By Carrie Paterson
Among the many references loaded like cargo into Maryrose Cobarrubias Mendoza’s subtle and humorous sculptures are Southern California’s pattern of Filipino immigration, ecosystems, local bungalow architecture, shipping containers, chemistry and space travel. Yes, space travel, but we’ll get to that.
By Krystina Mierins and Carrie Paterson
Gregor Schneider’s Die Familie Schneider is part haunted house, part palimpsest, an installation shown originally in two doppelgänger East London counsel flats, and which has now been compiled into an illustrated book. The lauded German artist, who has made his name building claustrophobic rooms, has a secret—and he’s not telling.
Simon Clark’s record of a summer’s arduous travels through his native British Isles tells the story of a bicycle messenger on an unexpected and perhaps unwarranted journey to find recipients of postcards abandoned on Floreana, in the Galápagos Islands.
What attracts audiences to horror films during an economic downturn? Artist, filmmaker and horror film historian Kurt Forman takes us there in Outside the Frame.
Interview by Anne Hars
A founder of Sci-Arc, Glen Small is “one of the dear eccentrics of American architecture … and an early leader in the movement for green building,” according to Michael Sorkin. In a series of email exchanges with Anne Hars, Small sheds light on present conditions of urbanity and ecological crisis through a brief lesson on the megastructure movement in architecture.
By Martina Dolejsova
Kyong Park’s project 24260 Fugitive House has been an exploration into the nature of Detroit as a “white flight” city, as well as the destruction and devaluation of homes. House 24260 needed to escape before it was next.
By Joanna Grasso
I had just moved to the desert and was getting acclimated. The locals were a motley crew, including international writers, healers, tree whisperers, scroungers and bird watchers. At a local gathering, someone mentioned a site in Joshua Tree full of junk transformed.
By Susan Logoreci
It is my first trip to Montreal, and I am trudging through a freezing cold February day, in a borrowed coat, scarf wrapped around my face, to the MAC (Musée d’art contemporain de Montréal)…
By Seth Hawkins
In a city with the motto “Keep Austin Weird,” The Austin Contemporary—known for its avant-garde, edgy programming—has renovated its flagship, the Jones Center. From January through March 2014, the Jones Center hosted artist Charles Long’s massive collaborative installation “CATALIN,” a true Gesamtkunstwerk combining sculpture, music, scent, light, kinetics, video, theater, and new technology into one spectacle.
By David Pasek
“Terrestrial architecture must learn from extra-terrestrial architecture” says space architect David Nixon, “as today’s architecture consumes pure products and leaves waste.” Nixon reminds today’s architects to concentrate on the basic human needs; for example, on housing concepts that could be erected in disaster areas within hours. He also dislikes architecture that reduces the task to formal questions.
The Nomadic Journal 