I believe in architecture
It is not art
It is not event
It is not the city
The city is made of it
It is not a game
There are no winners or losers
It is orientation
It must not accept the status quo
It is not dangerous
It must protect the human body
It must be constructed
It is not a picture
—Carlos Brillembourg
I believe in architecture
It can be art
An event is experienced
It makes a city
And is used to death
It’s not a game but
A necessity
There are winners & losers
(This little piggy’s house was
Blown down)
Orientation to Nature
As its best
It can never accept the Status Quo, it makes the
Status Quo
It can ward off danger
The human body must exist
In its form
It exists when it is built
It offers a view of a
Structured life
You are in the picture.
—Keith Sonnier
Visionary artist and poet Gyula Kosice on how he has tried to reconcile “the language of the diction” and “the language of form, volume, and the kinetic.”
Increasingly, poems reach me physically, testing my physical and emotional boundaries—looking for places they might get inside, frequencies at which I might hear, poking at sensuous dead zones.
Baum’s work unearths and explores the incidental poetry of UFO sightings, dog-eared paperbacks, and obsolete artifacts like card catalogs.
Originally published in
Featuring interviews with Haruki Murakami, Ileana Douglas, Dan Graham, Mike Leigh, Campbell McGrath, Dona Nelson, Tran Anh Hung, Julius Hemphill, Stephen Wright, Robert Schenkkan, and Lawrence Gipe.
How do I build a fugitive choreography, one that’s always in the process of escaping itself, then coming back to reaffirm itself, only to slide away again? The act of interpreting a choreography is made live by the performers, which is the invitation in my work.
Ligia Lewis
