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Since 1984, the University of Michigan (UM) Taubman School of Architecture and Urbanism has welcomed Taubman Fellows into its ranks, teaching history, theory, and studio work while cultivating their own academic interests. This year’s students – Strat Coffman, Salam Rida, Anna Mascorella and Alina Nazmieva (Alina Nazmeeva) — An immersive exhibition takes place at the Liberty Studies Annex and Gallery in downtown Ann Arbor, a converted brick-and-mortar multipurpose building owned by the University of Michigan. Exposed hardware, photography from fascist Italy, the immersive world of game engines and domestic ephemera are all present.
In the Free Study Annex and Gallery, Kofman, Rida, Mascorella and Nazmyeva created four installations in a group exhibition, Contact point. Exhibition by Salam Rida, Welcome home, situated at the intersection of housing policy, historical narratives and social structures.Rida creates a detailed timeline for visitors to inhabit on their own, telling the story of housing discrimination in America
A work by Strat Coffman titled universal erotica,Is a”Somewhere between an electrical petting zoo and a softened workplace break room,” says the artist. There, Coffman employed traditional appliances found in homes across the United States, such as push plates, door frames, doorknobs, and handrails, to challenge visitors to rethink the way they interact with architecture.
Anna Mascorella’s work tells the architectural story of Fascist Italy. Settling Rome Mascorella spoke of families who witnessed the displacement and resettlement of Rome during the fascist regime’s redesign. Mascorella details the public housing developments built under Mussolini through maps, photographs, administrative records, and architectural drawings. Mascorella revealed in total 4,113 people displaced by Mussolini’s regime between 1933 and 1934 and resettled in Borgata Gordiani.
Alina Nazmeeva’s installation is titled Bugs in my software. There, Nazmyeva designed a colorful carpet for visitors to stretch out and wear immersive headphones. Bugs in my software Guests are invited to put on their goggles and immerse themselves in a verdant game engine filled with leaves and insects. The installation merges the physical and digital worlds into one, while raising difficult questions about gender, class and artificial intelligence, as well as broader issues of exploitation in global supply chains. “Since at least the Industrial Revolution, working with fiber, thread, weaving, sewing, embroidery, quilting, knitting has largely been considered a domestic ‘low art’, or a low-paying, female-dominated job. Work in the Lord’s factory, whether in the Southern or Northern Hemisphere,” Nazmyeva wrote in her artist statement.
Nazmieva continued: “Textile labor has historically been devalued and predominantly female, but finds echoes in the gendered design of artificial intelligence: voice assistants, care robots and virtual assistants, which often use voices, Feminine in form and function. They are designed to be docile, soothing, accommodating and always available.”
Part game design, part online feminist manifesto, Bugs in my software is a contemporary work rooted in the science fiction thinking of Ursula K. Le Guin. Nazmieva continued: “There is definitely a pattern in technology where more female AI and female robots are being created and imagined in popular culture because these machines tend to perform jobs associated with women… Rethinking the workforce , the tension between gender and technology, Bugs in my software Combine physical textile installations with speculative ecosystem simulations. The work can be experienced in extended reality and seen on screens scattered across the landscape. “
Contact point On view at the Liberty Studies Annex and Gallery until March 23, 2024.
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