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Luis Barragán's house, Louis Kahn wrote after visiting it, is a place that ‘could have been built a hundred years ago or a hundred years from now.’ So, in more ways than one, is The Air is Blue, an exhibition orchestrated in the master's house and studio by Hans Ulrich Obrist and Pedro Reyes, over the course of three years. [expand title="more"]The ever-growing list of participants comprised at the end forty-seven artists and contributors, including Francis Alÿs, Daniel Buren, Gilbert & George, Dominique Gonzales-Foerster, Joseph Grigely, Rem Koolhaas, Lygia Pape, Anri Sala, Ettore Sottsass, Rikrit Tiravanija, and Niele Toroni. Their interventions collided visions and conversations about poetry, urbanism, music, sexuality, art, and architecture. A catalogue was published in 2006, but never circulated. After ten years, this reprint consists on an integral black-and-white scan of the original book, with a small appendix of previously unpublished images and a new afterword written by Reyes. All on blue paper.[/expand]

Since it was first published in 1972, Learning from Las Vegas has become a classic in the theory of architecture and one of the most influential architecture texts of the twentieth century. The treatise by Robert Venturi, Denise Scott Brown, and Steven Izenour (1940–2001) enjoys a reputation as a signal work of postmodernism in architecture and urban planning. Yet none of the book’s editions have ever featured high-quality color images of the field research the authors conducted to illustrate their argument. Las Vegas Studio is the first book ever to present these significant photographs in large, full-color reproductions.[expand title="more"] Now available in paperback, this unique book features these iconic images and film stills, alongside essays by Swiss scholars Stanislaus von Moos and Martino Stierli that explore how the pictures contemplate the phenomenon of the modern city. Also included is a discussion by curator and critic Hans Ulrich Obrist with Dutch architect Rem Koolhaas and Swiss artist Peter Fischli that speaks to the strong and lasting influence these images still have on contemporary art and movies. A unique opportunity to experience the full intent and import of the Learning from Las Vegas project, Las Vegas Studio continues to appeal to architects, architectural historians, and scholars alike.[/expand]

This publication gathers together interviews with international artists, architects, and curators of the contemporary art world, such as John Baldessari, Ute Meta Bauer, Suzanne Cotter, Bice Curiger, Chris Dercon, Charles Esche, Liam Gillick, Michael Govan, Katharina Grosse, Yuko Hasegawa, Jacques Herzog, Thomas Hirschhorn, Philipp Kaiser, Rem Koolhaas, Lars Nittve, Hans Ulrich Obrist, Thierry Raspail, Tobias Rehberger, Beatrix Ruf, among others. Their different answers bring visibility to the complexity of the topic, but also to the deep pleasure and intellectual stimulation museums provide, as well as to their relevance to culture today.

For more of this series click here. “Today was Tomorrow” is the theme that guides the seventh chapter in the explorations of the IN Residence Diaries project. The volume is devoted to a workshop experience held in the context of the Swiss Summer School: [expand title="more"]hosted for a week-long residence at the Swiss Pavilion in the “Giardini della Biennale” (in the context of XIV Venice Biennale of Architecture) for a programme of activities involving the world’s best universities and educational-training experiences, the IN Residence project developed an original thematic study that produced surprising results. Featuring contributions from Hans Ulrich Obrist, Lorenza Baroncelli, Jan Boelen and Gianluigi Ricuperati, this diary bears witness to the intensity of an extraordinary event and celebrates the vitality of a project of reflection and research that is unique in its genre. The book also offers the opportunity to deepen the thought and work of the designers who took part in the seventh edition of the series of workshops produced by IN Residence.[/expand]

The latest issue of The Plant accompanies Harley Weir on ceramics art therapy with her father, shows the democratic significance of a place like Central Park, travels with us to Rio de Janeiro, and talks with Hans Ulrich Obrist and Formafantasma about their – then soon to be opened -exhibition at Serpentine Galleries. Now Formafantasma’s exhibition can only be seen online, the possibility to travel to Rio is just a vague memory, and Central Park has a makeshift hospital on its grounds. In short, it is an edition that comes from the world of yesterday. Which is less than two months away, and yet it seems like a lifetime. But that still does not make the issues irrelevant. Quite the opposite. With all the news and headlines revolving around Covid-19, the terrible scenes in hospitals, and the people trying to cope with quarantine, loneliness and unemployment, we should not forget that we are still in the middle of a climate crisis, that parks, nature and green spaces are important for our health, and that creative, meditative work with our hands, like pottery, has a good effect on our mental health. Let us look at the topics of yesterday, because more than ever they will be the topics of tomorrow.⁠ Buy

With the rise of New Tyrants who likely pervert the law for their own interests, each of us is affected when it comes to advocate our seemingly not-that-self-evident democratic values. As a result, artists and art institutions started to – voluntary or not – rethink their role, responsibility and power within the cultural ecosystem. But what exactly is hidden behind buzzwords as activism, political art and artistic protest? Two recently published books by Sternberg Press will bring certainly more light into this complex and versatile discourse – without diluting it. While ‘What about activism’ is both an open call for action and a critical intervention of what curatorial activism can mean in the broadest sense as well as in a most practical way, Oliver Marchant’s ‘Conflictual Aesthetics’ argues why art is per se political, going through different arts genres and their inherent potential for reactionary protest. So whether you need a tool kit coming along as a compendium of more than 20 manifestos written by Steven Henry Madoff, Hans Ulrich Obrist and Nicolas Bourriaud and plenty more or an overview of the political within arts, embedded in a broader and different geared art history, which goes hand in hand with the political realms, you will definitely find in both Sternberg publications some answers, ideas and projects on how to do anything – but remain silent! Buy ‘What about activism?’ Buy ‘Conflictual Aesthetics’