Clouds It was the year 1954 when the “Department of Tropical Architecture“ was founded at the Architectural Association (AA) London, by Maxwell Fry, Jane Drew and their colleague James Cubbitt. Tropical architecture had been a topic before the study programs foundation, large conferences like the “Conference on tropical architecture” March 1953 at University College, London or two years before in Venezuela had established the issue internationally. The AA Tropical Architecture study program ran till 1971 and was afterwards transferred to the University of London and proceeded there as the “Development Planning Unit” that is active till today. The AA program included lectures ...

Let’s be clear about something: it is infuriating that most interesting artists are perfectly capable of functioning in at least two or three professions that are, unlike art, respected by society in terms of compensation and general usefulness. When the flexibility, certainty, and freedom promised by being part of a critical outside are revealed as extensions of recent advances in economic exploitation, does the field of art become the uncritical, complicit inside of something far more interesting?

The reader presents a cross-section of the voices that populate the ongoing debate about, on the one hand, how and in what terms curating functions as a critical cultural practice, and on the other, what methodologies and histories exist with which we can critically analyse curatorial work today. This collection of essays was first published in 2007 by Revolver, in Frankfurt am Main and ICE, Institute for Curatorship and Education as the first ICE Reader…

A number of alternate, informal approaches to art and economy that arose in the Berlin of the 90s created a great deal of space and potential for rethinking relations between people, as well as possible roles for art in society. Today, however, much of this hope has since been obscured by the commercial activity and dysfunctional official art institutions most visible in the city’s art scene, and though many of the ways of living and working that were formulated in the 90s are still in practice today (not just in Berlin), many of their proponents acknowledge a feeling that the ...

Projections of the future that were made in the past are often striking in their bold naïvete—didn’t people understand then that future projections always end up looking like caricatures of past concerns? But whereas these projections do little to actually activate the future they foresaw, they do function as expressions of pure intention, and in this sense they are probably not so naïve. Rather, they indicate a certain bold willingness on the part of people of a certain time to define in explicit terms exactly how the future should function, and indeed, most of these projected futures never come to pass—they remain ...

This issue marks the beginning of e-flux journal’s second year. The open-ended editorial model seems to be working—contributors have frequently chosen to borrow, extend, or elaborate upon concerns opened up by previous texts. So far, discussions on self-design have spoken to an interest in self-building practices, the factory as a museum became the museum as a factory, while a speculative model for granting legitimacy to artistic acts in the absence of exhibition infrastructures sidestepped both spaces. An essay on the dormant potential in the art academy stimulated a discussion about art education, while questions of how art pedagogy can contribute ...

Every December, dictionaries and language societies across the globe identify the “words of the year”—words that resonated widely during the previous twelve months. In the mid-2000s, these lists were populated with words like “contempt” and “quagmire,” “ambivalence” and “conundrum.” A few years later, dominant words included “trepidation” and “precipice” and “fail,” “vitriol” and “insidious” and “bigot.” The OED’s word of the year for 2012 was “omnishambles.” 2016, however, was for OED the year of “post-truth.” Merriam-Webster selected the word “surreal.” In the wake of Brexit and the US elections, Russia’s annexation of the Crimea and Turkey’s disregard for journalistic freedom, ...

Learning from M is the first episode of the new series Going to the Limits of Your Longing, Research as Another Name for Care. It features Yvonne Volkart, author, curator and head of research at the Institute Art Gender Nature HGK FHNW, and artist and cultural producer Peter Spillmann in memory of the artist, curator, researcher, writer, and teacher Marion von Osten. Von Osten’s curatorial, theoretical, and altogether empathic approaches to the medium of exhibition-making revolved around artistic research devoted to the collective. In Learning from M, Yvonne Volkart and Peter Spillmann take the opportunity to remember Marion von Osten and talk about ...

The MyCreativity Reader is a collection of critical research into the creative industries. The material develops out of the MyCreativity Convention on International Creative Industries Research held in Amsterdam, November 2006. This two-day conference sought to bring the trends and tendencies around the creative industries into critical question. The ‘creative industries’ concept was initiated by the UK Blair government in 1997 to revitalise de-industrialised urban zones. Gathering momentum after being celebrated in Richard Florida’s best-seller The Creative Class (2002), the concept mobilised around the world as the zeitgeist of creative entrepreneurs and policy-makers. Despite the euphoria surrounding the creative industries, there ...

This issue of ONCURATING.org brings together a range of interviews and essays, inspired by the symposium, “Why Artists Curate,” held by the Kunstbüro der Kunststiftung Baden-Württemberg in cooperation with Columbus Art Foundation in July 2011. The feedback from this conference prompted a discussion on authorship in contemporary art, from artists, curators and artist-curators. Walter Benjamin’s well known essay, The Author as Producer, outlines that artists became producers when they shifted their labour from an independent creator relent on conventional artistic apparatus, to an operative, in which the skills and accomplishments of the artists are transformed by the advanced technical content of ...

A brand-new pigeon tower stands by the river Thames; the New Tate Modern in London. A brick building with small recesses and niches, and masonry reminiscent of brick expressionism; both a modern industrial building and a medieval pigeon tower. The building was designed by Basel-based architects Herzog & de Meuron in 2007, and was planned to feature a glass façade, which one year later was converted into a perforated brick façade enclosing an ornamental glass body within. From the outside, the building looks like the ideal nesting and breeding site for city pigeons: once at home in rock faces, in ...

Precariousness increasingly defines the conditions, under which people in all different fields pursue their work. Yet it is not only work, but also living conditions that have become precarious for more and more extensive portions of the European population. The present edition of the republicart web journal deals with more recent attempts to counter non-self-determined precariousness with the means of art and activism, bringing a self-determined turn to the term. In the practices of the Precarias a la Deriva in Madrid, the Glücklichen Arbeitslosen in Berlin, the French Intermittents, the May Day Parades in Barcelona and Milan, or the Italian ...