Posts tagged with "New Museum":

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OMA reveals first renderings of New Museum expansion

Today OMA revealed its design for the New Museum addition, a brawny 62,000-square-foot gallery expansion that leans into the contemporary art museum's current home on the Bowery. The seven-story building will replace an older loft that was home to the museum's incubator, NEW INC, as well as artists who had lived and worked in the building for decades. The new structure will align with the SANAA-designed main building's floorplates on three levels, doubling the current exhibition space. It will also sport additional space for education and community events, a spot for NEW INC, an 80-seat restaurant, studios, and more. The architects contend that it will be possible to see the vertical circulation through the laminated glass with metal mesh facade. OMA New York partner-in-charge Shohei Shigematsu is the design lead on the project, and New York's Cooper Robertson is the executive architect. The New Museum first announced OMA's involvement in the project in 2017. Rem Koolhaas, the co-founder of OMA, explained the design reasoning to the New York Times, which first reported on the expansion, as such: "One building is very enigmatic, and it did not seem fruitful to create an enigma next to an enigma." The project will break ground next year and is slated for completion in 2022.
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Net art turns the internet into a space of performance

What happens on the ‘net stays on the ‘net. Or maybe not, according to the new exhibition The Art Happens Here: Net Art’s Archival Poetics, a history of net art from 1985 to today presented by Rhizome at the New Museum in New York. The show brings net art out of the tubes of the internet and into the gallery, part of an intensive archival project curated by Michael Connor, artistic director, Rhizome, with Aria Dean, assistant curator. The show focuses on sixteen artworks selected from Net Art Anthology—Rhizome’s major online exhibition of one hundred works from throughout net art history—born-digital art that both resulted from and influenced a rapidly changing network culture that pervades the real world, beyond the browser. The show’s title comes from MTAA’s 1997 Simple Net Art Diagram, which outlines the relationship of computers, the network, the artists, and the art. Two personal computers are linked with a label, “The art happens here,” pointing to the space between the computers. An important distinction is made here—and in the show—between net art and a broader conception of digital art that focuses on techniques in a new digital media: “net” implies that the art is a performance that investigates how people relate to each other and these machines. We can see how the artworks in this exhibition were at the front edge of using the technology and investigating what the critical and societal impacts might be in the future. These were social networks before social networks, tag clouds before tag clouds, and streaming services before streaming services. Goofier early works include Alexei Shulgin’s 1998 386 DX, a “band” (a computer) that performs punk music, and StarryNight, a 1999 conceptual visualization of Rhizome’s early email listserv content, displayed with tags that connected dots connected to event “pages.” The later work in the show is more overtly political. The earlier works are more concerned with tautological questions about the medium/space of the internet: experiments in relating to one another and defining ourselves across new digital platforms, such as StarryNight and Simple Net Art Diagram. More recent works, however, signal more toward how we use these platforms—and their more advanced, codified descendants like Facebook—as places to enact politics. For example, Miao Ying’s 2007 Blind Spot is a Chinese dictionary with all the words redacted that the Chinese government would censor online. Artist-activist Morehshin Allahyari’s Material Speculation: ISIS was an attempt in 2016 to reproduce 3D-printed replicas of a set of twelve artifacts from the ancient cities of Hatra and Nineveh, destroyed the year before by ISIS. Perhaps this evolution makes sense since those early experiments—the band in 386 DX or StarryNight for the Rhizome “website”—are also a form of political speculation about social relationships in the face of new technology. The show tracks these developments in the technology and art as well as changes in society that unfold alongside the art historical narrative of the show. Or perhaps it is less about the tracking of changes in broader culture, and more of a change in how the technology is used: As it becomes more user-friendly, it becomes available to people who are not only interested in it as an experimental medium. Or, as we become more comfortable with it, we begin to turn to how it can be employed critically, rather than simply as a technological experiment. All of the works in the show resonate as a history that still echoes through our experience of online art, but also the internet in general. Are Facebook and Twitter net art projects, extended to their logical conclusion and rocket-fueled by capitalism? Like all good histories, it recasts our understanding of the present by presenting prescient works such as a recreation of Chu Lea Cheang’s para-fictional Garlic=RichAir, a 2002/3 work that speculated on a future where capitalism had collapsed, and garlic was the only currency. Artist Melanie Hoff created a video game for the 2019 show, complete with a Wi-Fi network where players could claim and trade their garlic. The work reads today like an early version of so many blockchain speculations that artists today are doing. There is also a feedback loop between digital and physical in the net art posited here, which when viewed as a space for performance becomes a sort of new commons where different people come together, but also find people like themselves. Notably, Wolfgang Staelhe’s Untitled, turned a webcam into a lens for landscape photography as it broadcast the physicality of Manhattan’s skyline in 2001, and serendipitously interfaced with current events as it captured the events of 9/11. It would be a stretch to say these online places have replaced physical terrain as the main place of community as well as conflict, but it could be said that they inherited the DNA of conceptual art and spatial practice, leaving it a final, feral Wild West for experimentation. Today, we have more controlled spaces such as Facebook that are mediated by corporate interests, but new spaces are always opening up online and underneath it in places like crypto-raves and online black markets where artists can get their rocks off. Perhaps it is no coincidence that one of the most striking works—or spaces of performance—in the show is Olia Lialina’s Give Me Time / This Page Is No More, an archive of GeoCities websites, logged at first at a moment saying, “under construction” and then at a moment when they had been closed. GeoCities was shut down by Yahoo! in 2009.  
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The Museum of Trans Hirstory & Art (MOTHA) queers monument design

A show now up at New York City’s New Museum has invited a collection of artists to probe the fluid nature of transgender history (or hirstory, a portmanteau using the gender-neutral pronoun “hir”), and the role of monuments in America today. Consciousness Razing—The Stonewall Re-Memorialization Project, organized by artist Chris E. Vargas and the Museum of Transgender Hirstory & Art (MOTHA), challenges how public monuments, even LGBTQ-oriented ones, can exclude or diminish the contributions of not only trans people, but of large and complex communities more generally. Rather than putting forward one design for a trans-oriented Stonewall memorial, the show invited a range of artists to propose monuments that would grow and evolve over time. This amorphous approach is a reaction to the concretization of transgender history as trans communities become more widely accepted in the U.S. In June of 2016, President Obama made the Stonewall Inn in New York City a National Monument, the first to specifically highlight the LGBTQ community. The Inn was the site of the 1969 Stonewall Riots, when a group of patrons at the bar fought back against a police raid on the establishment and demanded to be treated with respect. The riots are frequently cited as the beginning of the LGBTQ rights movement in the U.S. An existing memorial of the riots, the Gay Liberation Monument, sits in the park opposite the inn, but it, along with other public remembrances of the riots, have been accused of remembering only the roles of white, cisgender people in the LGBTQ rights movement and forgetting the role that trans women of color had in leading the riots. This perceived history of exclusion is part of what spurred Vargas to solicit a kaleidoscopic range of ideas. “Constructing one single monument is an inadequate way to represent this history,” Vargas said. “There are so many queer subjectivities that have a stake in this.” In the New Museum show, 13 different artists have contributed their ideas for a Stonewall monument, all of which are represented in a site model of Christopher Park in the center of the gallery. The proposals at the New Museum are all a far cry from the politely-posed statues of the Gay Liberation Monument. Thomas Lanigan-Schmidt designed gleaming rodents to remember the riots, “that night the ‘gutter rats’ shone like the brightest gold.” Nicki Green put forth a pile of bricks, both a humble building material and the weapon thrown by Stonewall rioters at the police. Jibz Cameron imagined various scenes: dancing feet, the Stonewall’s notoriously dysfunctional toilet, and a “stiletto heel being slammed into the eye of a cop.” Chris Bogia opted for an abstracted facade filled with color and dangling with pearls, saying: "I want to make something that reminds every passerby that there was a riot in this place for LOVE and that it was full of color, and that we won." Vargas started MOTHA in 2013 as trans celebrities, like Laverne Cox, Janet Mock, and Caitlyn Jenner started to rise to national prominence. While a new era of trans visibility appeared to be dawning, Vargas noted that not everybody was getting included in the uplift: “It didn’t universally make things better in the trans community.” The visibility also began to harden some definitions, taking a range of identities, some of which had been purposefully vague, and standardizing them for a mass audience. MOTHA was a riposte to the notion that there could be any stable definition of what it meant to be trans and that certain trans people were more worthy of visibility than others. The conceptual museum was intentionally tongue-in-cheek, as much of a lampooning of the self-seriousness and strictures of genteel art institutions as a celebration of the diversity and range of queer culture. The campy institutional critique falls in the vein of the Guerrilla Girls, the feminist activist artists who for decades have used surreal imagery and savvy design to point out the discrepancies between how art institutions treat men and women. MOTHA's mission statement drives its campy sensibilities home:
The Museum of Transgender Hirstory & Art (MOTHA) is dedicated to moving the hirstory and art of transgender people to the center of public life. The Museum insists on an expansive and unstable definition of transgender, one that is able to encompass all transgender and gender-nonconforming art and artists. MOTHA is committed to developing a robust exhibition and programming schedule that will enrich the transgender mythos by exhibiting works by living artists and honoring the hiroes and transcestors who have come before. Despite being forever under construction, MOTHA is already the preeminent institution of its kind.
The artists participating in The Stonewall Re-Memorialization Project take MOTHA’s subversive wit into the contemporary political climate, one in which trans communities are again both under attack and fighting back. President Trump recently announced that he is considering reversing rules protecting the 1.4 million Americans who identify as transgender, while at the same time a historic amount of LGBTQ candidates are running for office and are poised to hold greater political power. Trans entertainers and performers are achieving recognition even as transgender people in the U.S. are being killed in record numbers. “There were always limitations in accepting and inclusion," Vargas said. “This political moment has highlighted the limitations.” Monuments have become a particular flashpoint in the U.S.'s fraught political climate, and Vargas says that he began the Stonewall project questioning the role of monuments. "I went into it with a real critical lens, but to be honest, I’ve become more understanding of the importance they play…There’s a way they can evolve over time." Vargas cited the influence of the work of the artist Isa Genzken, whose Ground Zero sculpture series imagined for the World Trade Center site in New York City a series of kaleidoscopic churches and discos instead of drab office towers. Like Genzken's sculptures, the Stonewall proposals embrace messy emotionality and exuberant vitality over orderly construction. The carnivalesque approach reflects the overall strategy for MOTHA, a roving institution that Vargas says will never have a permanent physical home. “At the heart of my approach to this project is an acknowledgment that once you start you canonizing, once you start making an official history, you have to start policing boundaries of what is or isn't considered transgender, and I don't think the identity category lends itself to that approach." Vargas added, "I don’t think it makes sense to have a traditional institution…It makes sense to have it exist as an evolving parasitic entity.” Which is not to say that Vargas wouldn’t want architects to imagine what a home for MOTHA could look like. “It’s been a dream of mine to have an architectural design competition for the institution,” Vargas said. Architects, take note.  Consciousness Razing—The Stonewall Re-Memorialization Project will be on view at the New Museum in New York City through February 3, 2019.
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V. Mitch McEwen is the next curator of IdeasCity

Princeton Professor V. Mitch McEwen has been named the new curator of IdeasCity, a collaborative and creative platform run by the New Museum in New York City that “addresses challenges and opportunities arising in urban reconstruction,” according to the initiative’s website. McEwen will be working on the IdeasCity biennial, leading a platform for designers, artists, technologists, and policymakers to collaborate on ideas and solutions in exploring the future of cities. According to a statement from the New Museum, McEwen “will steer the framework for the 2018-19 cities and launch an open call for cities around the world to apply for the 2020-21 cycle." McEwen is the principal and cofounder of A(n) Office, a Detroit- and New York-based studio that explores topics of architecture and exhibition with partner Marcelo López-Dinard. McEwen received grants from the Graham Foundation, the Knight Foundation, and the New York State Council on the Arts and has exhibited work as part of the U.S. Pavilion at the Venice Architecture Biennale, the Museum of Contemporary Art Detroit, and the Istanbul Design Biennial. In addition to holding an assistant professorship at Princeton University School of Architecture, McEwen has taught at the University of Michigan, and Columbia Graduate School of Architecture, Planning and Preservation. McEwen stated, “The New Museum, an institution founded by curators, has consistently advocated for artists as idea leaders. IdeasCity brings that ethos to the streets and a broader public to accelerate the kind of creative knowledge-sharing that opens new possibilities in our everyday lives. There’s a responsibility right now—at this seemingly precarious moment—to not be shy or afraid, but to be bolder than ever and make the most of the connections we have with each other.” McEwen tells AN that she is thrilled to collaborate with the New Museum team to curate the upcoming cycle of IdeasCity, which connects directly to the work she does as a designer and professor of architecture who “engages with the intersection of technology, ecology, urban culture, and spatial politics.” According to Princeton SoA’s website, “McEwen Studio projects in Detroit have produced a series of operations on houses previously owned by the Detroit Land Bank Authority. These include a combined residence and flower incubator for an engineer at 3M, a strategy for 100 houses selected by the City of Detroit to densify the neighborhood of Fitzgerald, and an award-winning repurposing of a balloon-frame house titled House Opera.” McEwen begins the new position this month.

Towards Openness, Book Launch at NEW Inc.

Book Launch and Discussion with authors Li Hu and Huang Wenjing of OPEN Architecture Drawn from keen observation of the rapidly changing social economic landscape of China, and using OPEN Architecture’s projects as case studies, Towards Openness is a symphony of seven built projects and six idea chapters that are interestingly interwoven to offer an in-depth examination of OPEN’s unique practice and the critical thinking underlying its work. OPEN is a passionate team of designers, collaborating across different disciplines to practice urban design, landscape design, architectural design and interior design, as well as the research and production of design strategies in the context of new challenges. Authors Li Hu and Huang Wenjing will introduce the book and discuss current work. The book will be available for sale at the event. www.openarch.com If you are not a member of the GSAPP Incubator or NEW INC community and would like to attend this event, please RSVP.
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The New Museum’s 2018 Triennial tackles entrenched urban power

At the New Museum’s fourth triennial launched earlier last week in Manhattan, Songs for Sabotage, emerging artists were given a chance to address the entrenched power structures found in cities and our social superstructures. Thirty artists from nineteen countries put forth calls for public action and political engagement, across every medium. Attempting to reconcile art and politics is never a pretty process, and Songs for Sabotage puts that disparity front and center. The public views images of ruling class-based propaganda on a daily basis, whether they’re posters, movies, or public sculptures; the artists of Songs for Sabotage have presented their vision of an internationalist counter-narrative, using the same forms of media. The broad prompt has resulted in a show with art in a wide variety of styles and media on display. Daniela Ortiz has waded into the debate over polarizing historical monuments with replacement proposals for controversial statues, using ceramic sculptures that emphasize the place of native peoples in America’s history. Columbus (Colón) shows a beheaded version of the Christopher Columbus statue in Columbus Circle, while her other proposals depict oppressed peoples rising above their historical colonizers. Reinterpreting and tweaking the familiar sights of city dwellers is a common scene in Songs for Sabotage. Zhenya Machneva has woven industrial scenes and workshops into massive tapestries, softening these dangerous or harsh built places. Hong Kong-based artist Wong Ping has contributed Wong Ping’s Fables, a series of three videos where bipedal animals and living emoji reenact trivial day-to-day tasks, appended with a nonsensical moral, with each story drawing attention to the difficulties faced by the poor and powerless. The digital and sculptural works are only small pieces of a massive three-floor show, and every work takes the adage that "the medium is the message" to heart. Painting, industrial design, mixed-media pieces and architectural metalworks are abundant throughout, as are commentaries on colonialism and continued narratives of oppression perpetuated through mass media. Songs for Sabotage was curated by Gary Carrion-Murayari, New Museum's Kraus Family Curator, and Alex Gartenfeld, Deputy Director and Chief Curator at the Institute of Contemporary Art, Miami, with Francesca Altamura, Curatorial Assistant. The show will run from February 13, 2018, through May 27, 2018.
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OMA to design New Museum expansion

The New Museum has selected OMA to design a new building right next to its current home on the Bowery. Rem Koolhaas and Shohei Shigematsu are designing the expansion at 231 Bowery, a museum–owned property that currently houses an incubator program and private artist lofts. The building, funded through an $85 million capital campaign, will be integrated into the museum's current home, a structure by SANAA that opened in 2007. Despite authoring Delirious New York, Koolhaas will just now be designing his first public building in the city. Set to break ground in 2019, the addition will boost the museum's floor space by 50,000 square feet. The extra room will accommodate more galleries, improve circulation, and add "flexible space" for signature programming like IdeasCityNEW INC, and Rhizome, as well as other events. “Having collaborated with Kazuyo Sejima and Ryue Nishizawa on a number of projects in Europe, it is a real honor to stand alongside their great work of architecture, one of my favorites in the city," said OMA Founding Principal Rem Koolhaas, in a prepared statement. “I am honored to be awarded this project in the city perhaps most central to OMA's philosophy, and am thrilled to work with an institution that deeply values the practices of creative forward-thinkers," added Shohei Shigematsu, partner and leader of OMA's New York office. "As a Japanese architect, I am very happy to engage in a unique dialogue with SANAA and build alongside one of their seminal works.” Founded in 1977, the museum is the only institution in the city that exclusively displays contemporary art. It announced plans to grow its footprint back in May 2016, and since then, the museum has raised more than half the funds it needs to pay for the expansion. At that time, it said 231 Bowery would not be demolished. The Architect's Newspaper (AN) reached out to the New Museum to get a date for the design unveiling, and find out whether the museum plans to keep the current building, which houses NEW INC as well as artist live/work spaces. A spokesperson said design development will take eight months and details will be shared at the end of the process.
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New Museum unveils partnership with Nokia Bell Labs to support art and technology collaborations

The New Museum in New York has announced a new partnership with Nokia Bell Labs, the American research and scientific development arm of the Finnish phone company. The news means that artists and designers at NEW INC, the New Museum's in-house incubator, will be supported for their work relating to art and technology. The scheme will kick off this month with three artists from NEW INC working with engineers from Bell Labs on robotics, machine learning, drones, and biometry to create performative projects. Subsequent works will be displayed at unconventional locations as the program looks to bring the medium outside typical museum and performance space boundaries. Nokia Bell Labs has forayed into the creative world before. E.A.T. (Experiments in Art and Technology) was begun by Bell Labs engineers, Billy Klüver and Fred Waldhauer, and two artists, Robert Rauschenberg and Robert Whitman, more than fifty years ago. The three NEW INC members chosen for the 2017 partnership are:

HAMMERSTEP A collective that uses choreography, technology, and nontraditional audience engagement to tell new stories through theater and dance. They are currently developing an immersive theater production called Indigo Grey that invites the audience to become a part of the action.

Lisa Park A performance artist who strives to create intimate environments and experiences that trigger emotional states and meditative reflections in viewers. She has explored themes of vulnerability, self-control, and confrontation by integrating biometric sensors, such as heart rate and brain wave sensors, into her work.

Sougwen Chung Chung’s artistic practice spans installation, sculpture, still image, drawing, and performance, informing her multifaceted approach to experiential art. Her ongoing collaborations with a drawing robot, begun while at NEW INC in 2015, explore the difference between handmade and machine-made marks as an approach to understanding the interaction between humans and computers.

“Bell Labs is known for shaping the state of the art and creating pioneering technological solutions for over ninety years. We are continuing this tradition by exploring new sensory dimensions and examining motion and emotion in order to try to discern current and future human needs and desires," said Marcus Weldon, president of Nokia Bell Labs, in a press release. "We are also working on methods to help people think more efficiently, using a combination of machine learning and new graph-based mathematics to augment human intelligence and perception. I believe that Bell Labs working together with NEW INC will create a new frontier in multimedia sensory art experiences.” Meanwhile, Lisa Phillips, Toby Devan Lewis Director of the New Museum added, “The New Museum has long been at the forefront of art and technology; this partnership with a legendary research lab will help us continue to push boundaries of cultural expression and possibilities of interdisciplinary collaboration. The NEW INC community embraces an untapped demographic of practitioners.”
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New Museum virtual reality app now available for download, at no cost

The New Museum has created a new app showcasing mobile virtual reality artworks. Developed in coalition with Rhizome—an art organization affiliated with the New Museum since 2003 that specializes in art and network technologies—the app showcases the exhibition First Look: Artists’ VR. Theapp-cum-exhibition six artists—Jeremy Couillard, Jayson Musson, Peter Burr, Rachel Rossin, Jacolby Satterwhite, and Jon Rafman—who undertook experimental approaches to digital animation in virtual reality. The result, according to the New Museum, reflects both the possibilities and difficulties faced when working with such a media platform. First Look: Artists’ VR presents a wide range of art that can be construed as social commentaries. These include: "A memorial to victims of police violence (Musson); an uncanny scenario of deconstructed video game characters (Rossin); a queer fantasia set in an industrial nightclub (Satterwhite); a mutating labyrinth populated with writhing figures (Burr, with Porpentine); a simulation of the afterlife (Couillard); and an unsettling dive into an alternate world rife with avatars both banal and magical (Rafman)." The First Look exhibition series focuses on art in digital mediums and is now in its fifth year. Also cementing the New Museum's status within the world of virtual art is NEW INC. Another digital, artistic arm of the museum, NEW INC, has been an incubator for those dabbling in virtual reality and other digital arts. The VR medium is quickly spreading in the realm of architecture exhibits too. Pierre Chareau: Modern Architecture and Design, currently on view at the Jewish Museum, places audiences into virtual rooms from Chareau's 1932 dwelling, the Maison de Verre in Paris. The VR movement, though, in terms of its artistic role, is still in its infancy. “I would say that there is a real swell of interest in VR right now as it becomes more attainable," said Lauren Cornell, a New Museum curator, speaking to The Creators Project at Vice. "That said, it’s costly and challenging to negotiate distribution and exhibition. It remains to be seen how truly accessible a medium it will be.” The First Look: Artists' VR app is available to download for free from the Google Play store. An iOS app meanwhile, is apparently on its way.
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New Museum and NEON announce IdeasCity Athens speakers and fellows

The New Museum is partnering with the contemporary art non-profit NEON to present IdeasCity Athens, a five-day residency program culminating in a public conference at the Athens Conservatory in Greece. Forty fellows will live and work at the conservatory to observe the state of the city and work towards addressing the problems it faces. The fellows' work culminates in a free conference on September 24. The Architect's Newspaper was on the ground this spring for IdeasCity Detroit (see our comprehensive coverage here.) Programs have also been held in New York, Istanbul, and Sao Paulo. The platform was started by Lisa Phillips and Karen Wong, director and deputy director of The New Museum. John Akomfrah, Tania Bruguera, dream hampton, George Prevelakis, Nick Srnicek, and Hito Steyerl are among the speakers at the conference. Check out the IdeasCity website for more information about the Athens fellows and upcoming programs. The full list of fellow and speakers, taken from a recent press release, follows below. IdeasCity Athens Speakers Yaşar Adanalı is an urbanist, researcher, and lecturer based in Istanbul. He is a cofounder of Center for Spatial Justice Beyond Istanbul, a cross-disciplinary urban institute that works on issues of spatial justice in Turkey. Additionally, Adanalı teaches courses in participatory planning at Technical University of Darmstadt and in urban political ecology at Koç University in Istanbul. John Akomfrah is an artist and filmmaker based in London. His work has been exhibited at the Eli and Edythe Broad Art Museum, Tate Britain, the Museum of Modern Art, the Hayward Gallery, the 2015 Venice Biennale, and the 2012 Taipei Biennial, among other venues. Additionally, Akomfrah’s films have been featured in the 2013 Sundance Film Festival and the 2012 Toronto International Film Festival. Tania Bruguera is a performance artist based in New York and Havana. Bruguera has exhibited her work at the 2015 Venice Biennale, Tate Modern, and the Solomon R. Guggenheim Museum, among other places. Since 2015, she has been the artist in residence in the New York City Mayor’s Office of Immigrant Affairs. Additionally, Bruguera is the initiator of Instituto de Artivismo Hannah Arendt in Havana. Thomas Doxiadis is an architect and landscape designer based in Athens. He is the founder of doxiadis+, an architecture office that works on urban interventions, landscape restoration, and policy. Currently Doxiadis is Chair of the Natural Environment Council of the Greek Society for Natural and Cultural Preservation. Rosanne Haggerty is a community development leader based in New York. Haggerty is the founder of Common Ground, a not-for-profit organization that works with cities to design new approaches to health, housing, and community challenges. She is a recipient of the MacArthur Foundation Award and was awarded the Jane Jacobs Medal for New Ideas and Activism from the Rockefeller Foundation. dream hampton is a filmmaker, writer, and organizer from Detroit. Point Supreme Architects is a design studio based in Athens. It was founded in Rotterdam by Konstantinos Pantazis and Marianna Rentzou in 2007. Their work integrates research, architecture, urbanism, landscape, and urban design. The studio’s work has been exhibited at the 2015 Chicago Biennial, the 2012 Venice Architecture Biennale, and Storefront for Art and Architecture. George Prevelakis is a political scientist and geographer based in Paris. Prevelakis is Professor of Geopolitics and Cultural Geography at the Sorbonne University, Paris. Previously, he has served as the Greek Permanent Representative at the Organization for Economic Cooperation and Development. He is Codirector of the French journal Anatoli and a regular contributor to the Athens daily newspaper Kathimerini. Nick Srnicek is a writer and educator based in London. Srnicek is Lecturer in International Political Economy at City University London and the author of Platform Capitalism and, with Alex Williams,Inventing the Future: Postcapitalism and a World Without Work, a new manifesto for a high-tech future free from work. Currently, he is writing After Work: What’s Left and Who Cares? Hito Steyerl is a writer and filmmaker based in Berlin. She is Professor of New Media Art at the Berlin University of the Arts. Steyerl’s work has been exhibited at Artists Space, Institute of Contemporary Arts, and the Art Institute of Chicago, among other places. Additionally, Steyerl contributes regularly to the online arts journal e-flux. Pelin Tan is a historian and sociologist based in Turkey. Tan is Associate Professor in Architecture at Mardin Artuklu University in Istanbul. In 2015, she curated “Adhocracy – Athens” for the Onassis Cultural Center and was a board member of the Greek Pavilion at the Venice Biennale. Additionally, Tan co-runs the project Autonomous Infrastructure for the 2017 Oslo Architecture Triennial. IdeasCity Athens Fellows Kafilat Adeola Aderemi is an activist and researcher based in Athens. She is a research assistant at Yale University and works as a yoga therapist for Melissa Network, an organization for migrant women that drives integration and capacity building in Athens. Antonia Alampi is an art historian, curator, and writer based in Berlin. Her work has been published inart-agenda, Arte e Critica, and Flash Art International, among other magazines. Alampi previously worked at Beirut, an art initiative and exhibition space in Cairo. Elina Axioti is an artist and researcher based in Berlin. She is a current PhD candidate at Humboldt University and previously worked as Assistant Curator for the exhibition “Heaven Live” at the 2009 Athens Biennial. Haris Biskos is an architect based in Athens. He is the founder of Traces of Commerce, an initiative that repurposes the vacant storefronts of Athens, and Program Coordinator at synAthina, a social innovation platform. Sasha Bonét is a writer and activist based in New York. Her writing has appeared in Guernica magazine,AFAR magazine, and the Feminist Wire, among other publications. Bonét is currently working on a collection of essays on radical black feminism. James Bridle is an artist and writer based in Athens. Bridle’s work focuses on the impact of technology on culture and society. He contributes to the Guardian, Frieze magazine, the Atlantic, Vice, and Domus, and has lectured internationally. Maria-Thalia Carras is a curator and cultural producer based in Athens. She is a cofounder of the nonprofit contemporary arts organization Locus Athens. Previously, Carras was Assistant Curator of “Outlook: International Art Exhibition” in Athens. Dario Calmese is a photographer and artist based in New York. He is a regular writer on style and culture for the Huffington Post and the Daily Beast. Calmese currently sits on the advisory board of the Museum at the Fashion Institute of Technology. Amy Chester is a civic organizer based in New York. She is Managing Director of Rebuild by Design, where she focuses on design and community engagement. Previously, she worked for the New York City Housing Authority and the Office of the Mayor in New York. Manolis Daskalakis-Lemos is an artist based in Athens. Currently, he is in residence at the Palais de Tokyo’s Pavillon Neuflize OBC. His work has been exhibited at the Benaki Museum, LUMA Westbau, the Serpentine Galleries, and the Athens Biennial, among other venues. Stamatia Dimitrakopoulos is a curator and writer based in Athens. She is Curator of the Breeder residency program. Previously, Dimitrakopoulos worked for the Greek Pavilion at the 2015 Venice Biennale and the 2017 Athens Biennial. Sofia Dona is an architect and artist based in Athens and Munich. She is a PhD candidate at the University of Thessaly in Greece and has participated in the Athens Biennial, the São Paulo Biennial of Architecture, and the Istanbul Design Biennial. iLiana Fokianaki is an art critic and curator based in Athens. She is the founder of State of Concept, a nonprofit gallery in Athens. Fokianaki has written for LEAP, ART PAPERS, and Monocle, among other publications. Ayasha Guerin is an artist and scholar based in New York. She is a PhD candidate at New York University, where she is focusing on urban environmental studies. Currently, she is also a Fellow at the Museum of the City of New York. Olga Hatzidaki is a curator and cultural producer based in Athens. She is a cofounder of the nonprofit contemporary arts organization Locus Athens. In 2007, Hatzidaki was a curatorial assistant at the Athens Biennial. Zoe Hatziyannaki is an artist based in Athens. She is a member of the collective Depression Era and the artist-led studio and project space A-Dash. Hatziyannaki’s work has been published and exhibited globally. Victoria Ivanova is a curator and writer based in London. She is a cofounder of Real Flow, a platform for art and finance in New York, and IZOLYATSIA, a cultural center in Donetsk, Ukraine. Previously, she was Assistant Curator for Public Programmes at Tate Modern. Stefan Jovanovic is a designer and artist based in London. He is currently in residence at Sadler’s Wells Theatre and is working at ImPulsTanz in Vienna with Tino Sehgal. Jovanovic has performed at Musée de la danse at Tate Modern, among other places. Mathias Klenner is an architect and university lecturer based in Santiago, Chile. He is a cofounder of the architecture collective TOMA. Klenner’s work has been exhibited in various venues, including the 2015 Chicago Biennial. Marily Konstantinopoulou is an arts professional based in New York. She currently works in the Museum of Modern Art’s R&D Department. Previously, she was a consultant at the Hellenic Parliament for the Standing Committee on Cultural and Educational Affairs. Ben Landau is an artist and designer based in Melbourne, Australia. Landau lectures at RMIT University in Melbourne and has exhibited his work in the Biennial of Design Ljubljana, the Istanbul Design Biennial, Bureau Europa, and the Lisbon Architecture Triennial. Jimenez Lai is an architect based in Los Angeles. He is the founder of Bureau Spectacular, an architecture group that focuses on cartoons, storytelling, and communication. Lai designed the Taiwan Pavilion at the Venice Architecture Biennale in 2014. Constantine Lemos is an architect based in London. He has worked on design projects in Dubai and Istanbul for Anouska Hempel, construction projects in Abu Dhabi, and shipbuilding in Greece. Fei Liu is a designer and artist based in New York. She is a 2016–17 member of the New Museum’s art, design, and technology incubator, NEW INC. Liu curates a podcast and music show at Bel-Air, an artist-run online radio station in Brooklyn. Juan López-Aranguren is an architect and civic designer based in Madrid. He is a cofounder of the artist and architecture collective Basurama. López-Aranguren has exhibited and built projects internationally. Marcelo López-Dinardi is an architect and educator based in New York. He is a partner of A(n) Office, a design and curatorial practice that was selected to represent the United States at the 2016 Venice Architecture Biennale. Kosmas Nikolaou is an artist based in Athens. He is a cofounder of 3 137, an artist-run space in Athens. His work has been exhibited at the Benaki Museum, the National Museum of Contemporary Art, Enterprise Projects, and Rebecca Camhi Gallery in Athens, among other venues. Michael MacGarry is a visual artist and filmmaker based in Johannesburg. He is a PhD candidate at the University of the Witwatersrand and has exhibited his work at Tate Modern, Guggenheim Bilbao, Kiasma Museum, and Iziko South African National Gallery. Tiff Massey is an artist and activist based in Detroit. Her work explores class, race, and contemporary culture through the lens of African adornment. Massey is a 2015 Kresge Visual Arts Fellowship awardee and John S. and James L. Knight Foundation grant recipient. Shawn McLearen is a community real estate developer based in New York. He is the founder and President of Placeful, a nonprofit organization that focuses on socially responsible partnerships. Sean Monahan is an artist and writer based in New York and Los Angeles. He is a cofounder of the trend-forecasting group K-HOLE. Monahan has worked with Virgin Group, MTV, the New Museum, MoMA P.S.1, Casper, and the 2016 Berlin Biennial, among other organizations. Ilias Papageorgiou is an architect based in New York. He is a partner at SO – IL, an architecture studio that envisions spaces for culture, learning, and innovation. Papageorgiou has taught at the Graduate School of Architecture, Planning and Preservation at Columbia University. Fortuné Penniman is an architect based in Dubai. He is a cofounder of the design and research practice A Hypothetical Office. In 2016 he graduated with honors from the Architectural Association School of Architecture in London. Eduardo Pérez is an architect and manufacturer based in Santiago, Chile. He is a cofounder of the architecture collective TOMA. Pérez has exhibited his work at the 2015 Chicago Biennial, among other venues. Danielle Rosales is a graphic designer and sociologist based in Paris. She is Design Researcher at Civic City and a cofounder of Spatial Codes. Rosales’s work was featured in the 2016 Venice Architecture Biennale. Maria Stanisheva is a documentary filmmaker based in New York. She is the founder of FINDING HOME, an online storytelling platform for displaced communities. Stanisheva’s work has been featured on Euronews and in the New York Times and the Independent. Hakan Topal is an artist based in Brooklyn, New York. He is Assistant Professor of New Media and Art+Design at SUNY Purchase College, and his work has been exhibited at the Gwangju Biennial, the Istanbul Biennial, the Venice Biennale, and MoMA P.S.1. Francis Tseng is a designer and software engineer based in New York. He is a 2016–17 member of the New Museum’s art, design, and technology incubator, NEW INC. Previously, Tseng worked for the New York Times and the Washington Post. Jonida Turani is an architect and curator based in Venice and Tirana, Albania. She is Codirector of Beyond Entropy Balkans, a nonprofit platform for art, architecture, and geopolitics. In 2014 she co-curated the Albanian Pavilion at the Venice Architecture Biennale. Rebecca Bucky Willis is an architectural designer based in Detroit. She is the founder of Bleeding Heart Design, a nonprofit organization that sets out to inspire altruism. Previously, she worked at the Detroit Collaborative Design Center at the University of Detroit Mercy School of Architecture.
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New Museum to expand into adjacent building on the Bowery

The New Museum will double in size in time for its 40th birthday next year, as it expands into next-door 231 Bowery, which is currently offices, a gallery, and artists' live/work space owned by the museum.

The museum announced yesterday that it had raised $43 million of the $80 million needed to pay for the expansion and to triple the endowment. Although the funds seem modest in comparison to the MoMA (annual operating budget: $147 million) or the Whitney, the capital campaign is the largest in the New Museum's history. The $80 million will also pay for the institution's business incubator, New INC, and programs like IdeasCity, which bring artists, activists, planners, and policymakers together to discuss issues facing cities like Detroit and Athens, Greece.

Lisa Phillips, the museum's director, told The New York Times that “we’ve known for a long time that we wanted an expansion, but we’ve been thinking about what an expansion means for a museum like this. We own the building next door, and it just makes sense to use it. But it was also about thinking about ways to create a parallel structure there, to make something that’s different and a counterpoint to this building.”

Since the museum's move to Soho in 2007, annual attendance has increased from 60,000 to over 400,000. The museum intends to renovate 231 Bowery and connect it to their main Sanaa–designed space, increasing the total footprint from 58,000 square feet to over 100,000. As of now, there are no plans to demolish 231 Bowery. The expansion will allow for improved circulation, and keep exhibitions on view during turnaround periods: The New Museum has a tiny permanent collection, choosing instead to focus on women artists and art that's not usually exhibited in New York.

“I don’t have [the expansion] completely laid out,” Phillips told the Times, “but it’s about trying to do things that museums haven’t done yet or maybe even imagined.”

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IDEAS CITY Detroit Day 4: What's the role of the museum in the postindustrial city?

What role can art museums play in revitalizing the postindustrial city? On Day 4 of IDEAS CITY Detroit, Elysia Borowy-Reeder, executive director of the Museum of Contemporary Art Detroit (MOCaD), spoke with fellows on the role of the museum in catalyzing neighborhood revitalization. Founded by Marsha Miro in 2006, MOCaD sits in a turn-of-the-century former auto dealership off of Woodward in Midtown. Borowy-Reeder expounded on the challenges of running a contemporary art museum with no permanent collection in a "lightly rehabbed" space. "We don’t have proper HVAC, it is a very alternative, raw space. It’s not your typical museum by any stretch.” Pieces with stringent climate control requirements, consequently, cannot be exhibited in the space, but the museum deflects this deficit as an asset by bringing a broad range of Detroiters in to see art and by bringing art out to Detroit. One exterior wall is a mural space with rotating pieces; right now, New York–based artist Andrew Kuo's work graces the facade. The most distinctive outreach component, though, is the Mike Kelley Mobile Homestead, an off-the-rack mobile home that MOCaD uses to take art to the people. Named for a late influential local artist, the first floor is an exact replica of Kelley’s home. When not traveling, the first floor is used as the museum's offices. There are four upcoming spring and summer exhibitions. Artist Carlos Rolón will replicate his grandma's house inside the mobile homestead for an exhibition opening this Sunday. His piece is an homage to his grandmother's life and her Southside Chicago neighborhood: Rolón imported vintage furniture and an extensive macrame collection straight from his grandmother’s living room. (Borowy-Reeder: It was pitched to me as "balls-to-the-walls macrame.”) There will be a pop-up nail salon operating out of the home to service interested clients. Borowy-Reeder mused on the questions that drive her, and MOCaD's work: “How do you activate and expand the vocabulary of art? That’s what I hope MOCaD does. We try to be as much as possible artist-driven, we try to advocate for them internally and externally. Compared to other large institutions, I think we’re very artist-driven."