Editors: Jennifer Sigler, Leah Whitman Salkin
Publisher: Harvard University Graduate School of Design
Pages: 208

“Run for Cover!”
No. 42
S/S 2016

Table of Contents:
Editor’s note: Dreadful Design
Jennifer Sigler
Wide Open
Nancy Etcoff
Fortress London: The New US Embassy and the Rise of Counter-Terror Urbanism
Oliver Wainwright
Feeling Invaded
John Kuo Wei Tchen
Gimme Shelter: Refugee Architecture in Germany
Niklas Maak
Phobia and the City: Rome
Lars Lerup
Holding Fear
Sonja Dümpelmann
Unsettling Unsettlements
Marianne F. Potvin
Anthropocenophobia: The Stone Falls on the City
Renata Tyszczuk
Solitary in Solidarity
Daniel D’Oca
Fear Ebbs on the Skyline but Rises on the Ground
Blair Kamin
Get Me Out of Here: The Solemn Geography of Women in Horror Film
Caryn Coleman
Reading Jane Jabobs in the Era of #BlackLivesMatter
Stuart Schrader
Un-War
Krzysztof Wodiczko
Animal Eyes & Invisible Hunters
Eugénie Shinkle
Fearful Asymmetry: Insurgency and the Architectures of Terror
Joshua Comaroff
Die Noctuque
Enrique Ramirez
A Certain Darkness
Demdike Stare & Robert Gerard Pietrusko
Who’s Afraid of the Covered Face?
Maryam Monalisa Gharavi
Artifacts of Exclusion
Interboro Partners
Fear Is in the Detail
Francesca Hughes & Gergely Kovács
The Iconic Ghetto and the Stigma of Blackness
Elijah Anderson
A Toxic Patrimony
Dan Borelli
The Green Zone: Architectures of Precarious Politics
Amin Alsaden
How to Draw Medellín
Alejandro Echeverri & Alejandro Valdivieso
Mortal Cities
Arna Mačkić
Bringing Back the Front: Relieving the Great War
Justin Fowler
Home Safe
Geoff Manaugh
The Fall of Postmodernism and the New Empowerment
Michael Murphy
Building for the Total Breakdown
Jacob Lillemose
A State of Emergency
Léopold Lambert
Conflict Urbanism, Aleppo
Laura Kurgan
Nuclear Pillowcases
Andrew Wasserman
The Real Move
Elizabeth Streb & Chelsea Spencer
Fear, Faith, and Disaster Preparedness
Arif Khan
The House of One: Facing Fear
Lara Schrijver
Pastiche of Ghosts
Metahaven
Second Nature
Ralph Ghoche
Suspunk: Thinking with Suspicious Packages
Javier Arbona, Bryan Finocki, Nick Sowers
The Horror, the Horror
Bart Lootsma
Robert Smithson, Evel Knievel, and the Landscape of Reclamation
Edward Eigen
Kites
Reginald Dwayne Betts
Feared Spaces, Feared Bodies
Toni L. Griffin
Fear, Fire, and Forty-One Snakes: Notes on the Burning Theater
Thomas A. P. Van Leeuwen
Ambiguous Thresholds
Nuttinee Karnchanaporn

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There is a strikingly conspicuous high-rise building behind the Leipzig Central Station that contrasts with the city horizon. The 96 meters high tower, in a dignified shining pearl color, was first called Interhotel Merkur and is now The Westin Leipzig. With 27 floors it hosts more that 400 rooms with event and seminar spaces on separate floors, shops, restaurants. It’s a little city within the city.

In 2008, shortly after starting to study at the Academy of Visual Arts Leipzig, I learnt that it is one of the few buildings that a Japanese construction company has build in German Democratic Republic in the late 1970s (there is two other constructions to be find in Dresden and Berlin). Something around and in this building triggered me to feel at home. When I saw it, I thought of the World Trade Center in Tokyo, from the top of which I enjoyed the Summer Festival of fireworks one day before my departure to Leipzig. So at that time I started to project my personal conflicts of a stranger in a new city on this huge building which became both a symbol of my hometown (even if, to be honest, there is nothing Japanese in its architecture) and of my frustrations.

With the celebrations of the 25 year of the fall of the Berlin Wall and the end of GDR, I wanted to know more about this building. Until then I had just looked at it from a distance and I finally decided to enter the Interhotel Merkur after 6 years of observation. I booked a room for one night there, took my camera and opened the door.

The Four-star hotel was deserted. Its Japanese restaurant which was once the best in Leipzig had no guests. And a cleaning man said to me: « I have been working here since the opening of the hotel, it was full of business people from all over the world in the 1980s ». He also explained me that the hotel was a hotbed of “illegal” prostitution (however this prostitution took roll as the espionage). I went to the reception and asked: « I heard that this hotel was build by a Japanese company. Is that right ? » A young man answered: « never heard about that » but the next morning I found a letter in my room with that simple sentence : This hotel was built by the Kajima Corporation.

In the summer 2014 I visited the library of Kajima Corporation in Tokyo. The librarian, Ms. Oda, prepared for me archive photos of construction, company’s monthly report, and even confidential documents. She also introduced me to Mr. Shimazu who was in charge of the architectural design team and lived in Leipzig from 1978 to 1981. I got the opportunity to hear their anecdotes, like the event that happened on January 12th, 1979 when the construction office was robed and all the money (GDR-Mark) from the safe was stolen. Additionally one roll of 35mm film that was in the camera of Mr. Sako, a colleague of Mr. Shimazu, had been gone as well. The camera was still in the office, but it had been opened and the negative had vanished. What was photographed in Mr. Sako’s camera must be normally the hotel’s construction process but that disparition had something from a spy movie. They went to the police but neither cash nor the film have ever been back.

I have been photographing modern architecture in Germany since 2008 and I am continuing to shoot similar buildings depending on my trips. In the process of creation, there is always a logical decision on positioning three bodies: the architectural body, the machinal body (camera) and my own body (photographer). But with Interhotel Merkur, I was strangely so excited that I could not measure the distances between the different « actors ». This architecture has, for me, the presence of a real and existing body that contains its story and its emotion. The building has its own life (which I am probably projecting on it) and, therefore, is reluctant to my photographs. But, for the History it represents, for its architecture (between classical Plattenbau and Japanese brutalism), for its role in my personal life, I decided to give it a try, again and again, until I obtain the right portrait of that motionless character of concrete.

When I left the archive of Kajima Corporation after my third visit, the librarian said to me: « Thank you, you shed light on our work, which has been forgotten ». This made me understand the real meaning of my obsession for the Interhotel Merkur: I sensed a Japanese spirit (or a soul?) in Leipzig. And I need to follow it before it flies too far away.

*This essay was originally written by the artist, and edited by Thibaut de Ruyter, for the publication「Stadt Bild / Image of City」(Cooperation by Berlinische Galerie, Deusche Bank Kunsthalle, KW Institute for Contemporary Art, Nationalgalerie-Staatlische Museen zu Berlin)

Japan in der DDR – Tamami Iinuma – Exhibition Opening 28.05.16 @ Motto Berlin at 6pm.

Even is a new magazine that interprets contemporary art, its structures and its environment. Published three times a year, Even features long-form articles that range from monographic studies to broad critical analysis; distinctive reviews that take in multiple exhibitions at museums and galleries worldwide; and extensive interviews with artists and arts professionals.

Even seeks to break the deadlock between academic obscurantism on one side, and top-ten lists and party coverage on the other. With a unique and legible voice, Even revives the tradition of criticism for the twenty-first century.

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Questioning the physicality of space and the meaning of an object within its relation to a viewer, I tend to intertwine the viewer’s visual memory and imagination by repeating previous moments of an experience. The architectonic theatre features various objects and [theatro] expands on the notion of ‘view’ (‘thea’ in Greek, where the word ‘theatre’ comes from). The word ‘view’ is also the root of the word ‘theory’ [coming from the junction of the words ’thea’(=view) and ‘oro’( =to perceive)]. Intending the theory as practice, Ι composed [theatro] as an act of theory, asking ‘Does a de-construction of a composition inquire or does it request a knowledge of the past?’

[theatro] is a rhythmical reading experience, a 5.5 meters long transcript of a seminar performance reflecting it’s original pulse and duration. It is based on the seminar performance “PUZZLE”, that took place at FROWN, Athens initiated by Maria Lalou, consisted of Katerina Drakopoulou [A], Maro Zacharogianni [B], Maria Lalou [O], Mirrored Glass Object [X] and a live-feed camera. In this work Maria Lalou uses two software platforms for writing. Powerpoint for the pre-fabricated text and a live performed text on ‘Word’, both projected on the screen from her computer. [theatro] is verbatim transcription of the piece with several functions. Next to the documentation of the PUZZLE performance and a manual reading, it also serves as a script for the play, ‘I AM A ‘Φ’.

During the book launch in Motto Lalou will introduce the work with the lecture performance ‘theatre of consciousness’ a work based on a critical text that Lalou has written in 2013 for the academic press ‘activate’ published in London prior to the idea of [theatro]. The performance’ theatre of consciousness refers to the seen and the seer through an analysis that places the audience in a central position and as a core thematic of ‘the seen’.

[theatro] is published by Onomatopee launched primary in Eindhoven at Lalou’s solo exhibition ‘a spect’ during June 2015. The publication is designed in collaboration with Yin Yin Wong/Werkplats and includes an introduction to the work by Alena Alexandrova.

[theatro] leporello will be installed in its full length from the 19th November in the vitrines of Motto accessed through the public space. Lalou is producing a limited edition of prints of the floor plan ‘archetype’ which is one of her basic tools for this series of work, to will be installed in the exhibition space.

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Maria Lalou is an artist born in Athens in 1977. She works with the science of objects – containers, spatial installations, film and accumulated performances, developing context as of extensions of architecture. Lalou’s specialization at glass science has been evolving in contextualizing aspects of mass / surface / space/ time /duration in the sphere of cognition by challenging the bodily experience and questioning alignment of the vertical and horizontal, disposition and disorientation. She graduated from the Gerrit Rietveld Academie in Fine Arts and from Technical University of Athens in Architecture, Design of Space – Object and Constructive Arts. She has been researcher at DasArts Amsterdam and an invited resident in e- mobilArt program for Interactive Artists. Lalou’s works have been shown amongst others in the Contemporary Art Museum of Thessaloniki during the 2nd Biennale of Thessaloniki, in ‘Technopolis’ Industrial Museum of Athens and at ‘Living Spaces’-2nd Contemporary Art Festival in Damascus, ‘Manobra’ Festival in Sao Paolo Brazil. She has been in collaboration with institutions as the E-Engineering of the Hogeschool of Amsterdam as an external adviser, with Roehampton Univesity in London as a writer on a post academic journal and an invited lecturer by Rijksacademie Studios in Amsterdam in 2012. For more info visit: http://reaction-lalou.com

Design: Ott Metusala. Advisor: Janice McNab. Amsterdam 2015

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Issue 6 | Homotopia

Daniel Silver | Sami Jalili | Ahuvia Kahane | Alice Hattrick | Jason Hendrik Hansma/Bogdan Banu | Daniel Ayat | Jo Longhurst | Philippa Snow | Vanessa Place | Ben Wadler | Joseph McRae | John Russell | Rebecca Jagoe | Jacob Dreyer | Adam Jasper | Charlie Godet Thomas | Karen Di Franco | Emma Letizia Jones | Giulia Damiani | Rebecca LaMarre | Karen Knorr | Gabor Gyory | Pedro Alonso/Hugo Palmarola | Philip Shelley | Slavs and Tatars | Sharon Kivland | Annie Morris | School of the Event Horizon |Malcolm Quinn | Michelle Atherton | Jack Self | Sam Kriss | Timothy Perkins

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Artists: Francesco Arena (Italy), Nina Beier (Denmark), Katinka Bock (Germany), Giorgio Andreotta Calò (Italy), Dario D’Aronco (Italy), N.Dash (USA), Michael Dean (UK), Oliver Laric (Austria), Mark Manders (Netherlands), Michael E. Smith (USA), Fernando Sánchez Castillo (Spain) and Francisco Tropa (Portugal), Oscar Tuazon (USA)
Graphic Design: Andrea Baccin & Walter Santomauro

Edition of 1.000 copies

Produced by Palazzo Strozzi Foundation

Sculptures Also Die offering a reflection on contemporary sculpture curated by Lorenzo Benedetti through new and existing work by twelve Italian and international artists who will be forging a reflection on the meaning, the potential and the new experimental approaches in sculpture today. Contemporary artists tend to use new forms and materials to address a broader time span in an ongoing dialogue between the past and the future; yet at the same time, the exhibition reflects on the way in which today’s artists are also rediscovering such materials as bronze, stone or ceramic, that appeared to have been relegated to the purely academic sphere. These materials are rediscovered and used in a conceptual manner to reflect on such themes as the monument, the fragment, the way materials wear over time, and the recovery of the recent modernist past.

The Polish Pavilion at the 56th International Art Exhibition

La Biennale di Venezia

The Polish Pavilion at the 56th Venice Biennale will have the pleasure of presenting a panoramic film projection of the opera Halka by Stanisław Moniuszko, as it was staged in February for the inhabitants of Cazale, a village situated in the mountains of Haiti.

The winners of this year’s contest for the official Polish representation in Venice, artists C.T. Jasper and Joanna Malinowska and curator Magdalena Moskalewicz, decided to stage the opera in Haiti inspired by the mad plan of Werner Herzog’s Fitzcarraldo, who wanted to build an opera house in the Amazon. Fascinated by Fitzcarraldo’s faith in the universal power of opera, but not uncritical of the colonizing aspect of his actions, they decided to reveal and undercut its romanticism by confronting a set of very specific geographic, historical, and sociopolitical realities.

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Even is a new magazine that interprets contemporary art, its structures and its environment. Published three times a year, Even features long-form articles that range from monographic studies to broad critical analysis; distinctive reviews that take in multiple exhibitions at museums and galleries worldwide; and extensive interviews with artists and arts professionals.

Even seeks to break the deadlock between academic obscurantism on one side, and top-ten lists and party coverage on the other. With a unique and legible voice, Even revives the tradition of criticism for the twenty-first century.

Selected Content from Issue 1:
-Interview with Luc Tuymans on copyright, populism, and the future of Belgium
-Elisabeth Lebovici on Joan Jonas, representing the US at the 2015 Venice Biennale
-New York Times classical music editor Zachary Woolfe on Björk and music in the museum
-Reviews on race in São Paulo’s galleries and museums today; cool kids collective Reena Spaulings in New York and their Berlin counterparts; and the trajectory of an avant-garde exhibition space in New Delhi

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I spent more than two months alone on a bicycle, travelling along the perimeter of the Italian peninsula, and then two weeks cycling around Sardinia. I put together hundreds of images of horizons which, day after day, came to form a chromatic stave of seas and skies. Finally, from the confines of my studio, image after image, I pieced back together a fair part of the Italian skyline. (A.R.)
Three years passed between the first journey around the peninsula, over the summer of 2011, and the second journey around Sardinia, in the summer of 2014. This book brings together the photographs that currently make up the work Orizzonte in Italia, starting out from the visual, graphical and theoretical notes that accompanied the artist.

Antonio Rovaldi was born in parma in 1975. The artist’s research moves around the relative themes and perceptions of spaces and landscapes, always showing the relations of the different materials used, like that of photography, video, sculptures and drawings. Since 2006 Rovaldi divides his time between Milan and New York. His recent solo shows include: Hirshhorn Museum Washington dc, The Goma Madrid, Museo MAN Nuoro.

Design: Alessandro Costariol & Antonio Rovaldi

Texts by Antonio Rovaldi, Luca Bertolo, Francesco Zanot, Leonardo Passarelli, Lorenzo Giusti, Pier Luigi Tazzi

Language: Italian / English

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