Shelter or Playground:The House of Dust 住所或遊樂場:塵土之屋

MAK Center for Art and Architecture – Schindler House Los Angeles
(835 N. Kings Road, Los Angeles CA 90069)

MAK藝術與建築中心 – Schindler House洛杉磯
(835 N. Kings Road,Los Angeles CA 90069)

This exhibition springs from The House of Dust, a seminal yet under-recognized late 1960s work by Fluxus artist Alison Knowles. Originally called The Play House, this intermedia piece serves as an entry point into contemporary investigation of the relationships between architecture, technology, and performance. In a text titled Shelter or Playground, R.M. Schindler described his house as a “playground” that “grows with its inhabitants” and where “life will regain its fluidity.” Today, the house open its doors to contemporary artists who have been invited to produce site-specific works, responding to both architectures by Schindler and Knowles and translating them into multiple performative forms.
Curated by Maud Jacquin, Anna Milone and Sébastien Pluot, this group exhibition is the result of a collective research effort initiated by Art by Translation (TALM Angers & École nationale supérieure d’arts de Paris-Cergy) with the MAK Center for Art and Architecture at the Schindler House and France Los Angeles Exchange (FLAX), in collaboration with the California Institute of the Arts (CalArts).
The presentation commissions new work and performances by Henry Andersen & Bryana Fritz/Slow Reading Club (Australia, USA), Lila Athanasiadou (Netherlands), Jasmin Blasco (France/USA), Dimitri Chamblas (France), François Dallegret and François Perrin (France), Milka Djordjevich (USA), Daniel Frota (Brazil), Mark Geffriaud (France), Gerard & Kelly (USA), FLAX Artist-in-Residence Aurélie Godard (France), Jeff Guess (France), Simon Leung (USA) and Luke Stoneham (UK), and Lucky Dragons (USA). It will be accompanied by a program of historical performances including works by Merce Cunningham and Trisha Brown and interpretations of scores by Fluxus artists or those associated with Fluxus—Alison Knowles, Yoko Ono, Alvin Lucier, Pauline Oliveros—by CalArts students on the CalArts Nomad Floor. The floor will play the role of a contemporary House of Dust as a studio, gathering place, gallery, blank slate, habitat and point of discussion about context, performing and witnessing performance, open to anyone upon registration to the MAK Center.
In 1967, Alison Knowles’s The House of Dust started as one of the first computer-generated poems. Each quatrain began with “A House of . . . ” followed by random sequences of materials, sites or locations, light sources, and categories of inhabitants. In 1969, Knowles translated one of the quatrains into an architectural structure with organic, “non-Euclidean” shapes that, at the time, were in contrast with the technological origin of the poem. The house was first installed in Chelsea, New York, and then moved to CalArts, where a burgeoning community of artists and students created a number of artistic works in response to the structure (installations, performances, dance, concerts, poetry classes, etc.). The physical House thus became an open structure, a platform used to generate and shelter experimental activities. Lost in the 1980s, the only remaining aspect of the work is the poem, which is now reconstituted and open to new interpretations.
At the core of this exhibition is the desire to reactivate the generative potential of Knowles’s work and catalyze interrogations of wider aesthetic and social issues through several disciplines, creating new forms and communities. This exhibition organizes the encounter between The House of Dust and the Schindler House, two very singular architectures that coincide in numerous dimensions. They both represent alternatives to functionalist architecture and conventional behavior.

這個展覽來自The House of Dust,這是一個由激浪派藝術家艾莉森·諾爾斯(Alison Knowles)在20世紀60年代後期開創性但尚未被充分認可的作品。最初稱為The Play House,這個中間媒體作為當代調查建築,技術和性能之間關係的切入點。在標題為Shelter或Playground的文本中,R.M。辛德勒形容他的房子是一個“與居民一起成長”的“遊樂場”,“生活將恢復其流動性。”今天,這所房子向當代藝術家敞開大門,他們被邀請製作特定場地的作品,同時響應兩者Schindler和Knowles的架構,並將它們轉化為多種表演形式。
由Maud Jacquin,Anna Milone和SébastienPluot策劃,這次群展是由翻譯藝術(TALM Angers&Écolereternationalalestérieured’Portde Paris de Cergy)與MAK藝術與建築中心共同開展的研究成果。在Schindler House和法國洛杉磯交易所(FLAX),與加州藝術學院(CalArts)合作。
演講委託Henry Andersen和Bryana Fritz /慢讀俱樂部(澳大利亞,美國),Lila Athanasiadou(荷蘭),Jasmin Blasco(法國/美國),Dimitri Chamblas(法國),FrançoisDallegret和FrançoisPerrin(法國)進行新的工作和表演。 ),Milka Djordjevich(美國),Daniel Frota(巴西),Mark Geffriaud(法國),Gerard&Kelly(美國),FLAX駐場藝術家AurélieGodard(法國),Jeff Guess(法國),Simon Leung(美國)和Luke Stoneham(英國)和Lucky Dragons(美國)。它將伴隨著一系列歷史表演,包括Merce Cunningham和Trisha Brown的作品,以及Fluxus藝術家或者與Fluxus-Alison Knowles,Yoko Ono,Alvin Lucier,Pauline Oliveros相關的成績的解釋 – CalArts Nomad的CalArts學生地板。該樓將扮演當代塵埃之屋的角色,作為工作室,聚集場所,畫廊,空白石板,棲息地以及關於背景,表演和見證表演的討論點,在向MAK中心註冊時向任何人開放。
1967年,艾莉森·諾爾斯(Alison Knowles)的“塵世之屋”(The House of Dust)開始作為最早的計算機生成詩之一。每個quatrain都以“A House of a House”開頭。 。 。 “隨後是材料,地點或位置,光源和居民類別的隨機序列。 1969年,諾爾斯將其中一個絕句翻譯成具有有機“非歐幾里德”形狀的建築結構,當時這種形狀與這首詩的技術起源形成對比。這座房子最初安裝在紐約切爾西,然後搬到了CalArts,一個新興的藝術家和學生社區創建了許多藝術作品以響應結構(裝置,表演,舞蹈,音樂會,詩歌課程等)。 )。因此,實體房屋成為一個開放的結構,一個用於產生和庇護實驗活動的平台。在20世紀80年代迷失了,這部作品唯一剩下的部分就是這首詩,現在這部詩歌已經重新構建並對新的解釋持開放態度。
本次展覽的核心是希望重新激活諾爾斯作品的生成潛力,並通過多個學科促進對更廣泛的美學和社會問題的審問,創造新的形式和社區。本次展覽組織了The House of Dust和Schindler House之間的相遇,這兩個非常獨特的建築在許多方面相吻合。它們都代表了功能主義架構和傳統行為的替代方案。



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