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.
The Nomadic Journal
Exploring art, architecture, and itinerant ideas — a project of DoppelHouse Press
In the Desert of Follies: A Trip to the Noah Purifoy Desert Art Museum
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.
In Transit with Adrian Paci
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)…
Charles Long’s Eco-Decadence Redefines the Contemporary Austin
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.
Designing for Orbit: a laboratory against inertia
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.
Until the Bleeding Stops: Richard Mosse’s The Enclave
By John Haber
After fifteen years, millions of internally displaced people, and well over five million dead, the earth itself should have turned to blood, or so it may seem in The Enclave, an aching, unnervingly beautiful video work by Richard Mosse whose subject is war in the Democratic Republic of the Congo.
The Necessary Angel
By Seph Rodney
The motif that filmmaker Amei Wallach uses to lead viewers into her film Ilya and Emilia Kabakov: Enter Here is the Kabakovs’ anxiety. She shoots them in staccato glimpses . . .
Navigating Space and History in Paint with Liat Yossifor
By Liliana Rodrigues
LR – I understand that your new work is done in three-days per painting. I am curious about this time constraint you impose on yourself. In the past, fresco painters had to deal with the properties of freshly laid wet plaster and pigments; thus, they were forced to paint quickly. What does it mean for you, as a contemporary painter, to set a time constraint on yourself?
Excerpts from Louis H. Sullivan’s Kindergarten Chats (1918)
Architecture … is truly a fine art when its capabilities are once understood, when its true nature is once known, when its plasticity, its power for eloquence, its dramatic, its lyric resources, its fluency of expression are once grasped by the mind and the heart.
El Escribir y la Resistencia: Entrevista con Erich Hackl
En la conferencia anual de la German Studies Association (EEUU) en septiembre, el Foro Cultural Austriaco presentó Three Tearless Histories (DoppelHouse Press, 2017) por autor austriaco Erich Hackl. El libro es una colección de tres historias personales que tratan con individuos afectados por el fascismo de mediados de siglo, incluida la luchadora por la resistencia austriaca Gisela “Gisi” Tschofenig, quien fue asesinada en 1945, seis días antes de la liberalización del campo Schörgenhub donde estaba detenido. En “Tschofenig: El nombre detrás de la calle,” Hackl relata la improbable boda de Gisi en el campo de concentración de Dachau e intenta resucitar los logros de ella a pesar de una pelea familiar que amenaza con enterrarla para siempre.
The Nomadic Journal 