03430nmm a22003377a 4500003000900000005001700009008004100026022001400067040002800081110004500109245008100154260003300235300001600268500015800284501017900442504011300621504038600734504009201120504008501212504031201297504006501609504022701674504027001901520071002171653002302881653001202904653001602916653001502932653002702947856011802974ES-BaAUN20230915073947.0221102| ||||go||d|||||| |||| 00| 0 eng d  a2575-5374  aES-BaAUNbengcES-BaAUN2 aCornell Journal of architectureeauthor.10aNegotiating, Subverting, Reconfiguring Borders in the English-speaking World3 bUrbanNext,cOctober 8, 2021.  a2951 words.  aArchiveContributorsCornell Journal of Architecture 11DensitiesEssayexpanding design practicesFormatsNo DensityPhilip UrsprungPolitics and economicsTopics  aArchitecture&art, Berlin, Borders, Capitalism, Citizens, Essay, Media, Mexico, Political & Economic Approach, Political instability, Society, Terrorist attacks, USA, Violence  aThis essay is an excerpt from Cornell Journal of Architecture 11: Fear edited by Val Warke from Cornell AAP.  aThis essay goes back to a lecture presented at the conference “Negotiating, subverting, reconfiguring borders in the English-speaking world” at University of Strasbourg, France, October 5, 2018. It is based on the book Philip Ursprung, Allan Kaprow, Robert Smithson, and the Limits to Art, translated from German by Fiona Elliott, Berkeley, Univesity of California Press, 2013.  aMichael Hardt, Antonio Negri, Empire, Cambridge, Mass., Harvard University Press, 2000.  aAllan Kaprow, Sweet Wall, Testimonials, Berlin: Edition René Block, 1976, n.p.  allan Kaprow, “The shape of the art environments, How anti-form is ‘anti-form’?,” in Artforum, vol. 6, no. 10, Summer 1968, pp. 32–33, reprinted in Allan Kaprow, Essays on the Blurring of Art and Life, Jeff Kelley (ed.), Berkeley: University of California Press, 1993, pp. 90–94, quote pp. 93-94.  aAllan Kaprow, Echo-Logy, New York, D’Arc Press, 1975, n.p.  aRobert Smithson, “Fragments of a Conversation. Edited by William C. Lipke (1969),” in Robert Smithson, Collected Writings (Jack (ed.)., Berkeley, University of California Press, 1996, pp. 188–191, here pp. 190-191.)
  aRobert Smithson, “Kulturbeschränkung,” in exh. cat. Documenta 5, 1972, unpaginated, reprinted as “Cultural Confinement” in the section “Documenta: A Portfolio,” in Artforum, vol. 11, no. 2, October 1972, p. 39, reprinted in Smithson 1996, pp. 154-156.  aWolfgang Tillmans’ Empire US / Mexican Border (2005) depicts a border fence reminiscent of a bolt of lightning running like a fissure across the composition. [1] The cast shadow of its grill parallels and complements this jarring, vertical movement. A sign reading “Declaration Line” confirms the politically tense location, yet the spaces intertwine in a labyrinthian manner as though inviting misinterpretation. People are captured from behind, faces angled away from the shot as though to eliminate the possibility of empathy. The clothing of the male figure in the center indicates cool weather, but alludes to prison garb. The chaos composed around the fence obscures the immediate situation.

00aArchitecture & art00aBorders00aNo density 00aCapitalism00aPolitics and economics40uhttps://urbannext.net/negotiating-subverting-reconfiguring-borders-in-the-english-speaking-world/zAccess to info