“‘Hey,’ he said, half-asleep, ‘what were you before you met me?’ ‘I think I was drowning.’ A pause. ‘And what are you now?’ he whispered, sinking. I thought for a second. ‘Water.’” –Ocean Vuong, On Earth We’re Briefly Gorgeous
For we are where we are not
(Pierre Jean Louve)
We would mainly investigate the structure of poems—a formal synthesis of the poem and the word. From this, we focused on the ways in which poetry can become architectonic.
The museum of the present, philosophically curated, processes the bizarre ability to show the constant ending of art through its swallowing by the artificiality of the super-installation. It is the only point in the system where the systems primary quality, that of being the installation of the encompassing or the artificial "total situation", can be observed as such.
The opposition between art and non-art becomes redundant. No one object can be more notable than the total installation — accordingly, exhibiting works of art is faced by competition in the exhibition of artifices that had previously lain outside of the concept of art, and finally even the exhibition of the place of the exhibitions. Thus the era of self-referential museum buildings, and even more that of self-referential spatial design in general, can begin — the containers demonstrate their claim to precedence over their content with increasingly clarity.
