Instagram story viewer> @inesweizman> Tagged

Ines Weizman

@inesweizman

2.1K

followers

721

following

@rca_soa_pgr, @documentary_architecture

POSTS STORIES REELS TAGGED

Submissions are still open for the Publication Award in Contemporary Architecture (PACA)! Coordinated in partnership with the Graham Foundation for Advanced Studies in the Fine Arts and Storefront for Art and Architecture, this award will foster transformative, bold, and carefully conceived new writing that unites rigorous research with broad readership and public engagement.

Submissions require a detailed proposal (following PACA guidelines), a manuscript sample (at least the introduction and one chapter), and a current CV or résumé. We welcome applications from architects, scholars, journalists, critics, theorists, and writers from any country.

The application deadline is November 30th. Learn more at the link in bio.

657

4

We have a DATe with Inés Weizman.

Oct. 8-9, Lo Contador UC.

🖥️ inscripciones en el link de la Bio.

🖥️ Registration: Link in Bio.

98

2

‘A Woman in Tangiers’, 1935
Ines Weizman
print on C-type gloss paper in stained beechwood frame with UV art glass
2023
edition of 24 + 1 AP
26.5 x 28.5 x 2 cm

•

In ‘A Woman in Tangiers’, Ines Weizman gives us a sneak peek into her practice of Documentary Architecture: the art of examining archival images for what they tell us about a vanished time or place.

Here she reveals “one of the treasures I keep revisiting”: a photograph of 1930s Tangiers, and shows us what’s being cut. Dutch photographer Willem van de Poll’s street scene is intended to display a timelessly North African kasbah, in which Berbers in turbans and tunics carry straw baskets and clay pots. To create this Orientalist effect, he’s removed the figure of a woman fashionably dressed in European clothes. Weizman restores the European woman to the street scene in order to suggest the real complexity of twentieth-century North Africa under colonial rule.

- ‘A woman in Tangiers: against erasure’ Ines Weizman “The European Review of Books” Issue Ten

•

enquiries: gallery@belmacz.com

3

1

Before summer, we submitted the final manuscript of the book ‘Deep White’ to Brill for printing. We can’t wait to share the 25 chapters written by a great bunch of excellent authors. The 3 peer-review reports were so helpful and constructive in the last final months of writing. With some particularly motivating statements: «This book will, I believe, come to stand as a landmark collection, sitting as it does at the intersection of critical whiteness studies, material history, and practice-based research, and addressing too the cognate fields of art history, history, architecture, film, archaeology, and conservation.».

Deep White: Unsettling White in Western Art History and Aesthetics will be available in print - and online as open access - fall 2026, as part of the book series ‘Studies in Art & Materiality’, editor-in-chief Ann-Sophie Lehmann

74

1

Charlott Weise Visible City is presented on the occasion of the artist’s debut exhibiton at Galleria Diciotto in Venice.

With illustrations imagined and inspired by the city of Venice and its history.

Texts by Ines Weizman & Federico Zanini.

Hand-bound, stamped & signed edition of 697
20 pages
16.2 x 12 cm
Printed by Damocle Edizioni Press, Venice

£18 + P&P

📷 @artdocunet

3

1

A beautiful few days of moving, sounding, and sharing.

May 19-22 “Sonic Building: Sound and Architecture”, Sanaa Building, Zollverein Unesco World Heritage Site, Essen. Collaborative initiative between the Royal College of Art (UK), EPFL Lausanne (Switzerland), UdK Berlin, and Folkwang Universität der Künste (Germany).

Many thanks for having me, to:Sound and Practice Research, Jan St Werner, Patricia Reed, Brett Mommersteeg, and Michael Akstaller
@soundpracticeresearch @fiepblattercatalogue @a.m._patricia @lignesderre @michaelakstaller
also to participants @stereosilja @glilienstern @nikolabojich @inesweizman @rca.architecture.senior.tutor @athiermann @norbertpalz
and participating student body

(these photos dont come close to capturing all that took place , all that was activated!)

3

12

Perspecta 49: Quote (2016).

Editors: Ali John Pierre Artemel, Violette de la Selle, and Russell LeStourgeon. Designers: Martha Kang McGill and Min Hee Lee.

“This issue of Perspecta explores the uneasy lines between quotation, appropriation, and plagiarism, proposing a constructive reevaluation of the means of architectural production and reproduction. Although architecture is a discipline that prizes originality and easily ascribed authorship, quotation and its associated operations are ubiquitous, intentional, and vital, not just palliatives to the anxiety of influence. These are perhaps the most potent tools of cultural production, yet also the most contested.”

Featuring Eeva-Liisa Pelkonen on the 1979 MoMA exhibition Transformations in Modern Architecture; Amanda Reeser Lawrence on the V.C. Morris Shop and self-reflexivity in the work of Frank Lloyd Wright; Ana Miljački on architectural memes and self-analysis; Sylvia Lavin on the mystery of Frank Gehry’s design of Ed Ruscha’s house; Sergio Muñoz Sarmiento on copyright law in art and architecture; an interview with Richard Rogers; Mari Lending on the preservation work of Factum Arte; Adam Lowe on the Theban Necropolis Preservation Initiative; a precedent pile by Formlessfinder; Steven Lauritano on Schinkel’s remnant vivarium; a project portfolio on WikiHouse New Haven; Ines Weizman on the house of Ernst Neufert; Demetri Porphyrios on art and architecture as palimpsest; Panayotis Tournikiotis on the eighteenth-century invention of the Parthenon; an interview with Jacques Herzog; a reprint of George Hersey’s “Notes on American Bastardy”; Xiahong Hua on the construction of Chinese architectural identity; Erin Besler and Ian Besler on the YouTube tutorial; Xenia Vytuleva on formulas for urbanism in Soviet secret cities; Fake Industries Architectural Agonism on the MoMA PS1 Young Architects Program; Elia Zenghelis on Proust and the architectural project; and Thomas Weaver on the importance of good writing. Cover of Perspecta 49: Quote (2016).

57

0

Thesis submitted!! Thank you to @inesweizman for being an absolutely exceptional supervisor, to @adrianlahoud for his amazing guidance, and to the @rca_soa_pgr RCA Architecture PhD programme.

171

40

mastered performative reading in public

51

3

The full moon brings:
the hand over of ‚Visible City‘ accompanying my upcoming show in Venice

hand-sewn by the magnificent Pierpaolo @bookshopdamocleedizioni who stitched all 697 booklets with red ‘ombra’ thread. Co-published by Damocle and @belmaczlondon. I am much grateful to Belmacz for their inception in this endeavor

mille milioni grazie to @inesweizman for her illuminating fragments that pass through the public layers of Venezia together with my ink

as well as to Federico Zanini @ galleria Diciotto who wrote a fantastic piece on my paintings of this show in his stunning space

milioni baci to @emmakasyan @ava_mallory @philip_lavie for their spirited guidance and help

& @mondriaanfonds for all their support

Vediamo a Venezia !

—

Charlott Weise: Visible City
an offsite project curated by Federico Zanini

Sunday 3rd May - Saturday 4th July 2026

preview: Sunday 3rd May, 5pm - 7pm
inauguration: Wednesay 6th May, 6pm - 8pm

opening times: Monday - Satuday, 11am - 6:30pm (and by appointment)

Galleria Diciotto
Rio Terrà della Mandola 3795
30124 Venezia

#visiblecity

36

3

Perspecta 45: Agency (2012).

Editors: Kurt Evans, Iben Falconer, and Ian Mills. Designers: Zak Jensen and Mylinh Trieu Nguyen.

“Today, we believe that it is not enough to be an architect, to have mastered the most recent technology, or to be fluent in the current theoretical language. What secures the discipline now is the mission beyond the archaic job description: to build strategic alliances; to restructure after catastrophe; to diversify our portfolio; to be entrepreneurs.”

Featuring Eeva-Liisa Pelkonen on the trajectory of Kevin Roche; an interview with Nader Tehrani on the design of three schools of architecture; Ines Weizman on the dissident-architect; Jaime Lerner on agency amidst rapid urbanization; Urban Think Tank on the need for conversations with the Global South; Stefano Boeri on architecture as politics; an interview with Peter Eisenman on the Institute for Architecture and Urban Studies; Michael Osman on the managerial aesthetics of concrete; Darryl Collins on Vann Molyvann; an interview with Vann Molyvann; Enrique Ramirez on the aerial view of Pax Americana; Rania Ghosn on externalization and the erasure of geography; an interview with Victor van der Chijs on OMA; Bjarke Ingels on public space; a series of photographs by Jan Kempenaers on Yugoslavian monuments; Andrew Shanken on cybernetic urban planning; Keller Easterling on the financial instruments that suddenly become buildings again; an interview with Timur Galen on working with clients; Pierluigi Serraino on the personality profiles of architects; Thomas Auer, Joshua Vanwyck, and Erik Olsen on sustainability beyond LEED; Preston Scott Cohen on architecture as an instrument; and Ariane Lourie Harrison on Le Corbusier and Thonet. Cover of Perspecta 45: Agency

46

0

📢 On Thursday at 3pm we will be joined by Lebanese-Lithuanian architect, visual artist, and photographer @ieva.saudargaite.douaihi in room 801A on the Kensington Campus. 📢 Photograph @ieva.saudargaite.douaihi - Design @jonilettmann / "BEIRUT: Seeing Before, Looking After" traces Ieva Saudargaite Douaihi's long-term artistic and architectural engagement with the city of Beirut. Bringing together years of photographic documentation and material research, the talk reflects on practices of attentive looking—before and after rupture—within a landscape shaped by layered histories and ongoing instability. Moving between image-making and spatial thinking, Douaihi examines how Beirut’s urban fabric, as well as villages across Lebanon, bear the marks of destruction, endurance, and transformation. The presentation unfolds as both a personal and critical meditation on witnessing: on the difficulty of seeing amid loss, and on the role of artistic practice in holding memory, absence, and the fragile possibility of renewal.

3

0