All posts in Review
In today’s gallery world, where stock exchange voracity appears interchangeable with art fair commodity peddling, the anti-commercial and introspective dialogues of the environmental movement during the late 1960s and 70s were like apostolic meditations by comparison. Even the merchandising excesses associated with Pop Art now seem like somber banking conventions, in contrast to the souk-like sales tactics of current international expos...to its historical credit, the Pop era contributed significantly to liberating the 1960s New York art scene from the fusty anti-figurative bias of third generation Abstract Expressionism. By contrast, current events like Miami Basel and the Armory Show appear dominated by hyperbolic celebrations of conceptual vacuity, a disproportionate enthusiasm for transitory talent and a steadfast avoidance of original aesthetic values. There is a ubiquitous re-packaging of influences from the past, defended with such vaguely apologetic labels as ‘Appropriation, Pseudorealism, Post-postmodernism, Metamodernism and Neomimimalism. Too much of the new work, endorsed as hot ticket progressivism is, in reality, a deferent version of ‘if-you-please’ avant-garde.4. "History" was stale and familiar, and largely irrelevant today In this Biennial, there were some interesting bits of lesser-known history and some amazing moments of drawing and architectural assemblage. But the curation was uneven, and swerved from heavy-handedness with no productive end to the usual suspects doing their usual things unrelated to the project at hand. In the "Vertical City" show, for example, the wall texts read like a presentation from a first-year design studio. Very little new information was introduced, and the show took a boring typology—the tall tower—and didn’t even update it. Instead, we got a very personalized response from each designer. There wasn’t much that was “new” or historical in this room. While the 2015 version of the Biennial was simply “all the cool stuff we could find,” it was indeed, cool stuff, at the edge of knowledge both within and outside of the discipline. Biennials don’t have to solve all the world’s problems or solve inequality, but they can at least relate to the outside world in a coherent way. In the end, disciplinary knowledge is at its best when it has productive friction with issues outside the profession. The historical canon is being questioned today more aggressively than ever. There is a real need to probe what kinds of histories we are telling and where. On one of the biggest platforms in the world like the CAB, it was unfortunate that this exhibition only reinforced a Western ideal of architectural history. Almost all of the “history” here was from the Western canon. Now would be the time to really upend some of the stale narratives that have dominated architectural history in the past. 5. Its relationship to art was all wrong The art references made in this Biennial are mostly from the 1960s, such as Ed Ruscha, from whom the title was borrowed, Gordon Matta-Clark, and Claus Oldenburg. While certainly interesting, these antiquated modern art references keep the exhibition from engaging with the contemporary, adding another layer of alienation. Contemporary art biennials have moved so far past these modern art references that it makes this Biennial look completely out of date. The Berlin Biennale 9 (BB9) in 2016, curated by the New York collective DIS, was full of ultra-contemporary works that addressed all kinds of issues today like cryptocurrency, surveillance, wellness, migration, emerging technologies, new social norms, and radical shifts in how we consume media, among a host of topics. It was criticized for not being overtly political enough, but it did access some of the pertinent ideas that are affecting how we live today. There is really no way to compare the sheer horror and excitement that came from BB9 to the dusty 2017 Chicago Architecture Biennial. So given these five issues, what do we take away from the 2017 Chicago Architecture Biennial? If this show is any indication, there is a real case to be made for abandoning the language of architectural history entirely and inventing something else. Some of the most interesting times for architecture occurred when we tried to move beyond something prior, or as Bertolt Brecht said, “Erase the traces!” If there is a role for architectural history outside of the academy, it is not obvious what that might be, based on what this show demonstrated. How history was deployed was problematic for the discipline, as it was too narrow in its purview, and made an exciting time in architecture (the re-orientation of the discipline in the age of digital space and ubiquitous digital production) into another worn-out historical trope.