Galerie Jacksons
28.02. – 18.04.2015

Displayed in the form of a conceptual installation, Berlin-based architect duo Pierre Jorge Gonzalez and Judith Haase AAS presents Assembling, selected and assembled design objects from the Jacksons extensive collection of 20th-century designs. A natural extension of their spatial practice and influence within the 'Galerienhause', which AAS designed in 2007, the assemblage, created at the invitation of Paul and Carina Jackson, renegotiates and ultimately reassembles how we perceive and dissect objects and space. The collection of objects, ranging from traditional and minimal furniture to reconfigured objects, confronts the notion of 'assemblage' in relation to the history of modern furniture design, and explores the relationship between space and object from the perspective of an architect. Among the featured objects are Robert Wilson's "Hamletmachine Chair" (1987), Rodolfo Bonetto's Sistema Flu lamp (1980), and Stig Lindberg's "Snurrand" reversible vase candlestick (1950). Accompanying the exhibition is a publication designed by Frederic Teschner, featuring an essay by Hehl Rainer, which will be launched on the occasion of the opening of Assembling.

Credits, clockwise from left: "Time-Life" Stools, Charles & Ray Eames, 1960s and Light, Acne Studios, Gonzalez Haase AAS, Berlin 2005; "Hamletmachine Chair," Robert Wilson,1987; Luci Sistema Flu Design, Rodolfo Bonetto, 1980s, and Room, Galerie Nordenhake, Gonzalez Haase AAS with Rémy Zaugg, Berlin 2001. Photos: Thomas Meyer

Gonzalez Haase AAS, Galerie Jacksons
Created around the concept that an object finds its form only when utilised by the user, the YUHI lamp consists of geometric surfaces, indirectly lit by an internal organic light-emitting diode (OLED). Designed by architect Clemens Tissi at the invitation of NEW TENDENCY, the lamp is suitable for both tabletops and floors. The two-dimensional light produced by the thin OLED-module allows the light grey steel sheet to become a reflective source of light. Surface and light form a variable entity of two independent parts in YUHI, Japanese for “evening sun,” in turn creating graphic and spatial depictions of various modulations of light and shadow.

Credit: © NEW TENDENCY, Photo: CATK

NEW TENDENCY, Clemens Tissi
International Performative Symposium
Alte Kongresshalle, Munich

I am smart but my brain is run in California… Inspired by the hideouts of the ever-powerful Apple and Facebook in contrast to the new, overtly conspicuous offices of the Federal Intelligence Service in Berlin-Mitte, “Android Paranoid” hosts a journey through current scenarios of the future. Through lectures, performances and film screening, the event examines our vision of the days to come – sterile white rooms, the role of technology – in turn posing the questions: was the future always so quiet? What are the underlying structures, aesthetic parameters and control mechanisms of these scenarios? Do we need a new design, a new system of expression in architecture? Do we surrender ourselves to technology because that which we cannot see, we also cannot design? Futurologists, architects, critics and curators from around the world will convene to address the ambiguous influence of digitalisation on architecture and our cities, the power of “Big Data,” and smart cities and their vulnerabilities. Among the participants of the discussion: Kristoffer Gansing director of Transmediale, Berlin; Daniel van der Velden of Metahaven Design and Research Studio, Amsterdam; Dr. Jan Willmann from Gramazio Kohler Architects, ETH Zurich; Liam Young, architect and speculative thinker, Princeton, AA from London; together with music by David Letellier and film screenings by the Russian artist Andrey Yagubsky from Moscow.

Credits, clockwise from left: Andrey Yagubsky, Jan Willmann, Liam Young

Plan A, Android Paranoid
Galerie Neu
06.02. – 07.03.2015

'Am I cleaning a large room or a small room?' asks an iRobot Scooba 450 before moving about the exhibition space at Galerie Neu. Later works by the late JMW Turner are found and lost in the spinning brush, the lubricating and sucking acction of the floor-scrubbing robot. For Later Seascapes, Reena Spaulings channels the senile-visionary Turner in the robot's drone-like way of attacking the canvas like any bathroom floor, using various colours from Farrow & Ball's 'estate emulsions,' distributing the paints according to the 450's internal algorithm. For previous series of works on canvas, Spaulings has redeployed the art historian as a paintbrush. Here, the robot beomes his stand in, a black box on wheels, chatty and tireless, and capable of coating two Schnabel-sized areas on a single battery charge. Beginning with a circular motion, sensors on, the 450 spirals outwards from the center before scumbling off on jaunty diagonals, calculating the size and shape of the job, always finishing with, 'I'm finished with my job and ready for the next.'

Photos by Stefan Korte, courtesy of Galerie Neu

Galerie Neu
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