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9 + 1 WAYS OF BEING POLITICAL: 50 YEARS OF POLITICALSTANCES IN ARCHITECTURE AND URBAN DESIGN MOMABy1F med iapro ject 12/09/2012Posted in: Architecture, MoMa, NEW YORK
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Jason Crum (American, 1935-2004). Project for a Painted Wall, New York City, New York. Perspective. 1969. Gouache on photograph. 30 x 20 (76.2 x 50.8 cm). The Museum of Modern Art, New York. Purchase, 1969

MoMA EXHIBITION EXPLORES ARCHITECTS INFLUENCE AND POLITICAL ATTITUDE AS RELATED TO URBAN SOCIETY9 + 1 Ways of Being Political: 50 Years of Political Stances in Architecture and Urban DesignThe Museum of Modern Art, New York.September 12, 2012March 25, 2013Architecture and Design Galleries, third floor The exhibition is organized by Pedro Gadanho, Curator, and Margot Weller, Curatorial Assistant,Department of Architecture and Design
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Press Viewing : Wednesday, September 12, 2012, 9:3010:30 a.m. Walk-through with Pedro Gadanho beginning at 9:45 a.m. Check in at MoMA Filmentrance, 11 West 53 Street. RSVP: (212) 708-9431 or [email protected] www.moma.org

The Museum of Modern Art presents9 + 1 Ways of Being Political: 50 Years of Political Stances in Architecture and Urban Design, from Septembe12, 2012 to March 25, 2013, in the Architecture and Design Galleries. This exhibition of 100 cross- departmental works from MoMAs collection offers aof fresh perspectives on the ways in which, over the last half century, architects have responded actively and redeveloped political attitudes to the ever-evoconditions of urban society. The exhibition is organized by Pedro Gadanho, Curator, and Margot Weller, Curatorial Assistant, Department of Architecture Design.

The political potential of architecture was one of the founding credos of the avant-garde in the early 20th century. Yet today it is commonly believed that thi potential has been overwhelmed by economic realities and by the sense that architecture, by its very nature, is symbiotic with existing power structures. Su perception, however, is belied both by the rise of a neo-avant-garde in the 1960s and 1970s, and by emerging practices in contemporary architecture tod bear witness to a rebirth of social and political engagement as an assertion of architectures social relevance.

Comprised of works spanning the last 50 years, the exhibition is divided into nine sections, plus a special performance piece by Andrs Jaque Arquitectos MoMA PS1 on September 16 and 23 at 3:00 p.m.). The exhibition presents a variety of institutional critiques through the full range of mediums in MoMAcollection, putting architectural stances in dialogue with the works of other urban practitioners: artists, photographers, and designers.

Radical Stances, 19611973 explores neo-avant-garde movements in architecture and urbanism that, during the 1960s and 1970s, suggested again the potential of architecture to change society in the wake of revisions and widespread criticism of Modernist ideas. In the aftermath of World War II, new mourban life had to be devised, and the architectural imagination had to be conjured to best propel society in fresh directions. Both anticipating and reflecting t political agitation of May 1968, protagonists of the European counterculturesuch as Cedric Price and Archigram in the United Kingdom and Laurid OrtAustriaembraced new programs and forms of technology to deal with the demise of a dried-out functionalism.Architects Aldo Rossi, Rem Koolhaas, Bernard Tschumi, and architectural firm Superstudio disclose the influence of fiction and dystopia on architectural practices in Fiction & Dystopia,19631978 . In the fields of cultural productionfrom literature to architecture and the visual artsreactions to the failure of utopia and political ideals have frequently surfaced as a drift towards fiction. Also in architecture fictional narratives, made-up scenarios, and actual dystopi been used as a particularly effective tool to produce alternative forms of political commentary.

Deconstruction, 1975-1999 examines the philosophical trend that spurred an alternative form of intellectual inquiry in architecture, as seen here in works byGordon Matta-Clark, Lebbeus Woods, and Thom Mayne/Morphosis. A formal leitmotif for the last recognizable architectural movement of the 20th centudeconstruction continued to surface in practices that retained the radical ability to disturb conventions about how architects should address reality. Asdeconstructivism lost the edge of its aesthetic and spatial innovations, the political promise of deconstruction would remain integral in conscious acts of destabilization of the norm.

Consuming Brandscapes, 19692004 explores the influence of branding on architects designs of urban landscapes and features works by architects JamesWines and Bernard Tschumi, and the firms SOM and 24. As brands and icons have become commonplace in society, cities, public spaces, corporations,institutions have begun to incorporate visual operations to efficiently sustain tourism, expenditure, and economical success. Occasionally, though, architectsexpress critical views or ironically interrogate this phenomenon.

Architectures influence on the public space is examined inPerforming Public Space, 19782011 . Artist Vito Acconci explored the concept of public space inOctober 1969 by following people through the streets of New York as a performance piece. By yielding to the movements of others wherever possible, Ahinted at existing tensions between private and public domains, but also at the external, uncontrollable forces that define the uses of collective space. Otherof public space conceived by architects since the 1980s are exemplified in works by Emilio Ambasz, Will Alsop, Jurgen Mayer H., and West 8.

Iconoclasm, 1964-2003 identifies the strategies employed by architects to disturb the acceptance of a given establishment, whether this relates to society ingeneral or to architectures own rules and disciplinary constraints. Provocation, iconoclasm, and the adoption of strategies of institutional critique can be us political weapons that fulfill a particular mission, as seen in the work of Hans Hollein in the 1960s and Diller Scofidio in the 1980s.

Enacting Transparency, 19672011 looks at the idea of transparency, which has become one of the most cherished tropes of architects in search of democratic ideals during the development of architectural modernism. As suggested in the work of Dan Graham on view, transparency was eventually unmas an ideological illusion that sustained ideas of social control, rather than promoting further democratization. Even so, techniques such as translucency, priscreening, and visual layering, have continued to produce an index of architectures ability to convey politically engaged messages throughout its facades. Th

section includes such works as Jean Nouvels Fondation Cartier and Kazuyo Sejimas Saishunkan Seiyaku Womens Dormitory.Occupying Social Borders, 19742011 examines the portrayal of realities in which social tension is the norm. In the field of architecture during the past centconditions dictated by poverty and inequality were traditionally faced with standard solutions characterized by centralized, top-down planning. Now, the yogeneration, including Teddy Cruz, Didier Faustino, and the collective raumlaborberlin, has adopted a more activist and hands-on attitude, aiming at reinserttheir work into the realm of everyday real-politiks and questioning the political role and boundaries of architecture itself.Interrogating Shelter, 19712003 analyzes one of the most challenging architectural themes: shelter. Considered as primeval refuge, the house offers motiv political reflection at quintessential levels and has been a motif for reflection by both architects and artistbe it through psychoanalytical analysis of its evecondition, inquiries into its formal or informal properties, or the reinvention of its more profound meanings and modes of organization. Artist Marjetica Potrdesigner Michael Rakowitz, architect-designer Gaetano Pesce, architecture collective Ant Farm, and architect Peter Eisenman address the multi-facetedchallenges of shelter through their work.

Politics of the Domestic, 20022011 presents Ikea Disobedients , a performance by Spanish architect Andrs Jaque that was first performed in Madrid andrecently acquired by MoMA. In dialogue with Reynold Reynolds and Patrick Jolleys video installation Burn , Ikea Disobedients explores how domesticexpression can become a focal point of everyday action and be turned into political agency. In a setting built with hacked Ikea components, the architect unhow peopleresidents from Long Island City in this iterationresist the imposition of a single lifestyle and use their home to promote activities that engagerespective communities and constituencies.SPONSORSHIP:Architecture and Design Collection Exhibitions are made possible by Hyundai Card Company.
http://www.moma.org/


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