Process Winnipeg Skating Shelters _ Patkau Architects Bike Hanger _ Manifesto Architecture P.C.
Archipulse Metropol Parasol _ J. Mayer H. Architects Scale Leap _ Marta Gonzalez Anton
Museum Going, Walking, Opening to the Landscape _ Diego Terna MACRO Museum of Contemporary Art _ Odile Decq Benoit Cornette Architectes Urbanistes San Telmo Museum Extension _ Nieto Sobejano Arquitectos Coa Valley Museum of Art and Archaeology _ Camilo Rebelo + Tiago Pimentel Guangdong Museum _ Rocco Design Architects Soumaya Museum _ FREE - Fernando Romero Andalucia’s Museum of Memory _ Alberto Campo Baeza Turin Automobile Museum _ Cino Zucchi Architetti
Art Center Coming Together _ Julia van den Hout L'Atlantida Performing Arts Center _ Josep Llinas Municipal Theater of Zafra _ Enrique Krahe Infanta Leonor Theater _ Mrpr Arquitectos Tower of Arts _ Forma6
Going, walking, working is a song by Piero Ciampi that introduces the description of a group of museums that use the path as a main attraction. Walking in a museum means performing an artistic act through a physical movement, such as Robert Walser describes in the novel The Walk. Through the verbs proposed by Ciampi, we carry out a survey on these contemporary museums, as assessed in the light of the words of Brian O'Doherty, who, in the same years when Ciampi was singing his song, presented a profound criticism of the museum turned into a white cube. From walking in interior spaces, we therefore will pass to the outside, to the concept of the museum as a work of art in itself, son of the white cube described by the Irish artist. Finally, Gerhard Richter will show us a way to undermine the museum box, through the opening to the landscape, concluding the journey started with the verbs going, walking, by the Italian singer. Written by Diego Terna
As an art form, performance is highly collaborative. It is a social interaction and dialogue between the artist and viewer, where the exchange of ideas is unique to each event. Traditional auditoriums provide a space for the performers as well as the audience, but cultural exchange isn’t necessarily limited to a traditional performance stage. Classrooms, hallways and lobbies provide a similar opportunity for communication. Moreover, it is in these unconventional spaces that the artist and the audience are not separated by the usual layout of the theater. In outside plazas and lobbies anyone can be the performer, and everyone can experience the work. As such, cultural centers can transform their community by offering a forum for participation, and striving to make cultural experiences a part of everyday life. Written by Julia van den Hout