By Alan G. But dislocation proves to be a tricky subject for architecture, a field largely based in rootedness and place. There is hardly a buildingβor a design proposalβin sight at either venue, an increasingly common and puzzling occurrence in architecture exhibitions. Instead there are walls and walls of texts, pamphlets, subtitled videos, and indecipherable maps.
A German collective called the Center for Political Beauty has exhumed a number of dead migrants, identified their families in Germany, and helped to rebury them in marked graves. Their documentation of the events, The Dead Are Coming , is one of the darkest of a number of projects that dealt with refugees and migration. At first glance it looks like a high-end showroom installation, but the accompanying text reveals that all of the pieces were acquired on finn.
The installation vividly illustrates the lack of permanence attached to the objects around us. At the National Museum of Architecture, Emeka Ogboh has created a lounge with a large television showing televangelist sermons that are popular in her native Nigeria, especially among Charismatic Pentecostal believers. The project, called Technoreligious Communities , suggests that physical churchesβin storefronts or in grand structuresβmay soon become outmoded, at least for some media-savvy sects.
Both projects intrigue and amuse, but should they be considered architecture? The familiarity and ubiquity of these conditions, however, masks some of the horror of the other topics included in the triennial. The subject of forced migration from war-torn lands should not and does not sit comfortably next to speculations about identity and AirBnB. All Rights Reserved. Brake Plus Icon Alan G. September 30, pm. View Gallery 6 Images.
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