Felicity Scott

  • “IN SEARCH OF EXPO 67”

    On the occasion of Canada’s Sesquicentennial, the Musée d’Art Contemporain de Montréal will revisit Expo 67, the now-legendary centennial celebration launched in April 1967 in this Québécois city with the theme “Man and His World.” Recalled less for its universalizing humanist ideals than for its dramatic architectural structures and experimental cinematic and multimedia works, Expo 67 presented an optimistic world filled with megastructures, multiscreen environments, monorails, and other media-technical innovations whose technofetishism, like

  • “Architecture of Life”

    BAM/PFA celebrates the opening of its new building by Diller Scofidio + Renfro with this epic presentation of more than 250 artifacts that sit at the nexus of art, architecture, and life itself. Encompassing a heterogeneous array of objects drawn from the history of music, science, craft, religion, and experimental design, among other cultural practices, the show and its multiauthored catalogue speak to architecture’s varied connections to “forms of life.” Viewed in the context of DS+R’s remarkable structure, for which the New York–based firm sliced through an old

  • LIMITS OF CONTROL: RAIN ROOM AND IMMERSIVE ENVIRONMENTS

    “DON’T RUN!” exclaimed a Museum of Modern Art press rep, as a young woman who had entered the field of falling water in Rain Room, 2012, began to take flight and was promptly soaked. Other visitors were evidently more comfortable within the setup of this“carefully choreographed downpour,” as the museum called it, wandering playfully within the interactive environment and marveling at the way in which the dense field of water droplets paused in the vicinity of their bodies, as if they had stopped the rain. But what was the fleeing woman responding to, consciously or otherwise, within this enormously

  • Superstudio

    “Superstudio: Life Without Objects” offered a timely lesson in architecture as a form of nonviolent yet nonetheless destructive guerrilla warfare. Initiated by the Design Museum, London, and distributed among three venues in New York, the exhibition brought together work from more than a decade of intense polemical experimentation by the Florence-based Superstudio group, founded in 1966 by Adolfo Natalini and Cristiano Toraldo di Francia and later joined by Roberto Magris, Gian Piero Frassinelli, Alessandro Poli, and Alessandro Magris. The show included drawings, sketches, sculpturelike Histograms,