Jennifer Johung – författare

From property deeds to shipping containers to wearable shelters to virtual spaces: what does it mean to draw a spatial boundary? To be at home? In a world in which notions of place are constantly changing, Jennifer Johung looks at new constructions of staying in place-in contemporary site-specific art, digital media, portable architecture, and various other imaginable shelters and sites. Replacing Home suggests that while “place” may no longer be a sustainable category, being in place and belonging at home are nonetheless possible. By emphasizing reusability rather than fixed constructions, art and architecture together propose various systems of replacing home in which sites can be revisited, material structures can be renewed, and dwellers can come back into contact over time. Bringing together a range of objects and events, Johung considers the structural replacements of home as evident in artistic analogies of the prehistoric hut, modular homes, transformable garments, and digitally networked sites. In charting these intersections between contemporary art and architecture, Replacing Home introduces a new framework for reconceptualizing spatial situation; at the same time, it presents a new way to experience being and belonging within our globally expanded environments.

Our world is unquestionably one in which ubiquitous movements of people, goods, technologies, media, money, and ideas produce systems of flows. Comparing case studies from across the world, including those from Benin, the United States, India, Mali, Senegal, Japan, Haiti, and Romania, this book focuses on quotidian landscapes of mobility. Despite their seemingly familiar and innocuous appearances, these spaces exert tremendous control over our behavior and activities. By examining and mapping the politics of place and motion, this book analyzes human beings’ embodied engagements with their built world and provides diverse perspectives on the ideological and political underpinnings of landscapes of mobility. In order to describe landscapes of mobility as a historically, socially, and politically constructed condition, the book is divided into three sections-objects, contacts, and flows. The first section looks at elements that constitute such landscapes, including mobile bodies, buildings, and practices across multiple geographical scales. As these variable landscapes are reconstituted under particular social, economic, ecological, and political conditions, the second section turns to the particular practices that catalyze embodied relations within and across such spaces. Finally, the last section explores how the flows of objects, bodies, interactions, and ecologies are represented, presenting a critical comparison of the means by which relations, processes, and exchanges are captured, depicted, reproduced and re-embodied.

Our world is unquestionably one in which ubiquitous movements of people, goods, technologies, media, money, and ideas produce systems of flows. Comparing case studies from across the world, including those from Benin, the United States, India, Mali, Senegal, Japan, Haiti, and Romania, this book focuses on quotidian landscapes of mobility. Despite their seemingly familiar and innocuous appearances, these spaces exert tremendous control over our behavior and activities. By examining and mapping the politics of place and motion, this book analyzes human beings’ embodied engagements with their built world and provides diverse perspectives on the ideological and political underpinnings of landscapes of mobility. In order to describe landscapes of mobility as a historically, socially, and politically constructed condition, the book is divided into three sections-objects, contacts, and flows. The first section looks at elements that constitute such landscapes, including mobile bodies, buildings, and practices across multiple geographical scales. As these variable landscapes are reconstituted under particular social, economic, ecological, and political conditions, the second section turns to the particular practices that catalyze embodied relations within and across such spaces. Finally, the last section explores how the flows of objects, bodies, interactions, and ecologies are represented, presenting a critical comparison of the means by which relations, processes, and exchanges are captured, depicted, reproduced and re-embodied.

Shows how the intersection of biotech, art, and architecture are transforming the world we live inAs living matter becomes more and more the domain of art and architecture, the life sciences are enabling a major cultural and aesthetic transformation. Vital Forms explores how the intersection of biology, art, and architecture has transformed these disciplines, offering heretofore unimagined possibilities.Using numerous case studies, Jennifer Johung explores how art and architecture are reimagining life on cellular and subcellular levels. In the process, she maps the constantly evolving dependencies that exist between objects, bodies, and environments. From Oron Catts and Ionat Zurr’s Tissue Culture and Art Project, which developed “semi-living worry dolls,” to Patricia Piccinini’s imagined Still Life with Stem Cells, each chapter pairs a branch of contemporary biological inquiry with the artists who are revolutionizing it.Examining cutting-edge developments in biotechnological research-including tissue-engineering, stem cell science, regenerative medicine, and more-Vital Forms brings biological art and architecture into critical dialogue. Distinguished by its broad range and Johung’s synthesizing talents, Vital Forms makes powerful observations about how the unfolding dependencies between all kinds of matter are becoming vital to life in our age of biotechnological manipulations.