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  • Arbeitsgruppe Kunst und Politik (Hg.)

    Kunst Spektakel Revolution Nr. 2

  • Nicholas Mirzoeff

    The Right to Look. A Counterhistory of Visuality

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    The Expendable Reader. Articles on Art, Architecture,…

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    Vertical Thoughts. Morton Feldman and the Visual Arts

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    The Sense of Sound

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    Architects' Journeys. Building, Traveling, Thinking

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    Forget Fear. 7. Berlin Biennale (Reader Dt. & Engl.)

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    Urban Images. Unruly Desires in Film and Architecture

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    Pugin’s Contrasts Rotated

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    Caring Culture. Art, Architecture and the Politics of Health

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    Site of Sound. Of Architecture and the Ear Vol 2

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    Studio Mumbai 2003-2011

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    Distinct Ambiguity. Graft

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    Und der Zukunft zuge­wandt. Pots­dam und der gebaute…

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    The Monument Upside Down. The City Walls of Istanbul

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    Nihilism, Art, Technology


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    The One and the Many. Contemporary Collaborative Art in a…

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    To Do List Calendar 2012

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    Radical Prototypes. Allan Kaprow and the Invention of…

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    The First Pop Age

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    101 Things to Learn in Art School

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    In The Space Of A Song. The Uses of Song in Film

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    Beyond and Before. Progressive Rock since the 1960s

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    Paul Thek Reproduced, 1969 - 1977

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    How to Design Websites

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    Fanged Noumena. Collected Writings 1987-2007

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    Territorien des Widerstands. Eine politische Kartografie…

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    Community Art: The Politics of Trespassing

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    Tower and Slab. Histories of Global Mass Housing

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    Loop

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    A Thousand Eyes. Media Technology, Law, and Aesthetics

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    Die Medien der Architektur

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    Poster Collection 23. In Series

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    Pop Song Piracy. Disobedient Music Distribution Since 1929

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    Kultur und Kritik (Heft 1, Herbst 2012) POP

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    Sensible Sammlungen. Aus dem anthropologischen Depot

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    Amateur der Weltgeschichte. Historiographische Praktiken im…

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    Touch Me! Das Geheimnis der Oberfläche

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    Visual Storytelling. Inspiring a New Visual Language

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    Capital and Affects. The Politics of the Language Economy

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    The Art-Architecture Complex

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    Establishing a Critical Corpus

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    The Sympathy of Things

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    Wir sind alle Astronauten. Richard Buckminster Fuller

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    Touch Me

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    Kunst und Design im erweiterten Feld. It's Not a…

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    Testify! The Consequences of Architecture

El Alto. Freddy Mamani Silvestre

EL ALTO zeigt die fantastische Architektur von Freddy Mamani Silvestre, die
auf 4100 Metern Höhe in Bolivien entstanden ist.
The Bolivian architect Freddy Mamani Silvestre doesn’t have an office, use a computer, or draw formal blueprints. He sketches his plans on a wall or transmits them orally to his associates. Since 2005, Mamani and his firm have completed sixty projects in El Alto, the world’s highest city, which sits at nearly fourteen thousand feet, on an austere plateau above La Paz. In the past twenty years, the economy there has burgeoned, along with an enterprising, mostly indigenous population. Mamani earned his fame building mixed-use dream houses for the city’s nouveaux riches.
Like most of his clients, and like some 1.6 million of his fellow-citizens, Mamani is an Aymara. His people have been subject to successive waves of conquest and dispossession, first by the Inca, then by the Spanish. As a young man, he worked in construction; in his early twenties, he earned a degree in civil engineering, against the advice of his family. “It’s a career for the rich,” they told him. Architecture, too, is a career for the rich. But Mamani has made an advantage of his outsider status; he designs in an Aymara vernacular of his own invention.
Each of his houses has a futuristic façade, a commercial ground floor with jazzy shop fronts, a baroque party hall on the mezzanine, a story or two of apartments, and an owner’s penthouse. This aerie is sometimes called a cholet, a pun on the words “chalet” and “cholo”—a dismissive racial epithet that cholos like Mamani have proudly embraced. Mamani’s architecture incorporates circular motifs from Aymara weaving and ceramics and the neon colors of Aymara dress, and it alludes to the staggered planes of Andean temples. But it has also been inspired by science fiction, particularly by the Transformer movies. It might be called, like the second film in the saga, “Revenge of the Fallen.”
http://www.newyorker.com/project/portfolio/high-aspirations
http://www.granser.de/news.html


Peter Granser
El Alto. Freddy Mamani Silvestre
Edition Taube, 2016, 978-3-945900-05-5