Mimi Zeiger

Critic, editor, curator and instigator.

The living city. It’s a phrase or a variation on a phrase you’ve probably heard dozens of times to describe the urban realm. Perhaps we use the living descriptor because we like to anthropomorphize evolutionary processes; take Jane Jacobs’s iconic title The Death and Life of Great American Cities as an example. Or maybe it’s because cities are seething with people—the churn of humanity on the streets. Here, we can look to The Social Life of Small Urban Spaces, William H. Whyte’s seminal sociological study of public space for a titular equivalent. For sure, the life metaphor has sparked imaginative discourse: cities walk (Archigram) and go a bit mad (Koolhaas), but as digital devices and technological infrastructures increasingly mediate the way we live in cities, the language by which we describe urbanism shifts accordingly. The city is less akin to organisms and more to software, thus subject to coding, versioning, and hacking, like any computer program. Read More …

In late November, Barcelona-based Portuguese artist Carlos Bunga took over the lobby of the Hammer Museum in Los Angeles, installing an architecturally scaled artwork made out of his signature materials: cardboard, packing tape and paint. The site-specific sculpture, which fills two walls adjacent to the museum’s semi-monumental staircase, is enigmatically entitled Landscape (2011) and is part of Hammer Projects: Carlos Bunga, a show that includes not only the installation but also a selection of Bunga’s drawings, paintings, sculptures, and videos dating from 2002 to 2008. The title conforms to a naming conceit reserved for visual artists and poets. Everyday vocabulary is held up for more specific inquiry. Language vagaries are turned over and over for multiple readings. Read More …