OMA台北的小丑鼻，『現代』歐洲中心主義的青春痘

天昏地暗的時勢，好久沒有讓人眼睛一亮的事。但是我們還是要相信莎士比亞，這是最黑暗的時代也是最光明的時代。

OMA- 酷哈斯團隊(Rem Koolhaas & STEDEBOUW B.V / Ole Scheeren) 的台北表演藝術中心(Taipei Performing Arts Center)提案，讓歐美建築界跌破一大堆眼鏡，http://www.dezeen.com/2009/01/28/taipei-performing-arts-centre-by-oma/; 因為建築外表實在不像這幾年cctv(北京大褲叉), Prada Epicentre Stores, 西雅圖圖書館那樣炫目，甚至還有點七零年代土裡土氣的倫敦現代建築風格，那顆大球尤其讓歐美建築界人士吐嘲為『小丑鼻』，有些人甚至還說這樣的提案，如果是在歐美建築學院中學生的作品一定會被當掉。堂堂普立滋獎得主有這麼瞎嗎？還跟記者說這是最滿意的作品之一!

在眾人百思不解中，有人流出一抹詭異的微笑地說這才是道地的OMA!

Talking:《公共藝術貳點零》 PUBLIC ART 2.0

主題: 《公共藝術貳點零》 PUBLIC ART 2.0

在公共藝術2.0裡，建築物/空間不再只是公共藝術的物理性填充容器，而是活生生的記憶與歷史和人交融對話的情境地點。我們將舉例說明歐美當代藝術創作的最新發展 : 公共藝術2.0，如何將既有暮氣沉沉的慣性場所，活化成一種可以交流對話的有機空間。

主講人: 吳宜樺 (巴黎第八大學造形藝術博士候選人)
地點: 成大建築系大廳前 (open air)
時間: 十月十六日 星期四 19H00-21H00

gregor schneider, süßer duft

Just a very example as Wilfried Hou Je Bek explained:

In psychoanalysis the word psychogeography is used in relation to phenomena of location based hysteria: you are perfectly sane, you enter a particular room and within a split second you are stark raving mad. Only when this response is universally shared and not dependent on a random individual neurosis, this power of a room can be called psychogeographic. 

From the age of 16, Gregor Schneider (born in Rheydt in 1969) has been transforming the interior of the home he inherited from his father in the small town of Rheydt, Germany. A work in progress until 2007, he has constantly added new rooms, separated others, removed mod-cons, and blocked up windows, adding fake ones in their place. The result is a labyrinthine structure which he has entitled Haus u r (House u r). Occasionally, visitors are invited to spend the night there and share his personal space.

Red Beard, Red Beard at theatre2gennevilliers

‘At times in the grip of my headaches, when the attack reached its height, I experienced an intense desire to make another human being suffer, by hitting them in exactly the same spot on the forehead.’
Simone Weil, La Pesanteur et la grâce

‘The production Red Beard, Red Beard takes place in tandem with Kurosawa’s film Red Beard. The film is shown in Japanese without subtitles, and the actors sit in a line either side of the screen, speaking the dialogue “oratorio” style. They also act out certain parts of the film, which allows them to dub the parts, and to highlight or counterpoint aspects of the action.

In order to maintain the two-way relationship between the ‘live’ action and the film, the film is shown on a small television screen, rather than projected. Stressing the intimate quality of this relationship, the production at Gennevilliers will feature four groups acting simultaneously, each with its own small audience. At times, the four simultaneous performances will melt together and inspire each other, or diverge.

The film strives to offer a way out of the vicious circle of de-spiritualisation described by Simone Weil, in which suffering and victimisation become motives for the infliction of greater suffering and victimisation. How do you break the circle of suffering, just at the moment when things have reached their most unbearable, their most despairing?’

John Malpede

the Spatial Opera

Mladen Bizumic, How If – A Translation in III Acts

At Künstlerhaus Bethanien, Mladen Bizumic is showing two acts of a “Spatial Opera”, which relates facets of contemporary geopolitics to architectural phenomena.
The production presents contributions by other artists, musicians, theorists, and – in one case – his mother. In Berlin, Bizumic also follows his principle of referring to the urban environment and the history of the place where he is living and working. “How If – A Translation In III Acts” makes the area between Künstlerhaus Bethanien and PROGRAM, the location for the third act of the opera in Berlin’s Invalidentraße, into an integral component of the project.

Genius loci 場所精神

Christian Norberg-Schulz 諾伯休茲這位重要的建築現象學學者，在1979年寫了一本書就命名為 Genius loci.

不同於Guy Debord 那種 Situationiste Internationale 極左派政治性的空間論述，Genius loci 是一種以現象學與人類學的觀點來思考地景建築的空間論述。