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

Outsider Art: the Architecture of the Musée Visionnaire in Zuerich
N. Zimnik
2:30 pm - 4:30 pm

Abstract

This contribution consists of a video (12 mins.) and a paper. Both will be presented; depending on the time, the video will be shown in excerpts and it will be accessible for free via the museum. The video: – presents the architecture of the Musée Visionnaire in ZH, https://www.museevisionnaire.ch/ – interviews the internationally renowned architect Trix Haussmann who designed the museum – and situates the museum as a social space. Created in 1969 and preserved in its original form down to the custom-made products such as the conical fire extinguisher, the MV is a place for Outsider Art. Outsiders are artists without any specific artistic training, traditionally social outsiders, some from psychiatric institutions; today the term includes street art, i.e. avant-garde art that questions established cultural values. Also, the museum was and is a meeting point for entire generations of non-mainstream artists who work in Zurich and also internationally, such as Harald Naegeli, the sprayer of Zurich, whom Bansky deems the world`s first graffiti artist. Still, the (respective) outsiders are dominant, including art of those on the margins of society. The museum is financed solely by philanthropic organizations and volunteer work – people come who identify with this space, create it and carry its tradition into the future. This social space, in the sense of the philosopher Henri Lefebvre, is captured. Aesthetically, the video situates itself partially in the avant-garde tradition of the city symphonies that presented space in novel, abstract ways, focusing on the tradition of Le Corbusier who influenced the architect in her first phase, e.g. abstract industrial details are shown. The budget was US 32.000; the filming, the cutting and the sound design was done professionally.

Biography

Full-time professor, Univ. of Applied Sciences, Lucerne, Switzerland. School of Architecture &Technology – Ph.D., Comparative Literature, State University of New York at Buffalo (USA), Dissertation: Thea von Harbou and Leni Riefenstahl: The Formation of Female Fascist Subjectivity. Publications in film studies, philosophy, psychoanalysis, architecture, gender studies. Internat. honors & awards. Teach architectural theory, film theory, communication classes. Current non-academic mandates: member of the board, Musée Visionnaire, Zuerich, Switzerland. Board member of wagadu http://colfax.cortland.