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When the city is in the centre

"When the city is in the centre" "It's built says a lot about the supposed" "A city, house, people, public transport and shops. Commerce and the munici

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When the city is in the centre
"When the city is in the centre"

"It's built says a lot about the supposed"

"A city, house, people, public transport and shops. Commerce and the municipality of consumption and free venues. From a stockholm perspective, the city is sjukhuskris, housing crisis, havererad public transport and a very fast population growth (one of Europe's fastest growing regions)."

"Now, two exhibitions about the cities at the same time, in Stockholm, and the very best thing about them is that it is possible to breathe, outside of the stockholmsmedvetna. Because this is all about the other places."

"färgfabriken's several years ago established the urban project has provided some different results, and now it is a Patchwork of narratives focusing, in particular, in Mostar and Beirut, the two former krigshärdar which is in the recovery phase. Mostar's main tourist attraction – the so of symbolism loaded the bridge was rebuilt quickly after the war in the 1990s. But the dichotomy of the city seems to consist. Beirut was in the 1980s one of the world's worst war zones, and even if the reconstruction carried out, it is as if the city can never leave the war how many Lonely Planet lists it ends up on."

"Both the cities have their sniper towers, buildings which during the war was taken over for sniping on civilian targets, and then never again able to regain some function. When the city is a swarm of stories must also be memory, something irrevocable. At the same time, it strikes me how short the memory is often in a city you know well."

"At Färgfabriken, dominates the reportagelika the film, the conversations, the stories. Artistic investigation when it works quite well. Together with the texts in a directory, and the knowledge that this is a part of an ongoing project, it is as if the patchwork will get a glow. But still. It is not the City as such, as becomes clear, only that it is a surface that captures the individuals will produce, identities, structures."

"The city will become, as said, the consumer society most exposed. From urban birth, it has been their nerve channel: to meet, talk, buy and sell. Färgfabriken, with its clear history in Liljeholmens small industrial area, " says local is a completely different story than Bonniers konsthall: relatively new, a wedge-shaped space in a förtätningsfixerad city without surfaces, where the brand is everything."

"And it is at Bonniers konsthall in stockholm, the stylish stadskommentaren formulated. This is, above all, Sophie Calle, with its social sculptures from the 1980s: actions documented in photo form, where Calle allows a private investigator to shadow her at the same time that she hire someone to shadow him. A drama when the city becomes a location for possible meetings precisely because it is so large that anonymity protects."

"But the seminal is Danish Jesper Justs works Intercourses (shown at the last biennale in Venice). It is large, evocative and majestic. The camera sweeps over anything that looks like Paris (the Eiffel tower is there), but it is hazy and foggy and all of a sudden where the skyscrapers around it. The site is Hangzhou in China, where a Pariskopia built. Enchanting, as surreal exhilarating: much like the Versailleskopior which was built during the 1980s postmodern heyday, in the suburbs of Paris. Or for that matter Bofills bow on Södermalm. Kulissarkitektur where the context is a kind of mimicry. To mimic the power, which in this case is european and, so to say, eternal."

"At Bonniers konsthall is the city of an aesthetic function, a analyserbar a whole that can be cut up into small edible portions. Enjoyable, for all the part, but without the tags. Lisa Torells works, picture-of anonymous sites in Belgrade, cracked concrete, maybe playgrounds, or places that are nothing special except they were when they were built – giving a singular sense of the modernist idealstaden. It turns into mellanrummens desolate art."

"the City in art is still flanörens in Lisa Torells photo collages, but up to date and politically aware. It is your gaze on the details, on what built can say if it's intended, which is the main route. And in the Slippery Elkoussys work meets flanören collector: Cairo will be their old photos, their alleys, their eyes. In the city relaxes none of. This is why we love it."

"the Patchwork of narratives"

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