Replacing Home

Replacing Home: From Primordial Hut to Digital Network in Contemporary Art

Jennifer Johung
Copyright Date: 2012
Edition: NED - New edition
Pages: 248
https://www.jstor.org/stable/10.5749/j.ctttsfr5
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  • Book Info
    Replacing Home
    Book Description:

    In a world in which notions of place are constantly changing, Jennifer Johung looks at new constructions of staying in place—in contemporary site-specific art, digital media, portable architecture, and various other imaginable shelters and sites. Replacing Home introduces a new framework for reconceptualizing spatial situation and presents a new way to experience being and belonging within our globally expanded environments.

    eISBN: 978-0-8166-7860-0
    Subjects: Art & Art History

Table of Contents

  1. Front Matter
    (pp. i-vi)
  2. Table of Contents
    (pp. vii-viii)
  3. Introduction REPLACING HOME
    (pp. ix-xxvi)

    On a rooftop in Manhattan, the partial reflection of one body is caught in a curving surface of mirrored glass, just as another body passes along the other side, both held together for a moment at the end of the afternoon sun, against the urban sprawl of New York City below. A box of property deeds passes from hand to hand; the corresponding plots are rediscovered again after thirty years, which provokes one woman to don bright yellow clogs and lead a group to and from some of those forgotten, hidden slivers of city property, her soles trailing light footprints...

  4. One RETURNING TO THE HUT DAN GRAHAM’S TWO-WAY MIRROR CYLINDER INSIDE CUBE
    (pp. 1-32)

    Atop 548 West Twenty-second Street in Manhattan, visitors to the Dia Center for the Arts could climb a short staircase and enter a raised wooden platform walled in regularly aligned glass panels and left open above. In the center of the platform, a two-way-mirrored glass cylinder projected convex, semitransparent images of visitors looking at themselves or at each other. Once inside, they could see through the glass, out toward the horizon, or down toward the grid of city streets below. They could also watch themselves or others float above that landscape, distorted differently in the concave interior surface of the...

  5. Two REUSABLE SITES GORDON MATTA-CLARK’S FAKE ESTATES AND THE ODD LOTS EXHIBITION
    (pp. 33-66)

    On October 14, 1973, the real estate section of theNew York Timespresented a report on the city’s auctioning of tiny property plots. Appearing over time, between and inside of larger lots drawn up by architects and city planners, these unusable gutter-spaces, small in size and odd in dimension, could be purchased at bargain prices by anyone interested in owning a piece of New York City. One such interested party was the artist Gordon Matta-Clark. At the time of the newspaper interview, Matta-Clark had just come away with a sliver measuring one foot by ninety-five feet, another one without...

  6. Three IN AND OUT OF PLACE MODULAR ARCHITECTURE AND REINTEGRATION
    (pp. 67-96)

    A steel pod, able to fit one or two people at most, serves as an isolation tank that can be situated anywhere or hitched to a vehicle and transported from site to site. Inside, owners have personalized the tiny spaces of Andrea Zittel’s 1996Escape Vehiclesto accommodate their specific needs within a compressed and flexible personal living space. Clients could also opt for aDeserted Island,a single-occupancy fiberglass mound that floats above water, its white rocky surface tethered to an anchor but removed from everything and everyone. Alternatively for those others wishing to combine aspects of both escapist...

  7. Four VISIBLY SKINNED BODY ARCHITECTURE AND TRANSFORMABLE CLOTHING
    (pp. 97-130)

    A woman steps into a silver-gray nylon jumpsuit, zips it up, and pulls the hood over her head. Extending from the front, back, and sides of the garment are long nylon tubes that hang like umbilical cords in either silver or bright red. There are forty-nine others like her, stepping into their suits, in a public square in Valencia, Spain as a part of the 2002Micro Utopiasexhibition at the Biennale de Valencia. The garments are imprinted in black with words likenexus, heart, fraternity,andlife linealong with a grid of interconnected black silhouettes of faces and...

  8. Five NETWORKED DEPENDENCIES RAFAEL LOZANO-HEMMER’S RELATIONAL ARCHITECTURE
    (pp. 131-164)

    On a clear night between December 26, 1999, and January 7, 2000, those walking through Mexico City’s central square, formally titled La Plaza de la Constitución but commonly called el Zócalo, could look up and see a tangled net of piercing bluish-white searchlights stretching overhead as far as ten to twenty kilometers. Some passersby could even say that they had in fact designed a particular lightbeam configuration, a new one transforming the night sky every six to eight seconds, illuminating the surrounding National Palace, municipal buildings, the Metropolitan Cathedral, the Supreme Court of Justice, and the Templo Mayor Aztec ruins....

  9. Epilogue ALMOST HOME
    (pp. 165-172)

    That we move through an ever-expanding world cannot be avoided, as we travel by choice either physically or virtually, as we are pushed by environmental catastrophe, or as we are urged under political pressure. Yet that we still care about specific spatial situations, that we need to be materially housed, and that we want to belong cannot be ignored. By finding a place for these desires, artists and architects can continue to reimagine and then materially replace the specific interdependencies between a body and a built site, and between the bodies held and housed there. And in disclosing these findings...

  10. Acknowledgments
    (pp. 173-176)
  11. Notes
    (pp. 177-190)
  12. Bibliography
    (pp. 191-200)
  13. Index
    (pp. 201-222)
  14. Back Matter
    (pp. 223-223)