Dissolving Europe is the new public art work that stormed Europe this year from Vermibus. Using a dubious inter-rail ticket, Vermibus set out with a set of 90 keys and his pallet of solvents to physically and temporally highjack the western world of advertisements in the name of fine art.
Each site is carefully deliberated with its environment, from Rolex boutiques, to archaic museums. The system looks simple in movement: unlock and roll the advertising poster to create a huge blank gleaming white breath of fresh air in the urban environment. The advert then undertakes the process of counter action painting using a series of solvents and brushes, it is then replaced in another site, another city, another country.
"An important and yet overlooked aspect of Armenian urban history is the domestication of state-owned spaces, resulting from direct acts of place-making and the appropriation of physical space. Throughout decades of addition, expansion and ad hoc interior remodeling, many Armenians transformed their state-owned prefabricated houses into distinct domestic spaces. This was a spontaneous response to the spatial shortcomings of such spaces in accommodating rural and patrilocal lifestyles. The Soviet state’s consistent promotion and enforcement of the nuclear family as an ideal form of social organization was one of the main guidelines for architectural design. In fact, through carefully designed architecture, the Soviet state planned to dismantle the multigenerational and patrilocal ties that Armenian families had greatly developed and relied on prior to their migration from rural areas. This means that for the urban planners and architects in Moscow, modular design was not merely a means for faster construction but also a tool for creating a homogeneous urban society of smaller family units."
- Sina Zekavat, Becoming a Post-Soviet City: Social Housing and Urban Planning in YerevanTags: #Sina Zekavat #Yerevan #Armenia #Architecture
To paraphrase philosopher Slavoj Žižek, paradoxically, consensus of the solution to the failures of capitalism seems to be more capitalism. Runaway grow-baby-grow consumption at all costs is exemplified in our drill-baby-drill environmental policies.
After British Petroleum plastered the Gulf of Mexico with pollution through an ill-maintained oil rig, a temporary moratorium was placed on some deepwater drilling. Shortly thereafter that restriction was lifted. This year more permits for new wells have been issued than since 2007. The Obama Administration has taken it further by approving the construction of the Keystone XL pipeline, a transnational oil line to transport the most toxic oil imaginable from Canada’s tar-sands back to the very ecosystem so recently assaulted, and directly over precious natural aquifers. To top it off, [politicians want] to expand harmful drilling in Alaska’s park reserves, as well as expand the already 4,000 ticking time bombs in the Gulf.
These are not solutions to our crisis; they are band-aids to a gushing wound. They are ecocidal mania perpetuated by a global culture which does not understand that living 300% beyond sustainability is going to kill us all. None of these self-proclaimed solutions put at the forefront of our efforts that nothing can grow in perpetuity. We have grown too accustomed to the benefits of petrochemical economies, on growth for the sake of growth."
Berkin Elvan, who has been in a coma since June 2013 after being struck in the head by a gas canister during a police crackdown on protesters, died March 11, his family announced via Twitter.
“To our people: We lost our son Berkin Elvan at 7 a.m. in the morning. Condolences to us all,” Elvan’s parents said in the message.
Diacritics are accent marks used to indicate the type of pronunciation a certain word infers. Diacritics are used in Latin script, but are also specific to other alphabetic systems such as the vowel pointing scripts of the Arabic harakat. In Laimonas Zakas’ project,Glitchr, a facebook page is dedicated to glitchily deforming the posting interfaces of Facebook. Diacritical marks are emptied from their primary communicative signifiers and repurposed as formalized, aestheticized objects; accomplices in the jailbreaking of Facebook page hegemony.
Rather then its users shaping and determining its network, Facebook is known—amongst other things—for creating quite the opposite for users: a loss of control, of malleability and the continued reiteration of a standardized user conduct. Glitchr then, in such a world, becomes a refreshing, if not odd spectacle: gifs become enabled, symbols and text float around up and down the page never adhering to the coded structure within.
Though Glitchr to some degree interrupts the normativity of the Facebook structure revealing what one can safetly get away with, its subversive aesthetics survive only as mirage in the desert of the Zuckerberg empire.