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- Karami, Sepideh, 1976-
(författare)
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Al-Croquis : Lieutenant Fontaine
- 2017
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Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- This exposition emerged in response to the question of how to engage critically with institutions via various methods of interruption. Al-Croquis is a parody of the mainstream architecture journal El-Croquis. It is a fictitious journal born from a proposal rejected by the editors of El-Croquis, but that nevertheless found a way to continue an institutional existence. This issue, dedicated to the prison, introduces Lieutenant Fontaine, the main character of Robert Bresson’s movie A Man Escaped, as a protagonist of interrupting architecture. Fontaine escapes from the Nazi’s Montluc prison, and his escape plan is investigated as a work of architecture, interrupting the institution of the prison. Appointing the role of architecture to a prisoner who escapes, and studying his applied tools and methods through the lens of architecture work, is a way to expand architecture beyond its disciplinary limits and to develop minor modes of architectural practice. In line with such an expansion, the issue also approaches the prison through various perspectives by means of critical and artistic contributions from guest contributors. The self-published journal of architecture, Al-Croquis, and a poster was exhibited at ArkDes exhibition space, as part of the Making Effect exhibition 14-17 September 2017.
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- Karami, Sepideh, 1976-
(författare)
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Interruption : Writing a Dissident Architecture
- 2018
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- Interruption: Writing a Dissident Architecture makes a contribution to the fields of writing architecture and dissident architecture. Concerned with developing an ethos of criticality from within, it presents a series of performative writing experiments that are situated in politically charged architectural sites, from public spaces, to institutions, to domestic spaces. My aim is to ask how a dissident architecture could be produced through the practice of writing, specifically by offering an account of the performative acts of various characters who are introduced in the thesis, and who critically inhabit existing architectural sites, interrupt the spatial power relations of those sites, and who thereby construct 'performing grounds'.Writing architecture is developed in this thesis not as writing about architecture, but aims instead to write it, to make it. Writing dissident architecture writes with multiple voices, with many authors, not all of whom are welcomed. It offers significant approaches to a political and critical understanding of architecture. Where architecture in this thesis is understood both as a material structure and as a disciplinary framework in which power can become oppressive, writing architecture, on the other hand, is developed as a ‘minor’ practice that can act upon existing sites, interrupting their ‘major’ power relations. Interruption, developed as a tactic, is what activates architecture to become a performing ground for the act of dissidence. Formulated as a journey the three main parts of the thesis deal with three interrupting tactics: Pause, Cut and Fo(o)l+d, which are applied in relation to three different kinds of political site: 1) spaces of appearance or the spectacle; 2) disciplined spaces understood as sites of impossibility; 3) domestic spaces as displaced loci of subversive political actions. The Pause uses stillness and refusal as a mode of interruption. The Cut interrupts the material and structural continuity of established institutions and creates cracks in those systems. The Fo(o)l+d interrupts surveillance and control by folding in and out of private and public spaces. By introducing a quasi-fictional character to each site, who performs through one of the three tactics of interruption, a performing ground is constructed. Writing architecture forwards this journey across specific sites through which the figure of the dissident emerges.
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- Karami, Sepideh, 1976-
(författare)
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Interruption as Dissident Gesture
- 2016
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Ingår i: RUUKKU. - Finland. - 2341-9687. ; 5
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Tidskriftsartikel (refereegranskat)abstract
- In this exposition I investigate the tactics of interruption as methods of engaging with the institution through artistic research and approaches. This is developed by drawing upon Jacques Rancière's concept of ‘dissensus', Chantal Mouffe's ‘strategy of engagement' and Michel de Certeau's idea of 'tactics'. Art as a dissensual activity turns artistic research into a dissident research that can serve to question academic consensus rather than conforming to its established structure. Interruption becomes a dissenting gesture. I use a fictional and fictitious publication as a tool to 'interrupt' institutions. In this fictitious publication, I have borrowed Lieutenant Fontaine from Robert Bresson's movie, ‘A Man Escaped', and have introduced him as a protagonist of 'interrupting architecture', investigating his escape plan as an activity of 'architecting'. The journey of this publication goes through two short architectural narrations of two places: a prison (as discipline) and a library (as dominant discourse). These two narrations are combined with three formulae: amateur, fiction, misperformance or disloyalty; each acts as certain characteristics of dissidence. Together, these aim to raise the question: How do tactics of interruption contribute to dissensus in academia?
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- Karami, Sepideh, 1976-
(författare)
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Pause: A Device for Troubling Routines
- 2015
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Ingår i: Drawing On. - Edinburgh : The University of Edinburgh:Edinburgh College of Art. - 2059-9978. ; :1, s. 75-84
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Tidskriftsartikel (refereegranskat)abstract
- Pause is a technique for troubling routines, a tactical device for change capable of disturbing established flows. Where urban public spaces are concerned, a pause is a device, an act however tiny that unsettles the balance or order of those spaces, bringing about a moment of dysfunction in which an individual is liberated for an unspecified duration. While the dominant power is busy ‘fixing’ this pause, alternatives can emerge. In this paper taking on the voice of a fictional character, I investigate the ins and outs of pause through the case of the Standing Man of the Occupy Gezi movement in Turkey (2013). The pause of Standing Man is used as a concept to rethink the architectural profession. Drawing on Lefebvre theory of ‘moment’, pause is discussed as an event destined to fail. This inevitable failure of the pause makes the moment of failure intense and tragic. In this way duration matters, and one of the contributions that architectural practice could make in working with pause would be to work with this duration – and to expand it.To study further how architecture can contribute to the idea of pause, a case of the unfinished building in Tehran during the 1979 revolution is discussed in relation to the Standing Man. The discussion is built up around the infrastructural nature of pauses, the importance of body politics to the idea of pause as a device and the post-production of space by means of occupation. In this regard, reflecting on the work of architecture, there might be a need for pause in the architectural profession itself, in its attitude to ‘completing’ the world.The narrator in this paper, an architect who participated in the 1979 revolution, examines the pause of the Standing Man through an architectural lens while watching a video of the event on YouTube. The argument is built up through a lecture on the subject, a discussion with a group of architecture students, and through snippets of nostalgic daydreaming and introverted contemplation. The flashbacks, the lecture, the movie and the train of thoughts interrupt one another, creating moments of pause in the narration.
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- Karami, Sepideh, 1976-
(författare)
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Stories we can’t tell : On writing dissident architecture
- 2019
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Ingår i: Text. - : Australasian Association of Writing Programs. - 1327-9556. ; :55
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Tidskriftsartikel (refereegranskat)abstract
- Writing architecture is not writingaboutarchitecture, but writing it, making it. It is to create new grounds, sites of actions, and construct characters who build these grounds and change them by inhabiting them critically and performatively. By situating writing in contexts where direct ways of expression are impossible, I investigate how dissident writing can circumvent the bans of an oppressive power by inventing an Aesopian language. Dissident writing is to write with multiple voices and many authors – not all of whom are welcome. To develop a tactic of writing with unwelcome co-authors, i.e. writing with the dominant power, but against it, is what dissidence could bring into writing architecture. In this way, writing dissident architecture deals with two main questions. One is: how to tell a story we cannot tell? And the other: how can this struggle with an impossible narration create a dissident architecture? To investigate these questions, in this text domestic spaces of houses are considered as a key example of performing grounds for dissidents. By going through an experiment of writing situated in the spaces of a demolished house, I discuss how the construction of dissident characters who perform in the house and the application of different genres and experimental writings complicate the house and bring on the writing of a dissident architecture.
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