London, England (United Kingdom)Website
Amy Kulper is the director of the Bartlett School of Architecture, University College, London where she is a professor of architecture. She is an architect, theorist, and curator whose teaching and research focus on the intersections of history, theory, and criticism with design. Her current design research explores the politics of space through the lens of presentism. Her work has been published in journals such as Log, ARQ, The Journal of Architecture, Architecture and Culture, and she has co-curated exhibitions at the Carnegie-Mellon Museum and Roca London Gallery.
PROPS SUPPLY is a multi-hyphenate creative team working across architecture, art, and design, helmed by Lucy Siyao Liu (she/they) and Matthew Bohne. Established in 2021, they specialize in storytelling, spatial experiences, and world building for collectives and like-minded individuals. Their work has been published and exhibited internationally in places like the Architectural Review, Dallas Museum of Art, Documenta, Moderna Museet, Carpenter Center for the Visual Arts, and Beijing Design Week.
Together, Amy Kulper and PROPS SUPPLY are collaborators on Accoutrorama, a portmanteau of accouterments and diorama, examining the racial violence at the heart of the Capitol Insurrection, and the role that architecture, and more broadly, the politics of space, played in the events that unfolded that day.
Chicago Cultural Center
78 East Washington Street, Chicago, IL
The Chicago Cultural Center serves as one of the main exhibition venue sites for CAB 5, featuring projects from more than 80 participants from ten countries.
Opened in 1897, the Chicago Cultural Center is a Chicago landmark building operated by the Chicago Department of Cultural Affairs and Special Events and is home to free cultural exhibits and programming year-round.
The title of Accoutrorama is a portmanteau of accoutrement and diorama, and the work examines the racial violence at the heart of the Capitol Insurrection on January 6, 2021 by looking at the role that architecture and, more broadly, the politics of space played in the events that unfolded that day. Within the larger biennial theme, Accoutrorama frames the concept of rehearsal within the discourse of racial violence in America, in which each time racial violence erupts— from the Chicago riots of 1919 to the Capitol Insurrection in 2021— it is treated as a singular instance, an exception. But racial violence in America is pervasive, and the Capitol Insurrection is merely one of the most recent and spectacular instances of its sustained eruptions.
In the aftermath of the insurrection, the various objects, artifacts, and accoutrements that were recovered will be a part of the future historical narrative. Will these objects be presented as evidence during the House Select Hearings and the trials of the over one thousand people arrested and charged with everything from assault to obstruction of an official proceeding? Will they be accessioned into the collection of the Smithsonian Museum of American Art as historically significant artifacts? Accoutrorama places these vestiges in dialogue with their contexts through the format of the diorama. While the diorama evokes the tidiness and safety of a world of our own making, the surreptitious details in this staging of the politics of space arouse the horror of perennially experiencing racial violence in America.