying less methodically on my habitual cognitive-processes to guide or frame the practice, to embrace the undisciplined, and to some degree, unknowing.

  • transparadiso (Barbara Holub/Paul Rajakovics)
  • A bilingual (czech-german) scrabble-game served as tool for generating a text for the seating sculpture defining the new square. The words collected during the game formed the resource for an experimental poetic bilingual text which was only made possible through this collaborative process.

  • Lori A. Brown
  • My creative practice has generated an intense interest and commitment in an architecture of activism, one that provides meaningful opportunities to participate with and influence broader spatial concerns relevant to contemporary culture. In particular, my work seeks to identify and transform the spectrum of spatial structures within society to promote equity and inclusivity.

  • Anne Corlin
  • The name is the thing, and the true name is the true thing

  • Killian Doherty (in collaboration with Edward Lawrenson)
  • ‘The transformation of the surrounding areas, which a few years ago was an uninhabited mountainous region – considered the home of demons and devils by some of the indigenous inhabitants – and the realisation of what technical know-how and perseverance have brought about, fills with one admiration for what man can do.’

    William Tubman, President of Liberia, Speech to LAMCO Executives, 1962

  • Catalina Pollak Williamson / Public Interventions
  • Proyecto Amasandería Nacional is a mobile bakery that travels the streets of barrio Yungay (Santiago, Chile) inviting the newly arrived communities of immigrants to participate in a collective action: to bake bread in public space.

  • Laura González
  • ‘Only the subject desires; only the object seduces.’

    Jean Baudrillard, Fatal Strategies (Les strategies fatales [1983]), tr. by Philip Beitchman and W.G.J. Nieslichowski, (London: Pluto Press, 1999) p. 111.

  • Alberto Duman
  • My work is located in this messy and vulnerable intersection between art practice and urban culture, looking out for dormant areas and vacant discursive spaces into which art may still be able to play unscripted roles for a limited time.

  • Nick Beech
  • ‘Sitting by the fire is grown up, and you are not a grown up if you run around trying to avoid the smoke, which gets in your eyes, and in your lungs, and on your teeth.’

  • Stephen Loo
  • The gut is ‘the nervous system that extends well beyond the skull, and as it so travels through the body, it takes the psyche with it.’ (Elizabeth Wilson, Psychosomatics: 47) Eating becomes a performative mode of (gut) re-thinking cancer as bodies being eaten from the inside; away from cognitively-based metaphysics, towards a psychical engagement with the corporeal.

  • Tom Keeley
  • ‘So what are you doing here?’
    ‘I’m walking the border’
    ‘Oh you mean the British border?’
    ‘…’
    ‘Well the Irish didn’t put it there did they?’

  • Barbara Holub (realized with Marie Christine Rissinger, Elisabeth Stephan & Julian Verocai)
  • The 1st World Congress of the Missing Things was realized in public space in the delapidated former city center of Baltimore, and shifted the usual format of a congress with its division between a panel and an audience – from exclusion to inclusion: its content was produced by the people of Baltimore.

  • Lori A. Brown and ArchiteXX Design Action
  • My creative practice has generated an intense interest and commitment in an architecture of activism, one that provides meaningful opportunities to participate with and influence broader spatial concerns relevant to contemporary culture. In particular, my work seeks to identify and transform the spectrum of spatial structures within society to promote equity and inclusivity.

  • Katy Beinart
  • A Game of Dominoes is an artwork that contains and translates stories and memories collected in Brixton during the Anchor & Magnet project residency in 2012-13. A unique domino set featuring drawings from the stories is used alongside a set of cards which contain the questions asked and stories told.

  • Ana Araujo (in the collaboration with Catalina Mejia Moreno)
  • The exhibition investigated the connections between two well-known designers, the Italo-Brazilian Lina Bo Bardi and her mentor, the Italian architect and designer Gio Ponti. Our aim was to reposition Ponti’s and Bo Bardi’s work as part of an existing architectural and cultural tradition rather than idealizing them as exceptions to the rule, as is established by more conventional historical approaches.

  • Juliet Sprake
  • I explore theories concerned with spatial practice that work across art, architecture and education to argue for a shift in subjectivity from guide to participant in the production of tours. Jonathan Hill’s concept of ‘creative users’, Jane Rendell’s ‘critical spatial practice’ and Richard Edwards’ & John Usher’s ‘pedagogies of (dis)location’ are formative in creating an interdisciplinary context for making tours, a process that focuses on the social dimensions of interacting with people objects and places whilst on-the-move.

  • David Roberts
  • Welcome to the estate.
    Ladies and gentlemen, thank you for being here.
    Thank you for caring.
    This building will fall in a matter of days.
    [Turning to face the building, outstretching his arm and speaking slowly] It’s great to meet you, here, face to face.
    [Turning back to the group] Please make time to get to know it.

  • The Decorators + Atelier Chan Chan
  • Ridley’s was a public realm intervention that combined food and architecture, featuring a food-for-food exchange system. This collaborative project destabilized the traditional format of the restaurant where the boundaries between “designer”, “producer” and “consumer” tore apart to give way to new roles: everyone was a maker, a fundamental cog of the food system.

  • Sarah Breen Lovett (with WeiZen Ho, Alan Schacher, Honi Ryan, Ben Denham, Monika Books & Clare Cooper)
  • About an hour and a half drive west of Sydney, through the urban sprawl, across the Nepean River and into the depths of one of Australia’s most vast national parks, The Blue Mountains, sits the Blue Mountains’ oldest surviving building now known as the Woodford Academy.

  • Sarah Breen Lovett (with co-curators Claudia Perren, Lee Stickells & Yvette Hamilton)
  • ‘Expanded Architecture … reveal(s) some of the possibilities offered by thinking about alternative architectural and artistic practices, as well as highlight the ways in which questions about architecture’s disciplinary edges remain alive.’ Alexandra Brown, Architectural Theory Review, 22, n. 2 (2018) pp. 292–95

  • Mohamad Hafeda
  • The political-sectarian conflict resurfaced in Lebanon since 2005 manifests a variety of physical borders in the urban space in the form of security checkpoints, demarcation lines and violent clashes. Yet these material occurrences and divisions extend into the immateriality of residents’ spatial practices in the form of bordering practices, that are tactical and/or critical – […]

  • Aslihan Senel
  • Critical topographical practices suggest an understanding of topography that is more performative than representational; because, performance rejects the reproduction of ‘certain’ knowledge and suggests that knowledge depends on viewers’ personal engagements, meanings and associations. As such, topographical practices may produce multiple embodied and situated knowledges.

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