#i think they also overestimated themselves with this tour too

[aquarri]

.

[alarrytale]

I know one thing that came up with the ages of Louis’ fans so I thought I’d pass this on. There is a group on Twitter that call themselves Vintage Fans. Many have gone to Louis’ shows in Latam and some are going to AFHF. A few were on the barricade with a large rainbow flag with a cassette on it. Louis acknowledged them during one of his concerts and then went to them during his barricade run. It’s a pretty big group. Many of the members are Larries including the admins but they’re also OT5s. It’s a pretty cool group that is actually continuing to grow and they look like they’ve been having fun during these shows. If people are feeling a bit uncomfortable with the ages I encourage people to check them out. They are a pretty supportive group in general. Fans in their 30s, 40s, 50s, 60s+. I also agree I do think it depends on the region of the concerts too. A group of fans brought flags for other fans in Europe, UK and the North American legs. Also true stadiums and arenas are just going to have a different feel to them. I personally like smaller stages but that may just be me too. It feels more like a close family environment. I’m kind of hoping he does smaller shows in the future. But I have a feeling he won’t be touring for a while. This leg has been so busy for him flying literally as soon as he’s done with these concerts, that has to be taking a toll. This is also a different tour manager than his 1st tour and it’s pretty noticeable. The Asian leg canceled, the too big of stages, etc. I think he needs his previous tour manager back because this guy has been a mess.

Hi, anon!

Thank you! That sounds like a inclusive and supportive group of people. If anyone feels out of place at a show, try to connect with them.

It's been a really long tour and it's been in and out of countries, but i think he's used to touring. He's had long breaks between legs too. I don't know about the tour management thing, but i'll take your word for it. I think they overestimated the demand for his tour big time. So he's had a whole leg cancelled, had to downsize one venue and is playing for a quarter of a stadium. I think it will be a while until he tours next too. He has an album to write first.

[architectuul]

Is It Possible To Exhibit Architecture?

A few years ago, I was asked by a group of experts surrounding an artist to curate a national pavilion during the Venice Biennial of Architecture. 

I don’t remember exactly how the artist had been selected, but I’m sure it was on a democratic basis, and the people around him were all of great quality. Though, I had problems understanding what my role and curatorial tasks could exactly be, as the artist had already written a clear concept and produced detailed drawings for the forthcoming exhibition. My curriculum vitae had probably two interesting points to offer: as a foreigner I would have brought a nice touch of internationalism and, as an architect, a legitimation for an artist to participate to the architecture biennial. Though, being unable to define exactly my position and feeling not really essential, I refused that kind proposal and lost an opportunity to promote myself.

Read also “Moments of Transition”

But the thing that annoyed me most was the questions lifted by the whole story. Why should an artist represent a country during the architecture biennial? Why should a curator be the last participant in such a project? Why, at a time when borders between disciplines are blurred, should we question the links between art and architecture? Each of these questions deserve at least a 300-pagethesis but they should always be in our mind when we visit the Venice Biennial. And I could also add: What is the exact role of an exhibition designer? What are the real powers at play in a time when public institutions are depending more and more from private founding? What does it mean to build temporary structures that will, afterward, only exist as images?

I might sound conservative but I think architecture is here to address social problems, to shape an idea of living and to enlighten its users and visitors. If, on top, in turns into stone the problems and culture of its time, it will become a masterpiece. But, instead of that, Venice gives us too often spatial experiences for VIPs by installing some kind of three-dimensional machinery that pretends to change their perception after two Campari-Spritz and a bunch of small talks (think about the cheap environmental questions, the pseudo-political engagement and the new-age philosophy that surrounds most of Ólafur Elíasson productions).

We all know that exhibiting architecture is a more than difficult task. If I exhibit art, I hang on walls, put in space or install outside the art objects “themselves”. The visitors will come to see the artworks in their reality, they will share their presence at the same time, in the same place. But if I exhibit architecture, I deal with plans, photographs, façades, sections, models. All those things are representations of architecture, not the thing itself. It’s probably why, in 2014, in a more than radical gesture, Rem Koolhaas decided to reduce architecture to its elements: floor, roof, stairs, window, etc. to be able to exhibit those parts in real, as in a large hardware store. No representations can replace the experience of visiting a building and not all the visitors of an architecture exhibition are able to spend time figuring space looking at two-dimensional drawings. Of course, the last years have seen an increase of 3D models, interactive videos, or Augmented Reality tools. (And even if low-cost flights have democratized trips, one should not overestimate our ability to travel, especially today.) We need architecture exhibitions to address questions and topics, not to experience a pseudo-psychedelic light-show à la Elíasson. Because nothing can replace the smell of freshly oiled wood in the Fisher House by Louis I. Kahn, the violent summer sun over the Barcelona Pavilion in a July afternoon or the welcoming old lady that generously opened her door and shared her life with me in her patio house from Arne Jacobsen in the Berlin-Hansaviertel.

We face a double problem: artists behave like architects by building installations and large-scale projects (without being able to address the real problems of architecture) or architects behave like artists by enjoying the freedom that their everyday business doesn’t allow (without being able to produce a real work of art). That’s probably why, as a matter of fact, a lot of pavilions in Venice turn towards interior design or utopia projects when it comes to exhibit architecture. And those who refuse those strategies simply translate the content of a book into space (with too much text and documentation, a mistake that “elements of architecture”did).

Proposal for the French Pavilion at the  XLIV Venice Biennial of Art. | Project © Jean Nouvel,  Emmanuel Cattani & Associes; photos © Georges Fessy

If, tomorrow, I was asked to curate a pavilion in the Venice Architecture Biennial, not as the last participant in the project but as the first one generating its concept, I will be confronted by a serious problem. I might then probably use the same strategy as Jean-Louis Froment who, in 1990, invited Jean Nouvel, Philippe Starck and Christian de Portzamparc to propose three projects towards the reconstruction of the French Pavilion. Nouvel conceived a whole scenario that will have lasted four years and, at the end, meant that the building from 1912 by Faust Finzi and Umberto Belloto would have been entirely replaced by his own. It was a brilliant proposal that dealt with architectural regulations (and another “cold case” as it was neverconstructed), and it would be a chance for the contemporary artists to exhibit in a space that fits their actual needs and requirements. If the whole process and concept proposed by Nouvel had something from Gordon Matta-Clark—and therefore of an architect behaving like an artist—the result would have also been a political statement and national symbol: France would own nowadays a brand-new pavilion with up-to-date technique and space, constructed by a contemporary architect. And the architect would have exhibited and done what he is supposed to do: a construction.

***

VAB 03: Thibaut de Ruyter

Photo © Bella Sabirova

Thibaut de Ruyter is a french architect, curator and critic. He has been living and working in Berlin since 2001. His interests are based on new media and their archeology, the relationship between art and architecture, and the artistic scene in post-soviet countries and particularly in Central Asia. 

His latest projects are a travelling exhibition for Goethe-Institut in Eastern Europe and Central Asia, Die Grenze (with Inke Arns) who was displayed in 11 cities between 2017 and 2019 while his exhibition A Song for Europe was presented at the V&A, London 2017 and Schauspielhaus, Stuttgart 2018. In 2019, on the occasion of the 100 birthday of the Bauhaus in Germany, he co-curated with Marjolaine Levy the exhibition 26 x Bauhaus that was to be seen in Berlin, Bremen and Munich. 

He edited or co-edited the books: Zeitgeist (Archive books, Berlin), Industrial on tour and Industrial Research (Revolver Verlag, Berlin) and Stadtbild (Verbrecher Verlag, Berlin). As an art and architecture critic, he writes or has been writing for the magazines Artpress, Il Giornale dell’Architettura, Fucking Good Art, Frieze d/e, L'Architecture d’Aujourd’hui and Architectuul. In 2015 he co-founded ALUAN, the first Kazakh art magazine, with Gaisha Madanova. He has been a member of the French section of AICA (International Association of Art Critics) since 2008.

[ramblesofadreamerofthestars]

Anne With an E S03Ep09 “A Dense And Frightful Darkness”

- oh No. Ka’kwet is internalizing all the bullshit from the residential schools. This is what leads to the generational fallout - the internalization of the abuse these children suffered at the schools bleeds out even after they leave the schools, and their previous way of life no longer seems livable, and they felt disconnected to their community. It is heartbreaking and the effects of the school are still being felt in the first nations communities today. 

- Disheveled Anne makes a reappearance and I love this brilliant mess. Marilla and Mathew are so supportive and I Love Them. Ahhh I’m such a sucker for the new generation following the path of the previous one except better, not making the same mistakes. 

- lkasjddlfj Mr. Barry’s Done face is the most relatable thing and WOW This transition with The Dashing White Sargent to the practice dance with Gilbert and Anne ahhh

- this note... this note is the cutest thing in the world and is so perfectly Anne “p.s. may i please have my pen back” i love her. 

- fuck Off you fucking paper clips, leave Ka’kwet alone. Her storyline is fucking heartbreaking and I Hate this

- Bash and Hazel’s storyline is also heartbreaking. A parent can love you and still hurt you. 

- And Bash and Ms. Stacy are cute, I’m glad they can talk to each other about their strife in life. And poor Ms. Stacy, but really never doubt the effect a good teacher can have, because for some kids it’s one of the only positive role models they get

- lmao Gil really be doing a whole Anne of Green Gable’s tour huh

- Eugh. Billy Shut Up Forever challenge. Shout out to Gilbert though for just nope-ing out of there

-  Oqwatnuk reaching Marilla, the hearbreak of a mother transcending language barriers, absolutely beautiful and Ka’kwet’s mother’s devastation is so raw

- No the letter! But do you really expect me to believe that he’s going to marry Winnifred, after Mary explicitly told him to marry for love and after Gil has gone on his Greatest Hits of Anne Shirley-Cuthbert? No

- This music... Gilbert looking dramatically over the sea on a cliff... my period drama loving heart thanks you

- the Letter!

- Matthew... too good too kind for this world. His heart is so kind and soft (please don’t let it give out)

- Anne Shirley-Cuthbert and her fierce fierce heart and absolute determination to do what is right

- “If everyone in Canada finds out, the outrage will change everything” oh honey. You constantly overestimate people’s capacity for goodness and it breaks my heart because I know what will happen

- poor Anne :( but shout out to Diana for being the best friend we all deserve

- Once again, it’s so easy to see where Hazel is coming from and she truly believes she raised her son as best she could, did her best to protect him from a world that had already taken her husband, but in doing so she hurt her son so badly, made him feel less then what he was 

- “you grew up strong because of me” ‘I grew up strong in spite of you’ this. this is what so many kids need to hear. No child deserves to think less of themselves in the interest of hardening them to the world

Final Thoughts:

Really nothing I haven’t said before; I truly don’t think Gilbert is going to through with the engagement, because it’s not Winnifred he’s in love with (and that pen is going to come back one way or another). I am once again just so proud of Diana for how far she’s come and I truly hope she ends up going to Queen’s instead of Paris. Bash and Hazel’s relationship is painful to watch but I have hopes for them, that they grow and learn. And Ka’kwet. I hope her story grows happier, but I don’t know how much hope I have for it knowing what we do about how history played out. I’m extremely late with watching this episode so I get to go straight into the next one, and I’m so excited (and nervous!) to watch the season finale