Members Tour: ALL THAT IS SOLID by Pablo Gómez Uribe
Members of Storefront for Art and Architecture are invited to a tour of ALL THAT IS SOLID, the current exhibition at PROXYCO Gallery. The tour will be led by artist Pablo Gómez Uribe.
Members of Storefront for Art and Architecture are invited to a tour of ALL THAT IS SOLID, the current exhibition at PROXYCO Gallery. The tour will be led by artist Pablo Gómez Uribe.
Graphic design by Pentagram.
97 Kenmare Street
Thursday, December 6th, 2018
7 – 9 pm
With Lydia Kallipoliti, Peder Anker, Ross Exo Adams, Anna Dyson, Andrés Jaque, Anthony Vidler, and Mark Wigley
What do space capsules, submarines, and office buildings have in common? Each was conceived as a closed system: a self-sustaining physical environment demarcated from its surroundings by a boundary that does not allow for the transfer of matter or energy.
The history of twentieth-century architecture, design, and engineering has been strongly linked to the conceptualization and production of closed systems. As partial reconstructions of the world in time and in space, closed systems identify and secure the cycling of materials necessary for the sustenance of life. Contemporary discussions about global warming, recycling, and sustainability have emerged as direct conceptual constructs related to the study and analysis of closed systems.
From the space program to countercultural architectural groups experimenting with autonomous living, The Architecture of Closed Worlds, Or, What is the Power of Shit? (Lars Müller, 2018) documents a disciplinary transformation and the rise of a new environmental consensus in the form of a synthetic naturalism, wherein the laws of nature and metabolism are displaced from the domain of wilderness to the domain of cities and buildings. While these ideas derive from a deeply rooted fantasy of architecture producing nature, The Architecture of Closed Worlds displays their integration into the very fabric of reality in our contemporary cities and buildings.
Manifesto Series: Closed Worlds brings together a panel of architects, building technologists, and historians to discuss the complex and divergent legacies of sustainable design practice as a bodily reality, beyond the statistics of resource management. Participants will be asked to present manifestos that convey counter histories and projected futures of closed systems in order to consider the potential impact of designing environments that simultaneously provide enclosure, sustainability, and sustenance. In order to challenge the established sustainability axiom “cradle to cradle,” one may need to look at shit.
About the Manifesto Series
The Manifesto Series format invites participants to denounce a present or past condition, proclaim an alternative present, past or future situation, and indicate a strategy or method of action.
About the Book
The Architecture of Closed Worlds, Or, What is the Power of Shit? presents an archive of 37 historical living prototypes from 1928 to the present that put forth an unexplored genealogy of closed resource regeneration systems. Prototypes are presented through unique discursive narratives accompanied by historical images, and each includes new analysis in the form of a feedback drawing that problematizes the language of environmental representation by illustrating loss, derailment, and the production of new substances and atmospheres. Each drawing displays a feedback loop, wherein the human physiology of ingestion and excretion becomes the combustion device of an organizational system envisioned for humans, animals, and other live species. The moments of failure portrayed when closed worlds escape the designed loop cycles raise a series of questions about the ontology of autonomous enclosures.
The book also showcases a timeline of the 37 prototypes, illuminating the ways in which they have contributed to the idea of “net zero” in our contemporary culture of sustainability. The timeline highlights the evolution of total circular resource regeneration, from military research and the experiments of NASA’s space program, to more contemporary manifestations such as the benefits of the housing industry, countercultural practice for autonomous living in the city, nostalgia for the homesteading movement, and ecological tourism and environmental capitalism.
This book examines ecological questions viscerally, via the raw ecology of our bodies and their excrement. It studies recycling not as a statistical problem related to the management of urban resources but as a basic bodily reality affecting the water we consume and the air we breathe. To write a counter-history to the established sustainability axiom “cradle to cradle,” one needs to look at shit. Only through this raw confrontation may the ecology of life be somehow useful. To avoid clichés of sustainability, shit might be our only way out.
This book is supported by the Robert S. Brown ’52 Fellows Program at Rensselaer Polytechnic Institute, Elise Jaffe & Jeffrey Brown, and Pentagram Design. It is based on the exhibition Closed Worlds, presented at Storefront’s gallery space in 2016.
Book design by Pentagram / Natasha Jen. Afterword essays by: Michelle Addington, Bess Krietemeyer, and Mark Wigley. Comments by: Peder Anker, Daniel Barber, Wulf Böer, Christina Ciardullo, Beatriz Colomina, Ross Exo Adams, Mitchell Joachim, Janette Kim & Eric Carver, Caroline Maniaque-Benton, Jonathan Massey, Albert Narath, and Theodora Vardouli.
About the Author
Lydia Kallipoliti is an architect, engineer, and scholar whose research focuses on the intersections of architecture, technology, and environmental politics, and more particularly on recycling material experiments as well as theories of waste and reuse. She is an Assistant Professor of Architecture and the Director of the Master of Science Program at Rensselaer Polytechnic Institute. She has also taught at Syracuse University, Columbia University (GSAPP), Pratt Institute and the Cooper Union, where she also served as a Senior Associate at the Institute for Sustainable Design and as the Feltman Chair in Lighting.
Her work has been published and exhibited widely including the Venice Biennial, the Istanbul Design Biennial, the Shenzhen Biennial, the Onassis Cultural Center and the Royal Academy of British Architects. Kallipoliti was the founder of EcoRedux, an innovative online open–source educational resource documenting the history of ecological experimentation, for which she received a silver medal in the W3 awards for environmental awareness, an honor at the 14th Webby Awards in Digital Arts and Sciences, the High Meadows Sustainability Fund, and the Lawrence Anderson Award for the creative documentation of architectural history. EcoRedux was also a traveling exhibition (including museums in Athens, New York and the Design Hub in Barcelona) and an issue of Architectural Design magazine (AD) edited by Kallipoliti in 2010.
Recently she authored The History of Ecological Design for Oxford English Encyclopedia of Environmental Science (2018) and the book The Architecture of Closed Worlds, Or, What is the Power of Shit (Lars Muller Publishers/Storefront for Art and Architecture, 2018), based on the exhibition, Closed Worlds, at Storefront for Art and Architecture in 2016, and supported by the Graham Foundation, the New York State Council for the Arts, as well as the ACSA award for creative achievement. Kallipoliti holds a Diploma in Architecture and Engineering from the Aristotle University of Thessaloniki, Greece, a Master of Science (SMArchS) in design and building technology from MIT and a PhD in history and theory of architecture from Princeton University.
Ross Exo Adams is the FRK Faculty Fellow Assistant Professor of Architecture & Urban Theory at Iowa State University. His research looks at the history and politics of urbanization. He has published and presented widely on social and political relations between architecture, urban design, geography, and climate change. His research has been supported by fellowships and grants from the Royal Institute of British Architects, The London Consortium, Iowa State University and The MacDowell Colony. He has taught at the Bartlett, the Architectural Association, the Berlage Institute in Rotterdam, and the University of Brighton and is the Reviews Editor for The Journal of Architecture. His monograph, Circulation and Urbanization, is forthcoming this winter.
Peder Anker is Associate Professor at the Gallatin School of Individualized Study at New York University. His teaching and research interests lie in the history of science, ecology, environmentalism and design, as well as environmental philosophy. He has received research fellowships from the Fulbright Program, the Dibner Institute and the Max Planck Institute for the History of Science, and been a visiting scholar at both Columbia University and University of Oslo. He is the co-author of Global Design: Elsewhere Envisioned (Prestel, 2014) together with Louise Harpman and Mitchell Joachim. He is also the author of From Bauhaus to Eco-House: A History of Ecological Design (Louisiana State University Press 2010), which explores the intersection of architecture and ecological science, and Imperial Ecology: Environmental Order in the British Empire, 1895-1945 (Harvard University Press, 2001), which investigates how the promising new science of ecology flourished in the British Empire. Professor Anker’s current book project explores the history of ecological debates in his country of birth, Norway. Peder Anker received his PhD in history of science from Harvard University in 1999.
Anna Dyson teaches design, technology, and theory at the School of Architecture at Rensselaer. She is the director of The Center for Architecture, Science and Ecology (CASE) which hosts the Graduate Program in Architectural Sciences, concentration is Built Ecologies. She has worked as a design architect and product designer in several offices in Canada, Europe, and the United States. Her work has been exhibited in the MoMA Young Architects Series, and was a finalist in the international Next Generation Design Competition. Dyson holds multiple international patents for building systems inventions and is currently directing interdisciplinary research sponsored to develop new systems for on-site energy generation. Dyson received a Baccalauréat Général from Université Laval and a Master of Architecture from Yale University.
Andrés Jaque, Phd Architect (ETSAM), is an Associate Professor of Professional Practice at Columbia GSAPP, where he directs the Master of Science program in Advanced Architectural Design. Jaque is the founder of the Office for Political Innovation, an architectural practice based in New York and Madrid, Spain, and has been teaching advanced design studios at Columbia GSAPP since 2013. His architectural work includes ‘Plasencia Clergy House’, ‘House in Never Never Land’, ‘TUPPER HOME’, ‘ESCARAVOX’ or ‘COSMO, MoMA PS1’. The Office for Political Innovation has been awarded with the SILVER LION to the Best Research Project at the 14th Venice Biennale, the Dionisio Hernández Gil Award, London Design Museum’s Designs of the Year Selection, Mies van der Rohe Award (finalist) and Architectural Record’s Designers of the Year Selection. Their publications include PHANTOM. Mies as Rendered Society, Different Kinds of Water Pouring into a Swimming Pool, Dulces Arenas Cotidianas or Everyday Politics; and their work has being included in the most important media, including A+U, Bauwelt, Domus, El Croquis, The Architectural Review, Volume or The New York Times; and exhibited at the Museum of Modern Art MoMA, London Design Museum, MAK in Vienna, Tel Aviv Museum of Art, RED CAT Cal Arts Contemporary Art Center in Los Angeles, Z33 in Hasselt, Schweizerisches Architektur Museum in Basel, the Cité de l’Architecture et du Patrimoine de Paris, the Hellerau Festspielhaus in Dresden, Princeton University SoA.
Anthony Vidler received his professional degree in architecture from Cambridge University in England, and his doctorate in History and Theory from the University of Technology, Delft, the Netherlands. Dean Vidler was a member of the Princeton University School of Architecture faculty from 1965–93, serving as the William R. Kenan Jr. Chair of Architecture, the Chair of the Ph.D. Committee, and Director of the Program in European Cultural Studies. In 1993 he took up a position as professor and Chair of the Department of Art History at UCLA, with a joint appointment in the School of Architecture from 1997. Dean Vidler was appointed Acting Dean of the Irwin S. Chanin School of Architecture of The Cooper Union in 2001, and Dean of the School in 2002. A historian and critic of modern and contemporary architecture, specializing in French architecture from the Enlightenment to the present, he has consistently taught courses in design and history and theory and continues to teach a wide variety of courses at The Cooper Union. He stepped down from the Deanship in 2013. As designer and curator he installed the permanent exhibition of the work of Claude-Nicolas Ledoux in the Royal Salt Works of Arc-et-Senans in Franche-Comté, France, as well as curating the exhibition, Ledoux et les Lumières at Arc-et-Senans for the European year of Enlightenment. In 2004 he was asked to curate the portion of the exhibition Out of the Box dedicated to James Stirling, for the Canadian Center of Architecture, Montreal, and in 2010 installed the exhibition Notes from the Archive: James Frazer Stirling, in the Yale Centre for British Art, an exhibition that then travelled to the Tate Britain and the Staatsgalerie, Stuttgart in 2011. His publications include The Writing of the Walls: Architectural Theory in the Late Enlightenment (Princeton Architectural Press, 1987), The Architectural Uncanny: Essays in the Modern Unhomely (MIT Press, 1992), Warped Space: Architecture and Anxiety in Modern Culture (MIT Press, 2000), James Frazer Stirling: Notes from the Archive (Yale University Press, 2010), and The Scenes of the Street and other Essays (Monacelli Press, 2011). He is a Fellow of the American Academy of Arts and Sciences, and received the architecture award from the American Academy of Arts and Letters in 2011.
Mark Wigley is Professor and Dean Emeritus at Columbia GSAPP. He served as Dean from 2004 to 2014. Wigley has written extensively on the theory and practice of architecture and is the author of Constant’s New Babylon: The Hyper-Architecture of Desire (1998); White Walls, Designer Dresses: The Fashioning of Modern Architecture (1995); and The Architecture of Deconstruction: Derrida’s Haunt (1993). He co-edited The Activist Drawing: Retracing Situationalist Architectures from Constant’s New Babylon to Beyond (2001). In 2005 he co-founded Volume magazine with Rem Koolhaas and Ole Bouman as a collaborative project by Archis (Amsterdam), AMO (Rotterdam), and C-lab (Columbia University). Wigley curated the exhibition Deconstructivist Architecture at The Museum of Modern Art, and others at The Drawing Center, New York; Canadian Centre for Architecture, Montreal; and Witte de With Museum, Rotterdam. Mark Wigley was awarded the Resident Fellowship, Chicago Institute for Architecture and Urbanism (1989), International Committee of Architectural Critics (C.I.C.A.) Triennial Award for Architectural Criticism (1990) and a Graham Foundation Gran (1997). He received both his Bachelor of Architecture (1979) and his Ph.D. (1987) from the University of Auckland, New Zealand.
Photo by Inessa Binenbaum.
Subculture Open Lab Days
With Dr. Elizabeth Hénaff
Friday, November 2nd, 2018 and Friday, December 14th, 2018
11 am – 6 pm
Open to all
Storefront’s current exhibition Subculture: Microbial Metrics and the Multi-Species City brings together work in biology, data science, material science to to reframe the value of microbial communities found in urban spaces. As an active laboratory for metagenomic sequencing, the gallery space explores the invisible ecologies and genetic landscapes of the built environment through the practice and study of genetic material collected directly from environmental samples across New York City.
On two Fridays this fall, the laboratory will be active and open to all to view. Dr. Elizabeth Hénaff, a computational biologist and one of the exhibition collaborators, will conduct the second and third rounds of DNA sequencing as part of the ongoing experiment.
Stop by at any point during these two Fridays to learn more about the process from Dr. Hénaff and Storefront’s staff.
Bioinformatics for Environmental Metagenomics 101: Introduction to DNA Sequencing and Analysis
With Dr. Elizabeth Hénaff
Saturday, November 10th, 2018
97 Kenmare Street
2 – 4 pm
RSVP required. Capacity capped at 20. If you are interested in attending, please email firstname.lastname@example.org with a brief statement about your relevant interests and background.
What is the DNA of the city?
Utilizing technological innovations of web-based, open source, and small-scale genetic sequencing devices, it is possible to collect, extract, sequence, and analyze microbial life of our immediate environments through novel and rapidly evolving techniques.
Bioinformatics for Environmental Metagenomics 101: Introduction to DNA Sequencing and Analysis, led by Dr. Elizabeth Hénaff, provides an introduction to the molecular structure of DNA through the basics of transcription and translation. Participants will learn about the current methods of “reading” sequences through the use of both short- and long- read DNA sequencing technologies. Using a sample dataset that includes metagenomic data from Subculture, participants will employ online tools to perform sequence alignments and searches, gaining an understanding of the applications and interpretations of this data for environmental metagenomics.
As as part of Subculture (and for use in this workshop), genetic material has been extracted from the bio-receptive wooden tiles installed on Storefront’s façade for analysis and interpretation. The materials, exposed directly to their environments, undergo a process designed to indicate the metabolic functions of the geographically-specific microbiome found on Kenmare Street. In this 101 workshop, participants will have the opportunity learn about the underlying principles and processes of the ongoing experiment at Storefront.
Requirements for participants for 101:
– Laptop computer with a web browser. Tablet use is possible but not recommended.
Bioinformatics for Environmental Metagenomics 202: Interpreting the Microbiome for Design
With Dr. Elizabeth Hénaff and Blacki Migliozzi
Saturday, December 15th, 2018
97 Kenmare Street
1 – 4 pm
RSVP required. Capacity capped at 10. If you are interested in attending please email email@example.com with a brief statement about your relevant interests and background.
We are increasingly aware of the invisible and ubiquitous microbial component of our lives – in and on our bodies and in our environments. But, how do we actually measure these? What if we want to determine which bacteria are living around us?
In Bioinformatics for Environmental Metagenomics 202: Interpreting the Microbiome for Design, participants will learn the methods for identifying microbial species with DNA sequencing data, understand their functions, and explore their implications for urban design decisions. The workshop will utilize the dataset acquired for Subculture: Microbial Metrics and the Multi-Species City. Participants will learn about file formats used for sequencing data and how to manipulate them, and will gain hands-on experience with computational tools used to identify bacterial species, their genes, and methods for visualizing the results that are generated.
Requirements for participants for 202:
– Laptop computer with a UNIX-based operating system. Tablet use is not possible.
Devora Najjar collecting samples from hives in Brooklyn. Elizabeth Hénaff. 2015.
97 Kenmare Street
Saturday, November 10, 2018
With David Benjamin, Ariane Lourie Harrison, Elizabeth Hénaff, and Kevin Slavin
What does it mean to design for multiple species? When we do not, are we committing unknown crimes?
Increasingly, architects, biologists, designers, and technologists are working to produce more bio-receptive and symbiotic environments—but not without some tumultuous stories. Interrogation Series: Across Scales and Species brings together these experts and others to reveal the effects of the built environment and microbiological ecologies on genetic landscapes, from urban spaces to our bodies. In the form of a deposition, participants will answer a series of questions that serve to interrogate our current understandings of design amidst potentially delinquent and entirely human-centered design practices.
In 2010, a 50-year-old maraschino cherry factory in Red Hook, Brooklyn developed a colorful problem: bees across the city were producing red honey, attracting all sorts of attention. Fast forward five years, and the story grew to include the Brooklyn District Attorney, the Department of Environmental Conservation, a 2500 square foot marijuana growhouse, and a suicide. It played out amidst parallel concerns around food safety, insect health, and industrial runoff in a strange biocriminal saga that reaffirmed our collective indebtedness to bees.
Drawing on the latent detective prowess of bees, a team of experts from MIT, NYU, Cornell, and The Cooper Union came together to install hives around the city in 2015 as part of a project called Holobiont Urbanism. The apiaries positioned bees as metagenomic sensors that could collect data about the microbial communities found within their flight ranges. This burgeoning field of research reveals origins, actions, and destinations of humans and animals in neighborhoods around the city, shedding light upon entirely new species and ecosystems as well as methods for fighting pollutants present in the air and water.
Storefront’s current exhibition, Subculture: Microbial Metrics and the Multi-Species City questions the common perceptions of our interactions with the microscopic world, providing insight into the future of design, from data science to material science. It proposes future-oriented practices of data collection and interpretation that can produce new modes of environmental perception.
To read more about the installation and exhibition, see Subculture: Microbial Metrics and the Multi-Species City.
Prior to Interrogation Series: Across Scales and Species, Dr. Elizabeth Hénaff will lead the first of two workshops entitled Bioinformatics for Environmental Metagenomics. To read more about the workshop, see HERE.
About the Interrogation Series
The Interrogation Series employs the format of an interview, deposition, or Q&A to evince and implicate emerging modes of thought within institutionalized practices. With the presumption that a crime (a book, building, photograph, thought…) has been perpetrated, a dialogical exchange documents a testimony with an open-ended verdict, be it confession, indictment, or exoneration.
About the Participants
Ariane Lourie Harrison is an architect, educator, and co-founder of Harrison Atelier. Ariane has taught at the Yale School of Architecture since 2006, in the graduate and undergraduate studio and design sequences and in the graduate history/theory sequence. She is also currently teaching at Pratt Institute GAUD in the MS Arch program. She is the editor of Architectural Theories of the Environment: Posthuman Territory (Routledge, 2013). Ariane worked at Eisenmann Architects (May 2006 through August 2008). She is the editor of Ten Canonical Buildings by Peter Eisenmann (Rizzoli, 2008). Ariane received her Ph.D in architectural history from the Institute of Fine Arts NYU with a thesis titled, “Mass-Produced Aura: Thonet and the Market for Modern Design, 1930-1953″. She received her M.Arch from Columbia University and an AB, summa, in architectural history from Princeton University. She is a LEED AP and registered architect in the state of New York.
Dr. Elizabeth Hénaff is a computational biologist and assistant professor at the NYU Tandon School of Engineering. At the center of her research is a fascination with the way living beings interact with their environment. She has made contributions to understanding how plants respond to the force of gravity, how genome structure changes in response to stress, and most recently has turned her attention to the ubiquitous and invisible microbial component of our environment. This inquiry has produced a body of work that ranges from scientific articles in peer-reviewed journals, to projects with landscape architects, to working as an artist in environments from SVA to the MIT Media Lab. She teaches courses in BioDesign in the Integrated Digital Media department at NYU Tandon.
The Living (led by David Benjamin) is a design studio and an experiment in living architecture. Its work focuses on expanding the definition of environmental sustainability through the frameworks of biology, computation, and a circular economy. The studio has won design awards from the American Institute of Architects, the Architectural League, the Mies Crown Hall Americas Prize, the Museum of Modern Art, Ars Electronica, the German Federal Government, and Holcim Foundation. Recent projects include the Embodied Computation Lab (a new building for research on sensors and robotics) and Hy-Fi (a branching tower made of a new type of biodegradable brick). A monograph about the studio, Now We See Now: Architecture and Research by The Living, will be published by The Monacelli Press in Fall 2018. The studio team is: David Benjamin (Founding Principal), John Locke, Danil Nagy, Damon Lay, Dale Zhao, Jim Stoddart, Ray Wang, and Lorenzo Villaggi.
Kevin Slavin was the Founding Chief Science and Technology Officer for The Shed as well as the Founder of the Playful Systems group at MIT’s Media Lab, where he retains a Research Affiliate title. As an entrepreneur, he has founded and co-founded several companies, including Area/Code, one of the earliest pioneers of geolocative gaming, acquired to become the New York office of Zynga in 2011. He is one of the founding editors and is on the Editorial Board of the MIT Press Journal of Design and Science, and is on the board of The Cooper Union, where he was Vice-Chair between 2014 and 2016. He co-developed the Urban Computing class at NYU’s ITP. and has taught at ITP, Cooper Union, MIT, and Fabrica, among others.
#CriticalHalloween #CriticalMidterms #electionday @storefrontnyc
Storefront’s Critical Halloween Party Bibliography is a compilation of readings that acts as a resource for individuals interested in investigating the topic of each year’s Critical Halloween event. The bibliography for this year’s theme “REAL” focuses in particular on political embodiment, philosophical notions of reality, architectural and spatial imaginations, simulationism and computation, realism and surrealism in art, violence and architecture, and more.
The REAL can carry connotations of politics, technology, ontology, and capital, as well as alternative or obscured history and thought. With this bibliography, we collect existing philosophies, ideologies, and knowledge in the archives of history through a series of texts that sheds light upon the articulation of thoughts, costumes, and critique.
To submit your own contributions to the bibliography REAL, and to be featured on Storefront’s Instagram account, send an email with citations and your Instagram handle to firstname.lastname@example.org with the subject line “REAL REFERENCES.”
PARTY BIBLIOGRAPHY : REAL
Atkinson, Niall; Lui, Ann; Zeiger, Mimi et al. Dimensions of Citizenship: Architecture and Belonging from the Body to the Cosmos. Los Angeles, CA: Inventory Press, 2018.
Baudrillard, Jean. Simulacra and Simulation. Ann Arbor, MA: University of Michigan Press, 1994.
Breton, André. Manifesto of Surrealism, 1924. Reprinted in Manifestoes of Surrealism. Trans. Seaver, Richard and Lane, Helen R., Ann Arbor, MI: The University of Michigan Press, 1969.
Davis, Angela Y. If They Come in the Morning …Voices of Resistance. New York, NY: The Third Press, Joseph Okpaku Publishing, 1971.
Debord, Guy. Society of the Spectacle. Kalamazoo, MA: Black & Red, 2000.
Du Bois, W.E.B. Black Reconstruction in America: An Essay Toward a History of the Part Which Black Folk Played in the Attempt to Reconstruct Democracy in America, 1860–1880. New York, NY: Harcourt, Brave and Company, 1935.
Du Bois, W.E.B. “The Comet,” Darkwater, 1920. Reprinted in Dark Matter: The Anthology of Science Fiction, Fantasy and Speculative Fiction by Black Writers, eds. Simmons, Martin and Thomas, Sheree, New York, NY: Aspect/Warner Books, 2000.
Fraser, Nancy. Fortunes of Feminism: From State-Managed Capitalism to Neoliberal Crisis. London: Verso Books, 2013.
Harvey, David. Rebel Cities: From the Right to the City to the Urban Revolution. London: Verso Books, 2012.
Hoskyns, Catherine. Integrating Gender: Women, Law and Politics in the European Union. London: Verso Books, London, 1996.
Jayawardena, Kumari. Feminism and Nationalism in the Third World in the 19th and Early 20th Centuries. The Hague, Netherlands: Institute of Social Studies, 1982.
Kant, Immanuel. Critique of Practical Reason. trans. Thomas Kingsmill Abbott, New York, NY: Cosimo Inc., 2009.
Kluge, Alexander and Negt, Oskar. Public Sphere and Experience: Analysis of the Bourgeois and Proletarian Public Sphere. London: Verso Books, 2016.
Korsgaard, Christine M. Creating the Kingdom of Ends: Reciprocity and Responsibility in Personal Relation. Cambridge, UK: Cambridge University Press, 1996.
Madden, David and Marcuse, Peter. In Defense of Housing: The Politics of Crisis. London: Verso Books, 2016.
Marcuse, Herbert. One-Dimensional Man: Studies in the Ideology of Advanced Industrial Society. Boston, MA: Beacon Press, 1964.
Monbiot, George. How Did We Get into This Mess? Politics, Equality, Nature. London: Verso Books, 2016.
Mouffe, Chantal. “Every Form of Art Has a Political Dimension.” Interview by Rosalyn Deutsche, Branden W. Joseph and Thomas Keenan,” Grey Room 02 (Winter 2001): 98-125.
Mouffe, Chantal. “Artistic Activism and Agonistic Spaces.” Volume 1. No. 2. Summer 2007 Art & Research, Studio 55 Centre for Research in Fine Art Practice, http://www.artandresearch.org.uk/v1n2/mouffe.html
Moyn, Samuel. Human Rights and the Uses of History. London: Verso Books, 2017.
Nixon, Rob. Slow Violence and the Environmentalism of the Poor. Cambridge, MA: Harvard University Press, 2011.
Reichardt, Jasia. Robots: Fact, Fiction, and Prediction. New York, NY: Thames & Hudson Ltd. 1978.
Said, Edward. Orientalism. New York, NY: Pantheon Books,1978.
Shraya, Vivek. I’m Afraid of Men. London: Penguin Books, 2018.
Simon, Joshua. “Neo-Materialism: Part I: The Commodity and the Exhibition.” Journal #20, e-flux, November 2010 https://www.e-flux.com/journal/20/67643/neo-materialism-part-i-the-commodity-and-the-exhibition/.
Solnit, Rebecca, Call Them by Their True Names : American Crises (and Essays). Chicago, Illinois: Haymarket Books, 2018.
Tafuri, Manfredo. The Sphere and the Labyrinth: Avant-Gardes and Architecture from Piranesi to the 1970s. Trans. Pelligrino d’Acierno and Robert Connolly, Cambridge, MA: MIT Press, 1990.
Therborn, Göran. Cities of Power: The Urban, The National, The Popular, The Global. London: Verso Books, 2017.
Tuck, Eve and Yang, K. Wayne. “Decolonization is not a metaphor,” Decolonization: Indigeneity, Education, & Society 1, 1, 2012.
U.S. Constitution, 1788.
Vaid-Menon, Alok. Femme in Public. New York, NY: 8 Ball Community, 2017.
Vidler, Anthony The Architectural Uncanny: Essays in the Modern Unhomely. Cambridge, MA: MIT Press, 1992.
Wark, McKenzie. Molecular Red: Theory for the Anthropocene. London: Verso Books, 2016.
Weizman, Eyal. Forensic Architecture: Violence at the Threshold of Detectability. Cambridge, MA: MIT Press, 2017.
Tuesday, November 6th, 2018
8 pm–12 am
Storefront for Art and Architecture
97 Kenmare Street, New York
It’s time to get REAL.
Halloween is one week before the 2018 U.S. midterm elections. Maybe our political context is so surreal that we’d like to believe that more of our Facebook and RSS feeds are just “fake news.” Maybe we’d rather retreat into alternative and virtual realities, the Really Really Free Market, or the comfortable spectacle of the brand (where they’re not shoes; they’re Nikes).
Maybe it’s easier to think of it all as a simulation, in which everything is imaginary and nothing hurts. Maybe, shocked back to reality by a bogus tweet, you’re wondering how it’s possible we got to this level of realpolitik…and what you can do about it.
In 2018, the real can’t be limited to concept; it is more tangible than ever. Real lives are at risk worldwide, from Brazil to Bhutan. As (and in solidarity with) survivors of assault, brutality, and displacement, we need authentic healing at individual, community, and legislative scales.
So this year, we’re changing it up. We’re asserting that, as a society, the most important piece of real estate we can claim is the voting booth. We’re calling out the irrationality of gerrymandering and restrictive voter ID laws. We’re addressing the civic architecture of our time, and, with your help, reshaping it to represent what’s really real this election cycle.
For Critical Halloween: REAL, Storefront partners with the Movement Voter Project, a non-profit that works to mobilize voter turnout around issue-based campaigns in forty states across the country.
Instead of buying a ticket, we’re asking you to become a member of Storefront at any level. For each membership pledge that is made toward Critical Halloween: REAL, an equal amount will be donated to Movement Voter Project in support of issues such as economic fairness, racial justice, gender equality, immigration, LGBTQ advocacy, healthcare access, and environmental sustainability through electoral change.
In other words, your membership to Storefront will have a REAL impact on a broad range of ideas and solutions that cross disciplinary and geographic boundaries, and will simultaneously empower voters nationwide.
On Tuesday, November 6th (ok, so it’s not really on Halloween), we invite you to bring your realest self to Storefront’s gallery space to hang out, watch the results, hear from each other, and have a drink. Come as you are, or as you want to be. This year, renewed aspirations are a critical part of our collective reality.
Let’s make this Halloween REALLY Critical. We hope you’ll join us.
ABOUT CRITICAL HALLOWEEN
Critical Halloween is a space of reflection and action based upon the belief that critical ideas have a place within even the most seemingly carefree manifestations of our culture: the Halloween costume party. Each year, Critical Halloween is a party, an intellectual debate, a costume competition, and space for the expression of radical thought.
This year, it’s also a way to create actual change in our political system.
New York, NY — After an extensive international search, Storefront for Art and Architecture announces the appointment of José Esparza Chong Cuy as the organization’s next Executive Director and Chief Curator. He will assume the position on November 1st, 2018.
An architect, curator, and writer originally from Mexico, José Esparza Chong Cuy arrives to Storefront from the Museum of Contemporary Art Chicago (MCA), where he has served as the Pamela Alper Associate Curator at the since 2016. Prior to his time in Chicago, Esparza Chong Cuy was Associate Curator at Museo Jumex in Mexico City, Co-Curator of the Lisbon Architecture Triennial, Contributing Editor at Domus magazine, Research Fellow at the New Museum, and Curatorial Associate at Storefront for Art and Architecture.
Charles Renfro, President of Storefront’s Board of Directors, remarked:
“We are thrilled to welcome José to the helm of Storefront, the very institution where he began his curatorial career over a decade ago. Since then, he has established himself as an innovative thinker working across disciplines in some of North America’s most prestigious cultural institutions. José’s rigor and insight will reinforce Storefront’s role as a crucial and necessary platform at the intersection of art and architecture. Through his background and experiences in Mexico, the US, and globally, he embodies the broad perspectives that Storefront has become known for, bringing a critical voice to contemporary issues at every scale—from local and regional to national and international. We are excited to have him lead the vision for Storefront’s future.”
At the MCA, Esparza Chong Cuy most recently organized a major exhibition of the museum’s collection to celebrate its 50th anniversary. Among other projects, he curated solo exhibitions of works by Tania Pérez Córdova and Mika Horibuchi, and organized a major commission by Federico Herrero. He is currently organizing a solo exhibition of Jonathas de Andrade; a major retrospective of the work of Lina Bo Bardi, co-organized and co-curated with the Museu de Arte de São Paulo and Museo Jumex; and a show of recent acquisitions he brought into the MCA’s collection. He will continue to oversee these exhibitions as curator.
Prior to his current position, while serving as Associate Curator at Museo Jumex in Mexico City, Esparza Chong Cuy worked with artists and architects such as Alexandra Bachzetsis, LANZA Atelier, N.A.A.F.I, Pedro Reyes, and Pedro & Juana, among others. At Museo Jumex, he launched an exhibition series entitled Pasajeros and co-curated its first two editions featuring Jerzy Grotowski and Esther McCoy.
In 2013, as Co-Curator of the Lisbon Architecture Triennial, he commissioned major works by Frida Escobedo and Andrés Jaque. From 2007-2012, he lived and worked in New York City, where he held positions at Storefront for Art and Architecture, the New Museum, and Domus magazine. Esparza Chong Cuy holds a Master of Science in Critical, Curatorial, and Conceptual Practices in Architecture from Columbia University’s Graduate School of Architecture, Planning, and Preservation, as well as a Bachelor of Architecture from the Instituto Tecnológico y de Estudios Superiores de Occidente in Guadalajara, Mexico.
Esparza Chong Cuy, about his return to Storefront and appointment as its next leader, says:
“Storefront for Art and Architecture has shaped me both personally and professionally in more ways that I can convey. It was a launching pad for my career, and it is a true honor and privilege to be a part of its future. Storefront is an extraordinarily rare and experimental institution that has pushed curatorial boundaries by working explicitly at the intersection of art and architecture. Throughout the years, its founding mission has created and produced unique perspectives and understandings of the built environment to a broad range of audiences. Through my directorship, I will strive to carry on this legacy by continuing to build bridges across contexts and disciplines, and to provide new tools to navigate the complex world we live in.”
José Esparza Chong Cuy’s appointment follows the leadership of Eva Franch i Gilabert—who left the organization to become the Director of the Architectural Association in London earlier this year—Joseph Grima, Sarah Herda, Shirin Nishat, and Kyong Park.
Letters to the Mayor: Lima
October 12th, 2018 – November 5th, 2018
In collaboration with the Patronato Cultural del Peru
Museo de la Nación, Sala Nasca
#letterstothemayor #letterstothemayorlima @storefrontnyc
Storefront presents Letters to the Mayor: Lima in collaboration with the Patronato Cultural del Peru and curators Ernesto Apolaya Canales, Claudio Cuneo Raffo and Jorge Sánchez Herrera as part of the global project, Letters to the Mayor. Each iteration of Letters to the Mayor presents a collection of letters by more than 100 architects, addressing the most pressing issues facing their city.
Letters to the Mayor: Lima invites architects to write to the future mayor of Lima. Mayoral elections will happen on October 7th, 2018.
51-1, Asociación Homogéneos, Michele Albanelli and Carmen Omonte, Claudia Amico and Javiera Infante, Javier Artadi, José Luis Beingolea, Gonzalo Benavides, Rodolfo Bocanegra, Boom Arquitectos, CCC – Cordinadora de Ia Ciudad, Luis Calvet, José Canziani, Cheng + Franco Arquitectos, Jean Pierre Crousse and Sandra Barclay, Santiago A. Dammert, Belen Desmaison, Diacritica, Juan Carlos Doblado, Francis Espino, Esteoeste, Cynthia Estremadoyro, Aldo Facho Dede, Carlos Alberto Fernandez Dávila, Solangel Fernandez, Eduardo Figari, Manuel Flores, Jose Garcia Calderon, Mauricio Gilbonio, Ricardo Huanqui, Vincent Juillerat, K+M Arquitectura y Urbanismo, Hannah Klug, Gary Leggett, Lima Como Vamos, Llona Zamora, Llosa & Cortegana Arquitectos, Luis Longhi, Ángeles Maqueira, Ricardo Martin de Rossi, Rodrigo Martínez, Elio Martuccelli, Metha Arquitectos, Jitka Molnarova, Octavio Montestruque, Mutuo, Jose Orrego, Paulo Osorio, Poggione + Biondi Arquitectos, Karina Puente, Alfredo Queirolo, Luis Rodriguez Rivero, Sofia Rodriguez Larrain, Roman Bauer Arquitectos, Eduardo Ruiz-Huidobro, Elia Saez Giraldez, Sandra Salles, Marc Samaniego, Cynthia Seinfeld and Juan Manuel Parra, Luis Solari, José Carlos Soldevilla, Matteo Stiglich, Karen Takano, Territorial RLC, Jose Antonio Vallarino, Pablo Vega Centeno, Vicca Verde, Humberto Viccina, V.oid, Luisa Yupa
Live stream a discussion between the newly-elected mayor of Lima and various local urbanists, architects, and others here from 5 pm–8 pm EST.
Ernesto Apolaya Canales, Claudio Cuneo Raffo and Jorge Sánchez Herrera
Mayoral Desk and Wallpaper Design
Diana Gobitz Guanilo
ABOUT LETTERS TO THE MAYOR
Letters to the Mayor is an itinerant exhibition that displays letters written by architects to their city mayors. Initiated by Storefront for Art and Architecture in 2014, the project has traveled to more than 18 cities across the globe, including Bogotá, Mexico City, Athens, Panama City, Taipei, Mariupol, Madrid, Lisbon, and Buenos Aires, among others. See here for a list of iterations.
Letters to the Mayor invites 100 architects in each city to write a letter to their mayor as a means of bringing innovative ideas and visions of the city closer to the decision-makers, and vice versa.
Throughout history, architects have addressed this responsibility by navigating the structures of economic, political, and cultural power in different ways, and with varying degrees of success. With the rise of globalization and the homogenization of the contemporary city, the political role of the architect has often been relegated to providing answers to questions that others have asked.
Letters to the Mayor questions this dynamic by inviting local and global architects to deliver their thoughts directly to the desks of elected officials and, simultaneously, into the public consciousness.
Tuesday, October 9th, 2018
Storefront for Art and Architecture
97 Kenmare, New York, NY
SEE PHOTOS OF THE DINNER HERE.
Each fall, 100 established and emerging voices in art, architecture, design, philanthropy, and development come together for Storefront’s annual Membership Dinner. This year’s dinner is presented in partnership with MOLD Magazine, whose experimental view on the future of food design will help us reflect on humanity’s essential relationship with bacteria.
Hosted within the exhibition, Subculture: Microbial Metrics and the Multi-Species City, the dinner will feature a microbial menu created in partnership with Methods & Madness, as well as limited release ciders from Austin Eastciders, specialty cocktails featuring RISE Kombucha and Revel Tequila, participatory artwork by Moira Williams, bacterial giveaways, and a special announcement about Storefront’s future.
Storefront’s annual Membership Dinners are open to members contributing at the Action Benefactor level or above. To become an Action Benefactor member or upgrade your membership in order to join us, please contact Patrick Jaojoco at 212.431.5795 or email@example.com.
Current members: to reserve a seat, please RSVP.
IN PARTNERSHIP WITH
WITH SUPPORT FROM
STOREFRONT MEMBERSHIP BENEFITS
$1,000 individual / $1800 dual (for two individuals at the same address)
$5000 Individual or Corporate
Tuesday, October 3rd, 2017
Storefront for Art and Architecture
97 Kenmare, New York, NY
SEE PHOTOS OF THE DINNER HERE.
Storefront’s annual membership dinner brought together 100 of the organization’s highest level members, which include many celebrated and innovative voices in art, architecture, design, philanthropy, and urban development, at Storefront’s iconic gallery space, designed by Steven Holl and Vito Acconci in 1993.
The dinner took place during Souvenirs: New New York Icons, the second iteration of Storefront’s model show, commissions 59+ objects that redefine New York’s iconic imagery. Inspired by each of the city’s Community Districts, more than 59 artists, architects, and designers have reimagined the referential images that constitute the global perception of the city, proposing new understandings of the urban experience. Souvenirs’ exhibition design was by MOS Architects, with graphic design by Studio Lin.
Storefront’s annual Membership Dinners are open to members contributing at the Action Benefactor level or above. To become an Action Benefactor member, in order to join us next year, please contact Patrick Jaojoco at 212.431.5795 or firstname.lastname@example.org.