Project, 01.10.2016

Forecast: The next generation
of creative thinkers and influencers
Open call 01.10. – 30.11.2016

Forecast mentors

Forecast mentors

Supporting pioneering ideas is at the core of Forecast, an international platform that calls on creative minds from diverse fields to submit their proposals and collaborate with six highly esteemed mentors. Now in its second edition, Forecast encourages public discussions on the ideas of the future and offers fertile ground for the growth of outstanding projects. Thus, a shared space to come together and exchange views is created, within which synergetic efforts bring forth innovation. The platform and its accompanying festival transcend the boundaries of disciplines to provide insight into creative production processes, and make room for the questions that are on the minds of the next generation of trailblazers. Until 30 November, creative minds from anywhere in the world working in various disciplines are urged to submit their proposals for consideration. Thirty finalists will discuss their ideas and present them to the public at the Haus der Kulturen der Welt (HKW) during the Forecast Forum in March 2017. At the end of the forum, the six mentors will each select one concept, which they will accompany to fruition. Finally, the outcome of these collaborations will be presented during October 2017, at the Forecast Festival at the HKW.

Project, 28.09.2016

BNKR: Reflections on art and architecture inside a former bunker

 

BNKR München, Hochbunker. photo: hiepler brunier.

BNKR München, Hochbunker. photo: hiepler brunier.

After the Second World War, military edifices constructed for protective purposes were left abandoned and consumed by dismal emptiness. Germany, in particular, is replete with bunkers that in recent years have assumed a variety of new roles, from residential spaces to cultural institutions. One such concrete behemoth built in 1943 in Munich’s Ungererstrasse, houses BNKR, a multifaceted art space offering room for present-day visions without ignoring the past. The main focus of BNKR’s programme is to instigate reflection on our present reality in the realms of art, design and architecture. In the contemporary transformation of the bunker, with its new use and orientation as an art space, an unavoidable tension is created that oscillates between remembering and forgetting, past and future. The project was founded in 2014 , in order to give a format to art and architecture, to promote exchange and dialogue. BKNR collaborates with external curators over the course of one year to develop a programme that uses exhibitions, performances, lectures, discussions, film screenings, concerts and more to raise questions situated in the notion of the ‘in-between’, whether that’s referring to time, space or mental states. Currently on show, the solo exhibition Urban Shelter by Annett Zinsmeister examines the specific history, meaning and transience of shelters.

Feature, 20.09.2016

Thicker than Water. Family concepts in contemporary art – Exhibition at Kunstpalais Erlangen
24.09. – 27.11.2016

Candice Breitz, Factum Jacob, 2010 / Verena Jaeckel, New York City, 15.04.2006, 2006

Candice Breitz, Factum Jacob, 2010 / Verena Jaeckel, New York City, 15.04.2006, 2006

Is blood thicker than water after all? The widely known proverb implies that family relationships are stronger than friendships and should never be substituted by the latter. However, a new exhibition at the Kunstpalais in Erlangen titled Thicker than Water: Family concepts in contemporary art seeks to challenge this dogmatic opinion by initiating a discussion on the meaning of family within the ever-evolving contemporary society. In order to delve deeper into how the classical family structures have changed over recent years, the exhibition has invited the artists Candice Breitz, Simon Fujiwara, Badr el Hammami & Fadma Kaddouri, Nan Goldin, Verena Jaekel, Haejun Jo, Nina Katchadourian, Ragnar Kjartansson, Neozoon, Johannes Paul Raether, Gillian Wearing and Tobias Yves Zintel to present their understanding of the term through pieces of art. Developments in technology, and the appearance and acceptance of new lifestyles influence the broad social debate about family, leading to question whether the term is now open to all individual interpretations. Taking into consideration that familia, the Latin origin of the word, translates to household, the exhibition suggests that the term could refer to a community based on voluntary commitment rather than blood relations. Therefore, the main question that arises is: Is family nowadays based on a personal choice and no longer a genetic chance? The exhibition will be accompanied by a conference inviting speakers from sociology, art history, literature and cultural studies to discuss this interdisciplinary topic.

Feature, 19.09.2016

The retrospective Alexander Girard:
A Designer’s Universe unveils the iconic designer’s oeuvre
12.03.2016 – 22.01.2017

Miller House, Columbus, Indiana, USA, 1953-1957, photo: Balthazar Korab of The Library of Congress / arm chair No. 66310, 1967, series production by Herman Miller Furniture Co., collection Vitra Design Museum, photo: Copyright Vitra Design Museum, Jürgen Hans / Exhibition catalogue

Miller House, Columbus, IN, USA, 1953-1957, photo: Balthazar Korab of The Library of Congress / arm chair No. 66310, 1967, series production by Herman Miller Furniture Co., collection Vitra Design Museum, photo: Copyright Vitra Design Museum, Jürgen Hans / Exhibition catalogue

“My greatest enjoyment and satisfaction in the solution of any project is uncovering the latent fantasy and magic in it.” — Alexander Girard

Alexander Girard, one of the most seminal and prolific designers of the 20th century, has left a rich cultural legacy spanning a wide array of disciplines including graphic, interior, exhibition and furniture design. More than anything, it’s Girard’s renowned textile designs that have elevated him to the highest ranks of design and to a classic status. Known for his playful ideas which attest to a passion for colours, adornment and international folk art, Girard’s creations are characteristically replete with aplomb and theatricality. His forward-thinking designs and charisma derived from an unwavering insouciance and not taking things too seriously, a mentality which directly related to his constant hankering after travels, immersing in different cultures and curiously exploring the unknown. When talking about his obsession with folk art, Girard said, “I think that I saw it as a way to recapture all the wonderful enthusiasm and the spirit of discovery that we experience as children but generally lose as we grow older.” “For Girard, design was not to be ruled by asceticism, but by joy, a lust for life, and the celebration of the everyday,” writes Mateo Kries, director of the Vitra Design Museum which presents the first major retrospective on the visionary designer. Titled Alexander Girard: A Designer’s Universeand running until 29 January 2017, the exhibition presents his oeuvre with a never-before-shown multitude of textiles, furnishings, objects and personal documents and drawings. The show aims to reveal Girard’s multi-faceted vision, sources of inspiration and the contemporaries who influenced his creative cosmos—from his extensive collection of folk art to his collaborations with Charles & Ray Eames.

Project, 06.09.2016

abc art berlin contemporary
15. – 18.09.2016

Folie1
CREDITS Christopher Roth – I Am In Paris, 2015, Courtesy: the artist and Esther Schipper, Berlin Photo: © Andrea Rossetti / Andreas Schulze – Untitled (Vacanze/Son) , 2016, Copyright Andreas Schulze / VG Bild-Kunst, Bonn Courtesy the artist and Sprüth Magers  / SIMON MULLAN – Franz, 2016, Photo: Jens Ziehe, Copyright Simon Mullan, Courtesy DITTRICH & SCHLECHTRIEM, Berlin) / Saâdane Afif – Installation view from the series L’Eternité, Courtesy the artist and Mehdi Couakri / Sean Snyder – Mnemonic Equation (Level 3), 2015 – 2016, Courtesy: the artist and Galerie Neu, Berlin

The maxim remains the same: one gallery, one artist. This September, the 9th edition of abc art berlin contemporary will return to Station Berlin, continuing its commitment to a format that places the artist and their presentation of work at the center. Founded by a group of Berlin galleries, abc invites around 60 national and international galleries to showcase solo presentations of artists within their program. abc’s continual development and transformation reflects characteristic features of the city—a passion for experimentation and openness to evolution and change. On Friday night—which is the Gallery Night (16 September)—all participating Berlin-based galleries will open their doors to invite collectors, curators and art enthusiasts into their spaces and exhibitions. While on the following Saturday and Sunday afternoon, a series of talks and performances involving artists, curators and galleries will allow the public to gain a deeper insight into specific topics and works. Find the entire program of events here. A complete list of this year’s participating galleries and artists can be found here.

Feature, 19.07.2016

Design Display – Positions in Contemporary Design
Exhibition #2: Muji Cutlery and Modern Shelf
June – October 2016

Photos Ingo Mittelstaed
Photos: Ingo Mittelstaedt

Two objects facing each other in a glass display case like two protagonists in a state of momentary inertia right before delivering their lines on stage. The objects’ potential functions, and aesthetic qualities encourage the viewer to further dissect their characteristics and initiate a dialogue. And that’s precisely Design Display’s objective: the exhibition series at the Autostadt in Wolfsburg seeks to demonstrate the role design plays in our daily lives and to proliferate discussions about its social and political dimensions. Every four months, Design Display presents a new exhibition featuring two design projects, and releases an accompanying magazine that mimics the duality of the setting while delving deeper into the chosen subject through essays and opinion pieces. Starting in July 2016, the new exhibition’s pervading theme is “simplicity”—an underlying design principle that for many is the key to happiness in objects, embodied through abstinence, reduction and focusing on the essentials. For this iteration, the glass case is inhabited by Jasper Morrison’s cutlery for Muji and Rafael Horzon’s Modern shelf. A constant conceptual thread in Morrison’s work, the act of simplifying is evident in his designs for the Japanese company. Cutlery should first and foremost feel good in the hand—the simple and simultaneously elegant form is not an end in itself but instead derives from its use. On the opposing end of the glass rectangle, we find a shelving unit that suggests a different kind of simplicity, one that’s based on the notion of quick, easy and inexpensive design. Horzon’s Modern shelf stands as an ode to material reduction with hints of humour and irony. Albeit ordinary and unremarkable, Horzon’s storage unit puts emphasis on the importance of the basic and the narrative behind its creation. For more information on the exhibition series visit Design Display’s website.

Feature, 13.07.2016

Wehrhahn Line Dusseldorf

giphy

 

Following its opening to the public in February 2016, Dusseldorf’s Wehrhahn line is now in full use and worth revisiting to dissect its singular aspects in more detail. Fifteen years in the making, the recently acquired U-bahn expansion is a refreshing approach to inner-city mobility and a nod to the future possibilities of public transport aesthetics. Collectively designed by artists, architects and engineers from the very outset, the ambitious project offers an unparalleled art and architecture experience to commuters who are invited to immerse themselves in soundscapes, geometric animations and sculptural installations. Here art is not merely showcased on the walls but it has deeply infiltrated the entire structure—each of the line’s six stations have become pieces of art complete with their own thematic character but also seamlessly incorporated in an all-encompassing system. And that’s certainly not the norm when it comes to public transport—the line’s overarching concept initiates a dialogue between disciplines that’s visually perceptible throughout. From acoustic impulses, sound bites and interactive installations to a planetary underworld dedicated to outer space and poetic texts transformed into sculptures, the line’s stops highly elevate the long-neglected notion of the subway. At the Heinrich-Heine-Allee station, artist Ralf Brög designed the three entrances as visual and acoustic venues for the performance of changing sound compositions—an “Auditorium”, a “Theater” and a “Laboratory”. Each of the three model spaces boasts a high-quality sound system, enabling the most wide-ranging acoustic interventions possible. Heinrich-Heine-Str

Space is the place at Benrather Strasse where sculptor Thomas Stricker embedded the vastness of the universe with its tranquility and weightlessness into the confined space of a subway station. To achieve the impression of flying in outer space, stainless steel panels cover the walls and lend the station a futuristic dull, metallic sheen. Like droplets, the dots stamped in the panels fall from the walls, forming a matrix or a kind of Braille that can be identified as encrypted letters while media walls act as windows to the universe.

Benrather Str

At Schadowstrasse, Ursula Damm has created an interactive installation featuring a large screen displaying the real-time movements of passersby on the city surface transformed through a computer program into visualised data. The constantly shifting dynamic of the ‘outside world’ is presented to those waiting for the next train below. Small virtual creatures build a temporary, fluctuating architecture from the kinetic energy that emerges and vanishes with the city’s daily rhythms. Schadowstr

Another crucial element of this feat is the complete absence of advertisements and any sort of commercial placement. Thus, the individual stations become calm public spaces that alleviate commuting stress, render urban movement more pleasurable, and slow down the frenetic pace. Admittedly, exemplary underground stops are nothing new in the map of so-called “art stations”—in Naples the Toledo stop covered in blue-hued mosaics pays tribute to the aquatic world; Stockholm’s Solna station emits the ambience of a villain’s lair complete with a cavernous interior; while in Moscow the Komsomolskaya stop competes with the theatrical flair of opulent palaces. What’s unprecedented about Dusseldorf’s Wehrhan line is that these “art stations” are not merely stand-alone architectural projects but are part of a holistic network that seamlessly connects all six stops under one conceptual direction, creating a multifarious experience.

In a special edition published by Kerber Verlag, the impressive undertaking in public transport is thoroughly presented through photos and text elaborating on the project and the visions of the people involved. The Wehrhahn line is also accompanied by a newly launched website that delves into the line’s concept, process and distinctive characteristics—have a look here.

Feature, 28.06.2016

OPEN CALL
Faraway, So Close – 25th Biennial of Design in Slovenia

 

The Museum of Architecture and Design (MAO, Ljubljana) has launched an open call for participation in FARAWAY, SO CLOSE – 25th Biennial of Design, curated by editor and curator Angela Rui and MAO curator Maja Vardjan. The open call is dedicated to designers, architects, filmmakers, graphic designers, interaction designers, illustrators, writers, animators, photographers, researchers and other interdisciplinary agents who see the biennial as an experimental, collaborative platform for testing, developing and sharing their own approaches and expertise around the issues and structure of the new biennial format. From 25 May to 29 October 2017, FARAWAY, SO CLOSE will present seven local interventions under the main exhibition umbrella. For this, seven creative figures from Slovenia have been selected for their projects outside the field of design and paired with international designers to form a team. Selected participants will work within these teams and together they will use design and architecture as tools for investigating contemporary issues. 

Read more in an interview with the two curators on Domus.

Application deadline: 10 July 2016
Kick-off event: 15 September 2016, Ljubljana
More information and application: www.bio.si/en

Interview, 15.06.2016

Migration:
Defining the Notions of “Home” and “Identity”
Swiss Art Awards 2016

In reference to this year’s graphic and thematic superstructure focusing on migration, we asked the Swiss Art Awards participants to express how their trajectory has altered their perception and how they define the notions of “Heimat” and “identity”. Constantly evolving, the term “home” can be seen as an abstract entity that has procured a number of meanings and is undoubtedly embedded in human consciousness. Even though our introduction to the idea of home is usually situated within a specific topographic context, down the line, it’s denuded of geographical connotations and acquires a much more social and emotional basis. Home ceases to be synonymous to habitat as it assumes a more existential character that demands to be redefined incessantly. In a way, seeking something that you can identify as home is seeking your own identity, something you can genuinely identify with. Much like Homer’s Odysseus who, upon losing track of what he considers home, begins to lose track of himself too. Is home a notion that defines our existence and the extension of our inner selves?

“Both notions are too unstable and dynamic to allow for a clear answer. I can just say that ‘Heimat’, and therefore any understanding of the ‘I’, are in constant mutation, much like our social milieu is. In other words, the constitution of an ‘identity’ is closer to a permanent migration than to any abused values of safety and stability.” Pascal Schwaighofer is an artist who sees metaphors as a conceptual tool to unfold specific subjects, and ultimately to enquire the interconnections between aesthetic concepts and economic regulatory cycles.

“Migration as a fever. A symptom of the state of the world.” Chri Frautschi is a curator and the founder of Lokal-int, a space for contemporary art and experimental happenings in Biel.

“The earth belongs to everyone. Everyone is welcome home. Fuck the concept of homeland and all populist parties stirring up hatred between peoples, just for their little personal benefit. My art is a cry of rage against conformism.” Hayane Kam Nakache is a painter who favours recycling and the concept of DIY. According to Hayane, the quality of the finish is not important, the important thing is to do it yourself.

“In contrast to ‘fatherland’, which is linked to a geographically defined place, the word ‘home’ is more abstract idea and, to a certain extent, is related to impermanence. The possibility of change and migration has altered its meaning—now several locations or communities may constitute a ‘home’ at the same time.” — In her sculptures, video installations and performances, Dominique Koch deals with the communicative and referential limits of language and uses the voice as a communication tool.

“The word ‘Heimat’ doesn’t really mean anything to me anymore – it’s a ceaselessly moving place. Home is an institution without walls, whose architecture is not still or limited.” Jeanne Graff, an independent curator and writer, is constantly trying to develop new contexts to show art in a way that’s engaging for both the artists and the audience.  

“We are not just because we think, we are because of our human and physical context. Migration abandons pre-consolidated ideas of affection and home—that’s why I consider it particularly painful and moving.” Martino Pedrozzi develops architectural, urban and landscape concepts and works as a consultant for infrastructural projects.

“After several generations of relative safety and stability, we often tend to lose our sense of history, and then we come to see the current crisis as a somehow distant phenomenon. Therefore, we fail to perceive that these events are at the core of our very existence. We have to take into account that identity is a process and not a fixed principle, otherwise it can be a dangerous notion.” Aurelien Gamboni develops a practice of critical investigation by means of art, often involving field research and collaborations, and leading to multiple forms of installations, texts and lectures-performances.

Credits: House of Mixed Emotions by Jeanne Graff  /  Sceru, 2015,  Photo: Pino BrioschiAurélien  /  Gamboni, Les corps attrapés par le discours, étagère encastrée, livres et autres objets (detail), 2015. Courtesy the artist

Project, 13.06.2016

I Never Read, Art Book Fair Basel
15. – 18.06.2016 at Kaserne Basel

 

nothing at the moment by Humboldtbooks, Milan

nothing at the moment by Humboldtbooks, Milan

 

What started as a platform for experimental publishing and singular editions straddling the line between art object and reading material, has now become an integral part of the annual Art Week Basel. The art book fair I Never Read, Art Book Fair Basel now in its fifth edition, invites more than a hundred publishers, authors and artists from numerous countries to display their printed matter spanning the fields of art, photography, graphic design and architecture. An ever-growing selection of exhibitors introduces visitors to artists’ books, monographs, periodicals and zines, as well as out-of-print editions and collector’s items. Showing how the print world can evolve and thrive instead of dissolving into the shadow cast by the digital world (as many pseudo-evangelists were too quick to proclaim), the fair is an ode to the book as a democratic art form and an approachable medium for creative expression. What’s thoroughly explored here is the role of contemporary publishing in an increasingly on-screen era and how the art book provides a haven for artistic practice and how it builds a less market-driven community.