Mimi Zeiger

Critic, editor, curator and instigator.

La carretera que conduce a Palm Springs es una salida polvorienta y complicada de la autopista transcontinental 10. Un ejército de gigantescas turbinas eólicas a ambos lados de la State Route 111 en California domina el paisaje desértico, con sus hélices cosechando diligentemente energía para la red eléctrica. La grava y la arena hacen remolinos sobre el asfalto de la carretera que rodea la base desmoronada del monte San Jacinto. Ésta es la puerta de entrada (nada prometedora) al valle Coachella y su afamado centro turístico, y, como la señalización de la carretera anuncia, a “otras ciudades del desierto” con nombres que evocan al místico y árido Oeste: Cathedral City, Rancho Mirage, Indian Wells, Bombay Beach.

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Billed as ‘the first NFT house in the world’, the Mars House is a tenuous entry into the architectural cannon. The project by Toronto-based digital artist Krista Kim is one of an increasing number of ‘non-fungible token’ works of art made to be bought, sold and collected online and authenticated via blockchain technology.

A home that will never be lived in, Kim’s NFT offering is a moody visualization rendered by Mateo Sanz Pedemonte using the video game software Unreal Engine. It depicts a structure sitting in an otherworldly landscape of supposedly Martian red mountains. We are given the barest hints at possible enclosure: a rectangle of digital glass impossibly transparent with no depth or reflection. The ghost façade bears the fingerprints of all vitreous abodes that came before – Mies van der Rohe, Philip Johnson, Pierre Koenig, etcetera. A thin, abstracted roof evokes Ed Ruscha’s Burning Gas Station (1965-66). The swimming pool is Hockney blue. The water ripples to a soundtrack composed by Smashing Pumpkins’ Jeff Schroeder.

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