Going Public '04 Testi

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by Yorghos Tzirtzilakis

The "Post-designed" Space as an Expenditure Machine.
Could there be a predominant characteristic in all art presentations, not only in the typical, protected exhibition spaces of contemporary art but also in its non-conventional public showings? (1) In order to answer this question we must go back to the current meaning of the term 'installation'.

by Franco Farinelli

It's wrong to think that the subject of modernity is Homo viator, the traveller, explorer and passenger. The protagonist of the modern world is quite different, so static and immobile that it appears to Pavel Florenskij that he's been paralysed with curare -the spectator who looks on at the world on the basis of the rules of Florentine perspective, and who has to remain still to make sure-paradoxically-that the whole world can be transformed into space, an extended plain whose parts are identical, which means that all that counts is the time it takes to cross it, and the speed of travel.

by Claudia Zanfi

After strongly debating with myself whether to write a theoretical essay investigating the subject or else a more general look at the choices and motivations emerging from the second edition of Going Public, I have preferred to offer a series of reflections, leaving space for the various contributions which reveal so strongly the current problem of the mobility of territorial borders.

Hans Ulrich Obrist with Chantal Akerman

HANS ULRICH OBRIST: The issues of reality and fiction certainly underpin the division between your fiction films and the ones you make for exhibitions. Then naturally there is also the spatial dimension of the installation, which likewise points to a very important difference.

by Socrates Stratis

The Cyprus Case

The Cyprus case is actually very rich and complex. Especially after the dramatic changes of the past year (April 2003), when the military buffer zone had opened in selective points generating the mobility of people between the two parts of the island after 30 years (since 1974), and even more in the case of Nicosia since the first clashes between Turkish Cypriots and Greek Cypriots in the beginning of the 60s.

by Raul Cardenas Osuna and Torolab

In Tijuana, on Boulevard Agua Caliente a traffic jam stretches for miles. The drivers wait to cross the border into the United States. On the other side of the palm-lined median, traffic is light. Raul Cardenas Osuna downshifts and accelerates around a small truck. The architect and designer waves in the general direction of a large spherical building rapidly disappearing in the rear view mirror, "Designed by a Mexican architect. Inspired by Le Courbousier." He points out other sites along the way, making this impromptu trip a land-speed record for architecture tours.

by Eyal Weizman

1. Introduction to The Politics of Verticality.

None of us have a coherent mental map of the Israeli-Palestinian conflict. Architect Eyal Weizman explains why. We're missing verticality. In this series of articles and photo-essays, he paints the extraordinary, three-dimensional battle over the West Bank: from settlements to sewage, archaeology to Apaches.

2. Maps of Israeli Settlements.

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