There seems to be a gap in the transfer of critical interventionist art between the areas of intervention and the areas where that art is presented to the public.
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There seems to be a gap in the transfer of critical interventionist art between the areas of intervention and the areas where that art is presented to the public.
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Gatzen called this complex intervention a 'horizontal skip in time' rather than the 'vertical (evolutionary) movement' normally associated with the design process.
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Anouk de Clercq and Joris Cool’s Kernwasser Wunderland ‘image’ acquires an almost immaterial context as a result of the interventions of the Dutch artist Govinda Mens.
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Formally trained as an architect, he talks to curator and critic Nat Muller about how sculpture and object-making, as temporal and spatial interventions, feature in his work.
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A discussion based on Peter Sloterdijk's much-talked about interventions under the title Die nehmende Hand, die gebende Seite in the Frankfurter Allgemeine in 2009 (Suhrkamp, 2010).
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A discussion based on Peter Sloterdijk's much-talked about interventions under the title Die nehmende Hand, die gebende Seite in the Frankfurter Allgemeine in 2009 (Suhrkamp, 2010).
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The practice of the Exterritory Project is based on initiating different interventions aiming to explore and create varied forms of exterritorial spaces and exterritorial epistemologies.
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The practice of the Exterritory Project is based on initiating different interventions aiming to explore and create varied forms of exterritorial spaces and exterritorial epistemologies.
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In times defined by uncertainty, the aim of the artists in this intervention is to allow the imagination to wander about the vast possibilities of being involved in what we know and do not know.
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