Daesik's Presentation

Daesik Kim

- Artist: Bijari from Brazil (page 119)
- Project: Transverse Reality (Chicken Projects 1,2), 2001,2003
present in the form of video documentation at the Havana Biennial in 2003
- Inspiration:
People react in different ways depending on their economic and cultural situation
- Methods:
Bijari releases a chicken in two different shopping districts in Sao Paulo and documents the public’s reaction
1.    Iguatemi, a luxury shopping mall for high income class
2.    Largo da Batata, a bus stop and market by lower income class
- Reactions:
1.    Iguatemi, a luxury shopping mall:
Security guards immediately treated the chicken as a criminal suspect. They scrutinize the chicken’s behavior and removed it
2.    Largo da Batata, a bus stop and market:
Customers are less suspicious. They react to the chicken in a much less orderly fashion and allow the bird to remain on the premises
- Conclusion:
     The space becomes privatized due to aesthetic, economic, social, and behavioral patterns. Bijari’s Transverse Reality aims to disturb the regular flow of life by eliciting unexpected reactions from the public.

- Artist: Basurama, begins with a Spanish group of students at the Madrid School of Architecture. Now, the group consists of professional architects, designers, and other urban planner. (page 119)
- Project: Urban Solid Waste, 2008.
- Inspiration:
Basurama wants to change attitudes to trash. Basically, they explore what trash and how we treat it, can reveal about the way we consider the world.
- Methods:
Basurama rebuilds an abandoned railway to children’s playground by using recycling trash with local artists and other community members. Also, they also enlist school children in Miami to create musical instruments out of old car parts.
- Conclusion:
Basurama’s objective is very environmental, low cost and energy, and labor. Also, it changes abandonment to reformation by creativity.

How events or object (chicken) may be perceived in different environment or transforms the space.
Synthesis of visual perception is directly related to given stages.

Oush Grab vs. Hotel Fuentes de Ebro

Oush Grab (The Crows Nest)
  page 140
Who: Decolonizing Architecture Art Residency (DAAR) Organized by architects, Sandi Hilal, Alessandro Petti and Eyal Weizmann
When: 2010- present
Where: Beitsahour, Palestine
  • Oush Grab was evacuated in 2006
    • A hilltop military site
  • Reclaimed Oush Grab as a public space
  • Planned to convert to multi use park
  • Israeli settlers marked with graffiti 
  • Birds began nesting there, DAAR drilled holes into the building to make it into an observatory and nesting place 
  • DARR examines the reuse of existing buildings
    • They call this process the, Revolving Door Occupancy
    • To create useful out of something no longer used

Hotel Fuentes De Ebro 
  page 102
Who: Lara Almarcegui and Begona Movellan
When: 1997
Where: Fuentes de Ebro
  • Converted abandoned train station into hotel
  • Was free to stay and was booked throughout the week it was open
  • Used only a $400 grant to renovate
    • Village residents donated furniture and electricity
  • Artists got permission to only create an exhibition space, not a hotel
    • Asked the participants to hide their luggage
  • To bring people to the small village
    • Highway runs right through village but not many stop
- To explore building relationships with the community

  • Repurposed abandoned and unused buildings
  • Built relationships within community due to interactions