Mauricio Rafael Duk Gonzáles, Richard Hoeck, Kobe Matthys, Jose Pérez de Lama
Mon, 01.10.2001–Thu, 28.02.2002
MAK Center for Art and Architecture, Los Angeles, USA
The activities took place at a variety of venues including: the Mackey Apartments Garage, 1137 - 1141 South Cochran Avenue,
Los Angeles, CA; the MAK Center for Art and Architecture L.A at the Schindler House, 835 North Kings Road, West Hollywood,
CA; the Flor y Canto, an autonomous community center, 3706 N. Figueroa Avenue in the Highland Park section, Los Angeles, CA.
Mauricio Duk, from Mexico, presented "The Un_Invited," a structure designed as a temporary extension of the Schindler House
through the continuation of frames and spaces derived from the original scheme for the house. Building upon the
"ruins" of a former Martin Kippenberger installationa subway shaft from the artists "Metro-Net" seriesa
fifteen-foot bamboo and canvas tower arrived without invitation. The tower was linked to the Schindler House by an artificial
green wall that formed a new patio through a continuous "folding" of the existing courtyards. Inspired by concepts of defragmentation
and reinterpretation both philosophically and architecturally, Duk made the viewer aware of the shift from the intimacy of
the horizontal-private scheme to the exposed vertical-public one whose exterior elicited a response to Hollywoods estrangement.
Dualism was invoked by a semi-buried chamber for meditation in the interior and a showcase to screen images of the former
inhabitants life and metaphors of the "unhomely" in the exterior. It was a place where Schindler shook hands with Sigmund
Freud, Ludwig, Wittgenstein, and Arnold Schoenberg.
Established on October 1, 2001 and running until February 28, 2002, Lobby in Rear was a project by Richard Hoeck
in collaboration with Agency (Kobe Matthys). Much of the discourse about architecture today addresses the initial plan and
design and emphasizes the intentions and ideas of the architect. The activities at Lobby in Rear sought to counter
this by focusing on how an environment was used after the realization of an architects plan. Thus, the garage behind
the Mackey Apartments was turned into a lobby for activities focusing on the uses of architecture and urbanism.
Lobbies are usually related to sites like train stations, airports, hotels, office buildings, or large apartment buildings,
rather than houses. Furthermore, lobbies are designed for clinically clean display, assignments, information, and retail.
They also, however, often serve as temporary shelters and as space for social encounters. In the weeks leading up to the exhibition,
the Mackey garage lobby was the site for such events as: A birthday party; garage sale and barbecue; lecture by
architect Marie-Paul MacDonald on rock-and-roll spaces; lecture by homeless activist Ted Hayes; documentary screening on the
game of cricket as it was played on the Trobriand Islands; video screenings by artists Raymond Pettibon and Bruce Yonemoto;
live concerts by Strange World Carnival and Rebel Rebel; screening of political films that paralleled the demonstrations at
the European Summit in Brussels; a fund-raiser for Zapatista party projects in Mexico; screening of Ed Ruschas 1975
film Miracle; and electronic sounds from La Paz, a hip-hop collective, and m.signe of NY-based Soundlab, which were broadcast live through
the Mountain Radio Project.
In his project, "Some Ideas for an Anarchist/Zapatista Urbanism," Spanish-born Jose Pérez de Lama conducted research into
the new ways of being in space and time that he perceived were taking place in Los Angeles. He presented his project in two
formats video and a web site: http://home.earthlink.net/~osfavela2002. Approaching Los Angeles as a "post-metropolis
urban laboratory, global, digital, and multi-cultural in aspect, Pérez de Lama utilized his web site to present a rhizome
of interconnected writings, images, and maps. Among his texts were an exchange of e-mails about Los Angeles, an essay entitled
"Los Angeles, Sunshine or Cyberpunk?," which discusses ambivalent perceptions of the city, and "From the Rear Mirror," a discussion
of cultural-urban critiques, by critics such as Reyner Banham, Mike Davis, Norman Klein, and Edward Soja. Other essays considered
architectural innovation in Los Angeles, spatial issues in films about the city, "cyberpunk fiction by author William
Gibson, and an exploration of Anarchist Geographies, a concept based on the protests during the 2000 Democratic
National Convention. Pérez de Lama also screened his video The E.Z.L.A. Takes Rudolf Schindlers Kings Road, or Whatever Happened to Rudis Promise for America? produced by El Retorno de la Columna Durito (Jose Vergara and J. Pérez de Lama, 2002).