San Rocco #3: Mistakes

SAN ROCCO is a magazine about architecture.
SAN ROCCO does not solve problems. It is not a useful magazine.
SAN ROCCO is neither serious nor friendly.
SAN ROCCO is written by architects. As such, SAN ROCCO is not particularly intelligent, or philologically accurate.
In SAN ROCCO, pictures are more important than texts.
SAN ROCCO is serious. It takes the risk of appearing naive.
SAN ROCCO will not last for ever. There will be no more than 20 SAN ROCCOs for the single five-year plan.
San Rocco is the name of a place in Monza, not a nice place. Giorgio Grassi and Aldo Rossi engaged in a design competition for this place in 1971. The project was not built; ordinary housing blocks were built instead.

Contents:

The wrong pyramid – Pier Paolo Tamburelli

Perfectly Fine for Mies – Kersten Geers

Data Center on Lexington Avenue – Office Kersten Geers David Van Severen

Beauty and Mistakes in the Early Work of Peter Markli – Andrea Zanderigo

Modernistic Neanderthalism – Matteo Poli

Scamozzi versus Sansovino – Paolo Carpi

The Displacement of the Grande Arche: The Story of a Surreal Monument – Wulf Boer

Santa Maria Annunziata in Roccaverano: The misinterpretation of a project by Bramante – Manuela M.Morresi

La Bombonera – Giacomo Summa

Hagia Sophia versus Hagia Sophia – Ioanna Volaki

Solomon, I have outdone thee! – Asli Cicek

Systematic Mistakes:Notes on Leon Battista Alberti’s Design strategies – Angelo Del Vecchio

Review of the exhibition emergency in favour of twice at the institute of contemporary art – Aaron Moulton

The wrong program – BARarchitekten

The four books of mistakes – Matteo Ghidoni

Deliberate mistakes: Stories of the Winchester house – Cèdric Boulet

Phantoms of monuments – Mathieu Mercuriali

Freud and Méliès – Alexander Hilton Wood

An “aesthetics of Mistakes” in the discourse of the “Collective actions” group – Sergei Sitar interviews Andrei Monastyrski

The Nightmare of participation, or considering the value of failure as a proactive catalyst for change
– Markus Miessen

Architecture, dynamite and the political establishment – Giovanni La Varra

Try Again. Fail Again. Fail Better.On the potential of what goes wrong in relation to modernism and art – Filipa Ramos

Mitologia Ferrari – Stefano Graziani

Instant paradise: A story of failure and accidental beauty – Steven Bosmans and Michael Langeder

A lake and swimming pool:Two water stories from USSR – Saverio Pesapane

A mistakes of principles: The principles of architecture are eleven and immutable – 2A+P/A

D 15€

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Le Pigeon Voyageur is launching 4 editions from the new serie SIGNÉ:

Lena Amuat & Zoë Meyer
Zuni Halpern
Laura Jurt
Benjamin Sommerhalder

Vernissage on Thursday the 8th of March, 18h30 @ Motto Zurich:

Motto Zürich Store
Kochstrasse 1
8004 Zürich

http://pigeon-voyageur.ch/

Saturday March 10
“How it’s made vol.7.” Morava Books @ Motto Berlin
Start 8pm

Honza Zamojski in conversation with Alexis Zavialoff

The MORAVA Publishing House was established in early 2010 in Poznań, Poland by Honza Zamojski – visual artist, curator and publisher. Morava wishes to develop publishing projects in two directions: original ideas for books and limited editions of works.

http://moravabooks.com

Peep-Hole Sheet #11: Pedro Barateiro – The Artist As Spectator

Peep-Hole Sheet is a quarterly of writings by artists.
Each issue is dedicated solely to one artist, who is invited to contribute with an unpublished text whose content is completely free in terms both of subject and format.
The texts are published in their original language, with accompanying translations in English and Italian. All images are deliberately avoided. Peep-Hole Sheet is meant for those who believe artists are catalysts for ideas all around us, and who want to read their words without any filter.
Over time it aspires to build up an anthology of writings that might open new perspectives for interpreting and understanding our times.

Written in 2005 and unpublished until now, The Artist as Spectator is conceived as a flux, a collection of thoughts that accompany the work of Pedro Barateiro: “I will be re-writing my own words for the rest of my life, that’s for sure. I will go on for my own reasons, creating my own language.”
A work which delineates, above all, a reflexive act and possibility of a “release from seizure,” departing from the awareness that we are all coopted into the logic of the Market/Spectacle that art, in some way, foretells. The invitation is therefore that of recovering the gaze toward ourselves and the world, always staying on the scene of the crime, always on the verge of disappearance. The object, the video, the artistic means becomes a gun pointed to the temple: we can wait for something (the world, time) to change, or decide to aim the weapon.

D 10€

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The foundations of Judo, Yves Klein – Kodokan Fourth Dan
Published by The Everyday Press.

D 20€

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Jason Dodge, SMC/CAC

Published by the Contemporary Art Centre, Vilnius (CAC).

Edition of 400.

D 10 €

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Wolves and Peasants 38% Notes 38% No Title 19% Dreamers 4%. Fondazione Antonio Ratti. Mousse Publishing.

Published for the 17th Advanced Course in Visual Arts of Fondazione Antonio Ratti, the catalogue “Wolves and Peasants 38% Notes 38% No Title 19% Dreamers 4%” contains contributions by the visiting professor to the course in 2011 – Susan Hiller – president of the Foundation, Annie Ratti, the curators of the course Andrea Lissoni and Cesare Pietroiusti, Angela Maderna and all the participating artists.

Based on four weeks spent in Como in July, the publication is like a notebook – the same one distributed by Susan Hiller to all the people involved in the course, a place in which to systematically record their dreams – where the collective nature of the choices and dialogue that have given form to the catalogue coexists with the individual expression and autonomy of each participating artist.

Pages: 104
Language: English
20 x 16 cm
ISBN 9788896501894

D 12€

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May Magazine #8

Conceived as a collective space in which to develop thoughts and confront positions on artistic production, May magazine examines, quaterly, contemporary art practice and theory in direct engagement with the issues, contexts and strategies that construct these two fields. An approach that could be summed up as critique at work – or as critique actively performed in text and art forms alike.

Featuring essays, interviews, art works and reviews by artists, writers and diverse practitioners of the arts, the magazine also intends to address the economy of the production of knowledge – the starting point of this reflection being the space of indistinction between information and advertisment typical of our time. This implies a dialogue with forms of critique produced in other fields.

D 12€

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Eleven To Liverpool-Street. Katja Stuke. Böhm/Kobayashi.

Katja Stuke
11 to Liverpool-Street
December 2011
Edition of 150, numbered and signed
48 pages, 21 colour plates
Offset-Print

D 35€

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New York: Directions, Points of interest. Massimo De Carlo. Mousse Publishing.

Trying to describe the contemporary art scene in New York is complicated, like trying to rigidly define a city that over the course of its history has embraced positions and interests that are often diametrically opposed. The exhibition “New York: Directions, Points of Interest” curated by Elena Tavecchia for Massimo De Carlo Gallery is a path that winds through a selection of eight of the most interesting artists on the NY scene, who have decided to pursue their research in this urban context.
The works in the show reflect an imaginary itinerary through the concrete grid and layers of a city that has been, and continues to be, one of the cultural reference points of the global stage. The catalogue published for the show contains texts by Elena Tavecchia and Alex Kitnick.

D 24€

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