Feature, 03.09.2015

Paul McCarthy
Schinkel Pavillon
11.09. – 22.11.2015

Paul McCarthy - Horizontal (2012), Platinum silicone, fiberglass, aluminum, stainless steel, natural hair, pigment, paint, wood door with laminate, wood sawhorses 102.9 x 268 x 90.5 cm  Photo: Fredrik Nilsen Courtesy Paul McCarthy and Hauser & Wirth

Paul McCarthy – Horizontal (2012), Photo: Fredrik Nilsen, Courtesy Paul McCarthy and Hauser & Wirth

On the occasion of Berlin Art Week a solo exhibition by US-American artist Paul McCarthy will be presented at the Schinkel Pavillon. McCarthy confronts the viewer with scenarios of raw reality via events transmitted by film and television, exploring the tension between the surface of the transmitted images and their invisible, unsettling origins, particularly with reference to the Hollywood film industry and American pop culture. Employing such diverse media as photography, drawing, painting, sculpture, video, performance, and installation, McCarthy confronts appearances with reality, taking on the contradiction between taboo and spectacle. McCarthy’s point of reference remains the human body, which he sets (often through his own performances) in relation to socially established conventions and calls into question – both through sculpture and directly, in his actions – as a figure in space. The body, (living-) space, and the object are central to the work presented at the Schinkel Pavillon, which is oriented around themes of waking and sleeping, life and death, presence and illusion.

Paul McCarthy
Opening: 11.09.2015
Schinkel Pavillon

Feature, 25.08.2015

A SPACE IS A SPACE IS A SPACE
Deutsches Architektur Zentrum
11.09. – 08.11.2015

Dense City ©Joanne Pouzenc

Dense City / Photo: © Joanne Pouzenc

How to rethink space and matter? – a question posed by the Bureau des arts plastiques et de l’architecture and the Deutsches Architektur Zentrum DAZ in the context of their collaborative project “In Extenso – Erweitert”. Three invited French curators – Karima Boudou, Céline Poulin and Agnès Violeau – teamed up within the program “Jeunes Commissaires” to approach the answer within a performative and narrative exhibition titled A SPACE IS A SPACE IS A SPACE in Berlin. To probe notions of social context, public space and performance as possible discursive platforms, the curators worked with artists, architects and writers – including Kader Attia, Rosa Barba, Jason Dodge, Jean-Pascal Flavien, Jimmie Durham, Markus Miessen, Joanne Pouzenc, Michael Riedel, Vanessa Safavi, Rosemarie Trockel and Clémence de la Tour du Pin. The exhibition, accompanied by a lecture and performance programme, includes the launch of a special edition of the art and literature magazine JBCQVF addressing concepts such as participatory democracy, anthropological space and “idleness” as described by Giorgo Agamben.

Collage I

Rosemarie Trockel, “German Issue”, 2014 © Rosemarie Trockel, VG Bild-Kunst, Bonn 2015 Courtesy Sprüth Magers; Clémence de la Tour du Pin. butyougotolooklikedevilhorns, Printed document, magnet on fridge (w. Antoine Renard) 2015; Kader Attia, “The Modern Genealogy” 2012- 2015, Courtesy the artist, private collection and Galerie Krinzinger

A SPACE IS A SPACE IS A SPACE
Opening: 10. September 2015, 7 pm

Deutsches Architekturzentrum DAZ
Köpenicker Str. 48/49, Berlin

Project, 22.08.2015

NORDWIND FESTIVAL
Balagan!!! – Zones of Resistance
14.11. – 23.12.2015

AES+F, Still from 3-channel HD video installation Inverso Mundus (The World Upside Down), 2015

AES+F, Still from 3-channel HD video installation Inverso Mundus (The World Upside Down), 2015

The 6th edition of the NORDWIND Festival, with its focus on exploring the North European and Baltic performing arts scene, will also throw a spotlight on Russia and other countries of the former Soviet Union this year. Under the title “BALAGAN!!! – Zones of Resistance” Artistic director Ricarda Ciontos presents performances, choreographies and installations by some of the most exciting artistic teams and directors from Northern and North-Eastern Europe such as Oskaras Koršunovas, Stina Nyberg, Verdensteatret, Mungo Park and Elina Pirinen. A special program concentrating on contemporary performance in Russia will show controversial, innovative and formally sophisticated productions by artists such as Dmitry Krymov, Mikhael Patlasov, Olga Jitlina and Petr Pavlensky. “BALAGAN!!! – Contemporary Art from the Former Soviet Union and Other Mythical Places”, an exhibition taking place in three venues across Berlin, will feature works by over 50 artists as well as the first retrospective outside Russia of Vladislav Mamyshev-Monroe (1969-2013), comprising his paintings, films, photography and performance.

Since its foundation the biennial NORDWIND Festival has been continuously expanding its interdisciplinary program in terms of output, structure and ambition. This year it will take place in Berlin, Hamburg, Dresden and – for the first time – in Bern. Performance and exhibition venues in Berlin include Volksbühne, Sophiensæle, Max Liebermann Haus and KühlHaus Berlin.

www.nordwind-festival.de

Feature, 19.08.2015

By Artists for Artists
Benefit Auction for the Schinkel Pavillon
19.09.2015 + 17.10.2015

Isa Genzken, Weltempfänger, 2013, courtesy the artist and Galerie Buchholz, Cologne and Berlin // Robert Longo, Untitled (Tiger Head 3), 2011, Courtesy the artist

Isa Genzken, Weltempfänger, 2013, courtesy the artist and Galerie Buchholz, Cologne and Berlin // Robert Longo, Untitled (Tiger Head 3), 2011, Courtesy the artist

The Schinkel Pavillon – which opened in 2007 – is one of Berlin’s most important exhibition spaces for contemporary art. It is currently in urgent need of support for its preservation, expansion, and long-term planning. To this end, 54 internationally renowned artists have donated artworks for the benefit auction, ‘By Artists for Artists’, among them are John Baldessari, Paul McCarthy, George Condo, Fischli/Weiss, Isa Genzken, Andreas Gursky, Philippe Parreno, Cindy Sherman, and Rosemarie Trockel. The auction and preview will take place at Villa Grisebach, followed by a second round in October at Christie’s in London. The funds raised by the auction will generate the financial basis for Schinkel Pavillon that will allow it to maintain the high quality of its programme and carry out its exhibition calendar for the upcoming years. In addition, the exhibition space will expand to include another floor. Through extensive and much needed restoration, the Schinkel-Klause, made famous under Erich Honecker, will be returned to life as a meeting place and an interface for performance, installation, artist’s talks, lectures, and art education. Information about the auction, including a complete list of works, is available at www.schinkelpavillon.de

Villa Grisebach, Berlin
Auction 19 September 2015, 5 p.m. / Preview 7–18 September

Christie’s London
Auction 17 October 2015, 1 p.m.

Interview, 18.08.2015

Summer Reading Picks
Melancholy and Architecture: On Aldo Rossi

With “Melancholy and Architecture: On Aldo Rossi”  by Diogo Seixas Lopes we learn about obligations to express, “that there is nothing to express”. An interview with the author, who met Rossi by means of a misdemeanour…

Diogo Titel II

San Cataldo, Photo: Nuno Cera

Italian architect Aldo Rossi (1931–97) is, without question, one of the most influential architects of the second half of the 20th century.  In your book titled “Melancholy and Architecture: On Aldo Rossi” – recently published by Park Books and celebrated by the critics – you look at the significant contribution the architect has made to architectural discourse, offering a new perspective on the long cultural history of melancholy. How did you meet Aldo Rossi?

Diogo: My first memory of Aldo Rossi is stealing a pocket monograph of his work published by Gustavo Gili, in the early 1990s. It was a childish stunt, in a bookstore that was setting up shop at the architecture school in Lisbon. I did not know much about architecture, but at least I recognised the name of the architect. Maybe I was drawn by the image of the cover, which I think was the Teatro del Mondo. If I were to believe in certain kinds of biographic explanations, and that is not the case, I met Rossi by means of a misdemeanour.

While the influence of melancholy on literature and the visual arts has been extensively studied, its presence in architecture has been largely overlooked.  Why did you choose to shed light on this specific dark side of architecture?

Diogo: Aldo Rossi frequently mentioned a text by Raymond Roussel, explaining how he had written some of his books. Roussel describes a very methodical process, while his works are anything but clear-cut. A lot of the choices I made, or for that matter anyone else in a similar situation, were of technical nature. Choices of structure and content, choices of form really. True, I was also drawn by a personal proclivity for certain states of mind. And then, the idea to portray Rossi as a dark star of architecture. But, as it is often said, the work should speak for itself.

San Cataldo, Photo: Nuno Cera

San Cataldo, Photo: Nuno Cera

Exploring Rossi’s entire career, you trace out the oscillation between enthusiasm and disenchantment that marks Rossi’s work, and closer explore of one of Rossi’s landmark creations, the Cemetery of San Cataldo in Modena. An emotion built in stone?

Diogo: Your question seems to derive from the famous dictum by Goethe, about architecture being frozen music. I never liked that expression much, it seems too formal and – frankly – too German. Sure, you cannot or – in my point of view – should not discuss the work of Rossi without taking into account a deeply emotional aspect associated to it. That is also what makes his case so interesting, the disruptive side of his personality. But then there is the rest. There are the buildings, the projects, the texts, the drawings and so forth.

Melancholy and Architecture – on Barbas Lopes. As a practicing architect yourself, is there a presence of melancholy in your work? – As the “Teatro Thalia” comes to mind.

Diogo: Originally, I wrote this as a doctoral dissertation at ETH Zurich. It was roughly done at the same time of the project and construction of Teatro Thalia, in Lisbon. Barbas Lopes is a partnership with my wife – Patrícia Barbas – and an architectural office dealing with the basic facts and figures of the trade . There is no underlying theme, just the specific conditions of each work. But contaminations do happen, and we are firm believers in them. In the case of Thalia, by some strange coincidence, they happened to be about ruins and memories retrieved from oblivion.

Melancholy and Architecture: On Aldo Rossi
Diogo Seixas Lopes
Park Books (2015)
ISBN 978-3-906027-47-0

Feature, 13.08.2015

CAN DESIGN CHANGE SOCIETY?
Symposium and Pop-up Exhibition by “project bauhaus”

PB_Tomas Saraceno_1254x836

Tomás Saraceno, A translucent tropospheric cloud allowing for investigations into the potentials of sky-life. At Reykjavic Marathon, 2007 © Tomás Saraceno, 2007

The centenary of the Bauhaus in 2019 is still a few years ahead, but preparations are already taking place around the globe, demonstrating the ongoing relevance of its avant-garde ideas. „project bauhaus“ – an international initiative by designers, curators and researchers from Europe, the USA and Asia – was recently founded in order to conduct a lively debate on the currency of the Bauhaus. In the five years leading up to the anniversary, „project bauhaus” aims to take critical stock, offering a new question each year, beginning in 2015 with the question: Can design change society?

During an international symposium accompanied by a pop-up exhibition this September in Berlin, „project bauhaus“ provides an open forum to debate this question by placing valid positions in the context of historical models. It puts into question, if the aspiration of the Bauhaus and the classical avant-garde to positively change society through design has been validated – and takes a closer look at goals, roles, design methods, and the social construct in which designers are embroiled today. The participants of the symposium include: Gui Bonsiepe, Lilet Breddels, Bureau d’Etudes, John Grin, Boris Groys, Dorothea Hauser, Reinhold Martin, Philipp Oswalt, Planbude Hamburg, Christian Salewski, Tomás Saraceno, Bernd Scherer, Lara Schrijver, Luigi Snozzi, Margarete Vöhringer, Karin Wilhelm, Zones Urbaines Sensibles a.o.

Pop-up Exhibition: 3 – 20 September 2015 / Opening: 2 September, 7 p.m.
Symposium: 18 + 19 September 2015
Haus der Kulturen der Welt
www.projekt-bauhaus.de

Interview, 11.08.2015

BUREAU N meets BUREAU A in Lisbon

“We are architects, but we also like architecture”, says Daniel Zamarbide, one of the two founders of BUREAU A, a recent – and unusual – transplant to the Portuguese capital, especially while the number of emigrants from the country continues to rise.

BureaA_Collage

BUREAU A’s new space in Lisbon (left) and B.I.G. Biennale des espaces d’art indépendants de Genève (2015), Photo: Dylan Perrenoud (right)

We met with BUREAU A in their new space, a bright and huge old flat located on Rua dos Anjos in central Lisbon, to learn about what brought them to this capital on Europe’s periphery – and what keeps them busy these days.  Earlier this summer, Swiss architectural duo Leopold Banchini and Daniel Zamarbide moved their office BUREAU A from Geneva, the heart of Swiss Romandie, to Lisbon. The move wasn’t prompted by business or personal reasons, nor did they develop a passion when visiting the city, as one might suspect. Daniel hadn’t even been to Lisbon before…

It was more of a decision to step out of our comfort zone, in response to the number of highly qualified young Portuguese architects applying for a position with BUREAU A, and because of an interest in Portugal’s traditional craftsmanship, still highly regarded and increasingly preserved. Why not move your studio and come to your collaborators, instead of having them come to you?

What is your story?

We founded BUREAU A in 2012 as a multidisciplinary platform, aiming to blur the boundaries between architectural research and related projects. With a team of seven in Lisbon and one still in Geneva, we’re seeking to expand our activities to diverse programs, ranging from architecture and landscape design to scenography, installations, and self-developed initiatives. You may remember our mountain shelter, a wooden cabin concealed inside an artificial rock and transported to a remote site in the Swiss Alps, which paid tribute to the central character in the novel Derborence by Charles-Ferdinand Ramuz. Or our intervention in the streets of Hanoi, where mounted a seven-storey mobile performance space and street kitchen on a tricycle. More recently, we finished our Fountain2015 project – a pissoir for a public space in Zürich made out of Portuguese marble.

What is keeping you busy these days?

We are working on more than 10 international projects simultaneously, besides different teaching and lecturing positions, lots of traveling and – very relevant to our work – the constant consumption of architectural culture and history. Leopold is in Paris right now, for our involvement in PerformanceProcess, a project that marks the 30th anniversary of the Swiss Cultural Centre (CCS) in Paris, opening this September. We have been invited to create the spatial design for a 12-week performance programme where each week is dedicated to a different artistic concept. Another project keeping us busy is one that will bring us to Germany: the exhibition Orientations. Young Swiss Architects, a project by the Swiss Architecture Museum, presented by the M:AI Museum für Architektur und Ingenieurkunst in North Rhine-Westphalia.

Are you looking to explore any unusual architectural forms?

Oh – we’re obsessed by waterfalls, which will be relevant for a challenging commission by the arc en rêve – centre d’architecture in Bordeaux coming up soon…

BUREAU-A_Spiruline_2014©DylanPerrenoud_small

Spiruline (2014) – A garden folly by BUREAU A in a public park of Geneva – Quoting the water cascades of the Villa Aldobrandini. Photo: Dylan Perrenoud

As for Lisbon, where BUREAU N first arrived five years ago but BUREAU A is still finding their way around, Daniel tells us that being a foreigner new to the city has formed his working process: “Still working as a tourist – without being one.”

We will keep in touch with BUREAU A, in the hopes that we can collaborate very soon – a joint venture may be in the cards…

Project, 30.07.2015

STADT/BILD
Image of a City
16.09. – 08.11.2015

The autumn of 2015 marks the second collaborative project between four of Berlin’s leading art institutions: Berlinische Galerie, Deutsche Bank KunstHalle, KW Institute for Contemporary Art, and Nationalgalerie – Staatliche Museen zu Berlin will present a total of four thematically related and coinciding exhibitions. Titled STADT/BILD (Image of a City), the project approaches the notion of “the city” as thematic cluster from various perspectives. Architects Brandlhuber+ Hertweck, Mayfried will devise a spatial intervention in the Berlinische Galerie. The Dialogic City: Berlin wird Berlin sets out to question the museum as an institution, its acquisition policy, conditions of exhibiting, and different constraints. Xenopolis at Deutsche Bank KunstHalle will focus on the city as a living organism that does not belong to anyone in particular. Working under the hypothesis that there is no such thing as one coherent city, curator Simon Njami explores the multiplicity of cities. At the heart of the exhibition Welcome to the Jungle at KW Institute for Contemporary Art, a “jungle” serves as a desired imaginary space, symbolizing the subconscious, potentially dangerous counterpart of the controlled urban environment. The jungle marks a maximum distance from everyday life, as the name of the best-known discotheque in the history of West Berlin illustrates. With Fluids. A Happening by Allan Kaprow, 1967 / 2015 the Nationalgalerie presents a comprehensive reinvention of Allan Kaprow’s Happenings from 1967 in the public sphere. Originally constructed out of ice blocks, Fluids explored the questions of authorship, participation and communality, temporality, and choreography. Berlin-based artists are invited to react to this process-based work. Their versions of Fluids will appear in different locations around Berlin on successive days during the Berlin Art Week.

Feature, 24.07.2015

ABC ART BERLIN CONTEMPORARY 2015
Station Berlin at Gleisdreieck
17. – 20.09.2015

With around 100 participating galleries, the innovative and artist-centred format abc art berlin contemporary will be exhibiting it`s eighth edition in the halls of Station Berlin at Gleisdreieck. The galleries, which come from 17 countries, will be showing individual positions in contemporary art – mainly new works and premieres – from established artists to emerging newcomers. The lineup includes works by more than 100 artists such as Saâdane Afif, Julian Charrière, Björn Dahlem, Ryan Gander, Karl Holmqvist, Felix Kiessling, Matt Mullican, Rirkrit Tiravanija, Ryan Trecartin or Jorinde Voigt. For the first time, the architectural concept has been developed by June14 Meyer-Grohbrügge & Chermayeff. The abc program includes an exhibition showing works brought together from local private collections by Nikola Dietrich. “Talking Galleries” will be holding panel discussions on Friday and Saturday mornings. Further information on this year’s program can be found here.

On Wednesday evening, prior to abc, all participating Berlin galleries will open exhibitions in their local gallery spaces; the exhibiting artists include Mariana Castillo Deball, Camille Henrot, Sofia Hultén, Barbara Kruger, Friedrich Kunath, Gedi Sibony, Slavs and Tatars, Hito Steyerl, Juergen Teller and Rosemarie Trockel.

Clockwise: Jean-Pascal Flavien – ballardian four, 2015 Courtesy: the artist and Esther Schipper, Berlin, Photo: © the artist // Marius Bercea – Untitled (Flying Girl), 2014 Courtesy: the artist and Blain|Southern // Ryan Trecartin – Animation Companion (excerpt), 2015 © Ryan Trecartin | Courtesy Ryan Trecartin / Sprüth Magers / Regen Projects, Los Angeles / Andrea Rosen Gallery, New York

Clockwise: Jean-Pascal Flavien – ballardian four, 2015 Courtesy: the artist and Esther Schipper, Berlin, Photo: © the artist // Marius Bercea – Untitled (Flying Girl), 2014 Courtesy: the artist and Blain|Southern // Ryan Trecartin – Animation Companion (excerpt), 2015 © Ryan Trecartin | Courtesy Ryan Trecartin / Sprüth Magers / Regen Projects, Los Angeles / Andrea Rosen Gallery, New York

Review, 21.07.2015

Catalogue Release
VOR ORT – KUNSTPROJEKT SENNESTADT

Sennestadt was an ambitious urban planning project of the 1950s and attracted worldwide attention. The plan by the architect, Prof. Bernhard Reichow, was based on ideas of an »organic art of urban planning«. According to Sennestadt’s urban development the exhibition project »Vor Ort« questions the cur­rent cor­relation between art, the city and the public sphere, using Sennestadt as a model. The freshly printed catalogue features the works by David Adamo, Awst & Walther, Michael Beutler, Andreas Bunte, Christian Falsnaes, Manfred Pernice, Arne Schmitt and Katerina Seda and their site-spe­cif­ic sculp­tures, in­stal­la­tions and ar­tis­tic inter­ven­tions, through which they the­mat­ically explore the char­ac­ter of the city and its in­hab­i­tants.

Vor Ort – Kunstprojekt Sennestadt
Thomas Thiel (Bielefelder Kunstverein), Sennestadtverein (Hg.)
Texts by: Peter Holst, Jutta Kirchhoff, Hans Bernhard Reichow, Horst Thermann, Thomas Thiel
Website