I've heard about...
I’ve heard about something that builds up only through multiple, heterogeneous and contradictory
scenarios, something that rejects even the idea of a possible prediction about its form of growth
or future typology.
Something shapeless grafted onto existing tissue, something that needs no vanishing point to justify itself but instead welcomes a quivering existence immersed in a real-time vibratory state, here and now.
Tangled, intertwined, it seems to be a city, or rather a fragment of a city.
Its inhabitants are immunized because they are both vectors and protectors of this complexity.
The multiplicity of its interwoven experiences and forms is matched by the apparent simplicity of its
mechanisms.
The urban form no longer depends on the arbitrary decisions or control over its emergence exercised by a few, but rather the ensemble of its individual contingencies. It simultaneously subsumes premises, consequences and the ensemble of induced perturbations, in a ceaseless interaction. Its laws are consubstantial with the place itself, with no work
of memory.
Many different stimuli have contributed to the emergence of ‘I’ve heard about,’ and they are continually reloaded. Its existence is inextricably linked to the end of the grand narratives, the objective recognition of climatic changes, a suspicion of all morality (even ecological), the vibration of social phenomena and the urgent need to renew the democratic mechanisms.
scenarios, something that rejects even the idea of a possible prediction about its form of growth
or future typology.
Something shapeless grafted onto existing tissue, something that needs no vanishing point to justify itself but instead welcomes a quivering existence immersed in a real-time vibratory state, here and now.
Tangled, intertwined, it seems to be a city, or rather a fragment of a city.
Its inhabitants are immunized because they are both vectors and protectors of this complexity.
The multiplicity of its interwoven experiences and forms is matched by the apparent simplicity of its
mechanisms.
The urban form no longer depends on the arbitrary decisions or control over its emergence exercised by a few, but rather the ensemble of its individual contingencies. It simultaneously subsumes premises, consequences and the ensemble of induced perturbations, in a ceaseless interaction. Its laws are consubstantial with the place itself, with no work
of memory.
Many different stimuli have contributed to the emergence of ‘I’ve heard about,’ and they are continually reloaded. Its existence is inextricably linked to the end of the grand narratives, the objective recognition of climatic changes, a suspicion of all morality (even ecological), the vibration of social phenomena and the urgent need to renew the democratic mechanisms.
Fiction is its reality principle: What you have before your eyes conforms to the truth of the urban condition of ‘I’ve heard about.’
What moral law or social contract could extract us from this reality, prevent us from living there or
protect us from it?
No, the neighbourhood protocol of ‘I’ve heard about’ cannot cancel the risk of being in this world. The inhabitants draw sustenance from the present, with no time lag. The form of the territorial structure draws its sustenance directly from the present time.
‘I’ve heard about’ also arises from anguishes and anxieties. It’s not a shelter against threats or an insulated, isolated place, but remains open to all transactions. It is a zone of emancipation, produced so that we can keep the origins of its founding act eternally alive, so that we can always live with and re-experience that beginning. Made of invaginations and knotted geometries, life forms are embedded within it. Its growth is artificial and synthetic, owing nothing to chaos and the formlessness of nature. It is based on very real processes that generate the raw materials and operating modes of its evolution.
The public sphere is everywhere, like a pulsating organism driven by postulates that are mutually contradictory and nonetheless true. The rumours and scenarios that carry the seeds of its future mutations negotiate with the vibratory time of new territories.
It is impossible to name all the elements ‘I’ve heard about’ comprises or perceive it in its totality, because it belongs to the many, the multitude.
Only fragments can be extracted from it.
The world is terrifying when it’s intelligible, when it clings to some semblance of predictability, when
it seeks to preserve a false coherence. In ‘I’ve heard about,’ it is what is not there that defines it, that guarantees its readability, its social and territorial fragility and its indetermination.
What moral law or social contract could extract us from this reality, prevent us from living there or
protect us from it?
No, the neighbourhood protocol of ‘I’ve heard about’ cannot cancel the risk of being in this world. The inhabitants draw sustenance from the present, with no time lag. The form of the territorial structure draws its sustenance directly from the present time.
‘I’ve heard about’ also arises from anguishes and anxieties. It’s not a shelter against threats or an insulated, isolated place, but remains open to all transactions. It is a zone of emancipation, produced so that we can keep the origins of its founding act eternally alive, so that we can always live with and re-experience that beginning. Made of invaginations and knotted geometries, life forms are embedded within it. Its growth is artificial and synthetic, owing nothing to chaos and the formlessness of nature. It is based on very real processes that generate the raw materials and operating modes of its evolution.
The public sphere is everywhere, like a pulsating organism driven by postulates that are mutually contradictory and nonetheless true. The rumours and scenarios that carry the seeds of its future mutations negotiate with the vibratory time of new territories.
It is impossible to name all the elements ‘I’ve heard about’ comprises or perceive it in its totality, because it belongs to the many, the multitude.
Only fragments can be extracted from it.
The world is terrifying when it’s intelligible, when it clings to some semblance of predictability, when
it seeks to preserve a false coherence. In ‘I’ve heard about,’ it is what is not there that defines it, that guarantees its readability, its social and territorial fragility and its indetermination.
R&Sie(n), '' I've heard about..."
Musιe d’Art Moderne de la Ville de Paris /ARC
Exposition du 7 juillet au 9 octobre 2005
Exposition du 7 juillet au 9 octobre 2005
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