Catfish Homes: Airbnb and the domestic interior photograph

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Marlie Mul, Dirty Soap Dish (Did you mean: naughty soap dish), 2014, courtesy of the artist.

(Welcome) Home: that daily practiced space and mental image which has accompanied mankind through centuries. Ever our shelter from the rain as much as the fortress of our dwelling selfs. The abode of our constructed identities and repository of our material treasures. Home is where the day begins, home is where it ends. Enduring with the clichés, home is where we belong; where we are safe from the daily struggles of the outside world. Home is among those universally accepted places which we refer to without specifying a geographical location or a defining activity. Where are you?—I'm home. It is as simple as it spells...

Like many other social constructs which have endured through centuries, though, the home is a concept in constant change: It varies in space and time according to personal experiences, to social models, to the political forces by which it is governed. And even more so, it varies in relation to the technologies in which it is enmeshed. At present, the internet falls into that long strand of innovations which, in one way or another, leave their mark on domesticity. Whether in its fostering of global mobility or in how it has blurred boundaries between public and private, the internet is progressively diluting those typically bourgeouis traits which have sedimented over the last few centuries and which still inform our current, westernized, understanding of the home as a stable entity.

Though much is being said about the effect of the internet on daily lives, a less visible topic is how the home appears on the WWW, and how this, in turn, shapes domestic architecture. The web has, in fact, allowed for new representations of the home to proliferate, and the effects of this effusion on the spaces we inhabit are far from obvious. If, on the one hand, the home's fetishized representations in commercial online practices such as real estate websites and IKEA catalogues are now deeply ingrained cultural conventions, an entirely different "way of seeing" the home is discreetly emerging in the less polished repertoire of amateur photography.

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Solidarity after "Sharing:" Notes on Internet Subjects #1

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Enormous amounts of capital have been amassed of late under the banner of the so-called "sharing" economy, characterized by companies such as Uber and Airbnb that have garnered multi-billion dollar valuations for creating platforms in which individuals offer their services and property for rent.

Such platforms have advanced a narrative in the media that their services are emancipatory and disruptive of old-fashioned, inefficient industries, going so far as to promise "revolution" amid broken systems. But what, exactly, is being brought into existence by this revolution? And who is it for?

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Internet Subjects: #Uberwar and the "Sharing" Economy

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A scene from today's #uberwar protest in London.
 
Thursday, June 19
7pm EST, at the New Museum 
and livestreamed on rhizome.org
Free / RSVP
#internetsubjects
 
Internet Subjects is a new series of flash panel conversations. Each takes a topic chosen just a week in advance in order to discuss emerging internet subjects and subjectivities in an engaging public forum. 
 

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Art, Bed and Breakfast: The AIRBNB Pavilion

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Left to right: Bava and Sons, Coast.biz; Jon Rafman, Juan Gris Dream House; Charles Broskoski, Untitled (Iris); David Kohn architects, Carrer Avinyo; Etienne Descloux, Visitez ma tente. Photograph by Noah Rabinowitz.

If Google had a pavilion at the Venice Biennale, who would they exhibit? How would their installation compete against the Artsy auction exhibition? Would a Young Incorporated Artist feel more comfortable representing Tumblr or the USA?

Biennales have long been recognised as vehicles of internationalization and globalization in the worlds of art and architecture. Founded in 1895, with its younger sibling the Architecture Biennale following in 1980, the Venice Biennale is perhaps the most well known of its ilk. Although structured around a thematic exhibition in the imperially-named Arsenale, a significant attraction is inevitably the soft state play that occurs between the national pavilions. But in a world where the certitude of nation states is increasingly coming up against a new dominance of multi-national business, it is perhaps surprising that outright corporate pavilions aren't more of a Biennale mainstay, beyond the aggressive sponsor interests that keep national pavilions afloat.

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