Archive for July, 2011

from Line to Zone

July 27, 2011

“To foster a ‘third,’ which is a new, ecological utopia. My idea of utopia, or, an ideal state of conditions for humans, is not based on a harmonious melding of conflicting conditions, but rather on the free ’dialogue,’ or open interaction between them. The utopian condition is one of conflict, achieving a dynamic balance of opposing ideas, actions, forces, through continuous struggle to assert differences of every kind.” -Lebbeus Woods


NOTES ON BECOMING A FAMOUS ARCHITECT: 59.Take a Lesson from Diller+Scofidio+Renfero

July 19, 2011

I studied architecture and I was always interested to be an artist and slowly we started to work around issues of space. We were interested in conventions of the every day, we were interested in domesticity, we were interested in issues of visuality, there were many issues that were of interest, but always in between disciplines.

S: We never said lets start working and develop an office or studio, hire people, lets get jobs. We always found things that interested us and that’s where we went.

D:We were always a research studio. We were always interested in research whether the outcome was in the form of an installation, in the form of a book, or ultimately in the from of a building. They were just iterations of different forms of the same ideas.

via NOTES ON BECOMING A FAMOUS ARCHITECT: 59.Take a Lesson from Diller+Scofidio+Renfero.


July 10, 2011

artivism_ electronic disturbance theater b.a.n.g. lab » Transborder Immigrant Tool Crosses Into Mexico.

Untitled from Ricardo Dominguez on Vimeo.

Not every art event requires a valid passport, but participation in Political Equator 3 involved a carefully orchestrated border crossing through the Los Laureles Canyon from the United States into Mexico. Under the watchful eye of U.S. Homeland Security agents on hilltops, Political Equator attendees made the arduous crossing that tens of thousands of people make each year in reverse, but as privileged guests they did it with conveniences like air-conditioned buses, lavish tents, and buckets of icy bottled water.   Many found themselves turned back if they lacked clearance from the two governments that had temporarily allowed for an improvised border crossing station in a corridor through the Tijuana River Watershed that also bridges the two nations in a journey from bleak no-man’s land to dense, improvised housing.  Those who had been documented were lined up – oddly by first name – to wait to cross under a massive border fence through a storm drain before scuttling past an improvised shrine of trash and up a trail to an old military checkpoint. Parsons Dean William Morrish of the School for Constructed Environments drew the landscape between the “no people past” and the “informal future” shown above.


Border Machines

July 9, 2011 is the result of Ian Alan Paul’s MA thesis project at SFAI and was completed in May of 2011. This website looks to three contemporary artists working in border territories and seeks to establish a ground on which we can begin to think the undoing of borders. This project operates in and imagines a solidarity with you, the user of this site.

This site is organized rhizomatically and has many routes and paths through it, resisting formal closure or resolution.

via Border Machines.

Border Haunt

July 9, 2011

Networked_Performance — Live Stage: Border Haunt [online].

Border Haunt from Ian Alan Paul on Vimeo.