Mimi Zeiger

Critic, editor, curator and instigator.

The gesture was more graceful than the act. With one generous flick of the wrist I sent the paperback sailing across the room. The book, The Age of Earthquakes: A Guide to the Extreme Present, is a small volume tri-authored by an intellectual supergroup: novelist and artist Douglas Coupland, international curator Hans Ulrich Obrist, and cultural critic Shumon Basar. In wry deference to its subject, the cover is inked in an oil slick chromo metallic. As Earthquakes arced from the couch to the closet door, which it hit with a thud before dropping to the floor, light reflected off its glistening surface, giving the appearance of a salmon spawning upstream.

(For the record, S,M,L,XL also boasts a silver cover, but I can’t imagine throwing the six-pound tome very far. Earthquakes, by contrast, is lightweight at 7.8 ounces).

When it landed, facedown, pages splayed and pressed against the floor, the half-light of the living room lamps seemed to illuminate a mysterious object. An alien ship crash-landed on oak boards. And so it sat there for a few days. Until my irritation with leaving a book on the floor trumped my irritation with the book itself and I picked it up. Read More …

The day before the 2012 Venice Architecture Biennale opened to the public, Wolf D. Prix, COOP HIMMELB(L)AU’s resident avant-gardist issued a statement to the press. Rebuking the curators for banality in the face of crisis, Prix’s missive evokes a colourful vision of architects packed into a sinking gondola, a metaphor for the discipline’s “powerlessness and irrelevance.” And his prickling has a target. “Politicians and project managers, investors and bureaucrats have been deciding on our built environment for a long time now,” he writes. “Not the architects.” Meanwhile, deep in the Biennale, Public Works: Architecture by Civil Servants, OMA’s contribution to Common Ground, counters the Austrian’s lament.

Public Works celebrates the bureaucrat. Read More …