space. body. politics.

LECTURE | Andreas Spiegl – The rehousing of “architecture unhoused”

Posted on 2013/04/12

In the frame of the lecture series Parallax Views on Architecture at Academy of Fine Arts Vienna Andreas Spiegl (lecturer on Media Studies at the Institute of Cultural Studies at the Academy of Fine Arts Vienna) will give a lecture titled The rehousing of “architecture unhoused”:
Recent politics of space have led to a notion of space beyond the dialectics of inside and outside. Architecturally turned into one another the paradigmatic motif of that relation between inside and outside, the house, seemed to have gone. Leaving a house dissolved into a blurred perspective of contradicting views. Seemingly the spatial opposition of inside and outside turned into a parallel notion of in and out. The outside is not behind the inside anymore but next to it, maybe identical. The house that has been architecturally “unhoused”, appears to come back on the basis of a discourse on sustainability, another version of functionalism. The so called research on the conditions of architecture seems to search for the house again, to rehouse mechanisms of in and out, of inclusion and exclusion, based on the ancient “oikos” and its derived economy. Interestingly the inside tends to incorporate everything into the economical house and to create an outside, an uneconomical rest, a building of emptiness. Uncannily empty, an unhomely home, where the Social Media and virtual spaces moved in. ” (-Press release)

LECTURE: Andreas Spiegl – The rehousing of “architecture unhoused”
DATE: April 15, 2013 | 7 p.m.
LOCATION: Academy of Fine Arts Vienna, Schillerplatz 3, 1010 Vienna, IKA Lecture Room R211a
WEBSITE: The rehousing of “architecture unhoused”

LECTURE | MoMA’s Modern Women’s Project, Feminism, and Curatorial Practice

Posted on 2013/04/11

In the frame of the lecture series Gender Politics and The Art World at University of Applied Arts Vienna, Alexandra Schwartz, who is the first Curator of Contemporary Art at the Montclair Art Museum, will give a lecture titled “MoMA’s Modern Women’s Project, Feminism, and Curatorial Practice“:

“In spring 2010, MoMA New York published Modern Women: Women Artists at The Museum of Modern Art, a 500-page, 50-author book. Its publication was celebrated with more than a dozen permanent exhibitions over 2010 to 2011, as well as an international symposium. The book was the culmination of a five-year study of the Museum’s holdings of work by women artists, led by a committee of representatives from each of the Museum’s curatorial departments. The Modern Women’s Project, as the larger initiative was known, represented the first time MoMA, or any major American museum, had conducted a comprehensive study of its collection through the lens of gender.

As the coordinator of the Modern Women’s Project from 2005-10, Alexandra Schwartz was deeply involved with all aspects of this initiative. She gained an extraordinary perspective not only on the complex interrelationship between feminism and curatorial practice, but also on how the Modern Women’s Project affected the culture of one of the world’s major museums.

This lecture will focus on that period of transition, during which the Modern Women’s Project went from an under-the-radar research initiative to a major Museum event; as well as the changes, both within and outside MoMA, that it wrought. The Modern Women’s Project led to a number of “firsts” at MoMA, from “The Feminist Future” symposium selling out in record time, to the first time the Photography galleries were installed with only women artists.” ( – Press release)

LECTURE: Alexandra Schwartz - MoMA’s Modern Women’s Project, Feminism, and Curatorial Practice
DATE: April 17, 2013 | 6 p.m.

LOCATION: University of Applied Arts Vienna, Lecture Hall 2, (Altbau, 1st floor)
WEBSITE: MoMA’s Modern Women’s Project, Feminism, and Curatorial Practice

CONFERENCE | The Crisis, Displacements, Cities and Migrants

Posted on 2013/04/10

The focus is on cities because they have emerged as significant actors and sites of struggle in the unfolding of the crisis, their fate(s) being shaped by the crisis, even as they respond to larger national, regional, and global forces. In this context contentious politics and social movements are emerging from cities. Migrants are a crucial part of all of these processes, but their roles remain largely unexamined. One of the objectives of this conference is to reflect on the effects of the crisis, particularly on culture-led urban development, on its discourses and policies, and — even more specifically — on their impact on European capitals of culture. Though the research being conducted in different European capitals (Vienna, Berlin, Budapest) and European Capitals of Culture (Linz, Essen, Pécs and Marseille) under the auspices of the WWTF project “Cityscalers” will contribute to the discussion, this conference will not be confined to these cities. It is important to explore the varied processes of urban renewal and focus on cities of different scalar positioning and geographical location in order to analyze the dynamics unleashed by the crises in terms of spatial and social displacements and the role of migrants in these processes. The conference will address questions of diversity (including, but not limited to, cultural diversity), as well as social and spatial displacements (including processes of gentrification) that mark contemporary urban life in a variety of cities.” ( – Press release)
See the whole program after the click.

Performance: Nick Cave: HEARD•NY

Posted on 2013/03/31

Credits: via Creative Time

Creative Time is a New York-based collective, that – over the past four decades – has commissioned and presented ambitious public art projects throughout New York City and around the world. Their work is guided by three core values: art matters, artists’ voices are important in shaping society, and public spaces are places for creative and free expression.
For their latest project, HEARD•NY, artist Nick Cave transforms Grand Central Terminal’s Vanderbilt Hall for one week: Students from the Alvin Ailey American Dance Theater moved through the station wearing Nick Cave’s Soundsuits as part of the station’s centennial celebration. What people see and hear is a herd of thirty colorful life-size horses peacefully “grazing” and tperiodically breaking into choreographed movement—or “crossings”— accompanied by live music. The project was open to the public and free of charge, presented by Creative Time and MTA Arts for Transit as part of a series of events celebrating the centennial of Grand Central.


Quote: A Refugee Protest Camp

Posted on 2013/03/30

“For at least a decade, the refugees have been caught in a situation of systematic abandonment. Their living conditions in the EU have gradually deteriorated. This process was neglected by the nation-states in the “former” Western European countries. For a long time the refugees have been systematically forced into a situation of impoverishment, deprivation, and seclusion. They have been the victims of a process of racial discrimination that has diminished and depoliticized the concept and the status of human rights.
The refugees decided themselves to break out of such a situation. They started not only by making demands, but also by performing and acting out political equality in the space of the EU’s pre-established political, social, and economic inequality. The EU survives on a constant reproduction of inequality, which is the axiom of neoliberal global capitalism. The refugees broke the predetermined space of politics in which only predetermined actors—let’s say citizens—have visibility and are taken seriously when asking for democratic rights. But the struggles and demands of the refugees—who, in the parlance of Jacques Rancière, belong to the “part-of-no-part” in the present global capitalist political reality—imposed themselves in a way that forced the people of Europe to regard them as equal.4 In so doing, they re-politicized and rearticulated the space of Europe, imposing the axiom of equality in a space of political, social, and economic inequality.”

- From: A Refugee Protest Camp in Vienna And the European Union’s Processes of Racialization, Seclusion, and Discrimination by Marina Gržinić, published on e-flux.

Photo: Andreas Edler, Refugees in Vienna, November, 2012.

When you really live in Wien, or Berlin.

Posted on 2013/03/28

Currently there`s a hype about blogs, that emphasize a city`s very specific characteristics. On the one hand side there is Ali, from the Berlinian district Neukölln, who gets portraied every morning on the Tumblr blog What Ali Wore. Ali has just gathered some kind of web prominence for his outer appearance, that`s made up by his thoughtful kind of dressing and his migration background – all this may be (freely?) associated with the city`s identity, and, furthermore, with the district Neukölln.
Neukölln, formerly known as an example for a district with social challenges, has recently become a place of gentrification. This blog can be seen as an indication of Berlin`s self-perception: Style plus ethnic mix = the hip and open-minded Berlin.
Then there are two more new blogs: When You Really Live In Berlin and, When You Really Live In Wien. Both blogs offer humorous visual (gif) answers to situations which are typical for life in the particular city, taking local mannerism for a ride: Why you get shot, when asking for a “Tüte” at the supermarket? Because you`re not in Berlin or elsewhere in Germany, but in Austria! So, ask for a “Sackerl” (which will reveal your identity either way, because you won`t be able to pronounce it the genuine way). Check these blogs out to be prepared for your next visit in Vienna or Berlin – and, never ever come out as a tourist again.

Photo credits: When You Really Live In Wien
photo on top: What Ali wore