While much has been written about Donald Judd’s rise in the United States, particularly in New York during the 1960s, his early exposure in Europe has remained largely overlooked.  Meer

Since the 1960s, art and architecture have experienced a series of radical and reciprocal trades. While artists have simulated ‘architectural’ means like plans and models, built structures and pavilions outside art institutions, or intervened in urban and public spaces, architects have employed ‘artistic’ strategies inside art institutions, in exhibitions, biennales and art events.  Meer

Architecture has always been found in a space between its economic and cultural values. As distinct from the intrinsic values attributed to the visual and performing arts, literature and music, architecture's values are often seen to be compromised by, or contingent upon, forces outside of the discipline—on property prices, real estate markets and the vicissitudes of local and global economies.  Meer

Pavilion Propositions addresses the contemporary pavilion phenomenon and those often temporary and functionless architectural structures commissioned and exhibited by art institutions around the world (including the annual Serpentine Pavilion in London, Young Architects Program in New York and the MPavilion in Melbourne).  Meer

What is the place of Critical Realism today, given the fact that both realism and commitment in art have become highly problematic notions since at least several decades?  Meer