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Aesthetics/Anesthetics,Storefront for Art and Architecture, New York, 2012 The Storefront space operates with an unusual openness to the sidewalk.
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Eva Franch i Gilabert at the Aesthetics/Anesthetics opening reception, Storefront for Art and Architecture,New York, 2012 The Aesthetics/Anesthetics exhibition aimed to reect on the performance, role, value and aesthetic properties of architectural drawings. Thirty drawings were commissioned, exhibited and auctioned, alongside a series of lectures and workshops reecting on the purpose of the architectural drawing.
Aesthetics/Anesthetics opening reception, Storefront for Art and Architecture,New York, 2012 The exhibition space operates as an extension of public space, and is open to the street. This spatial porosity is carried through into the open, experimental and often risky nature of the events designed for Storefronts programme.
Manifesto Series, Draw-Think-Tank event, Storefront for Art and Architecture, New York, 2011 This event took place in a mobile structure the Spacebuster designed by the German group Raumlabor.Draw-Think-Tank consisted of a live staging of manifestos, and employed a Storefront iPad platform, designed with artist Joshue Ott, that allowed participants to collaborate in the construction of a collective drawingprojected in the walls of the Spacebuster.
Eva Franch i Gilabert, Memory Dress, 2012 An example from Franchs design explorations through clothing: she made this green dress from the woollen mattress cover on which her parents conceived her and her siblings.
alternative institution should be doing, and to simultaneously shake and question the current state of affairs. The combination of these three modes of operation converge in what I call the gure of the utopianiser: the one invested in changing the real nature that exists behind everything, in order to produce new spaces of alterity. At Storefront Im doing this mostly through the creation of new formats of engagement and events that try to make a very close reading of both New York, as a centre of architectural discourse, as well as what is happening in the discipline and society as a whole. I try to provide formats that unveil new realities. Across the different modalities of engagement or roles she simultaneously adopts, Franch is really trying to experiment with what constitutes a space of disruption or innovation. There is something utterly singular in the extent to which Franch is willing to experiment and take risks in and with a public. If she stands out from the crowd, it is done with the crowd being both distinctly individual and deeply involved in participation. Her force of personality and strength of presence is hard to miss, becoming immediately evident through her experiments in dressing: Its a game; you just play with your self, with your life. Its taking a risk, and just seeing how materials, how folds, how people, how things work in order to produce a multifaceted landscape of disruptions. It is easy to dismiss activities such as how one dresses as trivial, unimportant, and of less value than more serious or weighty intellectual discourse. However, the importance of games, play and laughter as tactics for creative research and innovation has been noted by numerous scholars. Paulo Virno,
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for instance, has discussed how Wit is the diagram of innovative action,3 and Arthur Koestler begins his enquiry into The Act of Creation with an analysis of humour: The creative act of the humorist consisted in bringing about a momentary fusion between two habitually incompatible matrices. Scientic discovery can be described in very similar terms as the permanent fusion of matrices of thought previously believed to be incompatible . The history of science abounds with examples of discoveries greeted with howls of laughter because they seemed to be a marriage of incompatibilities until the marriage bore fruit.4 Humour, innovation and spaces of disruption, share the same diagram, where things simultaneously hold together and remain disjunctive. When Franch discusses laughter, it is clear that she understands its importance in terms of shared belonging and contextual intricacies: When someone tells you a joke, the moment of laughter is an act of common sense; it is an individual process, yet it only works through a collective understanding of language and culture. So for me, the ability to actually laugh together is an expression of convergence, of understanding the context, the origins and ultimately the subtleties. Humour, innovation and spaces of disruption, share the same diagram all being events in which things simultaneously hold together and remain disjunctive. As an example, Franchs Critical Halloween, a costume architecture party dedicated to the theme of banality, was not just a dressing-up party, but a way to actually provoke questions and to resonate with society
Paella Series, Architecture on Display event, Storefront for Art and Architecture, New York, 2010 The Paella Series has framedthe gathering and discussion on particular topics of interest around the sharing of food, bringing a certain viscerality to the event and encouraging a state of lightness through productive distraction. The rst of this series set out to discuss a book by Aaron Levy and William Menking, Architecture on Display: On the History of the Venice Biennale of Architecture (AA publications, 2010).
Guests at the Critical Halloween: Banality event, Storefront for Art and Architecture, New York, 2011 Critical Halloween was a costume architecture party with the theme of banality. The invitation asked guests to Vanquish your devils. Praise your saviors. Unleash your inner critic in sartorial guise. Prizes were awarded by three jury members.
at large, in a way that otherwise would be impossible. This event, and others such as the Paella Series, are ways in which she aims to produce a state of distraction, a state of lightness, to actually be able to reach out to the heaviest thoughts that we only throw out when we think that no one is looking, or we think that no one is listening. And I really truly believe in the value of lightness, because we are all too self conscious of who we are, of what we do, of what we say, of what we have learned off the pages of books. Franch describes this tactic as similar to Hitchcocks plot device of the MacGufn dressing-up becoming a ploy or decoy that enables and motivates other goals. If innovation has become the MacGufn in the narratives of cultural activity, Franch employs MacGufns to stimulate the conditions for innovation, devising ways to do much more than display or represent art and architectural culture. Across these and other frameworks, such as the Productive Disagreements and Manifesto Series, she activates different kinds and modes of reexivity, ways of enabling generative disruption, and thereby setting up the conditions for fostering innovative action. One might see her practice as channelling the insights of Frederick Kiesler who, as Sylvia Lavin writes, understood that: the effects of a storefront [are] analogous to how weather fronts are understood today as the plane of negotiation between different atmospheric densities and principal cause of meteorological phenomena. The storefront, in other words, was for Kiesler an opportunity to produce new kinds of urban happenings that might begin or be catalysed by the plane itself but that have their consequence elsewhere, out there.5
As a swelling of the sidewalk, Storefront presents us with a less planar, more immersive situation than Kieslers shop window designs might have been able to offer as active and as activating as he intended them to be.6 Perhaps the key shift is that Franch herself operates from inside this space, like Barbarella inside the excessive machine (see pp 1921 of this issue). One might also productively relate her practice to Mark Burrys discussion on the work and contribution of Frank Pick (see pp 2629), who also created systems whereby collective innovative design excellence was fostered, while acknowledging individual contributions. These two instigators, Pick and Franch, stand out with, through and for the vitality of the crowd, leading with an effervescent and lasting wake. 2
Notes 1. Eva Franch i Gilabert, Ecologies of Excess: An Excerpt from a 22nd-Century Architecture History Class, in Lydia Kallipoliti (ed), 3 Eco-Redux, November/December (no 6), 2010, pp 729. 2. This and subsequent quotes from Franch are taken from an interview with Pia Ednie-Brown, April 2012. 3. Paolo Virno, Wit and Innovation, trans Arianna Bove, 2004: http://eipcp.net/transversal/0207/virno/en. 4. Arthur Koestler, The Act of Creation, Hutchinson (London), 1969, pp 945. 5. Sylvia Lavin, Kissing Architecture, Princeton University Press (Princeton, NJ and Oxford), 2011, p 89. 6. Frederick Kiesler, Contemporary Art Applied to the Store and its Display, Brentanos Publishers (New York), 1930.
Text 2013 John Wiley & Sons Ltd. Images: pp 34(t), 35, 36(l), 37(l) Storefront for Art and Architecture; p 34(b) Eva Franch i Gilabert; p 36(r) Yoo Jean Han; p 37(r) Brett Beyer
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