Questions and forms of being alive, living, inhabitation, space, time and distance are entry points to Begin Again, Begin Again. The house on Kings Road is considered as matter in space conjoined with memories. R.M. Schindlers house becomes an
evocative object and in turn, a generative node. Jumping off from psychologist Sherry Turkles definition
of evocative objects as things we think with, yet have an emotional valence, artist Renée Green probes this notion to explore
things and people we feel and think with, as well as spaces and places that generate conditions for feeling, thinking and
wonder. Stories grow and multiply out of the evocation. Objects, spaces, and placesin addition to specific times and datesalso
resonate in this exhibition, suggesting an ongoing process. All elements become characters in an emerging narrative encountered
through forms. During the second decade of the twentieth century Rudolf M. Schindler arrived in the US. He began searching
for his form of living and inhabitation and never returned to Vienna after his arrival in 1914. During the last decade of
the twentieth century the American-born Green as well continued searching for a form of living and inhabitation. For many
years of that decade, she did so in Vienna. Green then returned to the US in the twenty-first century to continue the search.
One was an architect, the other an artist, both with affinities for space. What did and may emerge from the coordinates Vienna
and Los Angeles? Both locations provide a nexus for thinking about relations to the experience of many modernities and what
exceeds them. These and other questions emerge via the combination of works and processes engaged during the exhibition. In Begin Again, Begin Again, Green continues to play with variables of time and location, space and things, amongst reflections on relays, delays, movement,
exile, migration, displacement and reinvention, all allowing for the contemplation of what arises amid particular combinations
in a variety of conditions. Resonant with her recent book Other Planes of There (Duke University Press, 2014), the exhibition will feature both new productions in combination with Greens growing
repertoire of spatialized works and films. Included will be Imagine This Whereverand Whoever You Are (2008), an immersive audio work; the film Climates and Paradoxes (2005), shot in Einsteins Caputh summer house designed by Konrad Wachsmann before either of their migrations to the
US; and Code: Survey (2006), a project which began as an experiment in how urban and architectural space can be animated in relation to how varieties
of people may experience and feel in their passage through it; Code: Survey, commissioned by CalTrans, exists in its downtown Los Angeles headquarters within the Morphosis-designed building, yet its
online dimension can be tested and engaged worldwide and provides another node for contemplation in the exhibition and its
encounter in Los Angeles. What emerges in Begin Again, Begin Again are questions and provocations about relationships to time and spaceencountered inside and outside of the Schindler
Houseas evoked within the cosmos of this exhibition.
The MAK Center for Art and Architecture, Los Angeles, founded in 1994, is a contemporary, experimental, multi-disciplinary
center for art and architecture and is based today in three of the most important houses by the Austrian-American architect
Rudolph M. Schindler. The core of the programming includes the internationally sought-after MAK Artists and Architects-in-Residence Program, an annual residency program for emerging international artists and architects.