Return to flip book view

THE GEOGRAPHIC ISSUE Norbert Axel Richter Miron Zwonir Brouchra Khalili Regina Jos Galindo Leah Gordon Stefanos Tsivopoulos

Nan Goldin The Ballad of Sexual Dependency June 11 2016 February 12 2 017

INDEX GEOGRAPHIES Miron Zownir FIGURES Malala Andrialavidrazana 158 GERMAN ANGST Dijana Zadro 22 CIAO CIAO BELLO CIAO Nicola Ruben Montini 171 RESPONDING TO RACISM IN THE AGE OF SOCIAL MEDIA Amanda Low 33 AFRICA BLING BLING HAKUNA MATATA Vanessa Opoku 176 SECRET DIARY Adam Curse 36 THE SITUATION OF SITDOWN COMEDY Brian Bergen Aurand 187 DEMOCRACY MAKE UP Brian Springer 188 SELF PORTRAIT Adalberto Abbate 202 NEW ALTARS Leah Gordon 210 LIVING LOS SURES Diego Echeverria 226 LATIN AMERICA IN CONSTRUCTION 234 LIVING CONDITIONS Luke Richard Jordan 8 52 THINGS NEATLY ORGANISED Ulfar Logason 60 HISTORY ZERO Stefanos Tsivopoulos 72 WHAT IS A LANDSCAPE Norbert Axel Richter 85 THE BOOK OF DESTRUCTION Kai Wiedenh fer 104 LA SITUACION Wali Vidal 120 UNTITLED Renato G mez ATEMPORAL LAND Imanol Buisan 134 ANDREAS LANG 246 144 PRINCESSE Dalila Dall as Bouzar 256 LA CONQUISTA Regina Jos Galindo THE MAPPING JOURNEY PROJECT Bouchra Khalili 148 242

EDITORIAL Berlin June 5th 2016 The first book I could say that was my book was the 1993 edition of Le Petit Larousse Universal Encyclopedia it was not really mine but my parent s I used to spend hours going through the thin yellowish pages of the thick book I remember I was very confused and fascinated at the same time with the pink section dividing the book in two different worlds but more fascinating was for me the inner part of the cover and back cover of the book I am not sure today but back in the days that part of the book had all then flags of the world My mother explained me then those geometric shapes are flags and that every country just like ours Dominican Republic is represented by a flag This time the research to fill in the following pages developed quite interesting lacking the democratic call for work we implemented in the previous issues this time we decided to seriously focus on finished and outstanding contributions in order to offer our followers punctual guidelines in this issue s concept It was a marvellous experience to establish dialogues with each and every contributor of the issue you are about to navigate through and so now I would like to share that experience with the rest of you Now I ll let you all surf through the compendium s pages and as always open to read hear your impressions Same as I was growing up my fascination for geography became more and more of a concern wondering then what was the difference between the geophysical map and the political map hanging in the wall of the class room With this note I would like to introduce the third issue of the first volume of this compendium which is meant to cover the spring and the still developing summer For this issue there are three aesthetic narratives one is informed by the notion of citizenship vs world citizens the other concerns leibph nomenologie and new cartographies and another global issues vs corners of the globe Ismael Ogando Editor in Chief

Berliner stadtplan bahn linien 1907

GEOGRAPHIES Miron Zownir

S London 1978

Lodz 2011

London 1978

Berlin 2008

St Petersburg 1995

New York City 1982

Berlin 2006

GERMAN ANGST Dijana Zadro

RESPONDING TO RACISM IN THE AGE OF SOCIAL MEDIA

Amanda Low Growing up as a first generation child of east asian parents in Australia I was not always aware that I was racially different Apart from occasionally wishing I had blonde or curly hair like my peers my mother socialised with the other children s mothers at the school gate and my packed lunch from home contained sandwiches just like everybody else s It was not until I was old enough to go on sleepovers did I realise that not everyone s parents cooked asian meals at home At 14 came my first personal experience of racism While at my after school job at a fast food chain an older teenager in the back seat of a car in the drive through lane shouted out to me Go back to where you came from The guy was most likely drunk and his friends apologetic yet it was a rude awakening I didn t have the vocabulary to conjure up a single word in response A colleague helpfully suggested spitting in their food but for some reason I wouldn t let it happen I only mentioned this occurrence to close friends at the time and mentioned nothing to my family Had social media existed then perhaps I would have found it easier to express my concerns Afraid of confrontation I would have found solace in the anonymity of the internet and the experiences of others with similar stories The internet and social media have given regular people a voice Raising the profile of social issues is no longer only the role of spokespeople from anti discrimination organisations From blogs to online petitions to Twitter hashtags a large online show of support is powerful and can influence policy makers Criticising discrimination in the form of hashtags and commentary unite groups of people who punish offenders with public exposure One high profile Twitter Storm was the experience of Justine Sacco who in December 2013 tweeted just before boarding an international flight Going to Africa Hope I don t get AIDS Just kidding I m white Sacco should have known better as former head of PR for media corporation InterActiveCorp In the 11 hours it took for her plane to reach its next destination the offensive tweet was shared and retweet

ed and derided numerous times Some couldn t wait for her plane to land so she could face the music gleefully adding the hashtag hasJustineLandedYet to their own comments on the situation Twitter was making her pay for her ignorance Humour on social media can also be used to devalue racist remarks Following the March 2016 terrorist attacks on two airports and a subway station in Brussels British man Matthew Doyle tweeted the anti muslim remark I confronted a Muslim woman yesterday in Croydon I asked her to explain Brussels She said Nothing to do with me A mealy mouthed reply The Twitter hashtag mealymouthedreply started to trend Amused Twitter users were using the hashtag to highlight the ridiculousness of asking a muslim woman on the street to explain terrorism with their own examples I confronted an Irish women sic yesterday in Camden I asked her to explain Bono She said Nothing to do with me A mealy mouthed reply from user robmanuel and I confronted a dog today asked him about that time when I was 4 and a dog bit me woof he said A mealy mouthed reply from TechnicallyRon Journalist and feminist writer Caitlin Moran also received an education on racism issues after tweeting about her interview with actor and producer Lena Dunham of the HBO TV series Girls in October 2012 In response to the comment did you address the complete and utter lack of people of colour in girls in your interview i sure hope so from user lizziecoan Moran responded Nope I literally couldn t give a shit about it Social media commenters and bloggers jumped upon Moran s lack of sensitivity towards intersectional feminism i e her prioritising gender issues before race or class However does making an offending statement go viral always mean that the moral of the story is learnt After his original tweet Doyle continued to inflame the situation with tweets containing the term towel heads a derogatory term used to describe people of middle eastern descent He also retweeted some of the above described parodies perhaps unaware that they were laughing at him not with him Even the producers of the internationally broadcast Oscars awards ceremony are guilty of focusing on one issue of racism while overlooking another In the run up to the 2016 awards show the trending hashtag OscarsSoWhite highlighted the lack of racial diversity amongst the nominees and renewed discussion on the lack of diversity in Hollywood in general Celebrities also jumped on the bandwagon with actor Dustin Hoffman and director Spike Lee boycotting the ceremony for this reason However the anti discrimination message and

the positive publicity for the issue were overshadowed by the reinforcement of racist stereotypes during the awards ceremony itself ed for a small audience can become viral overnight spiralling out of the author s control until they are receiving death threats and online abuse much worse than the original offending comment In the cases of Justine Sacco and Matthew Doyle Sacco was promptly sacked and Doyle was arrested on suspicion of inciting racial hatred on the back of the controversies Caitlin Moran walked off relatively unscathed with feminist magazine Bitch refusing to publish an interview they had conducted with her unhappy with her white centric representation of contemporary feminism For a sketch during the show host Chris Rock introduced three east asian child actors dressed in suits as the accountants who helped collect the Oscars results reinforcing the benevolent racist stereotype that east asians excel at maths Actor Sacha Baron Cohen making an unplanned appearance in character as Ali G also made a joke about the size of Asian genitalia Although Baron Cohen s crude remarks were unscripted and probably would have been How to respond to racism was censored did no one involved not something that I learnt about writers the children s parents or at school or talked about with my Chris Rock himself question the family and it would have been appropriateness of the sketch comforting to know that it was something that people did and Calling attention to an also I could talk about Discussing an issue on social media makes it issue of racism on easier to spread the word about social media does not and understand complex issues always address the yet does not always guarantee a full understanding of the problem issue at hand at hand The good done by not letHow many of the people jumping ting discrimination go unnoticed on the anti racism hashtag band should not be soured by a culture wagon would also be able to fur of bullying and harassment Such ther discuss the deeper issues as tampering with someone s food of racism and discrimination or is not the answer the punishment even be willing to take part in an should fit the crime anti discrimination protest Along with other armchair activism campaigns such as KONY 2012 anti racism hashtags pop up out of the nowhere spread like wildfire and then disappear just as quickly Trial by social media is also often brutal An offhand remark intend

SECRET DIARY Adam Curse

LIVING CONDITIONS Luke Richard Jordan

THINGS NEATLY ORGANISED lfar Logason

lfar

Hrefna

Arnaldur

Ingibj rg

Stef n

Katr n

HISTORY ZERO Stefanos Tsivopoulos

WHAT IS A LANDSCAPE

Norbert Axel Richter Der folgende Beitrag pr sentiert eine Definition von Landschaft sozusagen im Geist einer realistischen Ph nomenologie und erl utert die einzelnen Komponenten dieser Definition Es geht dabei um die Frage was Landschaft f r uns ist bevor wir anfangen sie als Fotomotiv Schlachtfeld landwirtschaftliche Nutzfl che oder Sportareal wahrzunehmen The following article presents a definition of landscape in the tradition of a realistic phenomenology and explains its individual components It deals with the question What is a landscape for us before we start to perceive it as an object of photography a battlefield an agricultural or outdoor sports area Kunsthistoriker und andere Kulturwissenschaftler weisen an dieser Stelle gern darauf hin dass die moderne Landschaftswahrnehmung sich parallel zur neuzeitlichen Landschaftsmalerei entwickelt habe und von Landschaft berhaupt erst seit dem 15 Jahrhundert die Rede sein k nne Die Frage was denn vorher dort war wo heute Landschaft ist was also die antike oder mittelalterliche J gerin wahrgenommen hat w hrend sie dem Wild hinterhergelaufen ist wird eher selten gestellt und noch seltener beantwortet In welchem Ausma eine ph nomenologische Beschreibung von Landschaft und Landschaftswahrnehmung einen historischen Index hat bleibt daher bis auf Weiteres ebenfalls offen Art historians and other scholars in the humanities point out that the modern perception of a landscape has developed parallel with modern landscape painting and that the term landscape can only be used with reference to the 15th century or after The question what was there before there was a landscape what did the ancient or medieval hunter perceive while she was hunting is asked only rarely and answered even more rarely Hence the question to which extent a phenomenological description of landscape and the perception of landscapes can have a historical index remains unanswered And it is okay if it remains unanswered When we study hiking

Und es darf auch offenbleiben F r den Zweck einer leibph nomenologischen Untersuchung des Wanderns gen gt es n mlich wenn Landschaft als Mobilit ts und Wahrnehmungsfeld auf derselben ph nomenologischen Abstraktionsebene beschrieben werden kann wie das Wandern als eine auf Landschaft bezogene Mobilit tsform Wandern ist denkbar weil Landschaft denkbar ist und wenn etwas anderes an die Stelle unserer Landschaftswahrnehmung tr te w rde vielleicht auch etwas anderes an die Stelle des Wanderns treten eine leibliche Mobilit tsform etwa die sich mit diesem Begriff nicht angemessen beschreiben lie e from the perspective of a phenomenology of the body it suffices to describe the landscape as a field of mobility and perception In this sense hiking can be defined as a form of mobility practiced in a landscape Hiking therefore is conceivable because landscape is conceivable and if something would replace our perception of landscapes then something would also have to replace hiking a form of mobility which perhaps couldn t be aptly described with this concept However it is essential that a phenomenological abstraction prevents a preconception of the landscape and hiking Although under the aspect of a phenomenology Wesentlich ist aber dass die of embodiment the landscape ph nomenologische Abstraktion corresponds to the sensorimotor eine vorzeitige Vereinnahmung modes of the human body it is der Landschaft und des Wanderns as such neither a wild nor a recverhindert Landschaft steht un reational space neither a sports ter dem leibph nomenologischen area nor anything else of this sort Gesichtspunkt zwar in Korrespondenz zu den Wahrnehmungs und Under the aspect of perception Mobilit tsmodi des menschlichen the correspondence of landLeibes aber sie ist als solche scape and body only means that weder Wildnis noch Erholungs the landscape is a field in which raum noch Sportareal noch irgen permanent shapes emerge as detwas anderes in dieser Art Die natural shapes for instance Korrespondenz zum Leib bedeu mountains waters woods etc tet nur dass Landschaft unter dem which under the aspect of moWahrnehmungsgesichtspunkt ein bility means that the landscape Feld ist aus dem dauerhafte Ge is a field of resistance in which stalten als nat rliche Gestalten permanent resistant entities are als Berge Gew sser W lder etc perceived as natural i e dishervortreten und dass sie unter tances slopes soil conditions dem Mobilit tsgesichtspunkt ein This is what is given before the Widerstandsfeld ist aus dem per landscape becomes charged with manente Mobilit tswiderst nde further meanings or purposes als nat rliche Widerst nde als Distanzen Steigungen Bodenbeschaffenheiten Vegetation hervortreten Das ist das was gegeben ist bevor irgendeine Aufladung mit weiteren Bedeutungen und Zwecken erfolgt

Die Definition lautet also Landschaft ist ein Ausschnitt der Erdoberfl che den wir als vorwiegend nat rliches dauerhaftes Gestaltensemble wahrnehmen Erl uterungen 1 Erdoberfl che ist kein spezifisch ph nomenologischer Begriff und die Formulierung Ausschnitt der Erdoberfl che erinnert eher an geografisch raumplanerische Landschaftsdefinitionen als an die Sprache der Leibph nomenologie Dem Leib ist sozusagen der durch einen Horizont begrenzte Wahrnehmungsraum gegeben in dem es ein Oben und Unten und einige andere Elemente der Raumorganisation gibt aber dieser Raum ist nicht ohne Weiteres Landschaft Er wird im Alltagsverst ndnis erst dadurch zur Landschaft dass man sich drau en befindet und dass die architektonischen Artefakte des Wohnens und Arbeitens und ihre technische z B urbane Umgebung das Ensemble der im Raum wahrgenommenen Gestalten nicht mehr dominieren Landschaft ist also abseits der Stadt wenn auch nur mit Einschr nkungen die weiter unten noch diskutiert werden m ssen The definition is therefore landscape is a section of the earth s surface which we perceive as a constant natural ensemble of shapes Explanation 1 The earth s surface is not a specific phenomenological concept and the formulation section of the earth s surface is rather a geographical and administrative conception of landscape rather than part of the discourse of the phenomenology of the body The horizon limits the space which the body is capable to perceive There is an up and a down as well as other elements of spatial distribution but there is more to the landscape than space According to our common understanding of the landscape it is only perceivable outdoors and architecture for living and working and their technological for instance urban surroundings do not dominate the perceived shapes of the landscape This presupposes that Vor allem aber ist Landschaft zun chst ein the landscape is located outside m glicher Aktionsraum und daher r hrt the city But there are exceptions auch das Auftauchen des Wortes Erdober which will be discussed below fl che in der Definition F r ein Lebewesen das nicht fliegen kann ist die Landschaft However a landscape is first and zun chst der Bereich der mit den gew hnli foremost a potential field of acchen Mitteln des Leibes durchquert werden tion and this is why the term the kann sozusagen die begehbare Welt auch earth s surface affects its definiwenn manchmal geklettert und ein kurzes tion For a living being which canSt ck geschwommen werden muss So ist not fly the landscape is primarily der See noch ein Teil der Landschaft der Oz an area that can be crossed with ean aber nicht und der Himmel spannt sich the usual means of the body It is ber ihr sein typisches Licht und seine Weite the walkable world so to speak mag einer bestimmten Landschaft zuzuord even if swimming and climbing nen sein aber er wird gew hnlich selbst might be necessary at particular nicht als ein Element oder eine Gestalt der segments In this sense a lake is Landschaft betrachtet part of the landscape while an ocean is not The sky overarches Dass der Landschaftsbegriff hilfsweise auf the landscape Its characteristic den geografischen Begriff der Erdoberfl che light and its span may seem to rekurriert ist also der leiblichen Bewegung belong to the landscape but norspragmatik geschuldet Der Mensch bewe mally it is not regarded as an elegt sich auf einem Boden nicht unter dieser ment or element of the landscape Fl che und nicht wie die V gel ber ihr er

ist darauf angewiesen dass es diese solide horizontale Grenzfl che gibt auf der er in die Lufth lle hineinragend und zugleich nach unten gravitierend gehen kann Der Wanderer muss zwar wie Gerhard Fitzthum schreibt den Widerstand des Bodens bei jedem Schritt abfedern Konturen einer Philosophie des Wanderns 1997 S 8 aber dieser Widerstand des Bodens ist zugleich das was im Stehen tr gt und im Gehen als Widerhalt einer Absto bewegung in Erscheinung tritt 2 Um einen Ausschnitt der Erdoberfl che handelt es sich insofern als die Wahrnehmung der Erdoberfl che blicherweise die Konfrontation mit einem visuellen Wahrnehmungsfeld ist das zum einen durch den Horizont zum anderen durch die zentralperspektivische Organisation des Sehsinns in bestimmter Weise begrenzt ist N here Objekte und Gestalten innerhalb dieses Wahrnehmungsfeldes k nnen fernere teilweise verdecken der geometrische Horizont ist gew hnlich von einer Kulisse verstellt Die Erscheinungsweise und Ausdehnung der Landschaft ist unter diesen Umst nden in einem uns selten bewussten Ma e von den Gr enverh ltnissen abh ngig F r die Frage was f r uns eine Landschaft ist spielt es eine betr chtliche Rolle ob wir 2 Zentimeter 2 Meter oder 20 Meter gro sind F r die Ameise w re auch die gefurchte Baumrinde der Eiche ein eigener Landschaftstyp f r uns ist der ganze Baum nur eine Gestalt innerhalb des Wahrnehmungsfeldes Gleichwohl fallen die Grenzen einer Landschaft f r ein mobiles Wesen nicht mit den Grenzen des Wahrnehmungsfeldes zusammen sondern die Landschaft ist sofern sie sich berhaupt als bestimmte Landschaft im Singular beschreiben l sst also ein Areal bestimmter Ausdehnung bildet sthetisch durch die hnlichkeit der in ihr auftretenden Gestalten praktisch auch durch die hnlichkeit der in ihr auftretenden Mobilit tswiderst nde charakterisiert Deshalb kann man von Auenlandschaften K stenlandschaften H gellandschaften Hochgebirgslandschaften Sumpflandschaften Waldlandschaften etc sprechen die irgendwo anfangen und aufh ren oder allm hlich in etwas anderes bergehen The fact that the concept of the landscape refers to the geographical term the earth s surface is due to the pragmatism of physical movement the human body moves on the ground not under it or like birds over it It is dependent on a horizontal surface on which it can tower into the sky and gravitate down towards the ground Gerhard Fitzthum writes that the hiker must absorb the resistance of the ground with every step Konturen einer Philosophie des Wanderns 1997 S 8 but this resistance from the ground is also that which allows us to stand and which gives us our bearings while walking 2 We are concerned with a segment of the earth s surface insofar as the perception of the surface of the earth is usually mediated by the confrontation with a visual field which is in a certain way limited on the one hand by the horizon and the other hand by the centric perspective of our visual sense closer objects and shapes within the perceptual field can hide more distant objects and shapes the geometrical horizon is normally hidden by some scenery Under these circumstances the appearance and expansion of a landscape is dependent on a rarely consciously perceived scale it is of substantial importance to the question what is a landscape to us whether we are 1 inch 6 feet or 60 feet tall For the ant the furrowed bark of the oak would in itself be a type of landscape for us the whole tree is only one element within our field of perception Nevertheless for a moving being the limits of a landscape do not coincide with the boundaries of the field of perception but landscapes are as long as they can ever be described as a specific landscape in the singular i e as an area of certain extent and

3 Der in der Definition verwendete Begriff der Gestalt entstammt der Gestaltpsychologie bezeichnet also den Umstand dass aus dem Ganzen des Wahrnehmungsfeldes Figuren hervortreten die als einzelne charakteristische Wahrnehmungsgegenst nde aufgefasst werden Berg Fluss Wald Wasserfall und dergleichen mehr Als Ensemble werden diese Gestalten nicht deshalb wahrgenommen weil sie sich zur Landschaft aufaddieren lassen sondern weil sie von vornherein im Zusammenhang mit anderen Gestalten dieser Landschaft stehen und sich ihre Charakteristik jeweils erst aus diesem Umfeld erschlie t In diesem schwachen Sinne eines Zueinandergeh rens und Sich voneinander Abhebens haben f r unsere Wahrnehmung alle Gestalten einer Landschaft Sinn Die Berge bilden eine Kette oder umschlie en ein Tal der Bach gr bt eine Schlucht der Wald zieht sich am Berghang hinauf Der Gestaltbegriff beschr nkt sich nicht auf das Visuelle sondern umfasst auch akustische haptische olfaktorische oder syn sthetische Figuren im Wahrnehmungsfeld Landschaften sind nicht nur Bilder sondern auch H rr ume Ger usch und Geruchsfelder und sowohl ber die Fu sohlen als auch ber den Hautkontakt mit der Luft kann eine Landschaft sich anf hlen Visuell k nnen wir unsere Landschaftswahrnehmung unter Kontrolle bringen indem wir sie fotografisch fixieren Bei den anderen sinnlichen Wahrnehmungsschichten gelingt uns das weniger gut und es ist charakteristisch f r unser Naturverh ltnis dass wir auf dieser Ebene zwar eindr ckliche Wahrnehmungen haben sie aber nicht in der gleichen Weise f r kommunizierbar halten wie das was wir in der Landschaft gesehen haben Im Genre des Wanderreiseberichts spiegelt sich diese Fixierung aufs Visuelle als Armut der Sprache das Syn sthetische einer Landschaft ist unbeschreiblich aber vielleicht nur deshalb weil wir nur beschreiben wollen was wir auch beherrschen k nnen form aesthetically characterized by the similarity between their occurring forms pragmatically also characterized by the similarity between the resistant entities occurring in it Therefore one can speak of meadow landscapes coastal landscapes hill landscapes mountain landscapes marsh sceneries deserted landscapes etc which begin and end somewhere or slowly transform into one another 3 The concept used for this definition of shape or element stems from gestalt psychology and denotes that individual figures stand out from the perceptual field and are interpreted as specific objects of perception mountain river wood waterfall etc These elements are perceived as an ensemble not because we can add them up to a landscape but because they are linked together with surrounding shapes These surroundings disclose the characteristics of the elements in the first place In this sense by being linked together and simultaneously standing out all the elements of a landscape make sense in our perception the mountains form a chain or surround a valley the brook digs a gulch the wood pulls itself up the mountain slope The concept of a gestalt element is not limited to the visual but also incorporates acoustic haptic olfactory or synaesthetic figures in the field of perception which means that landscapes are not only images they also include acoustic fields sounds and smells but also the feeling that results from the contact between 4 Dauerhaft ist das Gestaltensemble in the skin and the air as well as the sofern als wir gew hnlich die im Wahrneh contact between our bodies and mungsfeld auftretenden nicht permanenten the ground Gestalten nicht als Teil der Landschaft betrachten Die Passstra e ist ein Eingriff in We can visually control our per

die Landschaft und wird ein Teil von ihr das Auto das auf dieser Stra e f hrt bleibt aber etwas anderes Auch das Reh das aus dem Wald auf das Getreidefeld hinaustritt und eine Weile dort steht ist kein Teil der Landschaft sondern h lt sich in ihr auf und durchstreift sie Dass wir selbst als Wanderer ein Teil der Landschaft werden ist eine Emphase des Wohlbefindens der Aneignung und des Beheimatetseins hat aber ph nomenologisch kaum eine Berechtigung Landschaft ist also im Wesentlichen das was in einem geografischen Wahrnehmungsfeld von Dauer ist und sich als Gestalt wiedererkennen l sst auch wenn sich die Erscheinungsweise unter dem Einfluss von Witterung Lichtverh ltnissen und Jahreszeiten ndert Der Bach ver ndert seine Gestalt wenn er im Winter fast g nzlich zu Eis erstarrt aber er bleibt im Gestaltensemble als dieser Bach in dieser Landschaft erkennbar Zumindest reden wir zumeist so wenn wir ber Landschaft reden und nur das Erstaunen ber das Ausma der jahreszeitlichen Ver nderung k nnte uns gelegentlich zu einer gegenteiligen Emphase veranlassen Wir k nnten dann sagen Das Fjell ist im Winter eine ganz andere Landschaft als im Sommer aber der differenzielle Sinn dieser u erung erschlie t sich nur daraus dass es sich eben geografisch um dieselbe Landschaft handelt Dass zudem die Landschaft eine Geschichte hat die sich an ihrer Morphologie ablesen l sst wenn man sie zu lesen versteht ist zutreffend spielt aber f r die Idee des dauerhaften Gestaltensembles keine Rolle Das Wahrnehmungs und Mobilit tsfeld das die Landschaft sthetisch und praktisch f r uns darstellt mag sich ver ndern aber es ver ndert sich nicht in relevanter Weise w hrend wir es betrachten oder durchqueren Weil wir in einer leiblichen Eigenzeit existieren die durch unsere Lebensdauer und die Zeitgesetze unserer Mobilit t bestimmt ist erscheint die Landschaft als etwas Statisches Und wenn es einmal anders ist wenn also zum Beispiel der ganze Hang ins Rutschen kommt und den Weg versch ttet ist das eine Katastrophe f r uns weil wir uns gew hnlich auf die Geschiedenheit der Zeitgesetze verlassen also darauf dass die Geschwindigkeit der morphologischen ception of a landscape by capturing it photographically However this does not work as well with other modes of perception It is characteristic of our relationship with nature that although we can have impressive non visual perceptions we do not deem these perceptions as easily communicable as our visual experiences Within the genre of the trekking report Wanderreisebericht this fixation on visual perception manifests itself as a form of linguistic poverty the synaesthetics of a landscape turns indescribable perhaps because we want to describe only what we can control 4 The ensemble of gestalts is constant as long as we don t consider the non permanent gestalts as part of the landscape The roads through the mountains are an intervention in the landscape but also a part of it however the car driving this road remains something external to it Also the deer which emerges from the woods steps into the grain field and stands there for a while is not part of the landscape but dwells in it and roves through it The idea that we ourselves become a part of the landscape while hiking is an expression of our own condition of our adaptability and our sentiments of feeling at home but it carries no phenomenological justification So a landscape is a recognizable gestalt that is constant within a geographical field of perception even if the appearance changes under the influence of weather and seasons A brook changes its shape when it freezes in winter but it remains recognizable in the ensemble of gestalts as this specific brook in this specific landscape At least this is how we talk when we talk about landscapes and only our astonishment about

Ver nderung der Landschaft gleichsam un the magnitude of the seasonal changes endlich weit hinter unserer Bewegungs could lead us to a different interpretation We geschwindigkeit zur ckbleibt could then say for instance that the Fjell is a totally different landscape in summer than 5 Als vorwiegend nat rlich nehmen wir ein it is in winter but the distinction is only posGestaltensemble wahr wenn die im Wahrneh sible because geographically it is the same mungsfeld vorkommenden menschlichen Ar landscape tefakte die Wahrnehmung nicht oder nicht als Artefakte dominieren Deshalb kann zum It s a fact that a landscape has a history Beispiel ein geometrisch angelegter Park im which can be read in its morphology if one Ganzen als k nstliches architektonisches knows how to read it but this is irrelevant to Gebilde erscheinen ein Landschaftspark the idea of a lasting ensemble of gestalts aber als Landschaft obwohl wir wissen dass The perceptual and mobility field i e the diese Landschaft ebenfalls k nstlich ange form in which the landscape presents itlegt ist Eine Eigenheimsiedlung mit gro z self to us aesthetically and practically may gigen G rten hingegen ist keine Landschaft change but at the very moment that we are weil sie sich von vornherein als ein Ensemble looking at it it does not change significantzweckm iger Wohnvorrichtungen pr sen ly The landscape appears to be something tiert berhaupt ist die Stadt normaler static because we exist within a physical weise das Gegenteil der Landschaft weil sie time scale which is determined by our life ebenfalls nur aus zweckm igen Artefakten span and the rhythm of our mobility And zu bestehen scheint Trotzdem kann man whenever this is not the case for example mitunter von einer Stadtlandschaft sprech when a slope erodes and buries a road this en und zwar dann wenn man das Gestalt is a disaster for us since we rely on these ensemble der Geb ude und ihrer Zwischen time scales remaining separate i e we trust r ume nicht mehr unter dem Aspekt ihrer that the speed of morphological change is jeweiligen Zweckm igkeit sondern vorwie infinitely slower than the speed of our own gend unter dem Aspekt ihrer Morphologie movements betrachtet und damit jene raumph nomenologische Sinnbeziehung in den Blick nimmt 5 We perceive as mainly natural an ensemdurch die jede Gestalt im Wahrnehmungsfeld ble of gestalts if it isn t dominated by human auf ihr Umfeld in irgendeiner Weise bezogen artifacts This is why a geometrically formed ist Geb ude bilden Schluchten oder lassen park appears as an architectural construct Raum f r Brach und Gr nfl chen Pflaster while a scenery park appears more as a ung Treppen und Wege bilden ein charakter landscape although we know that this landistisches Feld von Mobilit tsm glichkeiten scape is also architecturally constructed A und Widerst nden residential complex with spacious gardens however is not considered a landscape beF r die Frage ob ein Wahrnehmungsfeld cause it is presented from the outset as an Landschaft ist oder nicht kommt es nicht ensemble of efficient residential facilities In darauf an ob das geografische Gestalt general a city is usually the opposite of the ensemble als solches nat rlich oder sog landscape because it seems to consist only ar unber hrte Natur ist sondern darauf of useful artifacts Nevertheless cityscape dass die Gestalten vorwiegend unter dem can be a meaningful term namely when we raumph nomenologischen Sinnaspekt und no longer regard the ensemble of buildings nicht unter dem Aspekt ihres zweckm i and the spaces between them in terms of gen Gemachtseins in Erscheinung treten their usefulness but rather in terms of their morphology We are then considering the Ein Geb ude und eine Stra e kann sich also phenomenological relationship by which evin die Landschaft einf gen insofern beide ery gestalt is in some way connected with its dort nur als Gestalten neben und zusam surroundings for instance buildings forming men mit anderen in Erscheinung treten Der gaps or leaving room for green areas paveWeg schl ngelt sich am Berg hinauf das ments steps and roads shaping a characterHaus duckt sich ins Tal Aber am Zaun der istic field of opportunities for movement as Kaserne oder der Jugendherberge endet well as resistances

die Landschaft weil hier die Wahrnehmung des Geb udes durch seine Zweckm igkeit dominiert ist Und andererseits kann ein Areal das durch Energiepflanzenanbau gepr gt ist f r den Wanderer unter Umst nden immer noch eine Landschaft sein genauso wie die Kulturlandschaft der Alpen oder irgendeine unber hrte d h ungenutzte Naturlandschaft f r ihn eine Landschaft ist The question whether a perceptual field is a landscape or not doesn t depend on whether the geographical ensemble of gestalts is perceived as natural but on the fact that these gestalts appear mainly under the spatial phenomenological aspect rather than under the aspect of its usefulness A building and a street can therefore become part of a landscape as long as both appear only as figures in addition to and in conjunction with other gestalts within the same frame for instance a road leading up a mountain a house hidden away in a valley But the fence of the barracks or the youth hostel constitutes the boundary of the landscape because the perception of these buildings is determined by its pragmatic nature And on the other hand an area which is marked by energy crops can still be a landEine solche ph nomenologische Verge scape for a wanderer just like the agriculturwisserung ber die Erscheinungsweise von al sceneries of the Alps or some pristine Landschaft ist die Voraussetzung daf r das i e untouched natural area can be a landWandern metaphorisch als einen Dialog mit scape as well der Landschaft zu verstehen Das Gegen ber mit dem man beim Gehen in einen leiblichen In abstract terms the suggested definition Dialog eintritt muss uns dabei als das Ande of landscape is elevated to a mode of perre widerfahren d rfen also als eine Entit t ception instead of an ontology a primary die nicht durch Nutzenkalk le und auch nicht nature of the gestalt or the ensemble of gedurch ein Schon alles Verstandenhaben vor stalts To perceive something as natural erschlossen ist Der Philosoph Gerhard Fitz means to perceive it in terms of its spatial thum hat das in dem oben bereits zitierten givenness its mere existence not in terms Text naturethisch zugespitzt indem er sich of its artificial purpose auf Levinas theologische Ethik des Anderen bezogen hat Diese ethische Wendung ist Such a phenomenological verification of the plausibel aber man muss ihr als Ph nome mode of appearance of the landscape is nologe gleichwohl nicht unbedingt folgen the condition for understanding hiking metaphorically as a dialogue with the landscape In order for the hiker to enter into a physical dialog with the landscape it must appear to her as the other in other words as an entity which is not determined by any pragmatism or by a preconceived understanding This is the idea that Gerhard Fitzthum puts forward in the context of an ethics of nature in his article cited above referring to Levinas s theological ethics of the other This ethical idiom is plausible but the phenomenologist is not bound to it Abstrakt gesprochen wird in der vorgeschlagenen Definition von Landschaft also auf den Modus der Wahrnehmung abgehoben nicht auf eine ontische urspr ngliche Nat rlichkeit der Gestalt oder des Gestaltensembles Etwas als nat rlich wahrzunehmen bedeutet es unter dem Aspekt seines r umlichen Gegebenseins seines blo en Daseins wahrzunehmen nicht unter dem Aspekt seines Aufeinen Zweck hin Gemachtseins

Vorl ufig w rde es gen gen unter Beachtung verbleibender Unterschiede zwischen Menschen und Landschaften darauf hinzuweisen dass sich die Landschaft dem Wanderer als Wirklichkeit eigenen Rechts und daher im Modus multiplen Widerstandes entgegenstellt Widerstand bedeutet hier nur dass die Verf gbarkeit f r uns durch ein Ohne uns Dasein eingeschr nkt ist und wir das zu sp ren bekommen Erkenntnistheoretisch betrachtet ist solcher Widerstand ein Realit tsindikator Die ethische Grundfrage die sich daran anschlie t und die jeder Wanderer jede Wanderin im Gehen ungewollt beantwortet ist die inwieweit der Widerstand etwas ist das gemeistert also berwunden und beherrscht werden muss oder vielmehr etwas das erlebt und umspielt hingenommen und ausgehalten werden soll Tentatively it should suffice to note with respect to remaining differences between people and landscapes that the landscape presents itself over against the hiker as a reality in its own right and that it therefore presents itself in the mode of multiple resistances Resistance means that the availability to us is limited by an independent existence without us of which we can nonetheless get a sense Epistemologically such resistance is an indicator of reality The ethical question evoked by these considerations a question which every hiker unintentionally answers by hiking is whether this resistance is something which must be mastered overcome and controlled or rather something which must be experienced accepted and endured

Images Refugee Situation in Z k ny Hungary Croatia border before Hungary s border closure

THE BOOK OF DESTRUCTION Kai Wiedenh fer

N

Amjad Al Najjar 16 student from Khuza a village On 13th January at around 7 am his house was hit by an Apache helicopter and later destroyed by an airstrike from an F 16 fighter plane Three people died 10 were injured Amjad was in very bad condition after the strike and was transferred to Egypt He lost the sight in his left eye and the use of his left hand He has shrapnel wounds all over his body He lay in a coma for six weeks He stayed in hospital for more than four months because of severe poisoning from the shrapnel The ambulance which was taking him from his village to the nearest hospital was shot at by Israeli soldiers It was the only ambulance that reached the area and returned completely overloaded with 16 dead and wounded Its doors could not be closed The dead could not be buried in their home village

Taghreed Al Najjar 21 a housewife from Khuza a village On 13th January at about 7 am her house was struck by a missile from an Apache helicopter later it was completely destroyed in an airstrike This happened in the same attack which injured Amjad Al Najjar see opposite page Three people died Khalil Al Najar 75 Ala a Al Najar 16 and Ahmed Al Najar 22 and 10 were injured She could still see with both eyes after the strike but her vision faded and her right eye had to be removed Her family paid 5000 for her treatment in Egypt where she was transferred from one hospital to another She had a referral to the eye clinic at the St John Hospital in Jerusalem but the Israelis refused to let her travel She is badly in need of eye surgery and she still has shrapnel in her stomach She got married nine months ago

The remains of a house in the Khuza a village Due to its close proximity to the Israeli border the inhabitants hoisted a white flag above their home Rouhiyah Al Najjar an inhabitant was carrying a white flag as she tried to leave the area during the war A single shot from an Israeli soldier killed her See United Nations Goldstone Report p 223

Yahia Abu Seif 20 student at the Al Quds Open University from Jabaliya Refugee Camp in Gaza City Abu Seif wanted to become an elementary school teacher He has five brothers and four sisters On 3rd January at about 5 30 pm a missile hit the entrance of Al Maqadma mosque in Jabaliya just as people were leaving At least 15 people were killed and more than 40 injured Goldstone Report page 233 Abu Seif s left side is paralyzed He was operated on and stayed in Shifa Hospital Gaza for about a month and in Al Wafa rehabilitation center in Shajeya Gaza for six months The Ministry of Health paid for his treatment

Felastin Tambura 15 a student from Beit Lahia Felastin was hit during an airstrike probably from a rocket at the UNWRA School in Beit Lahia She lost 6cm of bone and flesh from her lower leg She was in Slovenia for 25 days for surgery She is supposed to travel to the US for more surgery Two of her brothers were injured in the same attack Her parents are Mohammed Tambura 54 and Raliya Tambura 60 They have 12 sons and 4 daughters The family lives on aid

Khalil Al Jadili 16 Abdel Hadi Al Jadili 15 from Breij Refugee Camp On 16th January at about 3 pm they were injured when a 155mm grenade hit their grandmother s house They thought this house would guarantee more security than their own as it was more structurally sound Khalil lost both legs and Abdel Hadi lost his right eye Their brother Muhanad 8 was killed by the same shell

Khalil s legs were buried with his younger brother Khalil first went to Egypt and later to Slovenia for medical care In Slovenia he received a prosthesis and can now walk Abdel Hadi was operated on in East Jerusalem s St John Hospital and received an artificial eye

The remains of houses in Rafah next to the Egyptian border Rafah is home to a network of tunnels that supply Gaza with goods from Egypt As a result this area is constantly targeted by Israel

Hassan Sakoud 19 a secondary school student from Jabaliya Refugee Camp On the 27th December 3 pm Hassan was blinded by shrapnel from a missile while standing on the street in front of his house One piece of shrapnel is still lodged in his head After being injured during the war he was taken to Israel as well as Egypt for surgery Three other people were also injured in the same incident The picture on the wall is of his father Mahmoud 60 when he was 25

Hani Al Jargi 16 a student in the 1st grade from Jabaliya village in Gaza City On 9th January around noon he was injured by a rocket from a drone His friend Mahmoud Al Attar 15 died in the same attack They had just finished school and went with other classmates to look at the Israeli positions in the Izbet Abed Rabbou area 5 6 students were injured on the Salah Al Din road Al Jargi was first operated on in Egypt and stayed there for 25 days He was then transferred to Turkey where he spent four months He has yet to receive a badly needed prosthesis His father is unemployed and their house in the Atatra neighborhood was destroyed during the attacks on Gaza He has five brothers and a sister

Jamila Al Habash 16 a student in the 10th grade from Tufah neighborhood in Gaza City Jamila was hit by a missile while playing on the roof of her house on 4th January at 3 pm In the same attack one of her sisters was killed her cousin Mohammed 16 lost a leg another cousin was killed and

another was lightly injured She was operated on and received a prosthesis in Saudi Arabia

LA SITUACION Wali Vidal

ATEMPORAL LAND Imanol Buisan

LA CONQUISTA Regina Jos Galindo

THE MAPPIN JOURNEY PR Bouchra Khalili

NG ROJECT

FIGURES Malala Andrialavidrazana

Figures 1816 Der s dliche gestirnte Himmel vs Planiglob der Antipoden

Figures 1817 Eslam or the Countries which have professed the Faith of Mohamet

Figures 1838 Atlas El mentaire

Figures 1850 Various Empires Kingdoms States and Republics

Figures 1867 Principal Countries of the World

Figures 1899 Weltverkehrs und kolonialbesitzen

CIAO CIAO BELLO CIAO Nicola Ruben Montini

AFRICA BLING BLING HAKUNA MATATA Vanessa Opoku

G

THE SITUATION OF SITDOWN COMEDY My name is Maysoon Zayid and I am not drunk but the doctor who delivered me was He cut my mom six different times in six different directions suffocating poor little me in the process As a result I have cerebral palsy which means I shake all the time Look It s exhausting I m like Shakira Shakira meets Muhammad Ali Maysoon Zayid TEDWomen Talk I Got 99 Problems Palsy is Just One December 2013 By some accounts Maysoon Zayid Palestinian American actor comedian teacher and activist is one of North America s first female Muslim comics and the first person to perform standup in Palestine and Jordan However this narrative is somewhat inaccurate as Zayid is not a standup comedian but a sitdown comic and her situation as such opens a great many questions regarding the geography of comedy especially disabled comedy Everything is situated located in time and space so that everything is open to questions of geography Comedy has a situatedness unto itself because it relies on timing and placing And disability comedy such as sitdown comedy has a geography all its own because it functions always at the intersection of the linguistic and the gestural Because disability comedy requires a relationship among discourse movement and gesture it marks a specific relationship among carnality social and political institutions spatial scales and arrangements conceptual and ideological frameworks spatial competence and barriers appearance technologies conformity and economics Thus it intersects with almost all aspects of geographic considerations of space place and the relationships between people and their environments built and performative Many contemporary geographies of disability have rejected medical and rehabilitative conceptions of disability in favor of socio political and structural situational conceptions They have shifted from physical or personal citations locations of impairment to more complex attitudinal or relational models recognizing and responding to the connections and effects among inclusion and exclusion embodied narratives and discursive practices and the facilitating and debilitating aspects of techniques and arrangements In short they have drawn on complex articulations of the times and spaces of bodies Interestingly such articulations have always been at the core of sitdown comedy where comedians ground their humor in the very oscillating ab normal spacetime of their displayed corporeality Perhaps the first publically recognized sit

down comedian was the American Chris Fonseca Crazy Legs as he has been known on stage since the 1980s was the first person with a visible disability to perform a set routine on Late Night with David Letterman in the 1990s Fonseca s comedy develops from his situation not despite his situation as in the Late Night skit we see him in a wheel chair opening with the line It s great to be in New York I m originally from Colorado and when people find that out they ask me Do you ski Laughter Nooo I m too busy skydiving Applause Fonseca visibly centered and stationary in his chair relocates the stares of the present audience to the absent looks of the imaginary speakers in the joke His humor here and now projects a laughable there and then as it asks Can you not see I use a wheelchair letting the present audience laugh at the knowledge its looks have gained The linguistic and gestural levels of the joke require a visible acknowledgement then of his situation as a wheelchair user and his deployment of his chair as an extension of himself not a hindrance to his mobility Fonseca has been part of a group of disabled comedians some who sit and some who stand sometimes with and sometimes without crutches Geri Jewell Greg Walloch Josh Blue Francesca Martinez Zach Anner Will Marfori Steven Lee Nina G Eric Mee Loren Kraut Queenie TT Michael O Connell and many others Throughout their routines these comedians inhabit the strange spacetime of their displayed corporeality constitutive artifacts and prosthetics and transposition of the looks stares of audience members Many of their acts involve the same technique They require the present audience to acknowledge something situated at the intersection of their impairments adaptations and the spacetime around them by imagining an absent audience that refuses this acknowledgement and laughing at this fantastic incongruity During her TEDWomen Talk Maysoon Zayid performs a similar movement and gesture in the first minute of her act She begins center stage in a seated position as she introduces herself and explains her situation She is not what she is sometimes misrecognized as intoxicated Rather she shakes because she has a form of a neurological disorder that affects body movement muscle coordination and balance and she is in this situation because a doctor injured her when he delivered her while he was intoxicated She locates her impairment and its history Then she calls the audience to recognize her location displayed before them when she stands up and says Look It s exhausting With that gesture and those words she invokes the past medical malpractice s traces in the present situation the chair her shaking body and her sometimes slurred speech mocking the doctor and other misrecognitions of her situation This spatial temporal movement between present absent and acknowledgement denial functions as the landscape of disability comedy In conjunction with this located stage display though Zayid s career also calls up the geography of comedy across multiple global locales challenging further misrecognitions regarding disabled mobility Zayid continues her talk by discussing how she learned to stand walk dance and perform in public and on television She also discusses her move across the United States to study theater in Arizona as well as her annual journeys to the Middle East When she was younger she visited to maintain a sense of where she came from Later she visited to perform comedy the place she has gotten to

DEMOCRACY MAKE UP Brian Springer

Y

SELFPORTRAIT Adalberto Abbate

NEW ALTARS Leah Gordon

LIVING LOS SURES Diego Echeverria

Living Los Sures an extensive documentary about the southside of Williamsburg Brooklyn Diego Echeverria s film skillfully represents the challenges residents of the Southside faced poverty drugs gang violence crime abandoned real estate racial tension single parent homes and inadequate local resources The complex portrait also celebrates the vitality of this largely Puerto Rican and Dominican community showing the strength of their culture their creativity and their determination to overcome a desperate situation Beautifully restored for the 30th anniversary premiere at the New York Film Festival this documentary is an invaluable piece of New York City history Part omnibus film part media archeology part deep map and city symphony the project uses Los Sures a brilliant work of cinema verit directed by Diego Echeverria in 1984 as a starting point for the investigations of more than sixty artists over the course of five years It s a story of a longstanding Latino community that is defeating displacement and surviving the growth machine It restores a lost film remixes local histories reinvestigates the Southside today and hopes to reunites a neighborhood around a sustainable future In the early 80s Los Sures was one of the poorest neighborhoods in New York City In fact it had been called the worst ghetto in America Shot in 1984 Diego Echeverria s film skillfully represents the many challenges the community faced drugs gang violence crime abandoned real estate racial tension single parenthood and inadequate local resources At the same time the documentary also celebrates the vitality of this largely Puerto Rican and Dominican community showing the strength of their culture their creativity and their determination to overcome sometimes desperate situations Beautifully restored just in time for the 30th anniversary of its original premiere at the New York Film Festival Los Sures is a piece of New York City history

LATIN AMERICA IN CONSTRUCTI

ION Tom s Jos Sanabria Hotel Humboldt Caracas Venezuela 1956

Latin America in Construction Architecture 1955 1980 Museum of Modern Art NYC March 29 July 19 2015 In 1955 The Museum of Modern Art staged Latin American Architecture since 1945 a landmark survey of modern architecture in Latin America Published in conjunction with a new exhibition that revisits the region on the 60th anniversary of that important show Latin America in Construction Architecture 1955 1980 offers a complex overview of the positions debates and architectural creativity from Mexico and Cuba to the Southern Cone between 1955 and the early 1980s The publication features a wealth of original materials that have never before been brought together to illustrate a period of self questioning exploration and complex political shifts that saw the emergence of the notion of Latin America as a landscape of development Richly illustrated with architectural drawings vintage photographs sketches and newly commissioned photographs the catalogue presents the work of architects who met the challenges of modernization with innovative formal urbanistic and programmatic solutions Today when Latin America is again providing exciting and challenging architecture and urban responses Latin America in Construction brings this vital postwar period to light Ismael Ogando Professor during a key quarter century what was the primal intention Most of us in the United States including architects have only behind this project a superficial awareness of the Barry Bergdoll The main in creativity of the period in the tention was to show to audi vast region to the South of ences in the United States the United States and most of us radical originality and range of have been given to believe that architecture in Latin America the architectural expression

there was largely derivative of European and US models Our aim was to show that the issue is much more complex and that the countries of Latin America realized structures that deserve to be celebrated among the great achievements of modern architecture IO What would you explain is the relevance in dusting previous epistemological productions for revision And when did you start to structure this exhibition project ously goes beyond facades and carries a deeper message BB In many of the projects that we highlight we see explorations of novel relations between interiors and exteriors merging of the main spaces of a building with the public space of the street or neighbourhood in a period when we think of Latin America in terms of privatized and defended even barb wired space it is enlightening to see the exploration of different types of architectural space and social relations IO As it might be well understood hegemonic discourses are intertwined within ways we see and understand these liaisons comes to be a dilemma in the fields of art mediation how did the curatorial method implemented managed this issue in the re contextualization of the exhibition BB The 1955 exhibition was a photographic field report on contemporary architecture of the previous decade This is a historical inquiry into a quarter century that ended thirty five years ago We began work on this project in 2008 with a meeting of experts from most of the countries represented in the show hosted by the Wolfsonian and the University of Miami BB We worked hard to try to make audiences aware of our IO I have always had love for inherited northern perspective architecture myself but like hence the invitation to enter a song in a foreign language the first gallery on a map of which I can appreciate and en latin america entered from the joy yet do not fully understand south and also to work with What would you explain our a committee of advisors from readers is being done with this across Latin America to guide project as a way of introduction us to materials The curatorial to the exhibition which obvi team brought together voices

from Argentina Liernur Brazil Comas puerto rico del Real and United States me IO As it is argued by Joaquin Weiss the socio cultural of architecture set on a political background underlined a notion of organic development in the Latin American architecture practice of this period but the political scenario in most of Latin America is framed in a very agitated climate does not this place Latin American modernism as part of the colonial legacy BB Are you asking if using the overall regional concept of Latin America is a neo colonial concept IO That as well but also wondering if there is any intention in bringing these dialogues into their original context in the future BB Do you mean by this if we want to show this exhibition in Latin America If you do the answer is that we would very much liked to have done so but we weren t able to reach an agreement with a partner there in the short time frame we had to look Very sorry not to be showing this rich body of material in a Latin American city

Thomas Griesel Courtesy of The Museum of Modern Art New York 2015

UNTITLED Renato G mez

Tu ano es el centro de una religi n difusa De mi ano tu mayor instinto un chorro marr n de masa que ya no palpita Si no fueran heces tal vez c mulos de sangre y semen consumidos bultos que encarno acaso devenir el invasor de mi propia sangre el miembro invertido que jam s opera Si encontrara este dolor una extensi n de carne a su costado abierto Si diera a este dolor el sentido secreto del sue o santo la natividad y el rito sometido a encontrar a Dios al temblor de tus rodillas

Pero qu padece tu raza que no la m a si yo tambi n sudo y cobijo liendres si me sale caca y mi moco compite con el tuyo al borde de las mismas junturas Pero qu padece tu raza que no la m a si tu piel se quiebra y desti e al resto apesta a desprestigio y victoria paria De otra parte encima m o peores traumas configuran

ANDR AS LANG

Studio visit at the Ausw rtiges Amt Berlin Spring 2016 The Berlin Federal Ministry holds an Artist In Residence for the first time During three months the photography artist Andr as Lang will open his studio on the rooftop of the Ausw rtiges Amt Foreign Office and while working on an exhibition on German colonialism in Africa Lang travelled to key locations in East central Africa following the ghost traces of the almost forgotten German presence in the area capturing eerie atmospheres and landscapes in photographs GROUND was invited to a studio visit where we had the chance to speak about this project soon to become exhibition Ismael Ogando During this trip how was the process to place yourself in the new context by travelling to Cameroon having preconceived ideas in your mind how was the process did you feel confronted How did you negotiate your expectations with the reality of the land Andr as Lang Well one never knows what is going to happen when you anticipate a place where you are travelling to for work bringing along all the images that one cognitively archive through research previous to a physical encounter with the please in question In a way the place turns into an imaginary place then it blends with the real There is where my photographies come from It is hard to explain in words somehow I try to transcribe this into pictures When I look into the photographs I see this there it is a real place but somehow is not the actual place at the same time belongs

to the past but not the past well where political machinas one can understand it is ery turns into ideology historthere ical imaginaries attached to a specific time IO When I came for the to the small public reception IO What about this picture although it was a social sit see page 256 uation the photographies shown really captivated me AL This is a picture taken specially the large formats in Chad in the border with this landscapes seem to be Cameroon This is the area frozen in time like eerie por where my great grand fatraits of a dystopian land ther was sent for service by they have no geographical the Schutztruppen German coordinations outside your colonial army This is one explanations of the buildings I encountered on my trip I am not AL As I was saying just as sure but it seems like it was a history blends with mytholo sort of prison I simply called gy it nameless building since I am not clear what it was and IO As this allegory of the Chi there is no reference to this mera a creature materialised building out of its own immateriality IO What about this landAL That is the interesting part scape see page 258 of subjectivity and documentation such narratives as his AL That s far in northern tory is are normally used and Cameroon if it wasn t beabused for instance since cause of the Baobab trees we are inside one of those and the distant wanderers in buildings what the Third the picture one could not tell Reich did And what is hap it is in Africa For instance we pening in other countries as have this fog in the picture

which isn t actually fog it is wind carrying sand from the Sahara without this information and beside the Baobabs and the farmers one could tell from a first glance it is a European landscape IO I had this disquieting feeling from the small format pictures I get this intense feeling what is the difference between the pictures printed in one and another format Why are they smaller Or if there is no reason at all exhibition opening Taking place at the Deutsches Historisches Museum isn t it AL Yes the exhibition opens 15th of September now I Just returned from my Congo Cameroon field research and work mostly in the selection of the images With the museum a collaboration with artist Em kal Eyongakpa is being develop in order to have this artistic research project unbiased making it work in different levels But still is a long way to there i am excited AL Of course there is a reason the difference in the format of the series delimits IO I am pretty excited myself the distance one takes to about the exhibition wards the pictures With the bigger formats one needs to step back in order to appreciate them as containing some monumental elements in them making one get into the pictures by appreciating them The smaller formats are more intimate one needs to come close to it in order to enter the picture IO Alright so when is the

Nameless Building Chad 2012

Northern Valley Cameroon 2012

Viewpoint Cameroon 2012

PRINCESSE Dalila Dall as Bouzar

Dalila Dall as Bouzar Princesse 12th Dakar Biennale 2016 These portraits are painted after the famous photos of Marc Garanger taken during the war in Algeria in regroupment camps The purpose of these photos was to create identity cards which helped the French army to control the movements of the population Women were force to lower their veil in front of soldiers and experienced these sessions as a rape of their as intimacy These photos are a testimony of this independence war Ces portraits sont peints d apr s les photos de Marc Garanger prises durant la guerre d Alg rie dans des camps de regroupement Le but de ces photos tait la cr ation de carte d identit qui permettait l arm e fran aise de contr ler les mouvements de la population Les femmes contraintes de baisser leur voile devant l objectif ont v cu ces s ances comme un viol de leur intimit Ces photos sont un t moignage de cette guerre d ind pendance I have chosen to work after these photos because primarily they moved me Because they talk about women of my country whom I identify myself with My painting is a tribute to them Si j ai choisi de travailler d apr s ces photos c est avant tout parce qu elles m ont mue Parce qu elles parlent des femmes de mon pays auxquelles je m identifie My bias is not to denounce the humiliation that suffered this women It is to get out of the victim role through the re appropriation of this pictures I wanted to show the beauty of these women restore their dignity and say that despite the forced unveiling these women still are princesses A travers mes peintures J ai voulu leur rendre hommage Mon parti pris n est pas de d noncer les humiliations qu ont subit ces femmes Mon parti pris est de sortir du r le de victime en me r appropriant ces images J ai voulu montrer la beaut de ces femmes leur rendre leur dignit et dire que malgr ce d voilement forc ces femmes sont des princesses

APPENDIX Abbate Adalberto Bergdoll Barry b 1975 Palermo Italy Since 1998 Abbate has exhibited in numerous contemporary art spaces among others Centre Pompidou Paris FR Grimmuseum Berlin DE K nstlerverein Malkasten Dusseldorf DE Biennale off Cairo EGY Museo Palazzo Lucarini Contemporary Trevi IT Mus e Historique et des Porcelaines Nyon FR Museo Mart Rovereto IT Museo Riso d Arte Contemporanea Palermo IT Museum f r Kommunikation Bern CH Palazzo Della Regione Milano IT Camerun Photo Festival Buea Camerun Cantieri Culturali alla Zisa Palermo IT Art Lab Venice Biennial Venice IT Fondazione Arnaldo Pomodoro Milan IT Fondazione Brodbeck Catania IT Spazio Via Farini Milan IT Ausstellungsraum Klingental Basel CH GAM Palermo IT Gallery Raiko Aleksiev Sofia BU Museo Mandralisca Cefal Palermo IT VAF Stiftung Frankfurt DE Together with Mario Consiglio develops the ongoing project MANIFESTO Professor Bergdoll s broad interests center on modern architectural history with a particular emphasis on France and Germany since 1750 Trained in art history rather than architecture he has an approach most closely allied with cultural history and the history and sociology of professions He has studied questions of the politics of cultural representation in architecture the larger ideological content of nineteenth century architectural theory and the changing role of both architecture as a profession and architecture as a cultural product in nineteenth century European society In exhibitions at the Canadian Centre for Architecture and at the Museum of Modern Art where he served as Philip Johnson Chief Curator from 2007 to 2013 Bergdoll has offered a series of exhibitions intended to offer more inclusive visions of subjects from Mies van der Rohe and his relationship to garden reform and landscape the Bauhaus Henri Labrouste Le Corbusier Latin American post war architecture and most recently Frank Lloyd Wright SELF PORTRAIT damaged photographs in dimension 50x60 cm 2011 Andrialavidrazana Malala Andrialavidrazana graduated from Paris La Villette School of Architecture in 1996 Her d Outre Monde series was awarded the prestigious HSBC Prize for Photography and released by the renowned Actes Sud publisher in 2004 She received the joint support of the Institut Fran ais and the National Arts Council of South Africa through the France South Africa Seasons 2012 2013 program for her project Echoes from Indian Ocean published by Kehrer Verlag in 2013 Figures series pp 164 175 Malala Andrialavidrazana 2016 Bergen Aurand Brian Brian Bergen Aurand teaches film and critical theory at Nanyang Technological University Singapore where he focuses on the intersection among cinema ethics and embodiment He is the author of Cinematic Provocations Ethics Justice Embodiment and Global Film co author of The Encyclopedia of Queer Cinema with Andrew Grossman and co edit or of Transnational Chinese Cinema Corporeality Desire and The Ethics of Failure with Mary Mazzilli and Hee Wai Siam He is the founding editor of the journal Screen Bodies http journals berghahnbooks com screen was the sex and gender editor at Clamor Magazine and writes about film ethics and embodiment from an anarcho queer social collectivist perspective at Foreign Influence foreigninfluence com

Buisan Imanol Imanol Buisan Terrassa Barcelona 1985 Graphic designer feminist soon cyclist user artist and sometimes a dreamer He studied a B A Graphic Design in ESDi Barcelona and a B A Advertisement Public Realtions in UAB Barcelona Echeverria Diego Living Los Sures Director Producer Diego Echeverr a Associate Producer Fernando Moreno Executive Producer David Loxton Editor Kathryn Taverna Cinematography Mark Benjamin Alicia Weber In 2014 he started a daily analog collage proj Sound Felipe Borerro ect still today with it he found his own language Production Manager Ellen Tolmie and left behind others Presently he works in book s artist embroidery and collage In 2015 LOS SURES courtesy of the Reserve Film and he started an experimental graphic project call Video Collection of The New York Public Library Asfalto in it he explores the book understood as for the Performing Arts a graphic element Buisan also was selected for the Annual 2015 book for Collective Collage Co Stills courtesy of UnionDocs Center for DocuCurrently contributes to fanzines Imb cil Le mentary Art 322 UNION AVE WILLIAMSBURG nouveau Wczasy Mag Imposible and is part BROOKLYN NY 11211 ner of Quaderns de les idees i les lletres More information www lossur es In 2013 Buisan was awarded by Swabs Stairs Festival Barcelona G mez Renato Atemporal Land collage magazine paper calendar carton Variable dimensions 210x250mm Born in Lima Peru in 1977 210x294mm Holds a BA in Literature from the National University of San Marcos Directed since 1998 GiAdam Curse rabel the poetry magazine He published the plaquette Bone Orbit 2002 through Literary ArBorn in 1990 in Poland is currently based in tifact http go to artefacto digital poetry magBerlin In his practice uses various media such azine from Sweden directed by Monica Sald as as photography video abd digital Has translated William Blake Lenore Kandel Delmore Schwartz Adam Zagajewski Diane di Secret Diary Prima and William B Yeats Also collaborates Tumblr page locked with password with the Ts Ts magazine Argentina directed Screenshots by Ismael Ogando by Reynaldo Jimenez Has participated in severLayout by Ulrich Greene al editorial projects as well as in magazines such Password courtesy of the artist as Etcetera More Ferarum and Taller As au 2015 thor has published Oileau 2004 and No Titulo 2009 He led the space rock band Serpentina Satelite Now he has an alternative rock project Dall as Bouzar Dalila called No Mightier Creatures www facebook com nomightiercreatures Dalila Dall as Bouzar 1974 Oran Algeria based in Berlin since 2010 graduate of cole Sin titulo untitled 2009 nationale sup rieure des beaux arts in Paris Renato G mez Princesse oil on canvas 50x40 cm Text and pictures courtesy of the artist Dalila Dalleas Bouzar 2015 2016

Gordon Leah Jos Galindo Regina Gordon is a multi media artist who also curates collects researches writes and directs She works across a variety of media including film photography and installations often including commissioned sculpture and painting by Haitian artists Gordon makes work on Modernism architecture and religion the slave trade and industrialisation and class and folk histories In the 1980 s she wrote lyrics sang played ukelele and tin whistle for the feminist folk punk band The Doonicans Gordon s film and photographic work has been exhibited internationally including the Museum of Contemporary Art Sydney the Dak art Biennale the National Portrait Gallery UK Parc de la Villette Paris and NSU Museum of Art Fort Lauderdale Her photography book Kanaval Vodou Politics and Revolution on the Streets of Haiti was published in June 2010 She is the co director of the Ghetto Biennale in Port au Prince Haiti was a curator for the Haitian Pavilion at the 54th Venice Biennale was the co curator of Kafou Haiti History Art at Nottingham Contemporary UK on the curatorial team for In Extremis Death and Life in 21st Century Haitian Art at the Fowler Museum UCLA and was the guest curator for the 2016 NYC Outsider Art Fair In 2015 Andr Eug ne her partner and Leah Gordon were the recipients of the Colecci n Patricia Phelps de Cisneros Travel Award for Central America and the Caribbean Gordon has recently renounced her former passion Trotskyism for Anarcho Primitivism Born August 27 1974 Galindo is a Guatemalan performance artist who specialises in body art She was born in Guatemala City Itohan Eniola La Conquista 2009 Human hair variable dimensions Modern Art Oxford Oxford United Kindom Courtesy of the artist and Prometeo Gallery Photo da Pisani Richard Jordan Luke Luke s work is visceral in its explorations of what can be framed as the projections of the collectivized psyche over the material and its inverse the inscription of the material over the psyche especially that which is noumenally remaindered as w a s t e Luke s work whilst intersecting with current philosophical debates around relational and object oriented materialisms very much distorts any rationalist privileging of access on the world through following a trajectory of contagion and the liminal via the writings of Artaud Bataille Kristeva exhumations of Freud and Jung with digressions into ritual religious expression and mythology More information www lukerichardjordan blogspot de Living Conditions Performance at Chelsea College of Art Design London United Kingdom 2012 Khalili Bouchra Itohan holds a master degree on audiovisual communication from Universidad Rey Juan Car The Mapping Journey Project 2008 11 los de Madrid She is a social photo journalist Eight channel video color sound Installacurrently based in Berlin tion view Bouchra Khalili The Mapping Journey Project The Museum of Modern Art New Refugee Situation in Z k ny 2015 York April 9 August 28 2016 The Museum of Report Hungary Croatia border before the Hun Modern Art New York Fund for the Twenty First gary border closure Century 2014 2016 Bouchra Khalili Digital 2015 image 2016 The Museum of Modern Art Photo Jonathan Muzikar Courtesy of MoMA

Lang Andreas Montini Nicola Ruben Lang is currently AArtist in Residence grant Born in Italy in 1986 Lives and works in Berlin awarded by the German Federal Foreign Ministry and Landesverband Berliner Galerien Artist s notes Ciao Ciao Bello Ciao Requiem Studio portrait and interview by Ismael Ogando for a dream 2013 is part of my research analysing my position as European and at the same Nameless Building Tchad 2012 Pigment print time a migrant within the Union In a different 104x128cm way if you compare to the older generations Northern Valley Cameroon 2012 Pigment mine has grown taking for granted the fact that print 104x128cm we Europe are a Country We are a reality a real Viewpoint Cameroon 2012 Pigment print thing not just a dream no longer 74x91cm Andreas Lang Unfortunately while living for several years on the move towards the most powerful Countries of the EU UK France Germany and the poor Logason lfar Italy I have noticed that for some of us Europe is not that perfect that ideal Land that I have lfar Logason is a 23 year old photgrapher always believed in who grew up in the small harbour town of Hafnarfj r ur Iceland When he was 10 years old I have noticed unfortunately that for too many he bought his first camera It was a rather ugly people Europe is just a bankrupt company for chunky silver polaroid camera and from that others Europe is a not working political force moment on he shot everything around him that For me and for many many many other Europehe found interesting Influenced by the Reyk ans hopefully the most of them Europe is our jav k photography scene in his teens he quickly Homeland is something we cannot allow anyone developed his own style of taking pictures Af to destroy It is important from my point of view ter moving to Berlin in 2014 he started focusing that Europeans look back at their own history to more on portraits and fashion He is currently realise what we shared and still do which is not doing his bachelors degree in photography at a mere capitalist system but a common cultural the Berliner Technische Kunsthochschule background each Nation with its own peculiar More information www ulfarloga blogspot com differences but still moving on the same ground united by same values and cultural beliefs For Things Neatly Organized August 2012 Reyk us the young generation of Europeans Europe jav k Iceland is real It is our everyday Reality Portrait series shot with Canon 450D Ulfar Logasson Ciao Ciao Bello Ciao Requiem for a dream 2013 Silk threads hand embroidery on velvet Low Amanda 140 x 210 cm Photo Ilan Zarantonello OKNO studio Amanda is a reformed australian fashion blog Private Collection ger online marketer and freelance writer based in Berlin This is her second contribution for GROUND

Opoku Vanessa Springer Brian Opoku was born in 1992 near Cologne Germany Since 2012 she studies book arts and graphic design in the system design class at the Academy of Visual Arts Leipzig She works with different mediums and materials but mostly installations and print like posters or books Since she has an activist background her works reflect the engagement with political issues theories and realities Her aim is to draw attention to struggles inequality and to irritate the white heteronormative taken for grantedness She is also part of an all female techno DJ collective called No Show American television director and producer and new media artist born in 1959 Brian Springer spent a year searching for footage grabbing back channel news feeds not intended for public consumption The result of his research was Spin This 1995 feature length documentary gives an insight into the perception of how television is used to try to control and distort the American public s view of reality More information http www imdb com name nm0819718 Brian Springer Africa Bling Bling Hakuna Matata buttermilk on glas foil light variable dimensions Part of the exhibition fremd at Grassimuseum f r V lkerkunde Leipzig 2016 Documentation Vanessa Opoku Tsivopoulos Stefanos Renaux Pierre Saturday afternoon train ride with Yu Chia Hsu from a party on the way to Naturkundemuseum Richter Norbert Axel Born in 1967 in germany studied meteorology philosophy sociology and library science in Berlin phd in philosophy in potsdam in 2004 working in berlin as freelancing editor proofreader for Conscriptum since 2006 Author of Grenzen der Ordnung Bausteine einer Philosophie des politischen Handelns nach Plessner und Foucault Berlin New York Campus 2005 Richter also runs a blog http wandern denken de Was ist Eine Landschaft written by Dr Norbert Axel Richter December 2015 Translation by Ismael Ogando Edited by Jasper von Buuren Universit t Potsdam Institute of Philosophy 2016 Tsivopoulos lives and works between Amsterdam Athens and New York He studied at the Athens Fine Arts Academy BA and the Sandberg Institute Amsterdam MA In 2005 6 he was a Fine Art Researcher at the Rijksakademie van beeldende kunsten Amsterdam History Zero 2013 Stefanos Tsivopoulos History Zero 2013 Three channel video installation duration 33 min Video stills Courtesy of the artist Further information http historyzero gr Vidal Wali Dominican visual artist graduated from School of Fine Art Santiago and Altos de Chavon School for Design Vidal works across disciplines such as painting video installation and ceramic Teaches at Escuela de Arte San Alejandro in Cuba and La Romana La Situacion Mixed media on canvas variable dimensions 2011 2015 A selection from large scale canvases from La situation and Viernes Sabado Domingo series for GROUND 1 03 Wali Vidal Santos

Wiedenh fer Kai Wiedenh fer born in Germany in 1966 received a MA in photography and editorial design from the Folkwang School in Essen and studied Arabic in Damascus Syria Since 1989 the focus of his work is mainly the Middle East He has received numerous awards as the Leica Medal of Excellence the Alexia Grant for World Peace and Cultural Understanding World Press Photo Awards the Eugene Smith Grant in Humanistic Photography and lately the Carmignac Gestion Photojournalism Award He has published three books with Steidl Perfect Peace 2002 Wall 2007 and The Book of Destruction 2010 which was exhibited as a solo exhibtition in the Mus e d Art Moderne de la Ville de Paris The Book of Destruction Steidl 14 out of160 pages ISBN 10 3869302070 ISBN 13 978 3869302072 Courtesy of the artist 2011 Zadro Dijana Photographer based in Berlin More information http www dijanazadro com German Angst Mai 1 Digital Photography May 1st 2016 Kreuzberg Berlin Dijana Zadro Zownir Miron Hailed by Terry Southern as the Poet of Radical Photography Miron Zownir s photographic work has been exhibited in galleries and museums in several countries from 1981 on All copies courtesy of the artist More information http mironzownir com Miron Zownir SPRING SUMMER 2016 Cover by Pierre Renaux All rights reserved 2016

GROUND WANTS TO THANK ALL ITS CONTRIBUTORS AND WORKERS FOR THEIR TRUST TIME AND TALENT ENJOY THE SUMMER Contact us for questions inquiries complains and or suggestions to inquire ground magazine com For advertisement rates press ground magazine com or visit us WWW GROUND MAGAZINE COM

YOUR AD COULD BE HERE