Control Syntax Rio

Monday March 27, 2017 – Saturday May 20, 2017


Control Syntax Rio


Curated and designed by Farzin Lotfi-Jam and Mark Wasiuta
Presented by Storefront for Art and Architecture and Het Nieuwe Instituut, Rotterdam.


March 28th, 2017 – May 20th, 2017

97 Kenmare St, New York, NY


#controlsyntaxrio   @storefrontnyc


Rio de Janeiro is one of the most visible sites of “smart city” experimentation. In response to catastrophic natural disasters, calamitous traffic congestion, and urban health epidemics, the Centro de Operações Rio (COR) was designed as a corrective tool and as a new command and control hub that would allow the city to prepare for the 2016 Olympic Games. Launched in 2010, COR now monitors its urban camera network and information sensors, gauges optimal traffic patterns, determines landslide risk zones, predicts weather disruptions, and maps disease paths.


Rio’s wild topography, wealth disparities, and aging infrastructure make it an unlikely testing ground for the smooth rationality of urban management that “smart city” rhetoric proclaims. Through COR, the predictable impression of Rio de Janeiro as a lush playground of beaches and samba dancers conflicts with the new image of a Rio governed by smart city control systems. As the city also becomes increasingly marked by extreme police tactics and political protests, Rio appears less a case of urban optimization than a platform for viewing the conflicts that have erupted around urban data management, civil rights, and issues of social control. Yet, COR is also a sign of a new form of participatory civic politics. Citizens may visit the COR building to observe its image screens, data displays, and information collection technologies. In this way, COR serves as a public relations space from which the city broadcasts an image of urban administrative control.


The exhibition shows Rio structured through COR’s control syntax and smart city command processes. This syntax is assembled from seemingly banal “if-then” statements that become surprisingly charged by their encounters with the political and circulatory life of the city. Through COR, the exhibition sees traffic engineering as urban politics and as haunted by potential catastrophe. The exhibition also understands COR as indicative of an important new space of representation for the 21st century city and its emerging computational governmentality.


Exhibition Credits

Curators: Farzin Lotfi-Jam, Mark Wasiuta

Exhibition Design: Sharif Anous, Farzin Lotfi-Jam, Mark Wasiuta

Graphic Design: MTWTF

Exhibition Design and Production Assistance: Florencia Alvarez, Javier Bidot-Betancourt, John Dwyer, Jennifer Komorowski, Chelsea Meyer, Jacqui Robbins, Miranda Römer, Augustine Savage, Jen Wood

Sound Design: Sonic Platforms (Michael Christopher, Max Lauter)

Film Voiceover: Louise Dreier

Audio Recording: Marco Pavão

Videography: Terry Barentsen


This project has been made possible through the initiative and leadership of the teams at Het Nieuwe Instituut, led by Guus Beumer (Artistic Director) and Marina Otero Verzier (Head of Research), and at Storefront, led by Eva Franch (Chief Curator and Executive Director).


About the Curators


Farzin Lotfi-Jam is Principal of farzinfarzin, a multidisciplinary studio that designs spaces, software, and media. He is faculty in the architecture program at Columbia University and holds advanced degrees from Columbia University and RMIT University in Melbourne, Australia. He is a fellow of the Akademie Schloss Solitude in Stuttgart and was previously the 2013-2014 Sanders Fellow at the University of Michigan. His research has been funded by the Veski organization and the Graham Foundation, and has been collected by the Centre Pompidou in Paris. He has been exhibited at the Museum of Contemporary Art Detroit, AIGA/NY Annex, the Oslo Architecture Triennale, the Venice Architecture Biennale, among others.


Mark Wasiuta is Co-Director of the MS degree program Critical, Curatorial and Conceptual Practices in Architecture at Columbia GSAPP. Over the last decade, as Director of Exhibitions at GSAPP, he has developed a body of research and archival exhibitions that focus on under-examined practices of the postwar period. Recent exhibitions, produced with various collaborators, include  “Every Building in Baghdad: The Rifat Chadirji Archives at the Arab Image Foundation,” “Environmental Communications: Contact High,” “Information Fall-Out: Buckminster Fuller’s World Game,” and “Les Levine: Bio-Tech Rehearsals 1967-1973.” His work has appeared at the Graham Foundation, the Istanbul Design Biennial, the Venice Architecture Biennale, Het Nieuwe Instituut, the Chicago Architecture Biennial, and elsewhere. He directs Collecting Architecture Territories, a multi-year research program that analyses global art institutions that have emerged from private collections. Wasiuta is recipient of recent grants from the Asian Cultural Council, the Graham Foundation, and NYSCA.


About Het Nieuwe Instituut
Het Nieuwe Instituut aims to illuminate and map a rapidly changing world while at the same time fostering discussion of topics related to the vast field of design. All the institute’s activities are grounded in the principles of design and innovation – two concepts bound up with changing value systems and conflict. Het Nieuwe Instituut organises exhibitions, lectures and fellowships, carries out research and development projects, and publishes reports on the outcomes of its projects.


Exhibition Support

Control Syntax Rio is presented in New York City as part of a year-long joint cultural crossover program between Storefront for Art and Architecture and Het Nieuwe Instituut. The partnership, supported by the Netherlands Consulate General in New York, seeks to examine the relationships of power between those involved in the construction of the contemporary city through a series of events, exhibitions, and projects to be developed in New York, Rotterdam, and other cities around the world. Control Syntax Rio was commissioned by Het Nieuwe Instituut, where it was presented from June 2016 to January 2017. Special exhibition support for Control Syntax Rio is generously provided by Samsung and FoyerLive.




Storefront’s programming is made possible through general support from Arup; DS+R; F.J. Sciame Construction Co., Inc.; Knippers Helbig; KPF; MADWORKSHOP; ODA; Rockwell Group; Roger Ferris + Partners; Tishman Speyer; the Foundation for Contemporary Arts; The Greenwich Collection Ltd.; the Lily Auchincloss Foundation; the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature; public funds from the New York City Department of Cultural Affairs in partnership with the City Council; The Peter T. Joseph Foundation; and by Storefront’s Board of Directors, members, and individual donors.


Paranoia Man in a Rat Fink Room

Wednesday November 2, 2016 – Saturday February 18, 2017

EPSON scanner image

Paranoia Man in a Rat Fink Room

By Jonah Freeman and Justin Lowe

Presented by Storefront for Art and Architecture and the New York Comedy Festival


November 2nd, 2016 – February 18th, 2017

97 Kenmare St, New York, NY

Special Preview Performances: November 2nd – 6th

Election Night Public Opening: November 8th, 7 – 9 pm


#paranoiaman     #ratfinkroom     #makenylaugh     @storefrontnyc     @nycomedyfest


Storefront for Art and Architecture is closing its doors for good. The real estate vultures have descended to feed on the malnourished carcass of its signature Kenmare Street space. Its replacement will most likely be a Juice Press supplement administered through fiber-optic eyeliner. The official announcement is that it will be something called SAN SAN. A flagship store for BAMA Cosmetic Pharmaceuticals, OCTOPUS Entheobotanical Data Networks and Fata Morgana Entertainment Systems brought to you in a fancy new package designed by interior starchitect Henri Erkins. “A multiplatform consumer experience where virtual and tactile interaction merge in a new marketing sphere.” A kind of combination Pizza Hut-Taco Bell-Google daydream for the Lower Manhattan demographic. But before the polish of recycled paper, space rock, and smartphone flirtation bring about point-of-purchase orgasms, Jonah Freeman and Justin Lowe have arranged for an interim scenario.


The overstock of Jungle Video, the now defunct media superstore you may remember from your drive to LAX via La Tijera Boulevard, is coming to Storefront for Art and Architecture for a fire sale of such gray market classics as Linguini is Not a Flower and Thank God For My Forties. A Canal Street-style kiosk of bootleg handbags and toxic perfume will stage a pop-up shop for all manner of DVD, VHS, Compact Disc, Louis Vuitton, Calvin Klein, Prada, and perhaps a dime bag of heavily stepped on cocaine if you know the password. But this will only be the first stop on the path to the headlining act: a reprisal of the infamous Rat Fink Room.


The Rat Fink Room, the first dedicated stand-up comedy club on planet earth, opened in September 1963 on 50th St. and 3rd Ave. in New York City. Its proprietors, Morris Levy and Jackie Kannon, imagined an ad hoc gathering place where two-bit insult comics settled scores and “working blue” pushed the limits of good taste.


Jackie Kannon, its ringmeister, was a mobbed-up sycophant comic who felt pressured to buy himself a nose job in the hope of breaking out of the borscht belt. He was not even dimly aware of what might be at stake in the obscenity trials of the time, around such now-classic works as Howl and Naked Lunch. For him, “working blue” was about the money. Morris “The Octopus” Levy, the founder of Birdland and Roulette Records, was a mob connected music business executive who is mostly remembered as a crook who stole from recording artists, and was convicted of extortion and suspected of heroin distribution. Levy used the Rat Fink Room and his other venues as a place to surreptitiously record comedy acts and release records without the comics’ permission. He gave them no portion of the proceeds and threatened bodily harm if they sued. In the spirit of this, Freeman and Lowe have converted the neighbor’s bathroom (Staci, age 12, addicted to synthetic marijuana) into a surveillance headquarters that will keep audio/video recordings of the last days of Storefront.


The Rat Fink Room will be alive again in the twilight of Storefront for Art and Architecture through a series of nights programmed by Caroline Hirsch and the New York Comedy Festival from November 2nd to November 6th.


It is true that the New York City of the 20th century imagination is gone and never to return. But there will be a copy of New Jack City shot on a handycam in 1993 at Worldwide Cinemas on 50th St. and 8th Ave. available for purchase.



Paranoia Man In A Rat Fink Room opened in tandem with the 13th annual New York Comedy Festival, which takes place annually during the first week of November at venues throughout New York City. As part of a special week-long preview, Caroline Hirsch, founder and owner of the New York Comedy Festival and Carolines on Broadway, curated comedic programming inside the installation, bringing to the space a functioning nightclub and entertainment venue complete with live stand-up performances by more than 20 comedians. 


For more information about the performances and preview events, see here.



On Tuesday, November 8th, Storefront for Art and Architecture and the New York Comedy Festival presented the public opening of Paranoia Man in a Rat Fink Room, which coincided with the US presidential election. Guests entered the Rat Fink Room, and experienced election-related programming and coverage throughout the evening. Live New York Comedy Festival stand-up performances were interspersed with the coverage, and hosted by Sarah Armour.



Matt Pavich
Neko White
Loyiso Gola


Paranoia Man Gid without Logos


Now in its thirteenth year, the New York Comedy Festival is produced by Carolines on Broadway in association with Comedy Central. The festival has featured the country’s top comedians, including Aziz Ansari, Judd Apatow, Hannibal Buress, Bill Burr, Louis C.K., Margaret Cho, Billy Crystal, Larry David, Ricky Gervais, Kathy Griffin, Kevin Hart, John Leguizamo, Norm Macdonald, Bill Maher, Tig Notaro, Nick Offerman, Amy Schumer, Sarah Silverman, and Wanda Sykes, to name a few. In 2007, the festival launched the “Stand Up for Heroes” event to benefit The Bob Woodruff Foundation, which has featured performances by Ricky Gervais, John Mayer, Seth Meyers, John Oliver, Conan O’Brien, Ray Romano, Jerry Seinfeld, Bruce Springsteen, Jon Stewart, and Robin Williams, among others.  To date, the “Stand Up for Heroes” events have raised over $33 million.  For more information please visit the NYCF website, like the NYCF Facebook page, and follow the NYCF on Twitter, @NYComedyFest.  This year the festival has a new hashtag — #MakeNYLaugh — for use in all of its social media platforms.



Jonah Freeman was born in 1975 in Santa Fe, NM and lives and works in New York City. He holds a degree in Film Production and Dramatic Writing from NYU Tisch School of the Arts. Since 1998, he has been exhibiting film/video, photo and environmental installations in galleries and museums worldwide. His several interconnected bodies of work primarily focus on the phantasmagoria of the constructed world. Recent solo exhibitions include In The Kaleidoscope Room, Mitterrand + Sanz, Zurich, Switzerland (2009); The Long Goodbye, John Connelly Presents, New York, NY (2007); The Franklin Abraham, Andrew Kreps Gallery, New York, NY (2005); and In the Public Realm: Sixteen Scenarios, Public Art Fund, Brooklyn Public Library, Brooklyn, NY (2002).


Freeman’s solo films have screened in several film festivals including The International Film Festival Rotterdam, The Locarno International Film Festival and The Rome International Film Festival. His work has also been represented in the recent group shows: Paper Exhibition, Artists Space, New York, NY (2009); The Future As Disruption, The Kitchen, New York, NY (2008); Le Centre pour l’Image Contemporaine, Saint Gervais, Geneva, Switzerland (2008); Grow Your Own, Palais de Tokyo, Paris, France (2007); Busan Biennale 2006, Busan, South Korea (2006); Intouchable (l’ Idea transparence), Centre National d’Art Contemporain – Villa Arson, Nice, France (2006); Day Labor, PS1/MOMA, New York, NY (2005); Vanishing Point, The Wexner Center for the Arts, Wexner, OH (2005).


Justin Lowe was born in 1976 Dayton, Ohio. In 2004, he received his MFA from Columbia University. He currently lives and works in Los Angeles, California and New York City. Since 2003, he has been exhibiting large scale, immersive, site-specific installations in galleries and museums worldwide. Solo exhibitions include Hair of the Dog, Pepin Moore, Los Angeles, CA (2011); Werewolf Karaoke, Wadsworth Museum, Hartford, CT (2010); The New War, Galleria Cesare Manzo, Pescara, Italy (2010); Freedom Time is Here Little Kittens, Fredric Giroux, Paris, France (2008); Helter Swelter, Oliver Kamm/5BE Gallery, New York, NY (2006); Slouching Toward Bethlehem, Frederic Giroux, Paris, France (2006); Waterfall, The Wrong Gallery, Berlin, Germany (2004); Passage, PS1 Special Project Room, New York, NY (2004); Collecting Pictures in the Brain, Hotel Sculpture Center (2005); .45 0n the 33, Galleria Cesare Manzo, Pescara, Italy (2007). Group exhibitions include Greater LA, Los Angeles, CA (2011); Fit To Print: Printed Media In Collage, Gagosian Gallery, New York, NY (2007); FUORI USO 2006 – ALTERED STATES, National Museum of Contemporary Art (MNAC), Bucharest, Romania (2007); The Pantagruel Syndrome, Museum of Contemporary Art in the Castello di Rivoli, Turin, Italy (2005); Greater New York PS1/MOMA, New York, NY (2005).


Together, Jonah Freeman and Justin Lowe create extensive immersive installations. These shows include San San Trilogy, Art Basel – Unlimited, Basel, Switzerland (2016); Brunch Over Troubled Water, Plutschow Gallery, Zurich, Switzerland (2015); Scenario in The Shade, Red Bull Studios, New York, NY (2015); Floating Chain (High-Res Toni), Marlborough Chelsea, New York, NY, (2014); Taipei Biennial 2014, Taipei Fine Arts Museum, Taipei, Taiwan, (2014); SISTER MOIRE, Winfield House, London, UK (2013); A Diamond hidden in the Mouth of a Corpse, ISTANBUL ’74, Istanbul, Turkey (2012); Stray Light Grey, Marlborough Chelsea, NY (2012); Bright White Underground, Country Club, LA (2010); Black Acid Co-op, Deitch Projects, NYC (2009); The Station, Miami, FL (2008); Hello Meth Lab In The Sun, Ballroom Marfa, (2008). Select group exhibitions include PANOPTICUM, Robert Miller Gallery, New York, NY (2014); Kiss Me Deadly: A Group Show of Contemporary Neo-Noir from Los Angeles, Paradise Row, London, UK (201); Transmission LA, MOCA Los Angeles, Los Angeles, CA (2012); From the Martian Chronicles, L&M Gallery, Los Angeles, CA (2012).



Storefront’s programming is made possible through general support from Arup; DS+R; F.J. Sciame Construction Co., Inc.; Gaggenau; KPF; MADWORKSHOP; ODA; Roger Ferris + Partners; the Foundation for Contemporary Arts; The Greenwich Collection Ltd.; the Lily Auchincloss Foundation; the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature; public funds from the New York City Department of Cultural Affairs in partnership with the City Council; The Peter T. Joseph Foundation; and by Storefront’s Board of Directors, members, and individual donors.

This exhibition is presented in collaboration with the New York Comedy Festival.


SMALL NYCF Logo NYCulture_logo_bw


Work in Progress

Tuesday September 27, 2016


September 27th  October 22nd, 2016

Storefront for Art and Architecture

97 Kenmare Street, New York, NY


#workinprogress     #WIP     #LL47     @storefrontnyc


New York City is experiencing a booming construction phase. Real estate has become one the most powerful driving forces in the social and urban development of the city. Constrained by laws, policies and codes, market forces and financial structures, and limited architectural responses, the city is being homogenized and transformed into a space for the financial elite, affecting individuals and communities throughout the five boroughs, and changing the social and cultural fabric of the city.


Green construction fences, with their illustrated LL47 “Work in Progress” signs, often present the first visual cues of this process, and of its underlying economic and legislative causes.


This fall, a green construction fence will close Storefront for Art and Architecture and a LL47 sign will illustrate its future development. On these new walls, over 25 LL47 signs commissioned to artists, designers, and architects will depict alternative visions of ongoing construction sites throughout New York City, offering a space of reflection and critique of current development practices and the architectures that build them. A photographic survey of works in progress throughout the city, will depict this new naturalized green New York landscape, inviting us to think about the city that is growing with our times.


Work in Progress is curated by POWERHOUSE in collaboration with Storefront for Art and Architecture, with photographs by Naho Kubota and design by PARA Project. Individuals interested in contributing ideas and additional LL47 signs can download the submission template (available in the documents section above), and send their work to Contributors can also tag their photos with #workinprogress and #storefrontnyc.
AGENCY: Ersela Kripa + Stephen Mueller; Al-Hamad Design; Daisy Ames; Antoine Catala; Nick DeMarco; DSGN AGNC: Quilian Riano; Aaron Gemmill, Marc Handelman, and Prem Krishnamurthy;The Living; LOT-EK; MEGA CORP. (Michael Tingen); Michael Sorkin Studio; MOS Architects; OOF (Tom Hancocks and Carrie Smith); Paloma Powers; Lisa Park; Alan Paukman; PLAYLAB, INC.; POWERHOUSE, William Green, Anton Cromas, and Olga Boltuts; PUCON; Martha Rosler; Jesse Seegers; Miriam Simun; Andrew Strasser; SYC 
POWERHOUSE and Storefront for Art and Architecture
Naho Kubota
Exhibition Design and Installation:
PARA Project
Graphic Design and Identity:
Bryant Wells
Sound Design:
POWERHOUSE and Josh Padarathsingh

Gregory Ketant and Nanu Al-Hamad are POWERHOUSE, an artist duo that explores the practice of architecture and design as a vehicle for transformation.


Nanu Al-Hamad is a designer and artist living and working in New York. Al-Hamad’s fearless attitude toward design challenges the boundaries for creating objects under a philosophy of conceptual functionalism. As a solo artist and a founding member of the artist collective GCC, Al-Hamad’s work has been exhibited at the Swiss Institute, NY; Musée d’Art Moderne de la Ville de Paris, Paris; Whitney Museum of American Art, NY; Sharjah Biennial, UAE; Ullens Center for Contemporary Art, Beijing; New Museum, NY; MoMA PS1, NY; Kraupa-Tuskany Zeidler, Berlin; Project Native Informant, London; and design fairs ICFF, Downtown Design Dubai, and Salone del Mobile.


Gregory Ketant is an interdisciplinary artist and designer and the creative director of MEGA. Originally from South Florida, Ketant moved to New York to pursue a law degree at Hofstra University. After graduating, he decided to forgo a career in law to explore the interchange of technology, subcultures, ecosystems, mythology and modernity. He has since curated a living exhibition private condominium, directed a music video using motion tracking technology, debuted a furniture collection in Kuwait, and most recently unveiled his pentalogy ROSES. His work has been shown or featured at Sultan Gallery, AC Institute, Jack Chiles Gallery, Superchief Gallery, and YUME Gallery.


About PARA Project:

PARA Project is an office for architecture based in New York City, directed by Jon Lott.  
PARA is recipient of the 2016 Emerging Voices Award from the Architectural League of New York; the 2014 New Practices New York Award from the American Institute of Architects; the 2013 Design Vanguard Award from Architectural Record; a 2009 finalist for the MoMA/P.S.1 Young Architects Program; the 2007 Young Architects Award from the Architectural League of New York; and was recently a Mies Crown Hall America Prize finalist for the project: Haffenden House. 



This exhibition is supported by Peter Guggenheimer. Construction services are provided by IA Construction Management, Inc. Fabrication assistance is provided by Grey Wartinger.


Storefront’s programming is made possible through general support from Arup; DS+R; F.J. Sciame Construction Co., Inc.; Gaggenau; KPF; MADWORKSHOP; ODA; Roger Ferris + Partners; the Foundation for Contemporary Arts; The Greenwich Collection Ltd.; the Lily Auchincloss Foundation; the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature; public funds from the New York City Department of Cultural Affairs in partnership with the City Council; The Peter T. Joseph Foundation; and by Storefront’s Board of Directors, members, and individual donors.





Sharing Models: Manhattanisms

Friday July 15, 2016 – Friday September 2, 2016


July 15th – September 2nd, 2016

Storefront for Art and Architecture

97 Kenmare St, New York, NY


#SharingModels     #manhattanisms     #shareme     @storefrontnyc


We are experiencing the emergence of a culture that is marked by a return to, redefinition, and expansion of the notion of the commons. The increasing complexity and interconnectedness of globalization is reorienting us away from trends that have emphasized individuation and singular development, and toward new forms of collectivity. 
Over the last decade, emerging technologies and economies have affected aspects of our everyday life, from the way we work and travel, to how we think about shelter and social engagement.

How will the sharing movement of today affect the way we inhabit and build the cities of tomorrow?

Manhattan, one of the most dense and iconic places in the world, has been a laboratory for many visions of urbanism. Sharing Models: Manhattanisms invited 30 international architects to produce models of their own visions for the city’s future. 
The models, each a section of Manhattan, established analytical, conceptual, and physical frameworks for inhabiting and constructing urban space and the public sphere. Together, they presented a composite figure; a territory that is simultaneously fictional and real, and one that opened a window to new perceptions of the city’s shared assets.  

Sharing Models Project Pages



Asymptote Architecture

Atelier Manferdini

Bureau V

Buro Koray Duman



Future Firm

Höweler + Yoon

Huff + Gooden Architects

June-14 (Meyer-Grohbrügge & Chermayeff)

Leong Leong



Manuel Herz Architects

Matilde Cassani




The Open Workshop

Pedro & Juana

RICA* (Iñaqui Carnicero and Lorena del Río)

Renato Rizzi / IUAV


SITU Studio



Tatiana Bilbao Estudio + Rodolfo Díaz Cervantes

TEN Arquitectos

Urban Agency


Research support for this exhibition provided by Juan Francisco Saldarriaga and the Center for Spatial Research at Columbia University.


Specific model support provided by Acción Cultural Española (AC/E) and Hotel Americano.


Stencil cuts provided by SOFTlab.


Share Me: Facade Installations

As part of Sharing Models: Manhattanisms, five artists were invited to produce stencils that asked us to reflect upon the sharing movement. The facade of Storefront was transformed into a canvas that presented one artist’s work each week throughout the duration of the show. Visitors to Storefront’s gallery space received a stencil of the work being shown. Participating artists included Curtis Kulig, John Giorno, Lawrence Weiner, Sebastian Errazuriz, and Shantell Martin.




July 14th – Curtis Kulig, We Love We Share


July 28th – John Giorno, Sit In My Heart And Smile




August 11th – Sebastian ErraZurizYou Share, They Profit


August 18th – Shantell Martin, Share



Storefront’s programming is made possible through general support from Arup; DS+R; F.J. Sciame Construction Co., Inc.; Gaggenau; KPF; MADWORKSHOP; ODA; Roger Ferris + Partners; the Foundation for Contemporary Arts; The Greenwich Collection Ltd.; the Lily Auchincloss Foundation; the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature; public funds from the New York City Department of Cultural Affairs in partnership with the City Council; The Peter T. Joseph Foundation; and by Storefront’s Board of Directors, members, and individual donors.




Memory Trace

Wednesday April 20, 2016 – Saturday July 2, 2016

By Fazal Sheikh

Lifta – Jerusalem District, Fazal Sheikh, The Erasure Trilogy (2015). Presented as part of Memory Trace, 2016, at Storefront for Art and Architecture.
April 20th – July 2nd, 2016
6-7 pm: Press and Members Preview [RSVP]
7-8 pm: Public Opening Event – Reading Images: Memory and Place [RSVP]
8-9 pm: Public Reception  [RSVP]
#MemoryTrace     #OnMemoryandPlace     #erasures     @storefrontnyc
Memory Trace by Fazal Sheikh brings a site-specific installation of part of the Israeli Separation Wall to the façade of Storefront’s gallery space. Presented behind the façade are photographs of ruins and landscapes of villages that were evacuated and mostly destroyed during the 1948 and 1967 wars, as well as portraits of Arab-Israelis and Palestinians who were living in these villages and were displaced by war or forced into refugee camps.
The exhibition is presented as part of Erasures, a project by Fazal Sheikh that seeks to explore the legacies of the Arab-Israeli War of 1948, which resulted in the establishment of the State of Israel and in the reconfiguration of territorial borders across the region. The Erasures project is currently presenting a body of photographs at six institutions around the world simultaneously.
“Taken from 2010 to the present, the photographs demonstrate that the conflict cannot be restricted to any single population or any one side of the conflict. They present a past but also a present wound that, produced by the violence, trauma, and ruin that were the signature of the war, can be read in the fact that Palestinians, Bedouins, and Israelis all find themselves today in mourning. In asking us to consider the history that simultaneously divides and binds these populations, Sheikh hopes to lay the groundwork for a potentially transformative empathy. What is at stake is the possibility of exposing and countering the various processes of erasure that have sought to eliminate both the violence of this history and the acts of erasure themselves. In making these histories of dispossession visible, Erasures hopes to interrupt our historical amnesia, and to transform our understanding of this ongoing conflict.”  Eduardo Cadava, Curator
Memory Trace takes over the entire interior and exterior façade of Storefront with an image of a segment of the most iconic element of the ongoing conflict, the Israeli Separation Wall. The image, as seen from both sides of the wall, contains a series of traces that invite us to reflect upon notions of dispossession and displacement.
The more than 25 images presented in the interior of the gallery space are accompanied by captions in English, Arabic, and Hebrew that enable the visitor to locate the physical and political geographies inscribed within them, reconstructing, through the traces left over time, a series of memories and histories.
The landscapes of each site are accompanied by a series of information that includes: thelatitudinal and longitudinal coordinates, the population and number of houses on the site in 1948, the date when the village was evacuated, the occupying force and Israeli operation that evacuated it, a brief note about what (if anything) replaced the village in the aftermath of the war, a note about what is visible on the site today, and a statement about whether or not the village has been renamed, is now without a name, or is even registered in contemporary maps of Israel.
For the accompanying portraits, each includes excerpts from Sheikh’s interviews with the subjects conducted between 2010 and the present, from their accounts of what they saw as their villages were evacuated and depopulated or what they experienced after (and as a result of) the war, andthe sorrow and loss they have endured because of their inability to return to their homes and land.
Some of the persons in the portraits have died in the time since the interviews, making this documentation the last trace of a history in disappearance.
Reading Images: On Memory and Place
On the occasion of the opening of Memory Trace, Storefront for Art and Architecture will present Reading Images: On Memory and Placemoderated by Eduardo Cadava and Fazal Sheikh with the participation of historians, artists, critics and journalists exploring and discussing the work on display. Participants include: Sadia Abbas, Emmet Gowin, Amira Hass, Rashid Khalidi, Rosalind Morris, Shela Sheikh, and Michael Wood, among others.
For more information and to RSVP, see here.

About Erasures

Erasures is presented simultaneously at Storefront for Art and Architecture, Pace/MacGill Gallery, and the Brooklyn Museum of Art in New York, Slought Foundation in Philadelphia, the Al-Ma’mal Foundation for Contemporary Art in East Jerusalem, and the Khalil Sakakini Cultural Center in Ramallah.
Together, this decentralized network of institutions, each one of them presenting different parts of the work and functioning in different arenas and with different mandates, seeks to generate conversation across different sites, contexts, and communities about the politics of dispossession and displacement.
A free exhibition newspaper structured around four different chapters that relate in different ways to the various exhibitions (Memory Trace, Desert Bloom, Independence/Nakba, and al-ʻAraqīb) presents nearly all of the works on display, and serves as a guide for the visitor. It is published in English, Arabic, and Hebrew, and a digital copy will be available on April 20th at, and
The complete body of work of Fazal Sheikh on the Israeli-Palestinian conflict can be found in the multi-volume publication The Erasure Trilogy, published by Steidl in the Spring of 2015.


Slought Foundation

Conversation between Eduardo Cadava and Fazal Sheikh

Opening reception: March 22, 6:30 – 8:30 p.m.


Institute of Contemporary Art, Philadelphia

Silverstein Photography Lecture, Fazal Sheikh

March 24, 6:30 p.m.


Brooklyn Museum of Art

These Perspectives: A conversation between Fazal Sheikh and Teju Cole

April 14, 7 p.m.


Pace/MacGill Gallery

Opening reception: April 21, 5:30 – 7:30 p.m.


Al-Ma’mal Center for Contemporary Art

Opening reception: April 13, 6 p.m.


Sakakini Cultural Center

Newspaper release and conversation with Eduardo Cadava and Fazal Sheikh

May 15



Al-Ma’mal Foundation for Contemporary Art is a non-profit organization, based in Jerusalem’s Old City, that aims to promote, instigate, disseminate and facilitate the making of art. Founded in 1997, Al Ma’mal serves as an advocate for contemporary art and a catalyst for the realisation of art projects by organising exhibitions and events.


Information: For more information about upcoming events and projects T: +97226283457; F: +97226272312; Email: Gallery Hours: Monday-Friday; 10:00am – 5:00pm. Closed Saturday and Sunday. Gallery Location: New Gate, Old City, Jerusalem 91145


Brooklyn Museum of Art: The mission of the Brooklyn Museum is to act as a bridge between the rich artistic heritage of world cultures, as embodied in its collections, and the unique experience of each visitor. Dedicated to the primacy of the visitor experience, committed to excellence in every aspect of its collections and programs, and drawing on both new and traditional tools of communication, interpretation, and presentation, the Museum aims to serve its diverse public as a dynamic, innovative, and welcoming center for learning through the visual arts.


Information: General Admission $16. For more information about upcoming events and projects T: 718.638.5000. Hours: Wednesday through Sunday, 11am-6pm. Close Monday and Tuesday. Location: Brooklyn Museum, 200 Eastern Parkway, Brooklyn, 11238-6052 NY, USA.


The Khalil Sakakini Cultural Center is a non-governmental, non-profit organization dedicated to the promotion of arts and culture in Palestine. The Sakakini was founded in May 1996, and is located in Ramallah in a restored traditional mansion. KSCC strives to promote art and culture in the Palestinian society, through actions committed to the encouragement of creativity and the enhancement of the aesthetic in everyday life.


Information: For more information about upcoming events and projects T: +97022987374; Email: Gallery Hours: (check wesbite) Gallery Location: Khalil Sakakini Cultural Center; Al rajaa’ StreetAl Masyoon; P.O.Box 1887 Ramallah, Palestine;


Pace MacGill Gallery was founded in 1983 by Peter MacGill, in collaboration with partners Arne Glimcher of the Pace Gallery and Richard Solomon of Pace Prints and Pace Primitive. The gallery has established itself as one of the premier venues dealing in modern and contemporary photography, presenting over 200 exhibitions and publishing numerous catalogues. Pace/MacGill strives to disseminate the work of its artists to museums, private collectors, and corporate collections around the world.


Information: For more information about upcoming events and projects T: +1 212.759.7999, Email: Hours: Tuesday – Friday, 9:30am – 5:30pm, Saturday, 10:00am – 6:00pm. Closed Sunday and Monday. Location: 32 East 57th Street, 9th floor, New York, 10022 NY, USA.


Slought Foundation is a non-profit organization that engages publics in dialogue about cultural and socio-political change in Philadelphia, the world, and the cloud. We are a new form of institution that builds relationships and social trust through collaboration and the exchange of ideas. For over a decade, they have worked with artists, communities, and institutions worldwide to develop projects that encourage inclusiveness, advocacy, and the sharing of knowledge.


Information: For more information about upcoming events and projects T: +1 215-701-4627; F: +1 215 764 5783; Email: Hours: Tuesday through Friday, 12-5pm. Admission is free. We are also open by appointment. To schedule your visit, email us or call +1.215.701.4627. Location: 4017 Walnut Street, Philadelphia, PA, USA 19104-3513.

Photographs: Fazal Sheikh
Curator: Eduardo Cadava
Captions: Site references and details of the events in Memory Trace were compiled by Fazal Sheikh in collaboration with Noga Kadman. Full reference details, including notes on transliteration and acknowledgments, are provided in The Erasure Trilogy.
Graphic design and Concept: Fazal Sheikh, Gerhard Steidl, and Duncan Whyte
About the Artist
Fazal Sheikh is an artist whose practice involves photographs, texts, moving images, and oral testimony. Many of his projects are concerned with complex human rights issues, and he has a longstanding focus on the rights of displaced and dispossessed populations. For the last twenty-five years or so he has documented and recorded the mass phenomena of the refugee, and the modern history of displaced persons and peoples in Afghanistan, Pakistan, India, Somalia, Kenya, Brazil, and beyond.
His work has been exhibited at, among other places, the Tate Modern in London, the Henri Cartier-Bresson Foundation in Paris, the International Center of Photography and the United Nations in New York, the Museum of Contemporary Art in Moscow, and the MAPFRE Foundation in Madrid. It has garnered him the Infinity Award from the International Center of Photography, the Leica Medal of Excellence, the Henri Cartier-Bresson International Grand Prize, and the Lucie Humanitarian Award. He also has received fellowships from the Fulbright Foundation, the Guggenheim Foundation, and the National Endowment of the Arts, and, in 2005, he was named a MacArthur Fellow.
His books include: A Sense of Common Ground (1996), The Victor Weeps (1998), A Camel for the Son (2001), Ramadan Moon (2001), Ladli (2007), The Circle (2008), Portraits (2011), and most recently, The Erasure Trilogy (2015).
About the Curator
Eduardo Cadava teaches in the Department of English at Princeton University. He is a faculty member in the summer program at the European Graduate School in Saas-Fee, and he has been the Benjamin Menschel Distinguished Visiting Professor in Architecture at Cooper Union.
He is the author of Words of Light: Theses on the Photography of History (1997) and Emerson and the Climates of History (1997), and co-editor of Who Comes After the Subject? (1991), Cities Without Citizens (2004), a special issue of the South Atlantic Quarterly entitled And Justice for All?: The Claims of Human Rights (2004), and The Itinerant Languages of Photography (2013).
He has co-curated installations and exhibitions at the MAXXI Museum in Rome, the Slought Foundation in Philadelphia, and the Princeton University Art Museum, and he has co-produced a DVD entitled Unpacking Derrida’s Library (2014), with recorded remarks by Judith Butler, Hélène Cixous, Hent de Vries, Gayatri Chakravorty Spivak, and Samuel Weber. He has recently introduced and co-translated Nadar’s memoirs, When I Was a Photographer (2015) and a collection of his essays on photography appeared in Spanish under the title La imagen en ruinas in 2015. His book Paper Graveyards: Essays on Art and Photography is forthcoming from Princeton University Press, and his book on Fazal Sheikh’s The Erasure TrilogyErasures, is forthcoming from Steidl.
With special thanks to Jane P. Watkins, for her commitment to dialogue and generous support.
The Memory Trace wall installation is made possible thanks to the generous support of Steidl.
The Erasure Trilogy emerged from an initial commission from the This Place project:
Storefront’s programming is made possible through general support from Arup; F.J. Sciame Construction Co., Inc.; Gaggenau; KPF; ODA; Roger Ferris + Partners; the Foundation for Contemporary Arts; The Greenwich Collection Ltd.; the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature; public funds from the New York City Department of Cultural Affairs in partnership with the City Council; The Peter T. Joseph Foundation; and by Storefront’s Board of Directors, members, and individual donors. Production and materials for signage and exhibition design are supported by A To A Studio Solutions.




Closed Worlds

Tuesday February 16, 2016 – Saturday April 9, 2016

February 17th – April 9th, 2016

Press & Members Preview: Tuesday, February 16th – 6-7 pm [RSVP]

Public Opening: Tuesday, February 16th – 7-9 pm [RSVP]

Conference – Encounters That Never Happened: Saturday, 2/27 – 12-6 pm [RSVP]


About Closed Worlds


What do outer 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.


Closed Worlds, curated by Lydia Kallipoliti, exhibits an archive of 41 historical living prototypes built over the last century that present an unexplored genealogy of closed resource regeneration systems. The exhibition also features Some World Games, a virtual reality ecosystem by Farzin Farzin that presents a contemporary 42nd prototype selected as the winner of the Closed Worlds Design Competition hosted by Storefront in November 2015.


From the space program to countercultural architectural groups experimenting with autonomous living, Closed Worlds documents a larger disciplinary transformation and the rise of a new environmental consensus in the form of a synthetic naturalism, where the laws of nature and metabolism are displaced from the domain of wilderness to the domain of cities and buildings. While deriving from a deeply rooted fantasy of architecture producing nature, Closed Worlds integrates these ideas into the very fabric of reality in our contemporary cities and buildings.



About the 42nd Prototype


Some World Games, the winning installation of the Closed Worlds Design Competition, is an immersive environment that urges visitors to explore and experiment with virtual prototypes generated from the archive of 41 closed systems exhibited as part of the larger Closed Worlds exhibition. Participants are guided through the installation on a looped track that channels their kinetic motion through an orbiting virtual environment.


Some World Games harnesses the expended energy of exhibition exploration—the acts of reading, viewing, and wandering—and puts this agency on display. Entering the installation is a decisive act in which the visitor consents to a moment of vulnerability, plugging into the universe of the archive and engaging with its content through virtual immersion in physical space.


For more information about the competition and the winning design, see here.



Closed Worlds: Encounters That Never Happened


On Saturday, February 27th, Storefront and The Irwin S. Chanin School of Architecture of The Cooper Union will jointly present a public conference, Closed World: Encounters That Never Happened. Presenters and discussants will engage in debate and discussion on the history and future of closed systems in architecture and design. Participants include such luminaries as Reyner Banham, Buckminster Fuller, Jacques Cousteau, Victor Olgyay, Neil ArmstrongRay and Charles Eames, Walt Disney, Peter Van Dresser, Hans Hollein, and John McHale.


For more information and to see the list of participants as it is updated, see here. RSVP for the conference here.




Closed Worlds Exhibition:

Curator and Principal Researcher: Lydia Kallipoliti

Research: Alyssa Goraieb, Hamza Hasan, Tiffany Montanez, Catherine Walker, Royd Zhang, Miguel Lantigua-Inoa, Emily Estes, Danielle Griffo and Chendru Starkloff

Graphic Design and Exhibition Design: Pentagram/Natasha Jen with Melodie Yashar and JangHyun Han

Feedback Drawings: Tope Olujobi

Lexicon Editor: Hamza Hasan

Special Thanks: Bess Krietemeyer, Andreas Theodoridis, Cecilia Ramos, Alex Miller


42nd Prototype, Some World Games:

Installation Design, Concept, and FabricationFarzin Farzin (Farzin Lotfi-Jam, Sharif Anous, John Arnold)

Fabrication Assistance: Joseph Vidich, Kin & Company

Lighting Design AssistanceChristopher Adam Architectural Illumination Engineering


This exhibition is supported by the Graham Foundation and the New York State Council for the Arts. The research for this exhibition has been supported by Syracuse University School of Architecture and Rensselaer Polytechnic Institute.


42nd prototype 3D printing resources provided by MakerBot.

3D printing provided by Voodoo Manufacturing.


General support for Storefront exhibitions is provided by the New York State Council for the Arts, the New York City Department of Cultural Affairs, Arup, KPF, Sciame Construction, DS+R, and ODA.


This exhibition is dedicated to the memory of Michael-Angel Kallipolitis (1982-2016), who lived in a closed world and left ours too soon on January 5, 2016.

JB1.0: Jamming Bodies

Friday October 16, 2015 – Saturday December 19, 2015

Jamming Bodies Laboratory. Lucy MCRae and Skylar Tibbits. Storefront for Art and Architecture 2015.



“If one wants to dance on a tightrope, one has to first tension the wire.”

Siegfried Ebeling, 1926, Space as Membrane


JB1.0: Jamming Bodies is an immersive installation that transforms Storefront’s gallery space into a laboratory. The installation, a collaboration between science fiction artist Lucy McRae and architect and computational designer Skylar Tibbits with MIT’s Self-Assembly Lab, explores the relationship between human bodies and the matter that surrounds them.


JB1.0: Jamming Bodies collapses architecture, technology, and art into a single object. While skin usually demarcates the transition between exterior and interior, this experimental installation transforms skin into a membrane that operates as both. A threshold toward a space of total interiority or total exteriority, JB1.0 is an animate continuum that simultaneously embraces and modifies human bodies and space. Combining the plasticity of mutable organisms with the rigidity of architectural forms, JB1.0 brings architecture and its subject into a single space. A breathing, morphable wall, JB1.0 animates the building enclosure by absorbing and expulsing the atmosphere around it while compressing the bodies with which it interacts.


With this project, McRae and Tibbits, along with MIT’s Self-Assembly Lab, explore pneumatic architectural skins and their potential applications to the future of health, fitness, fashion, furniture, and zero gravity. JB1.0 is both an installation and performance piece, and serves to investigate the implications of material transformation and self-reconfiguring membranes on the feeling, behavior, and physiology of the body.


JB1.0 takes the form of Storefront’s gallery wall as a point of departure, providing through its various iterations and forms a series of works on display as bodies (visitors to the gallery) interact with the installation.


JB1.0 is the first iteration of a research project on the scalability of granular jamming for spatial applications. “Jamming” entails a process by which disordered materials can reversibly switch between liquid, solid, and semi-solid states by increasing density. The installation requires reciprocal action by human bodies for the total fulfillment and observation of variables such as tunable stiffness, reconfiguration, morphability, and dynamic internal/external forms.


Through this exhibition, Storefront for Art and Architecture is transformed into a lab space to test questions of scale, geometry, and temporality in relationship to the shape, size, intensity, and quantity of particles that comprise physical structures.


JB1.0 is the first collaboration between McRae and Tibbits, who bring together their expertise to produce a pioneering large-scale jammable furniture and a body-focused space. This prototype, a mix between a playground and a laboratory test room, explodes inherited ideas within many industries and disciplines, putting morphable space and the body at the center of conversations about the future of science, technology, health, and fitness, as well as in the conceptual and material definitions of our everyday spaces of inhabitation.




–  –  –  –  –  

This exhibition was made possible through the generous support of the the Robert Rauschenberg Foundation’s Artistic Innovation and Collaboration Program.

Jamming Bodies is the third in a series of projects commissioned by Storefront with the support of the Rauschenberg Foundation. The grant supports collaborations that produce innovative work between individuals across disciplinary fields. Previous exhibitions presented at Storefront as part of the program include Situation NY by Marc Fornes and Jana Winderen in 2014 and Speechbuster by Jimenez Lai and Grayson Cox in 2013.


Friday August 14, 2015 – Saturday September 19, 2015

The Third Iteration of Storefront's Drawing Show



*Exhibition and auction has been extended


August 14th, 2015 – September 19th, 2015

Opening: August 13th at 7 pm

Members’ Preview: August 13th at 6 pm


To measure, to quantify the physical and intangible dimensions of a place, is to articulate facts in order to construct values. The process of creating standards and guidelines of representation allows innovation to enter the realm of the establishment. What can be measured can be capitalized, historicized, and sold.


While architectural representation conforms to a system of standards and guidelines that allows for the production of buildings, architecture is also the practice of giving form to thought. In the process of creating edifices that house social, political, and spatial relations, architects make visible the functions of society in operational and aspirational terms. In this sense, architecture is constantly innovating new forms of measurement and representation.


The pleasure and pressure to measure and be measured has become increasingly present. Access to growing data sets and new sensing technologies is widespread, and the role of public and private domains in terms of information and space are being redefined. These contemporary conditions invite us to reflect on our ideologies and values, and the drawing is a manifestation of that which we are able to (and desire to) count, measure, and draw.


Measure is an exhibition of newly commissioned drawings by 32 international architects presenting 32 edifices of thought. Drawings are of Storefront for Art and Architecture’s gallery space on 97 Kenmare Street in New York. Architectural representation, which draws upon the diagram as a conceptual and abstract component, has historically been criticized as obscure and self referential. The proliferation of data visualization in popular media today, however, allows us to engage a much larger audience in conversations about measurement and representation. The 32 drawings presented at Storefront unveil the challenges of representation and extrapolate them onto the architect’s table and the gallery walls.


Storefront’s third iteration of the drawing show seeks to find measures, resist measurement, and measure the immeasurable by presenting drawings that range from the real to the fictional and from the functional to the symbolic. Measure positions the medium and the act of drawing as a process by which we seek coherence in data and representation, and shows that it is the making of facts that is the basis for the production of futurity beyond existing norms.


Participants include:

The Architecture Lobby
Barozzi / Veiga
Víctor Enrich
Fake Industries Architectural Agonism (Urtzi Grau, Cristina Goberna) and Georgia Jamieson
FIG Projects

Michelle Fornabai
Grimshaw Architects

Steven Holl
Bernard Khoury
Kohn Pedersen Fox Assoc.
KUTONOTUK (Matthew Jull + Leena Cho)
Erika Loana
Jon Lott / PARA Project

m-a-u-s-e-r (Mona Mahall + Asli Serbest)
MILLIØNS (John May + Zeina Koreitem)
Nicholas de Monchaux
Anna Neimark and Andrew Atwood / First Office
pneumastudio (Cathryn Dwyre + Chris Perry)
James Ramsey, RAAD Studio
Reiser + Umemoto
Mark Robbins
Selldorf Architects
Malkit Shoshan
Nader Tehrani / NADAAA
Urban-Think Tank
Anthony Titus
Ross Wimer
James Wines


Each of the 30 drawings in the exhibition will be auctioned throughout the exhibition with proceeds supporting Storefront’s exhibitions and programming. Bid online here.






As part of the exhibition, and on display on the facade gallery walls, Storefront has invited artists to present a series of works that use data to measure and construct new territories and architectural forms. Works range from sculptural to cartographic and from physical to digital.


Participants include:


Landscapes of Profit by Dan Taeyoung, Caroline Woolard, Chris Henrick, John Krauss, Ingrid Burrington

In the last decade, $23 billion of “flipped” properties have sold in New York City. Property flipping is a practice whereby a recently acquired property is resold, often for a considerable profit.


Landscapes of Profit measures the amount of money that would be generated if a 1% surcharge or “tax” were placed on sales of flipped properties, and proposes earmarking this tax for a fund for affordable space. If such a tax had been implemented from 2004 to the present, the tax would have raised an average of $23 million per year from over $23 billion in sales. Last year, it would have raised over $33 million for affordable space.


The project positions the recollection of data and its visualization as a form of activism.


Landscapes of Profit uses 2003-2015 data from the New York City Department of Finance’s ACRIS (Automated City Register Information System) and the New York City Department of City Planning’s MapPLUTO (Map of Primary Land Use Tax Lot Output). For more information, see


Wage Islands by Ekene Ijeoma

Wage Islands expands on the narrative of New York City’s “tale of two cities” by measuring and revealing inequalities in wages/income and housing. The project is a three-dimensional map of New York’s monthly median housing costs, where the peaks and bases of housing costs are between $271 and $4001.


The base represents the entirety of New York City, and data shows that in order for a citizen to pay the average housing costs for the city overall, he or she would need to make an hourly wage of at least $77. The peaks of the map represent the areas of the city where it is possible for an individual to live on a minimum wage of $8.25 based on the average housing costs of those areas.


This project reflects the geographies of access in New York City, and seeks to reveal the inherent relationships between housing, income, and inequality.


InSeE’ by Citygram: Tae Hong Park, Evan Kent, Sean Lee, Min Joon Yoo

InSeE’, an acronym for Interactive Soundscape Environment, focuses on sonification and visualization of soundscape data captured by sensor network technology captured by the Citygram sensor network system. The project aims to create real-time, dynamic “soundmaps” to augment existing digital cartographic technologies.


In this piece, InSeE’ zooms into Storefront for Art and Architecture’s walking area (interior and exterior) to capture soundscape information–noise and spatial-acoustic energies–through immediate, short-term, and long-term dynamic mapping strategies.


The installation aims to bring awareness to spatio-temporal and non-ocular measurements through artistic media enabled by a series of sensors located in the gallery.


Citygram is an interactive environmental sensing project, that focuses on capturing, mapping, and exploring invisible environmental energies that turn spaces into places.


Throughout the gallery, a series of sensors are collecting data regarding the space and the acoustics of the area. This data is used within the various visualizations on display.


Dear Data by Giorgia Lupi + Stefanie Posavec

Dear Data is a year-long analog data drawing project by Giorgia Lupi and Stefanie Posavec, an Italian and an American who switched continents to live as expats in New York and London, respectively. Stefanie and Giorgia met only twice before beginning this project, and it became a way for them to get to know each other. Every week, they each collect and measure a particular type of personal data. They then each use this data to make a drawing on a postcard and drop it into an English “postbox” (Stefanie) or an American “mailbox” (Giorgia). Eventually, each postcard arrives at the other person’s address featuring the scuff marks of its journey over the ocean: a type of “slow data” transmission. In contrast to mechanical and impersonal gathering of data, Dear Data proposes a slow, manual, deliberately limited, and analog approach.


The artists embarked on this project to challenge the increasingly widespread assumption that “big data” is the ultimate and definitive key to unlocking, decoding, and describing people’s public and private lives.


The Dear Data project began on September 1, 2014, and runs for a year, after which Stefanie and Giorgia will each have sent 52 fragments of her personality in data to the other.


Displayed is a selection of 8 weeks of postcards in which the artists explore the relationship to our surroundings and to physical spaces through the gathering and drawing of data.


The entire collection of Dear Data postcards can be found at



PLUS ONE is a visualization by + POOL, an initiative to build a water-filtering floating pool in New York rivers for recreational and ecological purposes. It is an ongoing project that deals with the challenge of filtering actual river water to make it swimmable and safe for the public. The layered filtration system proposed by + POOL removes bacteria and contaminants incrementally to ensure cleaner water.


This visualization brings into a single graphic the gradient of data used in the process of designing and conceptualizing + POOL. The project incorporates scales and forms of measurement in many ways, from data regarding microscopic water pollution to assessments of the implications of improved waterways in cities worldwide.


Insight by CartoDB: Santiago Giraldo, Aurelia Moser, Andrew Hill

Insight builds on the ideas of abstraction, measurement, and insight through the use of precise community-created data maps. It uses the North Pole Azimuthal Equidistant Projection, a projection generally used in mapping and navigating the Arctic Ocean or northern-most land masses.


While it appears to be an abstraction of North and South America, the projection is geographically and mathematically accurate, as its points of distortion focus on the areas of Earth’s curvature that are farthest away from the North Pole. Greenland, for example, appears much smaller than it is typically perceived in more commonly used projections, but this representation conveys a less distorted and more proportionate view of the area.


The map design content is a collection of data visualizations and insight maps made by the CartoDB community, a cloud-based mapping, analysis, and visualization platform. The full CartoDB interactive map can be found at



In conjunction with “Measure,” CartoDB will host a competition for data visualizations to be displayed at the Storefront gallery during the exhibition. A monetary prize will be offered to the winning submission.



CartoDB Logo

Facing East: Chinese Urbanism in Africa

Wednesday June 17, 2015 – Saturday August 1, 2015

Facing East: Chinese Urbanism in Africa

June 17th – August 1st, 2015


Exhibition Opening: June 16th, 2015

Storefront’s Members’ Preview: 6 to 7 pm

Discussion with the Curators and Global Experts: 7 to 8 pm

Opening Reception: 8 to 9 pm


China’s influence in Africa is growing quickly on many levels. All across the continent, Chinese companies are creating new highways, light rail systems, Special Economic Zones, and mass housing developments. Cities have received brand new skylines “made in China”: designed by Chinese architecture firms, financed by Chinese banks, and built by Chinese contractors. From foundational elements such as concrete, window frames, and fire extinguishers, to decorative ones such as carpets and curtains, many of the basic items used to construct these skylines have been sourced directly from China.


On June 16th, 2015, Storefront for Art and Architecture opened Facing East: Chinese Urbanism in Africa, an exhibition by journalist Michiel Hulshof (Tertium, Amsterdam) and architect Daan Roggeveen (MORE Architecture, Shanghai). Facing East investigates the impact of Chinese development on fast-growing African cities, and is built around personal stories of individuals involved in the urbanization process.


Hulshof and Roggeveen have traveled to six African cities, from Accra to Addis Ababa to Kigali, in order to research the Chinese impact that exists on the ground. They interviewed over a hundred Chinese and African architects, politicians, entrepreneurs, journalists, students, developers, artists, and individuals who are involved in or touched by Africa’s rapid process of urbanization.


China’s influence in Africa often goes even further than what we perceive through the lens of the built environment. China’s state-owned CCTV Africa is broadcasting throughout the continent, and many African capitals have Confucius Institutes, in which an increasing number of African students are learning Mandarin Chinese.


Facing East allows visitors to experience the fascinating consequences of shifts in geopolitical power from the perspectives of those living it. The visitor finds himself in the same unstable position as Hulshof and Roggeveen during their research trips, and is forced to make associations between narratives, navigate existing and new relationships, and attempt to tie these together to comprehend the next chapter of globalization: one in which many African cities are beginning to face eastward.


About the Curators:


Michiel Hulshof is partner at Tertium (, an urban research and strategy bureau in Amsterdam. He has worked as a China correspondent for several Dutch and international media outlets.


Daan Roggeveen is an architect and co-founder of MOREArchitecture (, a studio for architecture and research based in Shanghai.


Hulshof and Roggeveen collaborate on the Go West Project, a think tank on emerging megacities. They are also the authors of How the City Moved to Mr Sun – China’s New Megacities (SUN, 2011). They lecture and publish frequently in Europe, the US, and Asia.


Exhibition Opening:


June 16th, 7 to 9 pm: free and open to the public. Press and members’ preview at 6 pm.


At 7 pm, there was a discussion with curators Daan Roggeveen and Michiel Hulshof along with Shanghai-based architect and researcher Zhengli Huang, on the impact of China in urban Africa.


Watch the opening panel discussion here:



The research project “Chinese Urbanism in Africa” is made possible with the generous support of the Creative Industries Fund NL and the EFL Foundation.

The Architects

Tuesday March 31, 2015 – Saturday May 30, 2015

The Architects

Amie Siegel 

April 1st – May 30th, 2015

Opening Reception: March 31st, 2015 at 7 PM

Commissioned by Storefront for Art and Architecture as part of Office US


The stories of architects have historically been portrayed and understood through singular figures and monographic narratives. However, the human and logistical edifices behind each of these individual figures is oftentimes less singular and more homogenous than usually depicted. What is the portrait of the collective body of architects building globally today?


On March 31st, 2015, Storefront for Art and Architecture will host an exhibition featuring The Architects, a film by artist Amie Siegel originally commissioned by Storefront as part of OfficeUS, the United States Pavilion at the 2014 Venice Biennale of Architecture. The Architects examines and analyzes the drivers, protocols, and implications of architectural production in an era marked by globalizing forces. The film embodies the efforts made by OfficeUS towards the understanding of practice and accountability within architecture.


The Architects cuts transversally through the city of New York, producing a continuous image of the global architecture office today. Moving through several architecture studios—from Fifth Avenue to Downtown to Brooklyn—the film depicts the operational territories and landscapes of worldwide architectural production from New York. As a singular unfolding visual, the film deploys silent conversations among the architectures, locations, objects and characters that inhabit its frames, raising questions of scale, agency, and power.


Parallel tracking shots through the working offices chart their typologies of sameness and difference, revealing reappearing elements of the spaces of architectural production: long horizontal desks, screens, renderings, and models. The film frames a wide spectrum of practices, from large firms to smaller studios in a collective new whole. It positions itself from a vantage point that places the lens of the camera between the spaces of production and the world, which is always, and only, just outside the window.


The Architects was made possible through the generous support of Storefront’s Board of Directors and Elise Jaffe + Jeffrey Brown.


Ranging from photographs, video, film installations, performance and feature films for the cinema, American artist Amie Siegel’s work has been exhibited in solo exhibitions including Amie Siegel: Provenance at The Metropolitan Museum of Art, New York, as well as solo and group exhibitions at MoMA/PS1, NY; MAXXI, Rome; Hayward Gallery, London; Whitney Museum of American Art, NY; Walker Art Center, MN; CCA Wattis, San Francisco; Kunstmuseum Stuttgart and KW Institute for Contemporary Art, Berlin. Her films have screened at the Cannes, Berlin, New York and Toronto Film Festivals, The Museum of Modern Art, New York and The National Gallery of Art, Washington, D.C. She has been a fellow of the DAAD Berliner-Künstlerprogramm, Guggenheim Foundation, and the recipient of a Sundance Institute Film Fund award and Berlin Film Festival award. 


Amie Siegel, The Architects, 2014, HD Video, color/sound

Producer: Andrew Fierberg

Co-Producer: Martina Klich

Production Manager: Tina Piccari

Cinematographer: Christine A. Maier

1st Assistant Camera: Bayley Sweitzer

Digital I Tech: Henry Prince

Sound Recordist: Timothy Wong

Key Grip: Mark Solomon

Grip: Dan Stenzel and Wil Hamlin

PA: Nir Bitton and Matthew Town

Color Correct and Conform: Post Republic, Berlin

Sound Mixer: Gisberg Smialek

Storefront for Art and Architecture: Eva Franch i Gilabert, Kara L. Meyer, Melissa Weisberg, eynep Goksel, Piotr Chizinski, Carlos Minguez Carrasco  

OfficeUS: Eva Franch i Gilabert, Ana Miljacki, Ashley Schafer

Special Thanks: Simon Preston Gallery, New York


About OfficeUS

As the commissioner of the 2014 United States Pavilion at the 14th Biennale of Architecture in Venice, Storefront for Art and Architecture presented OfficeUS, a global experiment in the making of architecture, history and work.  OfficeUS in Venice focused on the ways in which the space, structures, and protocols of the U.S. architectural office have participated in the construction of Modernity. OfficeUS was curated by Eva Franch, Anna Miljacki and Ashley Schafer with the support and collaboration of more than 300 individuals. To learn more go to


OfficeUS is expanding to New York, and will serve as an active, global, experimental architecture institute. As an ongoing reimagination of the concept of the office, OfficeUS will revisit the history of architecture, its relationship to politics and power and the premises and conclusions of modern and contemporary projects, to construct an agenda for the future production of architecture today. To learn more please contact


General support for Storefront’s exhibition and programs are made possible by Arup; F.J. Sciame Construction Co., Inc.; the Foundation for Contemporary Arts; The Greenwich Collection Ltd.; the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature; public funds from the New York City Department of Cultural Affairs in partnership with the City Council; The Peter T. Joseph Foundation; and by Storefront’s Board of Directors, members, and individual donors.