Plagiarism is necessary. Progress demands it.

Somewhere around the intersections of Architecture, Art, Philosophy and Urbanism.

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I’m back! Plagiarism Is Necessary lives on!

www.instagram.com/plagiarismisnecessary

Somewhere around the intersections of Architecture, Art, Philosophy and Urbanism.

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Pier Paolo Pasolini at Antonio Gramsci's tomb, 1970

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Blixa Bargeld, Henry Rollins, and Diamanda Galas (Los Angeles, 1985) Photo by Jessamy Calkin

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Juliaan Lampens & Rutger Langaskens - Kerselare Chapel, Oudenaarde 1966. Personal scans via, 2, photos © Jan Kempenaers, Pierre Noel. 

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Raamwerk & Van Gelder Tilleman - House and studio for a sculptor, Mariakerke 2015. Via, photos © Stijn Bollaert.

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MARTE.MARTE ARCHITECTS

REHEARSAL HALL

VIA

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One of my projects was just featured on Dezeen. Pretty happy with how it turned out.

https://www.dezeen.com/2017/03/11/cousins-cousins-laminated-timber-glass-extension-brick-house-hackney-architecture-residential-uk/

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Mike Nelson Triple Bluff Canyon, Modern Art Oxford (2004)

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Ivor de Wolfe & Kenneth Browne’s Collage For A Proposal For A British New Town With A Million People, 1971 (via here)

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The Shrine of Our Lady of Coromoto Guanare, Venezuela Erasmo Calvani (1975)

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Sam Potts Infinite Jest character map

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birmingham central library under construction (city centre redevelopment, 1973)

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Alejandro Cesarco ‘Index (A Reading)’ (2008)

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Shûji Terayama

Throw Away Your Books, Rally In The Streets  (1971)

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Maria Eichorn 5 Weeks, 25 Days, 175 Hours Chisenhale Gallery, London (2016)

At Eichhorn’s request, the gallery’s staff will then withdraw their labour for the remaining five weeks of the exhibition. None of Chisenhale’s employees will work during this period and the gallery and office will be closed, implementing leisure and ‘free time’ in the place of work. At the heart of the project is a belief in the importance of questioning work – of asking why, within our current political context, work is synonymous with production, and if, in fact, work can also consist of doing nothing. Eichhorn’s conceptual gesture is an implicit critique of institutional production and broader neo-liberal patterns of consumption, but it is also an artwork that deals with ideas of displacement of the artist’s labour and of the artwork as work.

In order to realise Eichhorn’s proposal and not compromise the ongoing operations of the organisation, Chisenhale Gallery’s staff are required to carefully unravel their working structure and address important issues relating to responsibility, accountability and commitment – from the financial security of the organisation to the distinction between ‘working’ and ‘personal’ lives within the artistic sphere. Eichhorn’s project is, ultimately, a consideration of how we assign value to time. She explores this by questioning how capital shapes life through labour, but also through a critique of the notion of free time and the binaries of work and leisure.

The work is constituted not in the empty gallery but in the time given to the staff and what they choose to do with it.

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Denys Lasdun

The Royal National Theatre, London (1976)

Photo by Gianni Galassi

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This London house extension by Cousins and Cousins has a window wrapping its corner »

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I architected this :)