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CuriosityMoMA’s Timely New Exhibition Examines the Complexity of Black Space in America" data-url="//m.sdhaa.com/article/moma-new-york-reconstructions-architecture-blackness-america/">

Lasting from 1865 to 1877,内战后立即的美国重建时代看到美国试图确定黑人美国人的法律地位以及将提供给他们的平等。这种关键的时刻也是最接近的机会,黑人美国人必须获得土地和金融独立性 - 为奴役后的经济地位设定阶段,该地位持续今天尚未得到解决。

“Reconstructions: Architecture and Blackness in America” at the Museum of Modern Art opens with a guiding introductory text by curators Mabel O. Wilson and Sean Anderson. Nearby is Mario Gooden’s “The Refusal of Space.” © The Museum of Modern Art

“本次展览占据了未完成的重建项目......并将其雄心延伸到21世纪及以后,”介绍介绍文本“重建:美国建筑和黑暗,”betway必威平台目前在纽约现代艺术博物馆观看的一个关键调查。Curated by Columbia GSAPP’s Mabel O. Wilson and MoMa’s Sean Anderson, it consists of 11 newly commissioned works by architects, designers and artists that call the world’s attention to the presence and absence of Black space as well as the socio-political complexities behind its permittance or removal.

V. Mitch Mcewen的“R:R” marries vernacular techniques such as bamboo tying with contemporary digital fabrication as the basis of a speculative reimagining of New Orleans (its urban form and architecture) if the purported 1811 slave rebellion had been a success. © The Museum of Modern Art

几个世纪期的不公正,脱离次数和种族目标犯罪均嵌入美国建造环境的结构中。通过询问黑宇,建筑和领土之间的关系,展览需要在不承担持久的情况下存在的人们存在的生活经历,以破损的基础设施betway必威平台,不公平的教育政策和偏见的财务可访问性保持不变。从Olaleken JeyifousAfrofuturist Brooklyn, which centres on environmental justice, to the exploration of Black real estate in Los Angeles byYolande DanielsV. Mitch Mcewen的proposal for what Black American territory could have resembled in New Orleans, each speculative project within intervenes in one of 10 cities possessing striking historical relevance in the accrual of Black wealth in the country — specifically through property.

Consisting of a series of diagrams, maps and a “spaceboatshipvesselcapsule” that, according to the artist, is designed to help people “navigate their way to free Black space,” Amanda Williams “We’re Not Down There, We’re Over Here” explores the dichotomy between terrestrial and extraterrestrial Black space. © The Museum of Modern Art

在Kinlock,密苏里州,该州最古老的纳入黑人社区,是美国芝加哥艺术家和建筑师的第一批免费黑人领土之一阿曼达威廉姆斯找到We’re Not Down There, We’re Over Here。由我们世界超出生存所需的一系列映射图和工具组成,工作的元素聚集在一起,形成旨在将一个运送到星际黑色空间的宇宙飞船。呈现是黑色空间 - 在美国土壤上占领境内的二分法 - 以及外星动物,科学识别的黑色空间,这是谁知道的无限量 - 弥补了一个黑洞。空间中的这些点是如此密集的重力下沉,除了一定的区域之外,没有什么可以逃脱。我们不知道是什么是黑色的空间,我们不知道它有能力。我们知道它在那里。我们知道它存在。但是,它在哪里?

作为威廉的安装的一部分,艺术家和建筑师创造了许多“空间图”,探索了Kinloch城市的黑色空间。照片:Amanda Williams

It’s an apt parallel to the architecture and infrastructures that policymakers have imposed upon Black communities throughout the country, especially in Kinlock, where the population depleted from a robust 10,000 to a meagre 278. Municipalities know that we are here, but we have been erased and left unacknowledged. Thus William’s work defines Black space through the experience of Black folk while drawing attention to the ignorance of said spaces. In America, land has not been maintained to allow for the fruition of Black space and has, therefore, sunken into disparity — not by our doing, but rather by the denial of proper access and resources following the Reconstruction Era.

William’s installation mounted behind Felecia Davis’s “Fabricating Networks: Transmissions and Receptions from Pittsburgh’s Hill District, Flower Antenna” and David Hartt’s film “On Exactitude in Science (Watts).” © The Museum of Modern Art

“Black space is still not occupied,” Williams declares in the exhibition catalogue. “Black space has no architect. Black space is just a part of the story.” These statements resound as Black space is truly everywhere while simultaneously prevented from permanently taking hold anywhere. In this current moment of racial justice activism, we can all attest to the fact that Black space ran through the streets of Minneapolis just last summer and this spring. And, that it still occupies the streets of various cities across the world today. Yet, none of these places are distinctly Black nor will they carry on to be. When we look to those sites now, we find no evidence of Black space or its existence; no recollection of who and what was there.

“黑色空间是每个Nook Cranny Alley Field City City City City City City Park Lot Pimpin',”威廉姆斯继续。“黑色空间是闪光。黑色空间是明显透明的可擦除。黑色的空间是看着你试图从黑色空间感受到黑色空间。“We’re Not Down There, We’re Over Here那like many adjacent works in the show, leverages architecture to open up conversations on this permeance — a state of flux Black space has long found itself in.

Emanuel Admassu的安装“immeSureability”为亚特兰大,格鲁吉亚作为其网站,因为这座城市作为奴役的人类和棉花的前陆路末端的角色。根据设计师,它有一个“黑人富人的黑人历史”。betway必威中心©现代艺术博物馆

这个现实也在展示中AD-WO合作伙伴Emanuel Admassu的不可估量集中在亚特兰大,格鲁吉亚。通过照片graphs of “ordinary” and “devalued” vacant fields, coupled with a tapestry map and conical structure sprinkled with magnetic black sand from the Mid-Atlantic Ridge (a geological formation dividing the continents of Africa and North America), the Brooklyn- and Providence-based designer presents the similarly non-architectural quality of Black space. Admassu focuses on how the territories occupied by Black folk exist outside of the built environment and, therefore, are essentially immeasurable. By gesturing to the legacy of the transatlantic slave trade in combination with evocative collages of pastoral natural landscapes and the infamous Waffle House food chain, the work represents spaces of commonality that have offered refuge for Black Americans throughout the unbound movement of the Diaspora.不可估量呼吁无限扩大黑色超越边界,最终 - 自由。

Juxtaposing the unbound natural landscape with iconography associated with Black-patronized chains, Admassu looks to “imagine radically different worlds.” PHOTO: Emanuel Admassu

“树林和建筑环境的扩散为超越国家监控和种族资本实施的其他围栏的冥想和隐藏提供了颞空间,”展览目录中的宣传赛。“所描绘的空间没有资格作为架构,因为它们并不严格被紧张到电力和资本。”betway必威平台在美国重建项目中,黑色侵蚀性现象是持久的最大建筑问题之一。作为Admassu和其他人唤起,这种抑制与访问和思想 - 既有空间和财产有本质上。黑人不是财产,因此值得财产。这一事实不是可擦除的。

在“冰冻的社区”,布鲁克林的奥莱肯jeyifous令人生气 - 限流,掠夺性贷款和气候紧急情况 - 以弹性和社区坚韧的“太阳朋克”飞地为他的地区设想未来。©现代艺术博物馆

In the end, I would be remiss if I were to mark this collection of works solely as a demand for action. The exhibition is only a cursory look at what is necessary for us as designers, architects and creators. As the second showcase in a major American museum by a cohort of Black architects to date, it is an important next step in engaging broader conversations around racial disparity in land use, property rights and space itself. “Reconstructions,” the curators remind, “centres Black cultural forms and joy while imagining community, care, knowledge, refusal and, ultimately, liberation.” For Black and Brown folks in the United States, it is an ode to the vitality and fortitude of our experience, and a proposition for the development of a new setting where Black space is included, if not foundational. Reconstruction in America remains unfinished.

“重建:美国的建筑和黑暗”在纽约现代betway必威平台艺术博物馆之前运行。

标题图片:J. Yolande Daniel的“Black City:洛杉矶版”。©现代艺术博物馆

MOMA的及时新展览会探讨了美国黑色空间的复杂性

在11个投机工程中,“中的重建:美国建筑和黑暗”探讨了21世纪的未完成的项目。betway必威平台

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