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CHAPTER SPECTATOR AND SPECTACLE
the hacienda must be built: on spectacle and wonder in a disenchanted world
what if we are not overwhelmed by spectacle, but starved of it? our days are measured, optimized and increasingly predictable. we have never been exposed to more images, and rarely felt less enchanted by them. what feels missing is the kind of spectacle that cannot be scrolled past, with real stakes and an uncertain ending. in spectator and spectacle we look at the radical discotheques, the museum galleries staged like psychodramas, and the garments that turn the body into a walking act of rebellion. this chapter asks how wonder gets built, and how it might return some mystery to a world that has measured most of it away.
by sofia lekka angelopoulou
we watched marina abramović die seven times in a shadowy cisterne beneath copenhagen
inside a damp underground reservoir, viewers follow operatic deaths from screen to screen, accompanied by a soprano's haunting voice.
'as a spectator, you also have a responsibility': fabio cherstich on the boundaries of art and theater
the italian director's unique approach to performance has taken him to new york archives, miu miu performances in shanghai, and even the countryside home of the late painter, lucia di luciano.
where le corbusier's plan voisin sought to organize paris, chtcheglov chose to drift
a clash between urban order and the unpredictable experience of wandering, where efficiency gives way to mood, chance and discovery.
anrealage wraps dresses in up to 2,000 e-ink panels for color-changing ‘skin’
kunihiko morinaga's ss27 collection combines e ink, 3d printed scales and kyocera forearth printing at paris fashion week.

how LAS art foundation transforms quantum computing and clubs into art
from halle am berghain to venice, the organization takes immersive exhibitions beyond traditional museums, using unconventional spaces to reach new audiences.
from 1960s radical design to berlin's concrete bunkers: a history of nightlife spaces
the rooms where people came to dance, disappear, dress up, watch and be watched became laboratories for architecture, performance and collective life.
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