Titles
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Technologies Evolve: Visualizing Mixed Reality Over Time in ...Temporal Place(s): Transitory Representations of the Landsca...Temporospatial Mediator: Site-specific Theater within Cultur...The Digital Agency, Protest Movements, and Social Activism d...The Dormant Buildings of Imbros: Dami, Photogrammetry and Dr...The Empty Eerie: Exploring the uncanny nature of empty space...The Future of Dwelling: The KitchenThe Future of Object, Approach, and Setting when Curating in...The Image of Territory: Landscape Perception and Infrastruct...The Image, the Imaging and the Imagining of the InteriorThe Incomplete Results of an Act of MappingThe Inter-generational Comparison of Balinese Houses: a Spac...The Intersecting Landscapes of Cinema Production and Exhibit...The Poverty of EmbodimentThe Realities of FragmentsThe Role of Screen Space in Architecture and Film as Multime...The Screen as Surface, Site and SpaceThe Screen, Intimacy, and the Attention Economy: Are We Ever...The Space of VistaVisionThe Substantive Content of Eryri - A Lived Landscape with a ...The Time HouseThe Unrepresented Chicago of 1893The Urban Photographic Portrait: Paradigms and ProjectsThe Visual as Narrative Practice: Using Images to Construct...The Visuality of Urban Digital TwinsTlatelolco Disproved; a participatory mapping of life, in Ma...Tools to Imagine: Digital Methods of Investigating Classical...Towards the Unknown. Projection, Prediction, PotentialityTracing the Familiar: Spatial Research through Essayistic Fi...Undergoing Change: the Potential of a Liminal State for Hosp...Undocumented History: Accessing the Intangible Past Through ...Uniting Space and Time in the Documentation of Urban Setting...Visionary Rumours Lost in Space – between rationale and re...Visualising Storytelling through a Locally Based Digital Way...Visualization and Parametric Design of Sustainable Domes, In...Walk’s Eye: Traversing Diverse Territories with GoPro Came...Welcome and IntroductionWhiteness, Reloaded: Addressing the ghosts in reverse* of th...Who needs film for city symphonies? Edwin Rousby. Showcasing...‘Zoom-Walks’ and Cyanotypes: Materializing Screen Ontoph...“You’ve seen one post-apocalyptic city, you’ve seen th...
Presenters
Schedule

Representing Pasts – Visioning Futures

Tlatelolco Disproved; a participatory mapping of life, in Mario Pani’s modernist residential complex
A. Wiseman
6:30 pm - 8:30 pm

Abstract

‘Tlatelolco Disproved’ is both a choreographed urban landscape and a portrait of a community. Documented with photographs and video it was created with the collaboration of over 100 neighbors of the Chihuahua building of the Nonoalco Tlatelolco residential complex. The aim of this paper is to present this collaborative project and critically negotiate the different types of participatory processes in art. It also aims at discussing alternative methods for mapping history, architecture and the everyday, through critical and fragmented glimpses of a place and performative processes. The residential urban complex of Tlatelolco, completed in 1964, became the second biggest of its kind on the American continent (after co-op city in the Bronx). It was part of Mexico´s ambitious move towards modernization. Architect Mario Pani, a contemporary of Le Corbusier, was set on bringing Functional Modernism to Mexico with his Conjunto Urbano Nonoalco Tlatelolco; a utopic middleclass paradise. His ambitious project was carefully timed to be completed a few years before Mexico was to host the Olympics. Pani´s dream was short-lived though. Only 4 years after its completion and 10 days before the Olympics opening ceremony in 1968 the government massacred hundreds of students during a peaceful protest in-front of Tlatelolco´s Chihuahua Building. Tragedy was to strike again less than two decades later when hundreds more were killed after the Nuevo Leon building (part of the complex) collapsed in the 1985 earthquake. Today, Tlatelolco exhibits the scars of history. This palimpsest of memories and events informs the collaborative mapping presented in this paper.

Biography

Adam Wiseman is a Senior Lecturer at The University of East London, a graduate of New York University in Ethnographic Film (1992), and the Photojournalism Program of the International Center of Photography (icp) in New York (1996). His work can be found in the collections of the University of California Berkeley, Stanford University, Schöepflin Stiftung, the Smithsonian Institute, the Museum of Fine Arts Houston, the 9/11 Memorial in New York, and the World Bank. He is the two-time recipient of Mexico’s National Endowment of the Arts grant.