Thirty-seven of the artists participating in the current MoMA PS1 group show Theater of Operations: The Gulf Wars 1991-2011 have collaborated on an open letter addressed to the museum calling for a reappraisal of its “dysfunctional and abusive relationship to toxic philanthropy.” The letter, in particular, asks for the museum to sever ties with two of its board members: Larry Fink, CEO of investment firm BlackRock, and Leon Black, owner of the military security group Constellis and equity firm Apollo Global Management. The two have profited from weapons manufacturing, private prisons, immigration detention centers, and other industries the artists find morally objectionable. The letter, signed by artists including Ali Eyal, the Guerrilla Girls, Mona Hatoum, Jon Kessler, and Martha Rosler, was sent to MoMA and MoMA PS1 directors Glenn Lowry and Kate Fowle, respectively, on January 9, and was copied to Ruba Katrib and Peter Eleey, the curators of the exhibition. It was partially written to address their support of fellow artist Phil Collins' withdrawal from the exhibition days before it opened to the public on November 3. “We, the undersigned participants in Theater of Operations: The Gulf Wars 1991-2011," the letter states, "echo this call and support Collins in the hope that his action will ‘contribute to the global momentum to protest inequity, occupation, labour extraction and disenfranchisement, and to see, together, better days.’” Though the letter expresses appreciation for the exhibition's efforts to draw public attention to the wars in Iraq, the artists “wish to make visible MoMA’s connection to funds generated from companies and corporations that directly profit from these wars.” The issue was additionally raised in November when artist Michael Rakowitz asked the museum to pause a video of his that was on display in the gallery space. Following their rejection of his request, Rakowitz came to the museum on January 11 to pause it himself and place a written statement on the wall alongside it. “I’ve decided to press the pause button on my video, RETURN, so that we can discuss some recent events,” reads the statement. It then puts a spotlight on the investments BlackRock has made towards the GEO Group and Core Civic, two prison corporations that have been, according to the artist, “responsible for approximately 70 [percent] of all immigration detentions and are part of a racist, carceral system which has made the US the largest jailer in the world.” It separately addressed Apollo Global's connection to the defense contractor responsible for the deaths of 17 people at Baghdad’s Nisour Square. If Fink and Black do not divest from these companies, the letter requests that MoMa PS1 remove the two as board trustees “so that I may unpause my video and press play.” (It should be noted, as Hyperallergic also reported, the museum took down Rakowitz's statement and started the video again.) The artists' stance against the museum's board of trustees mirrors a series of events that took place at the Whitney Museum of American Art last July. Eight artists featured in the 2019 Whitney Biennial withdrew their participation in a protest against Warren B. Kanders, a vice-chairman of the museum and owner of law enforcement and military supplies manufacturer Safariland. Kanders stepped down from his position later that month amid growing pressure from the artists and a number of activists that staged protests in the museum's ground floor lobby. MoMA PS1 has not yet provided a public statement regarding its stance towards the open letter.
Posts tagged with "MoMA PS1":
Less than a month after the $450 million expansion of MoMA, hints began circulating of the potential cancellation of MoMA PS1's Young Architecture Program (YAP). Begun in 1999 as the first collaboration between the merged institutions, Philip Johnson celebrated his birthday party that summer with a DJ booth commemorating the disco era, spinning Frank Sinatra's "My Way" as the program's initial gesture. For the next 20 years, the jury asked deans, critics, and editors to nominate 30 young firms to compete, selecting a shortlist of five to develop concepts for the annual outdoor pavilion in the Queens-based PS1's courtyard. "The two most open departments to collaboration from day one of the announcement were film and architecture," said PS1 founder Alanna Heiss. "We had a gigantic space that had been used for large-scale installations of sculpture and big outdoor performance programs. We'd done a summer before of a kind of trial Warm Up, which had been more successful than, shall we say, we wanted it to be; ie., we had crowds and crowds of people that we had to devise systems to control for safety. But to merge architecture with the beginning of Warm Up was just a dream." MoMA's chief architecture curator at the time was Terence Riley, who conceived of the initial framework. "An opportunity presented itself in that a couple proposed to MoMA in a meeting with Glenn Lowry [the museum's director] and myself a prize for young architects in honor of the husband's father," said Riley. "He was focused on young architects, and he was thinking that it would be a prize. I was wary and am now about museums giving out prizes. It was really at the spur of the moment that we flipped the conversation to this Young Architects Program. Probably more than any kind of a medal, getting the opportunity for a young architect to actually build something in New York City—which is a freestanding element rather than an interior—I thought this would be super exciting for the museum and for the cadre of young architects of the period." Marcel Breuer had built a temporary house in MoMA's garden in the 1950s, and the Serpentine Pavilion in London also began in 2000 with a much larger budget. The Venice Architecture Biennale's pavilions bear some resemblance, too. During his time as MoMA's chief architecture curator, Barry Bergdoll instigated the impressive Home Delivery: Fabricating the Modern Dwelling in 2008, building housing models in MoMA-owned adjacent lots, which pushed the temporary building program in another productive direction. But YAP was the first temporary pavilion program of its kind in the world. "The first winner was SHoP, and it set a very high standard," Riley said. "It immediately became super competitive, and what I think is amazing, people put so much effort into it, many of the installations stand out as being a turning point in a lot of careers for some amazing architects. You can make a list of them. It's pretty incredible." YAP became an influential model around the world, with MoMA organizing partner pavilions at the National Museum of XXI Century Arts (MAXXI) in Rome, with CONSTRUCTO in Santiago, Chile, at Istanbul Modern, and at the National Museum of Contemporary Art in Seoul. "The fact that it has a use was critical in the sense that it wasn't just architects scribbling and coming up with seductive forms, although they often did, but they did often have a focus and guidelines," Riley said of YAP. "That gave it some rigor and also some humor. This was for a DJ event. It was about fun; it was about enjoyment. It had it's own character, which was really great." AN asked past YAP winners and curators to comment on its value to their careers, to young architects, and to the field, and to suggest possible future directions for the program. AN: How would you evaluate the program as a platform for you or other young architects to develop their ideas and gain recognition? Florian Idenburg, SO-IL For SO-IL, our installation, Pole Dance, was career-defining. We cannot recognize enough the importance that the program has had on a generation of architects. This potential is something MoMA should not underestimate and should try to maintain as it finds its new form. After two decades, any temporary event starts to lose its potential. I am excited to see what comes next. Eric Bunge, nARCHITECTS The program has undoubtedly been a launchpad for architecture firms, including ours, but its more important impact has been as a petri dish for ideas. Pedro Gadanho, former MoMA curator of architecture and design In a context in which debt-ridden young architects probably have to enter corporate offices just to survive, YAP provided one of the few design opportunities in the U.S. in which a smaller scale, more experimental studio could try out architectural ideas outside the market. And with MoMA’s notoriety [renown] behind it, winning it surely provided a boost in visibility at [an] international level. In this sense, after such a history has been made, scrapping it sounds profoundly unfortunate for the architectural field in the States, as well as for MoMA’s role within it. Gregg Pasquarelli, SHoP founding principal This program was an incredibly important platform for SHoP and other young firms. Dunescape [in inaugural 2000] was one of the first projects that put SHoP on the map in a meaningful way, and we are very grateful to have been a part of MoMA’s incubator. It showed us the tremendous R&D value of designing and constructing exhibitions and temporary pavilions and informs the way that we work to this day. What we learned through Dunescape has proven scalable and enabled us to conceptualize a new way of working that we are hopeful will revolutionize the entire architecture and construction industry. Jenny Sabin, Jenny Sabin Studio Winning the 2017 MoMA and MoMA PS1 YAP competition marked a major transition point in my professional creative career. My built work up until that point had been largely experimental, indoors, and at the pavilion scale. The platform enabled me to push design research to an entirely different scale, to engage active environmental conditions, diverse publics, and to respond to and integrate unique public programs for Warm Up. I can't underscore enough the positive role and impact YAP plays in our field and practice. It was the most rewarding and meaningful project that I have completed to date. It was an incredible honor and the international exposure was mind-boggling. YAP elevated my practice to an entirely new level with new and ongoing projects all over the world. Tobias Armborst, Interboro Partners For Interboro the program was important, changing the trajectory of our work. The particular response we found to the question of temporary architecture really brought forward our interest in rethinking community engagement and developing architecture not only as a product but as an open process that can involve many actors. Pablo Castro and Jennifer Lee, OBRA The YAP program was of course not perfect, the budget was too modest and so were the design fees—in our case our aim to adequately respond to the programmatic requirement of shade ended up being achievable only after being supplemented by a huge other fundraising effort on our part. In later years YAP had also become a franchise for MoMA, sprouting sideshows all over the world. Museums in Santiago, Istanbul, Rome, and Seoul had their own versions of YAP. Sometimes the work produced for these colonial outposts was interesting, but one can't help but wonder if it would not have been better to focus more concentratedly in advancing the conceptual intentions of the effort instead of multiplying it without any kind of contextual adjustment all over the globe. By 2006 when, thanks to YAP, OBRA got its chance to build Beatfuse! in the courtyards of the museum, one could already sense in the place a feeling of being under the intervention of some kind of colonial financial overlord. We were lucky enough to still enjoy the residual presence of the original "guerrilla" attitude which was alive and well in the people that ran and worked in the place: Alanna herself, a great champion of the daring and inspired; Brett Littman, the deputy director who saved our skin several times as we were trying to build Obra's overly-ambitious proposal; Tony Guerrero, the chief installer who—as I remember—used to keep a huge cage full of birds inside his office; and Sixto Figueroa, the congenial head of the Boricua-dominated PS1 shop, the place which, that spring, all of the sudden became our second home. How would you evaluate its success or limits as a model? Pedro Gadanho Its success depended entirely on the architect’s propositions, and how [over] time these could provide yet another design insight into a constricted site, namely by advancing more conceptual alternatives into low-budget construction systems, environmental inventions, and sometimes fascinating functional add-ons. Its limits were the usual ones for this type of initiative: that budgets were never as elastic as architects would love them to be. Terence Riley, former MoMA architecture and design curator, founding partner K/R Architects I definitely think it's a really good thing. Architecture is so abstract now: BIM modeling and so on—I just remember someone asking me, is that a photograph or a rendering? There's this lack of certainty, at least in the world of reproduction. The young architects who got involved in these projects, I am certain it's the first time they were on a job site in such an extended manner and felt the building up close in terms of materials and how things went together. In the beginning, it also addressed the local issue: the lack of younger people to build a building in New York City. It was amazing how much it expanded because of this hyper-competitiveness that seized that whole generation. Where should it go in the future, if it continues, or has the temporary pavilion framework been exhausted, as some critics have suggested? Or what should they do instead? Florian Idenburg Yes, a rethink is very timely. The wide range of issues that at this moment is leading to rage and despair on the streets of the world are real signals that there is an urgent need for real action and real change. The institutions that we brought into the world to “educate” the people—the museums, libraries, and universities—will have to decide. Either remain on the sidelines and continue to offer repose and shelter from the pressures of this much-needed realignment or become active participants. One can imagine the MoMA partnering with city agencies or nonprofits and developing a program in which they sponsor design fees for young architects to work on actual projects that have lasting benefits for people. One can imagine projects that take multiple years and are developed collectively, possibly using PS1 as a space for debate, work, and communication. Eric Bunge It should definitely continue, not only to maintain MoMA’s crucial role in catalyzing architectural ideas, but to continue engaging wider publics. The framework that is important to maintain is the constant renewal of the courtyard, not necessarily one that produces a pavilion. That’s just a problem definition. I think MoMA should find a way to bring back some of the simplicity of the early years, and address the increasingly [difficult] challenges faced by young architects:
- Cover or reduce the insurance requirements. There were none when we built Canopy; we therefore made it as safe as possible.
- Start the process much sooner, to allow for more time to design and build.
- Encourage the architects to design ephemeral environments with the thousands of users in mind, as opposed to (only) creating objects.
MoMA and PS1 have disclosed to AN that the Young Architects Program (YAP) will be going on hiatus next year, following its 20-year anniversary this past summer. AN had heard from sources close to MoMA PS1 that the program might be shutting down, and upon following up with the Queens institution, Martino Stierli, the Philip Johnson Chief Curator of Architecture and Design at the MoMA, provided the following statement:
"Following the 20th anniversary of the Young Architects Program (YAP), MoMA and MoMA PS1 have decided to place the program on a one-year hiatus. We remain deeply committed to supporting and recognizing emerging architectural talent. "We’ve already started to use the hiatus to bring together a diverse group of influential scholars and professionals, experimental architects and designers, and previous YAP winners to assess the program’s impact for the past two decades, explore its potential, and strategically chart its future. We look forward to sharing more news as we move along in this process."MoMA could be moving toward a more durable, longer-term commission in its courtyard to serve its outdoor summer Warm Up music series, performance events, and art book fair, but that's only speculation. The Young Architects Program's origins go back to 1998, a year after the Frederick Fisher-designed renovation enclosed the PS1 entrance courtyard in concrete walls. That year, Vienna-based artist group Gelatin installed a scrappy "environment" in conjunction with PS1's first series of Warm Up summer concerts. Percutaneous Delights was composed of rough compositions of stacked refrigerators, discarded furniture, Po-mo inflatables, a graffitied shipping container, and an array of sprinklers to activate the space with what the P.R. at the time described as a welcoming hang-out for hot summer days. The following year, PS1 inaugurated its gradual absorption into the MoMA collective with a project by Philip Johnson, ever a follower of fashions (even if it led him, at times, in the direction of Nazism), who designed a Dance Pavilion DJ booth for the 1999 summer concerts as the first collaboration between the two institutions. It wasn't until 2000 that MoMA architecture curator Terence Riley formally established the Young Architects Program as an annual invited competition to promote innovative practices. The program was simple: provide shade, seating, and water for Warm Up. The first winner—if anyone can still remember the now 190-plus person office as a young startup—was SHoP Architects, which demonstrated the kind of digitally designed, people-friendly, carefully crafted form-making that would make them the go-to firm for urban development projects that need a warmer public face. The program frequently created opportunities for younger architects to demonstrate conceptual ideas percolating in academia on a small but meaningful scale. Early winners of the competition included Lindy Roy (2001), William Massie (2002), Tom Wiscombe (2003), nARCHITECTS (2004), Hernan Diaz Alonso (2005), and OBRA Architects (2006). Sometimes the projects leaned in the direction of conceptual follies that had less of a service component, and early projects at times demonstrated the limits of digital design as often as its potential. The initial budget was $25,000, later increased to $75,000, though it became common knowledge that most firms would spend more out of their own pockets and lean heavily on interns to build out the ideas. It was not an open competition: MoMA curators and advisors pre-selected a handful of designers and frequently favored well-connected circles from Ivy League schools and well-connected academics. The arc of the program traces a mini-curatorial history of MoMA, from Riley to Tina di Carlo and Peter Christensen, Barry Bergdoll, Andres Lepik, Pedro Gadanho, Sean Anderson, and Stierli, whose influences are reflected in the selections, along with changes in the profession. Little by little, P.S.1 Contemporary Art Center became PS1 MoMA, then MoMA PS1. Some of the better-regarded highlights over the years included WORKac's 2008 P.F.1 (Public Farm One), which installed a demonstration urban farm that could survive the barren courtyard environment and created an ascending staircase of planter boxes on top of the gravel-covered space. SO-IL's Pole Dance (2010) engaged the playful possibilities of the program with colorful beach balls, overhead netting, hammocks, misters, and flexible PVC pipes, programmed with dance performances. On the most service-oriented end, Interboro Partners (2011) used their project as a demonstration of how PS1 could engage the surrounding neighborhood, building out the courtyard with a kit-of-parts based on the expressed needs of nonprofit organizations, businesses, and others in the community who they interviewed and donated components to at the end of the summer. Later projects by MOS (afterparty, 2009), Hollwich Kushner (Wendy, 2012), The Living (Hy-Fi, 2014), Andrés Jacque/ Office for Political Innovation (COSMO, 2015), and Jenny Sabin Studio (Lumen, 2017) increasingly verged in the direction of critical grotesques, parametric design, and environmental remediation experiments to varying degrees of success. Through it all, the surrounding neighborhood blew up in an astonishing, if predictable manner, in ascending towers of luxury apartments, demolishing the beloved 5 Pointz graffiti space in the process. If SHoP's origins as a young firm are hard to remember, it's even more difficult to retrieve the imperative that once made PS1 so improbable and ingenious a proposition in the first place—and the Young Architects Program an innocent delight—when its enterprising founder Alanna Heiss somehow convinced the Queens borough president to hand over a closed-down public school to a group of misfits from the SoHo/ Tribeca alternative space scene who proceeded to saw through floors as sculptures. Notably, one of the names that appears as a funder in the first decade of YAP, along with Bloomberg, Agnes Gund, and Isaac Liberman, is none other than real-estate-reality-show-specter-turned-president Donald J. Trump. How a contemporary art center can meaningfully respond to the current situation, if at all, could be a starting point for the continuation of the program or its eventual cancellation, but the Young Architects Program unquestionably pioneered a model of temporary urban pavilion imitated worldwide, activating public spaces that without major capital improvements or altering their historic character remained inhospitable and inflexible for contemporary needs.
Drumroll, please: Curator Kate Fowle is MoMA PS1's new director. Until recently, the U.K.-born Fowle had been acting as the first Chief Curator at Moscow's Garage Museum of Contemporary Art since 2013. She will succeed Klaus Biesenbach, who left a 23-year tenure at MoMA PS1 about eight months ago to head up The Museum of Contemporary Art in Los Angeles. “It’s an honor to take the helm of MoMA PS1 at this juncture in its rich history,” said Fowle in a press statement. “I look forward to working with the team and board to create a generative environment where our outlook is transformed through artists and their perspectives on the world.” Before her stint in Moscow, Fowle directed the New York-based Independent Curators International (ICI) from 2009 to 2013. The organization connects contemporary art curators around the world. The announcement comes on the heels of the first public viewing of this year's Young Architects Program (YAP) installation by Mexico City-based Pedro y Juana in the courtyard of the Long Island City MoMA offshoot. YAP invites emerging firms to build a summer installation in the PS1 courtyard that provides light and shade to visitors during Warm Up, the museum's summer Saturdays music event.
The 20th iteration of MoMA PS1’s Young Architects Program (YAP) opens today, and The Architect’s Newspaper took a sneak peek at the towering installation ahead of time. This year’s winners, the Mexico City-based Pedro y Jauna (and engineer Arup), have installed a 40-foot-tall ring of scaffolding in the Long Island City museum’s front plaza, complete with a tropical panorama and towering waterfall. Hórama Rama floats this “jungle” over a forest of scaffolding, with handwoven hammocks from the south of Mexico suspended between the columns. The natural comparisons don’t stop there; while the inner ring of the 90-foot-wide cyclorama features lush jungle imagery, the outer ring presents a wall of technical two-by-six wooden beams, each capped with a splash of blue tape. On the ground, the duo behind Pedro y Jauna, Ana Paula Ruiz Galindo and Mecky Reuss, have scattered square benches made from the same material, and at first glance, they appear to be piles of unfinished lumber but eventually reveal themselves to be even more seating. Hanging work lights have been run through the pavilion to light it up at night, furthering the construction site feel. The entire structure was designed to be light and permeable but still provide shade from the harsh summer sun, in following PS1’s design brief. Hanging hammocks have been suspended in every nook and cranny of the courtyard, providing quieter respites for visitors who choose to explore the space. The most pervasive feature is the “infinity” waterfall at the center of Hórama Rama, which constantly recirculates water. As Reuss explained, the waterfall isn’t for cooling off (though it does splash and mist quite a bit), but to infuse the space with the sound of running water. Hórama Rama will remain installed through September 2 and will play host to PS1’s popular Warm Up concert series—the first in the indie music series will run on July 6. If you’re interested in seeing all five finalist entries for this year’s YAP competition, MoMA has installed models and diagrams of each inside the PS1 building proper. This exhibition usually runs at the MoMA proper, but with the Manhattan branch closed for the summer, the Queens offshoot is hosting it instead.
Mexico City–based firm Pedro y Juana has won The Museum of Modern Art and MoMA PS1’s 20th annual Young Architects Program (YAP). Pedro y Juana founders Ana Paula Ruiz Galindo and Mecky Reuss beat out four other finalists for the prize with their immersive junglescape titled Hórama Rama. The design for the installation includes a space frame–supported stage set made up of jungle-themed prints as well as custom-made hammocks from Mexico’s Yucatán region. The circular frame is raised above the height of the courtyard walls and is clad along its exterior with projecting dimensional lumber “bristles” that will be reused after the installation’s run at the museum. One end of Hórama Rama is anchored by a two-story waterfall that will act as a misting device during the hot summer months. Describing the waterfall, Ruiz Galindo said, “The project is jungle themed, so we couldn't resist adding a waterfall” to meet the competition brief’s water feature requirement. Reuss added that the waterfall would also animate the space with the sound of falling water. The drum-shaped installation is set to take over the MoMA PS1 courtyard for the museum’s Warm Up summer concert series from June to September later this year. Sean Anderson, associate curator in MoMA’s Department of Architecture and Design, described the winning proposal as a “world-within-a-world…Hórama Rama, is a manifold of views in which to see and be seen, to find and lose oneself in a radically different environment. The installation constructs a collection of scenes into which visitors may escape, even if for a moment, whether in a hammock or by the waterfall.” MoMA PS1 Chief Curator Peter Eleey added that “by juxtaposing two landscapes in transition—the jungle and the Long Island City skyline—[Pedro y Juana] draw attention to the evolving conditions of our environment, both globally and locally, at a crucial moment.” Other finalists for this year’s MoMA PS1 Young Architects Program included Low Design Office (DK Osseo-Asare and Ryan Bollom); Oana Stănescu and Akane Moriyama; Matter Design (Brandon Clifford, Johanna Lobdell, and Wes McGee); and TO (José G. Amozurrutia and Carlos Facio). Proposals from all five teams will be exhibited at MoMA PS1 in Queens, New York City, in summer 2019.
The Museum of Modern Art and MoMA PS1 have announced the five finalists for next year’s 20th annual Young Architects Program (YAP). The finalists are each invited to propose an installation design for PS1’s outdoor courtyard in Long Island City, Queens. The winning proposal will be revealed in early 2019 and installed next summer. The selection below hints at MoMA’s commitment to showcasing forward-thinking architects who use eye-catching design, strategic planning, and social media to garner global influence. Not only do these teams create innovative spaces and experiences, but they incorporate imaginative materials and movement into every project they pursue. Meet the finalists below: Pedro & Juana Ana Paula Ruiz Galindo and Mecky Reuss Mexico City This Mexican design duo has made major splashes in the architecture world since establishing their firm in 2012. Many of their projects feature furniture-driven designs, as seen in their interior public space installation, Dear Rudolph, for the 2015 Chicago Architecture Biennial. The pair met in 2005 while attending SCI-Arc and formed their practice years later. Not only do they design their own furnishings and fixtures for many of their projects, but they incorporate art and whimsy into every piece. For the 2017 Chicago Architecture Biennial, Pedro & Juana created a festive and colorful ceiling full of lanterns and planters within the Museum of Contemporary Art Chicago. Low Design Office (LOWDO) DK Osseo-Asare State College, Pennsylvania DK Osseo-Asare of the Austin, Texas-based firm LOWDO explores the links between sustainability, technology, and geopolitics. Together with his design partner, Ryan Bollom, the young practitioner designs eco-friendly family homes and living systems. In 2017, they created the Agbogbloshie Makerspace Platform (AMP), a transnational project that helps bolster maker ecosystems in Africa by teaching students and young professionals how to reuse recycled materials. One of the firm's biggest projects includes designing and planning the new towns of Koumbi City in Ghana and Anam City in Nigeria. Oana Stanescu & Akane Moriyama New York Romanian architect Oana Stanescu is a founding partner of the New York–based design firm, Family, and cofounder of the Friends of +Pool nonprofit. Her work in architecture features a multidisciplinary approach, which can be seen in the ambitious design of the world’s first floating pool and Family’s 2013 stage design for Kanye West’s Yeezus tour. Stanescu recently stepped out to start a practice under her own name, taking her extensive experience working on exhibition design, public housing, and commercial projects, as well as urban development, with her. She’s has held teaching positions at MIT and Columbia University GSAPP, and served as a critic at Yale and Harvard. Stockholm-based artist and designer Akane Moriyama weaves the fields of architecture and textile together in her work. After studying at both the Kyoto University of Technology in Japan and the Konstfack University College of Arts, Crafts and Design in Sweden, she began incorporating the practices of dying, knitting, sewing, and printing into her projects. In 2013, she won the Center for American Architecture and Design's competition CURTAINS, installing a large-scale prism made of billowy, sheer drapes in a courtyard at the University of Texas at Austin. Her work has been shown widely from Tokyo to Venice. Matter Design Brandon Clifford Boston Matter Design, led by director and cofounder Brandon Clifford, isn't afraid to experiment. The Boston-based design/research studio regularly publishes architectural research into new fabrication techniques but also combines the theoretical with the practical in using those same techniques to create products. This synthesis of research and practice is at the heart of Matter Design; for example, take The Cannibal's Cookbook, a guidebook for constructing walls from interlocking pieces of scrap masonry, and Cyclopean Cannibalism, a real-world realization of a "recipe" from the book. Carving, stacking, and discovering new twists on ancient craft techniques have driven much of Matter Design's research. The studio was also recognized with an Architectural League Prize for Young Architects + Designers in 2013. TO Carlos Facio and Jose G. Amozurrutia Mexico City To TO founders Carlos Facio and Jose G. Amozurrutia, the line between art and architecture was meant to be blurred. TO, a small, three-year-old Mexico City–based practice, regularly blends hand-crafting with architectural ideas. For their 2016 Hermés Pavilion in Milan, the studio collaborated with Taller Mauricio Rocha + Gabriela Carrillo to abstract one element of a typical building—the colonnade—into a spiraling structure made solely of brick piers. The resultant interplay of light and shadow was just as important to the project as the columns themselves, demonstrating the studio's attention to architecture's more ethereal qualities. Past YAP winners include Dream the Combine (2018), Jenny Sabin (2017), and Escobedo Soliz Studio (2016).
At a panel discussion a week after the October 21 opening of Bruce Nauman: Disappearing Acts at the Museum of the Modern Art (MoMA), Laurenz Foundation curator and advisor to the director at the MoMA, Kathy Halbreich, discussed how poorly Nauman’s last two retrospectives were received. The first, a major solo show that traveled from the Whitney Museum of American Art to the Los Angeles County Museum of Art (LACMA) in 1972, was pilloried by the press as vapid. The second, a 1995 exhibition at the MoMA (co-organized by Halbreich) was criticized as overly loud and chaotic. The volume has been turned down for the versatile artist’s third show but his stinging examinations of surveillance, “fake news,” bodies in space, and the ultimate futility of life are more relevant now than ever. The MoMA has pulled out all of the stops for Disappearing Acts, literally in some instances. The walls of MoMA's sixth floor have been cleared so the whole floor can be dedicated to Nauman’s larger, more architectural explorations of space, while the entirety of PS1 in Queens has been handed over to smaller installations. All told, the MoMA has put 165 pieces of sculpture, drawings, video art, neon work, soundscapes, paintings, and more on display, much of it on loan from other institutions and private collectors. In Midtown, visitors are guided through a chronological tour of Nauman’s larger works across the repurposed special exhibition galleries, beginning with his own experiments in using the body as a tool of art. Arms were used as both paintbrushes and hole-punchers in Nauman’s earlier work, and pieces were formed and named according to his own body proportions. Further in, Nauman’s meditations on surveillance in the urban environment become evident; take Going Around the Corner Piece, a “room” with no way to enter, covered in security cameras that relay their feeds to televisions on the ground. Visitors are encouraged to encircle the room as they “chase” the digital reflections ahead of them. The massive Model for Trench and Four Buried Passages has been installed beyond that, placing an “architectural model” of the titular trench, arranged in five circles, on the floor of the museum for 360-degree examination. Behind that, a small monitor sits on the wall displaying Audio-Video Underground Chamber, a live 24-hour feed from inside of a concrete box that’s been buried offsite. Kassel Corridor: Elliptical Space has been erected in the MoMA for the first time since 1972, and although it looks like two unfinished stud-mounted walls facing each other, the “sculpture” actually contains an ultra-narrow room. Only one visitor per hour is allowed inside, where they can wedge themselves inside the seafoam green “viewing chamber.” The audio installation Days occupies the last room. Fourteen super thin speakers have been suspended at head-height in two rows, with each pair featuring a different voice repeating days of the week in a random order. Nauman has carved out audio “corridors” for visitors to wander through, spatializing the installation. Across the river, PS1 is home to Nauman’s more intimate—but more terrifying—pieces. The former classrooms of PS1 have been transformed into private enclaves for his audio-visual pieces. Nauman’s most famous work, the 1987 video Clown Torture (it’s unclear whether the clowns, or the viewer, are being tortured) has been given its own room, though it’s unclear whether any visitor will stick around for its 60-minute runtime. Mapping the Studio II with color shift, flip, flop, & flip/flop (Fat Chance John Cage), a sped-up surveillance tape covering 24 hours of Nauman’s empty studio, has been given a similar staging. A selection of lithographs, paintings, and smaller neon tube pieces can also be found at the MoMA’s Queens outpost. Bruce Nauman: Disappearing Acts will be on display at the Manhattan MoMA until February 18, 2019, and at PS1 until February 25, 2019. The museum will also be presenting live performances of the 1965 performance piece Wall/Floor Positions from 12:00 PM through 4:00 PM every Thursday and Sunday, and every Friday and Saturday from 1:00 PM to 5:00 PM at PS1.
Klaus Biesenbach, director of MoMA PS1 and Chief Curator at Large at MoMA in New York City will be packing his bags for the West Coast. Biesenbach has reportedly been tapped as the latest to lead Los Angeles’s Museum of Contemporary Art (MOCA), where it’s hoped that he’ll be able to draw large crowds to the struggling institution. Biesenbach will leave behind a complicated legacy at PS1. He started his tenure as a curator in 1995, and was responsible for starting the popular summer Warm Up concert series, the Rockaway! arts festival at Fort Tilden in the Rockaways (and includes this year’s Yayoi Kusama sphere installation), and was responsible for driving foot traffic to the Queens institution. However, Biesenbach was responsible for curating the “embarrassing” Björk retrospective at MoMA in 2015 and Marina Abramovic’s The Artist is Present in 2010, which also drew mixed reviews. His departure comes as the museum is facing a discrimination lawsuit over the revocation of a job offer to a pregnant performance program curator. Biesenbach will be replacing Philippe Vergne, the former Dia Art Foundation director (continuing a MOCA tradition of courting New York-based personalities). Vergne stepped down after four years of running MOCA in May, following the backlash over artist Mark Grotjahn’s decision to decline being honored at the museum’s annual gala over a supposed lack of diversity among past honorees. MOCA itself has seen its fortunes rise and fall in recent years, having had its endowment fall to under $10 million as it used the money to pay for operating costs. According to the New York Times, MOCA is hoping that Biesenbach will be able to network with other collector institutions in the area, such as the Broad Museum across the street, and revitalize flagging enthusiasm for the museum. MoMA will start looking for Biesenbach’s replacement in the fall. "Klaus Biesenbach is an extremely talented curator and director who has done an outstanding job leading MoMA PS1 over the last decade," said Glenn D. Lowry, Director of MoMA in a statement, "and working with his colleagues at The Museum of Modern Art to shape our program in contemporary art. His legacy of daring exhibitions, his commitment to artists, and his dedication to civic engagement, leaves an enduring mark not only at MoMA PS1 and The Museum of Modern Art, but in the cultural life of New York City and beyond. " In related news, MoMA painting and sculpture curator Laura Hoptman has been named the new executive director of the Drawing Center. The small nonprofit museum is located in SoHo and has shown a wide collection of architectural work, including drawings by Lebbeus Woods.
MoMA PS1’s 2018 Young Architects Program (YAP) installation is set to open for the summer on June 28, and The Architect’s Newspaper took a behind-the-scenes look at the winning entry from Minneapolis-based Dream The Combine. Husband-and-wife partners Jennifer Newsom and Tom Carruthers of Dream The Combine, and Clayton Binkley of ARUP were on hand for a guided press preview of the steel-and-glass Hide & Seek, now installed in PS1’s courtyard. This year’s YAP installation is highly technical and stark at first glance, but is still responsive at the human-scale and cuts a striking figure as the lighting conditions change overhead. Eight intersecting elements made of black steel–Carruthers co-owns a metal fabrication shop in Minneapolis–stretch across PS1’s open space, creating a layered experience for museum-goers. Each end of the horizontal structures on the ground-level are capped with enormous suspended mirrors, which move both in response to the wind as well as visitor participation; the mirrored-panels have had handles welded to their back. The bending, constantly shifting viewpoints and reflections of Hide & Seek are designed to introduce a measure of spontaneity and unpredictability to the concrete-walled courtyard. Mirrors mounted high above the ground break the visual constraints of the PS1 courtyard and provide glimpses of the surrounding neighborhood to passerbys and vice versa. The installation’s central structure, a catwalk installed just past PS1’s entrance, turns into an infinitely-reflecting hallway as the mirrors at its ends move in the breeze. It also provides shade from the harsh summer sun via a stretched overhead canopy. As Newsom and Carruthers explained, the black fabric is intended to physically both block and filter the sun so that looking up invokes the feeling of viewing the night sky, as well as symbolically represent the poche of a drawn plan. A large-scale hammock nearby trades the plywood flooring of the catwalk for springy netting (though the installation doesn’t have a trampoline-level of bounce, AN’s editors spotted plenty of children trying to catch some air anyway). “For the 19th year of the Young Architects Program, Dream The Combine’s provocative intervention Hide & Seek tests the effects of rapid development in Long Island City, Queens and, more broadly, the American city,” wrote Associate Curator of MoMA’s Department of Architecture and Design Sean Anderson. “Conceived as a temporary site of exchange, the proposal activates the MoMA PS1 courtyard as a speculative frontier to be magnified, transgressed, and re-occupied.” Hide & Seek will also act as a staging area for PS1’s Warm Up concert series, and the steel sculptures overhead will reportedly be bathed in mist and light at night in response to the music below. Hide & Seek will be on display and open to the public from June 28 until September 3. An exhibition at the Museum of Modern Art's main building showcasing the schemes from all five finalists will run concurrently.
Japanese artist Yayoi Kusama is known for making work filled with circular motifs, and her upcoming site-specific installation titled Narcissus Garden is no exception. The installation of silver spheres will be on view from July 1- September 3 at Fort Tilden, a former United States Army base on the coast in Queens. The exhibition is presented by MoMA PS1 as the third iteration of Rockaway!, an art festival that commemorates the Rockaway Peninsula’s ongoing recovery from Hurricane Sandy. First presented in 1966 at the 33rd Venice Biennale, Narcissus Garden is comprised of 1,500 spheres made of mirrored stainless steel. The artistic intervention will transform the interior of the former coastal artillery installation with mirrored surfaces. The region’s military past and the building’s post-Hurricane Sandy state will be highlighted in the reflections of the sculpture. During the first presentation of Narcissus Garden in 1966, Kusama, dressed in a gold kimono, threw the spheres around and attempted to sell them to passerby on the lawn outside the Italian Pavilion. The performance was interpreted as “self-promotion and a critique on the commercialization of contemporary art,” according to a statement from the MoMA PS1. The art piece played an important role in marking Kusama’s career as a performance artist in the sixties. Iterations of Narcissus Garden have since been presented in New York City parks and different venues worldwide. The first iteration of Rockaway! in 2014 featured Patti Smith, Adrián Villar Rojas and Janet Cardiff, while the second iteration in 2016 featured Katharina Grosse. The series is co-organized by Rockaway Artists Alliance, a local non-profit art organization, and National Park Service. For details please check out this link.
From now until September 3, the MoMA will be exhibiting Dream The Combine’s winning scheme for this year’s Young Architects Program (YAP), as well as the other four finalists’ work. Hide & Seek opens to the public at MoMA PS1 on June 28, but until then, the MoMA exhibition provides a sneak peek that should tide over visitors. Hide & Seek Design: Jennifer Newsom and Tom Carruthers of Dream The Combine in collaboration with Clayton Binkley of ARUP Structural Engineering: Clayton Binkley and Kristen Strobel, ARUP Project Team: Max Ouellette-Howitz, Nero He, Tom Vogel, Emmy Tong, and Erik Grinde, with support from UMN School of Architecture Dream The Combine is the 19th YAP winner. The firm's scheme will create a series of dynamic pavilions across PS1’s courtyard and up the steps to the museum. Nine overlapping black steel catwalks will stretch across the open area, including inaccessible platforms hovering overhead. Three of the paths will hold giant, moveable mirrors that can “turn an individual into a crowd” or unify separate elements of the installation. Fabric sails will be floated overhead at certain points and fitted with misters to create an ethereal and spacey feeling at night. Hide & Seek is, according to Jennifer Newsom, an attempt to create an ever-changing experience in PS1’s courtyard by building new visual connections throughout the space and beyond. Shelf Life Design: LECAVALIER R+D, Jesse LeCavalier Project team: Ayesha Ghosh, Jesse McCormick, Zachary White Structural engineering support: LED - Laufs Engineering Design, New York City & Berlin What exactly is “logistics”? How can we better connect and explore the invisible machinery that drives modern global commerce? For Shelf Life, LECAVALIER R+D re-appropriates the stacking and racking machinery usually found in factories and turns it into an immersive exhibition structure. In their proposal, furniture is built straight into the massive frame, and the entire pavilion would be disassembled and integrated back into the global logistics stream at the end of summer. Out of the Picture Project Team: FreelandBuck, Alex Kim, Taka Tachibe, Belinda Lee, Braden Young, Adin Rimland, Michael Raymundo, Adrian Lanetti, Evan Preuss, Jose Avila Structural Engineering by Matthew Melnyk of Nous Engineering Out of the Picture sought, much like Hide and Seek, to “bring the outside in” to PS1’s courtyard. Enormous fabric banners are stretched across the central plaza and decorated with distorted images of the surrounding buildings. The result is a reinterpretation of the neighborhood from a new perspective, transformed but still readable. Loud Lines Design: BairBalliet Structural Consultants: Walter P Moore, Kais Al-Rawi, Quinton Champer Project Team: Chaoqun Chen, Jose Garcia, Andrew Lang, Spencer McNeil, Ruta Misiunas Lines and vectors are often abstract concepts on a screen in architecture, but BairBalliet sought to translate the often-striking lines in diagrams into tangible structures. During the day, Loud Lines is solid black and imposing, but at night, the structure pulses with neon light from within. The rods emit a cooling mist to further blur the lines between the real and the immaterial. The Beastie Design: OFICINAA: Silvia Benedito and Alexander Häusler. Cambridge, MA, and Ingolstadt, Germany The Beastie proposed a technologically forward-thinking assemblage in PS1’s courtyard; an interactive structure that would have turned solar energy into ice. Inside the multi-walled chambers of The Beastie, visitors would explore a range of different temperatures, ranging from pleasant to freezing. More than a cool-down station, The Beastie was intended to raise awareness of climate change by exposing guests to “climatic confusion”. All of the YAP finalists were required to design an outdoor shelter that included shade, water, and seating. After the proposals are finished showing at the MoMA, the installation will travel to MAXXI (Museo nazionale delle arti del XXI secolo) in Rome, and CONSTRUCTO in Santiago.