Posts tagged with "U.S. Pavilion":

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Call to curate 2020 Venice Biennale U.S. Pavilion announced

The U.S. Department of State and the National Endowment for the Arts Design Program has announced a call for proposals to organize and curate the United States pavilion at the Venice Biennale in 2020. The United States government has been gradually increasing the amount of financial support it gives to its selected presenters and will award the selected group $325,000, including $125,000 for pavilion management, with potential additional funding pending availability from the National Endowment for the Arts. However, groups planning to submit an application to organize the exhibit, based on recent pavilions, should expect to raise another $500,000 to $700,000 to complete a successful bid. Applicant eligibility is limited to not-for-profit art, architecture, educational, and cultural organizations subject to Section 501(c)(3) of the U.S. tax code and public or private educational institutions. Applications are due March 28. The full funding opportunity and application materials are available at grants.gov.
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U.S. Pavilion from Venice Biennale announces upcoming debut in Chicago

The seven installations that comprised the United States's entry to the 2018 Venice Architecture Biennale will make their stateside debut on February 15 in Chicago. Dimensions of Citizenship: Architecture and Belonging from the Body to the Cosmos, a series of works exploring how architecture and design respond to citizenship, will be on view for the first time outside of the Biennale at Wrightwood 659, Pritzker Prize–winner Tadao Ando’s new concrete and light-filled adaptation of a 1920s Lincoln Park apartment building. Created by transdisciplinary teams of designers, artists, and architects, the installations focus on the architectural implications of citizenship. Themes include migration, landscape, borderlands, the right to public space, the interpretation of civic monuments, and the meaning of home. The work explores these concepts through seven spatial scales: Citizen, Civitas, Region, Nation, Globe, Network, and Cosmos. The sixteenth Venice Architecture Biennale, titled FREESPACE, included seventy-one international participants and ran in Venice from May 26 to November 25. The exhibition was commissioned by the School of the Art Institute of Chicago (SAIC) and the University of Chicago (UChicago) on behalf of the U.S. Department of State’s Bureau of Educational and Cultural Affairs. Chicago makes a strong showing among Dimensions of Citizenship’s collaborators, including curators Ann Lui, principal of Future Firm and assistant professor in the Department of Architecture, Interior Architecture, and Designed Objects at SAIC, and Niall Atkinson, associate professor at UChicago, with co-curator Iker Gil, director of MAS Studio, also of SAIC. Mimi Zeiger, independent critic, editor, curator, and educator rounds out the curatorial team. The seven individual teams are SCAPE; Estudio Teddy Cruz + Fonna Forman; Diller Scofidio + Renfro, Laura Kurgan, Robert Gerard Pietrusko with Columbia Center for Spatial Research; Keller Easterling with MANY; and Design Earth. There is a Chicago presence among the teams as well, in Studio Gang, and Amanda Williams + Andres L. Hernandes in collaboration with artist Shani Crowe. On display From February 15 through April 27, 2019, Dimensions of Citizenship is the second public exhibition at Wrightwood 659, a new space devoted to exhibitions of architecture and socially engaged art made possible by Alphawood Foundation Chicago. The exhibition follows Ando and Le Corbusier: Masters of Architecture, closing December 15.
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Mimi Zeiger, Ann Lui, and Niall Atkinson to curate 2018 U.S. Pavilion

The co-commissioners of the United States pavilion for the 2018 Venice Architecture Biennale are the School of the Art Institute of Chicago (SAIC) and the University of Chicago. They jointly announced today that the theme of their exhibition will be "Dimensions of Citizenship." It will be co-curated by Niall Atkinson, the University of Chicago; Ann Lui, of SAIC; and Los Angeles–based critic and curator Mimi Zeiger. The goal—the commissioners say—is "to present the United States as a site for critical research and practice in architecture. They claim that it is at the intersection of old and new forms of community engagement, political action, and public policy. Globalization, digital technology, and geopolitical transformations are continuing to challenge conventional notions of citizenship across scales." Zeiger told AN that the curators are currently collecting a robust group of practitioners to explore the theme of citizenship and they will be announced at the end of September. "We are interested in citizenship on a variety of levels from the personal to the national to the cosmos," Zeiger said. "Given the current political climate, we are interested in establishing a polemic that is larger than any particular administration.” The exhibition in Venice opens on May 26 and runs through November 25, 2018.
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The Long Arrivederci

The Venice biennale will just not end! It opened in the warmth of September with mobs of well-known architects in attendance and officially closed on a cold November Sunday with scores of Italian schoolchildren roaming the pavilion grounds. I locked the doors of the U.S. Pavilion, put models and drawings into shipping containers (the show will be reprised at Parsons School of Design in February), and floated our Kartell-donated furniture down the Grand Canal on a barge—just in time for the highest floods in La Serenissima’s post–global warming history. Fortunately, the pavilion sits on high ground, and the stored work is safe.

The pavilion's furniture in stylish transit.

But there were pieces of the pavilion (story boards and a long blue table) not being returned to the States, and these we donated to a group called Commons Beyond Building (a collective whose members include Stalker, 2012, Millegomme, and EXYST), who were commissioned to create RE-Biennale: a recycled artwork of objects from the architecture biennale to be placed in the upcoming art biennale in June. Now we hear from biennale curator Emiliano Gandolfi that La Biennale di Venezia believes the project will be too costly, and are shutting it down. The group is appealing to art curator Daniel Birnbaum to rescue the effort.

Meanwhile, as we were closing the biennale, a water taxi roared up, and out stepped architecture critic, philosopher, and Venice Mayor Massimo Cacciari, who scurried off to a meeting in the Accademia. The Venetian water taxis—absolutely the most elegant form of public transportation imaginable—are designed and built by a company called Riva, which is in New York this week at the Javits boat show. Riva sent along a photo of one of their boats with BB, and a temporary showroom in Rockefeller Center in 1964. A used wooden Riva is yours for just $500,000.

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And the raves continue:

Arma dei Carabinieri
Arma dei Carabinieri
Thanks to Kristen Richards and ARCHNEWSNOW, she is able to let us know over here at A/N that yes all the hard work, cat fights, long hours, egos might have paid off for the US Pavilion crew. As the reviews come in we will keep them coming. We promise not to put lipstick on a pig about the truth and will post yay’s and nay’s.

The American pavilion - with the best exhibition it has hosted in years, from which celebrity architects are notably absent - showcases 16 projects from all over the country that illustrate how this absence of the state has fostered a roll-up-your-sleeves, do-it-yourself culture, which is proving fruitful and productive in local architecture.

Visions of architecture, practical and inspired, International Herald Tribune
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Guardian Review by Jonathan Glancey

  Nude hippies, big blobs, stunning dog pounds - is the 2008 architecture biennale too wacky for its own good?   ...The second part of the biennale, held in the national pavilions dotted through the city's giardini a few minutes' walk from the Arsenale, begins to offer some real, adult answers to the question of how we can make warm and lovable buildings for people of all classes, creeds and incomes. The US pavilion takes the theme the most seriously, with displays of radical designs for $20,000 homes executed in some of America's poorest states by such commendable US practices as the Rural Studio. These designs come as a welcome reality check. Curiously, one photograph of a real and powerful building by the Rural Studio proves to be unintentionally surreal. This beautiful, shelter-like construction is a dog pound built in one of the poorest areas of Alabama, one of the poorest states in the union. It stands opposite a grim state penitentiary. But while the jail is crammed, the pound is empty. The story is that there are many packs of feral, formerly domesticated dogs in rural Alabama, abandoned by poor and itinerant people. So there was a need for a dog pound. But it is empty because a local judge wants dogs held there to be shot after a short spell in their handsome cages, while US animal rescue groups oppose such trigger-happy ways. So the pound stays empty while the feral packs keep on roaming. This is a story worth dwelling on. It shows how, with the best will in the world, it is often very hard for architects to design and nurture truly publicly spirited projects. For all the help they get from officialdom, they might as well just dream and play. to see the full post-http://www.guardian.co.uk/artanddesign/2008/sep/16/architecture    
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US Pavilion

  In case you want to see the web-site for the US Pavilion...check it out. http://positioningpractice.us
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Eve of Biennale

It only took a few hours—and espressos—to catch the jitters going around Venice the day before press opening. Since I was in tow with the Commissioner of the US Pavilion, our own Bill Menking, and crew it was a privileged view, but no less insane as architect elves, ie support staff, scurried around town trying to find that last minute acetate binder, glue gun, 6-color color printer etc etc. The big guns don’t arrive til later today or even tomorrow if they were not invited to Zaha Hadid’s super-dinner at Palladio’s Malcontenta, a powerbroking hour away, at least. (We heard that Thomas Krens was planning to rechannel some back canal in order to take a shortcut there).

Aaron Betsky, the curator of the whole to-do, was troubleshooting from his post on a low wall outside the Italian Pavilion in the Giardini across a gravel path from the Dutch Pavilion, his old haunts. Ole Bauman, the current director of the Netherlands Architecture Institute, was nearby wondering if Rem Koolhaas might show up to see the Dutch Pavilion’s “Archiphoenix,” a research project as only the Dutch can do research projects on the educational implications for architecture on the fire that recently wiped out the Faculty of Architetcure in Delft University. (Hint: He’s won’t. Rem is headed for New York to unveil the design on Thursday for 23 E 22, his luxury high-concept carbuncle condo attached to One Madison Park). Bauman was hosting a kind of hallow’s eve party for all the worker bees from all the national pavilions (there are 32 of them) fueled by kegs of peach juice and prosecco, hummus, and pasta made by an imported organic Dutch chef. Benjamin Ball of Ball Norgues of Los Angeles was on hand happy and hyper about his string installation at the Italian Pavilion whose theme features 50 experimenters and 4 master iconoclasts. Betsksy was explaining what exactly that meant when a staffer whispered in his ear that some Gehry drawings weren’t fitting their frames and he dashed off….