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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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| 2. |
- Karami, Sepideh, 1976-
(författare)
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Stories We Can't Tell
- 2017
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- Writing architecture is not writing about architecture, 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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