“Great Moments of Architectural Theory (II): Eisenmania, or the Corruption of the Modern.” Febrero 2010. “Great Moments of Architectural Theory (II): Eisenmania, or the Corruption of the Modern.” February 2010.
“Octobre 17: The physical manifestation of the actor-network theory reappeared last night. I took a couple of Glocalyne tablets, but they just seemed to worsen the effect. It seems delightfully paradoxical that this state of hyperconnectivity has confined me to the solitude of my room…” (“Latour in Urbicande”. Viñeta correspondiente a la serie “Networks and Spheres” series. Octubre de 2010). “Octobre 17: The physical manifestation of the actor-network theory reappeared last night. I took a couple of Glocalyne tablets, but they just seemed to worsen the effect. It seems delightfully paradoxical that this state of hyperconnectivity has confined me to the solitude of my room…” (“Latour in Urbicande”. Cartoon pertaining to the “Networks and Spheres” series, October 2010).
(within a niche) where they dwell. These cartoons were a product designed for/within the internet’s idiosyncrasy of viral publishing and blog culture, whose dissemination would depend not on preset strategies, but on their random appearance on google searches. 148
Trying to keep the philosophy in which the works had been generated, the decision was finally taken to translate this experience into the exhibition by translating it into an urban context. In successive conversations, the board members acknowledged the difficulties previous events had shown when it came to attracting people to the chosen venues, so this time the chosen venue would be the street. Instead of locking the pieces in a room and try to find a way, through different advertising means, to bring the viewers to it, the exhibition would be its own advertising device: Both guerrilla art and viral advertising, the different pieces (whose elusiveness worked in this context) would, like pop-ups, grab people in their everyday places (the cafeteria, the bank, a travel agency, a bar, a clothes shop) and insert them in an optional itinerary through the commercial spots of Portimão’s historic centre. The idea was welcomed by the association of shop owners, a collective deeply struck by the crisis, and the final design of the exhibition took shape through a rather informal process of negotiation with each individual owner, deciding together with the design team the most appropriate combination of available space/activity/cartoon. And so, reversing the late