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2006.11.15 - 2007.03.26

OMA in Beijing

Exhibitionism was inspired by a shift architecture began to take between 2002 and 2004, away from technology as the content of architecture--often manifested as specular and spectacular form--and toward a more engaged, political practice and expanded, even immaterial, spatial field. Embodying such shifts were Eyal Weizman, Philippe Rahm, and Teddy Cruz, to name just a few. Far from "Folds, Blobs, and Boxes" (1999), "Architecture non standard" (2003-04), or Tall Buildings" (2004), architecture was posited not as an object in space but as a multivalentspatial apparatus in myriad guises, collectively authored, constitutive, and constituted by space. Conflict was seen not as something merely registered in formal geometries, such as in the work of Preston Scott Cohen, nor contained in space, but theorized as productive of, and produced by, space. Politics and "agency" of practice and things were taken up by, among others, Alejandrp Aravena in his "Elemantal" project and Alejandro Zaera-Polo in his work on the envelope.
Shortly thereafter, between 2006 and 2008, a death knell was dealt to representation in the exhibition of architecture: My "OMA in Beijing" (2006) at MoMA was an immersive installation designed by OMA. It exaserbated architecture's visual fetish and claimed that an installation should presence architecture and be conceived as a work of architecture.
Tina Di Carlo, "Exhibitionism" in Log 20 (2010), p. 155.



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