The Chick House is a proposition by Petra nd Umico Niwa for utopian residential architecture inspired by nature oriented ontologies of permaculture and feng shui. The piece utilizes cognitive development techniques emphasizing the use of miniatures as tool for personal reparenting, while proposing a solar-punk future cohabitation scenario between a Japanese transgender woman and her black non-binary partner.
Conceptually, the piece ‘lives’ in Southern Spain in a sort of a- temporal speculative space. It operates transtemporally on our notions of being as it continues to rewrite our personal narratives around childhood, midlife and death, and scatters our sense of personal subjectivity as it invites the experiences of the baby chickens, the soil and manure, the elements and any other entities and streams of consciousness to contribute.
The mural on the wall pictures a view from the site in Spain and is rendered in locally produced fruits and vegetables including red cabbages, blackberries, and turmeric.
Chicks lived comfortably with their own heating, sustenance and comfort accommodations nestled in a private covered space in installation. They were returned to their breeder when the installation closed.
The chickens were added to both activate and destroy the structure which was composed as a hypersigil: a magical operation for affecting fortune. The chickens spoke to the African diasporan legacy of offering chickens to divine forces. These chicks were meticulously cared for and delightedly destroyed the installation as they peck at seeds embedded in the sculpture and rearranged the tiny furniture, adding new layers of mess, chaos and excrement.
Conceptually, the piece ‘lives’ in Southern Spain in a sort of a- temporal speculative space. It operates transtemporally on our notions of being as it continues to rewrite our personal narratives around childhood, midlife and death, and scatters our sense of personal subjectivity as it invites the experiences of the baby chickens, the soil and manure, the elements and any other entities and streams of consciousness to contribute.
The mural on the wall pictures a view from the site in Spain and is rendered in locally produced fruits and vegetables including red cabbages, blackberries, and turmeric.
Chicks lived comfortably with their own heating, sustenance and comfort accommodations nestled in a private covered space in installation. They were returned to their breeder when the installation closed.
The chickens were added to both activate and destroy the structure which was composed as a hypersigil: a magical operation for affecting fortune. The chickens spoke to the African diasporan legacy of offering chickens to divine forces. These chicks were meticulously cared for and delightedly destroyed the installation as they peck at seeds embedded in the sculpture and rearranged the tiny furniture, adding new layers of mess, chaos and excrement.