Abstract 2009-2010

Page 144

contemporary art feeding the current

a work in order to articulate sites

market frenzy – a range yielding a

and systems of meaning(s), uncover

psychic mix in which cultural nos-

emergent discourses and to interpret

talgia and ruthless futurism, na-

meanings into potentialities for a

tionalistic loyalty and avid globalism perpetually contend – the most radical

new theory of landscape/urbanism as well as architecture. These translations

Chinese conceptual artists are also examining

were used to filter global and local analy-

the multivalent relationships between natural

sis of the context for their interventions.

landscape and cultural landscape. For these

Jesse Blankenship; Younsung Chung L/M; Laura

artists, it is the long legacy of Chinese

DesRosiers; Hyun Ju Kim; Sun Gab Kim; Pegah

fine art – originally the domain of paint-

Sadr; Keunbo Yang I/J/K

ers – that extends to the current discourse,

The 50 Km Studio: Infrastructure, -----------

or at least the possibility of discourse, as

Energy and New Territories ------------------

well as the potential for a new theory of

600 Avery ----------------------------------


Advanced Architecture Studio 6, Spring 2010 --

The studio's entry to China was via the

Laurie Hawkinson ----------------------------

lenses and constructions of recent avant-garde

+ Sean Gallagher, critics -------------------

Chinese artists whose work ranges from video

+ Jason Carlow ------------------------------

art to photography to installation art. That

What role can architecture play in the de-

theses works may broadly be curated under the

velopment of infrastructure projects? Can ar-

rubric of landscape art was to posit that the

chitecture take the lead rather than be an

works were examinations of ecological systems:

afterthought? Could architecture galvanize

natural, urban, human and social. Students de-

large-scale projects around BIG ideas for

veloped material and spatial translations of

public space and infrastructure? E








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