Posts tagged with "ant farm":
Ant Farm’s Chip Lord turns his sights on Miami for his latest installment of sea-level rise documentaries
This article appears in The Architect’s Newspaper’s April 2017 issue, which takes a deep dive into Florida to coincide with the upcoming AIA Conference on Architecture in Orlando (April 27 to 29). We’re publishing the issue online as the Conference approaches—click here to see the latest articles to be uploaded.
Video artist Chip Lord has made a career of pointing his lens at subjects he both admires and dislikes. In his early Sony Portapak experiments with the collectives Ant Farm, T.R. Uthco and TVTV, he critiqued but had fun with American subjects like car design, the Kennedy assassination, television news, and domestic habitation. His 1972 Ant Farm-designed House of the Century on Mojo Lake, Texas, both sends up the idea of a playful weekend party house in its male body design and the site of an installation of television monitors slithering out of the lake into the property of the house.Today, Lord is creating video works that bring his architect-trained sensibility to various cities facing issues of sustainability and rising sea levels including Venice Underwater, New York Underwater and next year a project about Phoenix, Arizona. Now he has created an urban portrait of the American city most immediately facing the issues of rising tides: Miami Beach. His Miami Beach Elegy focuses on the massive investment required to keep the city above water both for residents and its important tourist industry. The video focuses on the physical investment required to maintain the sea level metropolis—like a child building a sand castle that is wiped away by the tide, and a jolly convention of real estate agents as they celebrate selling property in a sinking city.
Miami Beach Elegy will premiere at the Rena Bransten Gallery in San Francisco, May 11 to May 13.
Exploration (the quest for new experiences, the ineffable, and living in an exhilarated state), Liberation (self-reliance, freedom from terrestrial social contracts, the desire to shape one’s world, and utopian (impulses), Fieldwork (hands-on, methodological intelligence gathering about the environment, such as an artist laboratory at sea), and Speculation (waterways as a tabula rasa on which other realities can be built).Within these headers is a collection of architectural works that have taken maritime themes, from large-scale housing projects to a structure that would facilitate humans' diplomatic relations with marine life. Conceptually, the show has a range of connections to architecture. All of the categories deal with the sea as a new territory where we can redefine ourselves and how we relate to one another and nature. It is not only defined by a different ground plane (water), but also by a different set of rules due its extra-legal, non-sovereign state. Once outside of the limits of “the law of the land,” new possibilities arise from this tabula rasa condition. Dutch studio Atelier van Lieshout (AVL) built a floating abortion clinic for Women on Waves, a Dutch health nonprofit that provides reproductive health services to women in countries with restrictive laws. A-Portable was a gynecological unit that helped women from Ireland, Morocco, Poland, Portugal, and Spain. The Brooklyn collective Mare Liberum takes its name from the 1609 treatise by Dutch jurist and philosopher Hugo Grotius that described the sea as “one of the last free spaces in this densely occupied urban landscape.” The artists channel Grotius as they work to explore and inhabit New York City’s waterways and waterfronts, the last open spaces where the artists feel they can be marginal and ambiguously outside of civilization. An essay by Dylan Gauthier, a founding member of Mare Liberum, can be found in the front of the book and elucidates how the collective’s two-year occupation of a yacht on the Gowanus Canal was possible due to ambiguous law and overlapping bureaucracies. The group is experimenting with new territories and space-making outside of the traditional realm of architecture or urbanism. Mare Liberum’s work also provokes new ways of living, as does Buckminster Fuller’s proposal for Triton City in Baltimore, where large housing blocks would be built on autonomous ships, and anchored in the ground. The 100,000 units were stacked like blocks within a large superstructure. If this sounds like Metabolism, it is because Fuller and Japanese architect Shoji Sadao originally designed the project for Tokyo Bay, typical of other water-based architectures of the 1950s and 1960s in Japan. When its client died, the team was commissioned by HUD and President Lyndon Johnson. It never was realized, despite being verified by the U.S. Navy as fit for building. The model is now on view at the Johnson Presidential Library. Building out onto the water is a popular proposal these days, as Diller’s Island in New York and the Garden Bridge in London compete for most controversial territory. Also projecting new forms of interaction is Ant Farm’s Dolphin Embassy. The speculative underwater diplomatic center was conceived for exploring interspecies communication. This dolphin research platform DOLØN EMB 1 took multiple iterations, as it grew from a simple catamaran-like vessel to a futuristic, technology-driven vessel called Oceania. While the group published numerous articles and received grants for the research, the project was abandoned when they broke up in 1978. The architectural works in the show fit in well, as they are the spatial manifestation of the pioneering and experimental attitude of the whole exhibition. The works by Pedro Reyes, Mary Mattingly, and Dennis Oppenheim could easily have been included in an architectural survey, because of the territorial and social implications of the art that blur the distinctions between architecture and performance. In a way, getting in a boat is an architectural act and a performance at the same time. This speaks to not only the breadth of the Radical Seafaring catalogue but also to its aesthetic and conceptual clarity.