The New Domestic Landscapes Exhibition - Case Study Example

Case Study Name Institution Tutor Date The New Domestic Landscapes Exhibition MoMA (Italian Design) Format and display The episode is presented across various media platforms. Debate and symposium on the New Domestic Landscapes Exhibition is presented in magazines. One of the critical magazines is The Domus magazine, written by Archizoom Andsrea Branzi. The magazine portrayed the Italian architects to be celebrities and mingle with the Hollywood stars during the exhibition party. The exhibition was also presented in the form film. The pioneering use of film within the architect exhibition was as a result of the research conducted by Mark Wasiuta, Peter Lang and Luca Molinari. Lang explained that the films were seen to be in tandem with the Environment section. The films were designed in such away that they could portray the ceremonies and rituals to the general public, in order for them to understand the nature and the importance of the new architect. The group manifesto was presented by the super studio advertising company. Pesce collaborated with the Swiss fashion and advertisement photographer Zaugg to form an anthropological documentary of the lives of the individuals who are inhabitants to the installation. The episode was actively presented in films and magazines. The public was able to have a quick access to the magazines and the films, this made the episode to be accessible by most individuals (Disegno daily, 2015). How the episode is told The episode is told through various articles. The first article describing the episode is the desegno. No 9. The article provides relevant ideas on the new architect in Italy, its importance to the public and the proponents. The article also explains the views of critics who feel that the exhibition was not of great importance as explained by the proponents. Additionally, the article provides relevant information about the New Domestic Landscapes Exhibition. Another article is the museum of the modern art. The article views the New Domestic Landscapes Exhibition to be the most ambitious exhibition that has ever been undertaken by the museum of the modern art. The article provides the importance of the new architect and the views of Ambasz who is one of the proponents of the exhibition (Graham foundation, 2015). Content: theoretical topic presented by the episode The symposium was conduct to discuss the controversies that existed on the ground breaking of the MoMA exhibition with some of the polemics being evident in the field of today. The symposium was done for two days. The two days were subdivided between contemporary perspective and historical perspective. On the first day of the symposium, Carlo Caldini who came from the Strum group and Piero de Rossi who are two of the former protagonists from the exhibition on 1972 discussed and presented their ideas. Together with other curators, what unfolded from the symposium was how close the curatorial tactics were and the production values were structured in order to accomplish an extra ordinary and provocative assembly of works and talents (Disegno daily, 2015). Pesce postulated that Ambasz understood that the Italian design was moving beyond being applied art. The design was becoming more of a language that was capable of making commentaries into reality. This was meant to bring a broader idea among the American republic that the new design had a greater importance, but not just a banal of objects. The original exhibition provoked the recent curatorial responses. The exhibition was conducted in Stockholm, New York, Barcelona and Basel. The exhibitions formed basis for several discussions on the future curating design and architecture (Graham foundation, 2015). On the second day of the symposium, various curators representing various institutional practices and institutions presented alternative curatorial unique experiences and methods. What was being examined was the way and means the main curator Emilio Ambasz conducted the well-orchestrated campaign. This argument was targeting the Italian protagonists who are rebels to the design. The program introduced some of fundamental and significant transformations in the practices of the curatorial. The curators claimed that Ambasz organized the exhibition in two different programs; the first program was around the Italian design and the objet. The other was on the environments. Every program had different obstacle to navigate. The commissioned environment was however divided into design as commentary, design, postulation and counter design as postulation. The objects were in turn displayed in wooden crates rows arranged in the MoMA’s outdoor towers. The environments were located in the sprawling basement of the buildings. Ambasz also requested the architects and designers to prepare short films that could be played alongside the exhibitions (Disegno daily, 2015). In response to the demands of Ambasz, most of the invited individuals, Gae Aulenti, Mario Bellini,Alberto Rosseli, Ettore Sottsass jr, Marco Zanuso and super studio provide film and prototype environments. The Archizoom produced a constructed environment with different audio installations in it. Ugo on the other hand produced a destabilizing Domicile cell. Strum Gruppi published three free magazines for distribution that is,” the Utopia”, “the struggle for Housing” and “the Mediatory City”. Mari Enzo who had already featured in the MoMA exhibitions submitted a protest latter that was published in the MoMA’s catalog. As to these, the curatorial believe that Ambasz was right in his exhibition and the exhibition is one of the best arts (Disegno daily, 2015). Participants Sarah Herda Sarah Herda is the director of Graham foundation in the fine arts. She spoke about the importance of the archival research in the orientation of main institutional practices. She explained the importance of the exhibition by Ambasz and challenged the critics to conduct an extensive research before criticizing the works of Ambasz (The museum of modern art, 2010). Richard Sapper Richard snapper claimed that he had re-interpreted the standard shipping container. This container could be used as an emergency temporary housing. This responded to the problems that were highlighted by Strum Gruppo’s publications. Richard also claimed that visitors were also shown a series of films that demonstrated the installations of the exhibitions. These enabled pragmatic illustration for the technical features of the architect or the experimental visualization of the thinking behind the approaches used by the designers (The museum of modern art, 2010). Bina Choi, who is the director of CASCO, the Office for Theory and Art Design in Utrecht the Netherlands, illustrated the efforts to gradually changing her curatorial focus from institutional to the domestic. Jan Boelen, who is the Artistic Director of the Z33 in Hasselt Belgium, claimed that he established deliberate vigorous criteria that could help every exhibition. These criteria were of great importance in shaping the exhibitions by Ambisz. Dervis Pelin who is the former director of GG (Garanti Gallery) in Istanbul Turkey, claimed how she played between the imaginary and the literacy in developing various complex narratives about Istanbul. Arrhenius Thordis who comes from the Form Institute, History and theory at Oslo Norway, Petersens Magnus who is the curator in the contemporary art of the modern Museet in Stockholm and Beck Martin who is the United States based artist applauded the nature of narrative and materiality in the inside and in the outside the formal settings of the institution. The panel was left to consider if inconclusively the engaging process oriented and the strategies would be able to connect with creative imagination of the public (Disegno daily, 2015). Genealogies This episode originates as a response to several controversies on the New Domestic Landscapes Exhibition MoMA (Italian Design) by Ambisz. The critiques posted several criticism to the new Domestic Landscapes Exhibitions. The symposium was conduct to discuss the controversies that existed on the ground breaking of the MoMA exhibition with some of the polemics being evident in the field of today. The proponents had time to explain how the exhibition was made and how effective they feel the exhibition was to the general public. The controversy was solved in a two day symposium that saw the proponents provide accounts for the new Domestic Landscapes Exhibitions. Response The episode relates to the field of architecture. The controversies that existed on the ground breaking of the MoMA exhibition can be used by the modern architect to be accountable for their architectural designs. The architectures are able to provide an account of all that they do to the public to avoid critics from other people. The episodes can greatly improve architectural designs of the modern world. It is essential that architectures should be willing to accept criticism and work towards improving their weaknesses. Again, the episode provides the architects with a clear view that not all individuals are happy with all the advancement that they make as architectures. They should be at a position to respond to such people effectively. In summery, the episode provides the architect with the full view of how the environment that they operate in looks like. The episode can help improve the discipline of architecture. It is of great importance for the architectures to engage in constructive arguments to improve their activities. References Disegno daily , 2015, Italy: The New Domestic Landscape. Retrieved from: http://www.disegnodaily.com/article/italy-the-new-domestic-landscape Graham foundation , 2015, Environments and Counter Environments. "Italy: The New Domestic Landscape,” MoMA, 1972. Retrieved from: http://grahamfoundation.org/public_exhibitions/5040-environments-and-counter- environments-italy-the-new-domestic-landscape-moma-1972 The museum of modern art, 2010). Italy: The New Domestic Landscape.no 26 Read More