this is a continuation of an earlier interview

ArchivingtheCity: I’m talking to people about their practice; people who I think of loosely as having any kind of archival practice, and who are connected to or interested in the experience of living in cities. I want to find out about their “process.” So we can talk about some your projects that I saw on your website—

Hakan Topal: Do you want me to talk about the collective first, a little bit?

A: Sure!

H: We started this collective when I first moved to New York, from Ankara. I had a very close friend and we were doing these projects together, traveling to different sites in Turkey doing photography. And I collaborated with him on multiple projects prior to the collective. Actually, he was my kind of mentor, my professor, at one point. And so when I moved to New York, we were discussing and exchanging things online, and then we said why don’t we establish a kind of a platform to work together? You know, like very loosely? Then [at the same time] things in Turkey started to happen, like it always happens, but for us it was a kind of turning point. One of them was the 1999 earthquake. I feel lots of similarities between [the earthquake and] what happened in New Orleans with [Hurricane] Katrina. It betrayed the very condition of the state apparatus. Although the state collects all this money, and claims that it provides security for people, when the time comes that people really need help, the state is not there.

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Art flies around truth, but with the definite intention of not getting burnt. Its capacity lies in finding in the dark void a place where the beam of light can be intensely caught, without this having been perceptible before.

Franz Kafka, The Blue Octavo Notebooks

I need sticky things. Ideas that are flexible, malleable, with plastacine qualities; things that can keep sticking to other things, that can be used to build SCULPTURES, not structures

What  is the difference between a structure and a sculpture? forms we can mold, assemble improvisationally–forms with feeling. I want to make flexible sculptures that can mold into/onto places, that can mold around corners, that can mold into the parts of the city I care about, that can become real in the world in a particular way—that can take the shape of the world.

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At one time, almost all American TV programs were filmed in midtown New York.

Here is Leonardo Da Vinci’s letter to the Duke of Milan, advertising all of his skills and services, good for times of both war and peace. Talk about creative destruction of the city. An interesting CV for the painter of the Mona Lisa.

If your medieval Latin isn’t great, click below for the translations:

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lartigue_hydroglider

From the diary of the artist as a young boy:

All the pretty or curious things give me so much pleasure. Thanks to photography, I can hold them.

“By miniaturizing the world through his passion for photography, Lartigue could hold everything, even himself, like a toy.”
– from Reading Boyishly, by Carol Mavor

barricade1

On 14 december, 2009, on Stout Street, between Lambton Quay and Ballance Street, in the center of Wellington, New Zealand, there was a pile of rubbish blockading the entire road and making the street impassable for cars, pedestrians and cyclists. This impromptu blockade was a “One Day Sculpture” called Journee des Barricades by British artists, Heather and Ivan Morison. According to the artists’ statement:

Car wrecks, discarded furniture and other urban detritus barricaded a central city street in Wellington, New Zealand on Sunday 14th December 2008.
The temporary public artwork entitled Journée des barricades acts as a rupture in the everyday comings and goings of the city. In its barricade form, the sculpture might suggest associations with the history of political actions and social unrest, but as a collection of discarded consumer products it may also bring to mind questions about our environmental and economic future.

barricade3

This street art in Wellington looks eerily like the streets of Naples looked last year (though probably not as smelly, and certainly not for the sake of art).

garbage_naples_01
This artists’ collection of urban detritus also reminds me of the work of Walter Benjamin, especially the Arcades Project. (more…)