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110	2		_aCornell Journal of architecture _eauthor.
245	1	0	_aNegotiating, Subverting, Reconfiguring Borders in the English-speaking World
260	3		_bUrbanNext, _cOctober 8, 2021.
300			_a2951 words.
500			_aArchiveContributorsCornell Journal of Architecture 11DensitiesEssayexpanding design practicesFormatsNo DensityPhilip UrsprungPolitics and economicsTopics
501			_aArchitecture&art, Berlin, Borders, Capitalism, Citizens, Essay, Media, Mexico, Political & Economic Approach, Political instability, Society, Terrorist attacks, USA, Violence
504			_aThis essay is an excerpt from Cornell Journal of Architecture 11: Fear edited by Val Warke from Cornell AAP.
504			_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.
504			_aMichael Hardt, Antonio Negri, Empire, Cambridge, Mass., Harvard University Press, 2000.
504			_aAllan Kaprow, Sweet Wall, Testimonials, Berlin: Edition René Block, 1976, n.p.
504			_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.
504			_aAllan Kaprow, Echo-Logy, New York, D’Arc Press, 1975, n.p.
504			_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.)
504			_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.
520			_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.
653	0	0	_aArchitecture & art
653	0	0	_aBorders
653	0	0	_aNo density
653	0	0	_aCapitalism
653	0	0	_aPolitics and economics
856	4	0	_uhttps://urbannext.net/negotiating-subverting-reconfiguring-borders-in-the-english-speaking-world/ _zAccess to info
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