CONTINUE in Speaking
TINA DiCARLO

Pecha Kucha, Madrid

2007
SPOKEN at Pecha Kucha, Madrid, Gallery Off-Limits, 20:20 pm

THE Talk in Brief

Tonight I’d like to put forward several hypotheses as insertions into the current curatorial and architectural discourse. The twenty images that I’ve chosen reflect the structure of the talk in which hypotheses are presented alongside projects that tested, put forth, or countered them.

- The age blockbuster exhibition is dead. It has exhausted itself.

- The discourse of architecture must enter into discourse of display itself.

- That in the global era there is to be a return to the local, to the small and that exhibitions in this sense must take on the notion of the globally local.

- The notion of the non-profit as we know it is no longer relevant. Criticality and contemporaneity are best found in the market to which architecture (and art) are subject anyway.

- We are in a non-visual period. While the age of mechanical reproduction still produced originals, the age of the pixels reproduces dots that effectively reduces the object to undistinguishable and repeatable patterns. We have entered instead a world of reality media in which architecture must be exhibited as such.

- Architecture can longer be displayed as a work of art to be seen. It must be fabricated, constructed as architecture, instantiated as a spatial environment. The installation or exhibition is the original and not the object.

- This calls for a criticality that is no longer defined through negativity but through critical projects as a positivist enterprise. The role of the critic or the curator must be re-defined and re-thought.

- That the notion of “experience” has itself become clichĂ© but is nonetheless relevant as a spatial construct.

- That architecture must move beyond form and signature to enter the realm of the social and political. After ten years of the fetishization of digitally manipulated form it is on the cusp of doing so. This means a return to content, which we began to see in 2004.

- That this in conjunction with the state of the blockbuster urges new forms and modes of exhibition display and methodologies. The curator as one who expresses the critical project through choice can become collaborative while remaining relevant.

- Scripting as analogic code might be one way of thinking about the curatorial process. Such a process comes closer to direction of cinema or choreography.

- The construct is one of parallel histories and stories which can re-thought and re-written, mulitiplicitious and empirical, they are emergent rather than prescribed

- That the notions are in and of themselves not new. That exhibitions such as  Cities On The Move, Content, Intricacy, In Heat can should be considered alternative precedents.

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