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.
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.
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
Coinciding with Art Basel, the annual Swiss Art Awards exhibition organised and conceived by the Federal Office of Culture since 1899 provides a representative overview and unique insight into contemporary art and architecture making in Switzerland. It shows the works of the artists that have been invited to the second round of the Swiss Competition for Art and Architecture. Swiss artists, architects, curators and critics of all ages, as well as those based in Switzerland, are eligible to participate in the categories of art, architecture and criticism. Acting on the recommendation of the commission, the Federal Office of Culture awards the prizes.
The Swiss Design Awards are Switzerland’s leading national design competition organized annually by the FOC (Federal Office of Culture) since 1918. Coinciding with Art Basel and Design/Miami, the annual Swiss Design Awards exhibition provides a representative overview and a unique insight into contemporary Swiss design practice: products and objects, fashion and textile design, graphic design, photography, scenography and mediation (curating and criticism). The winners of the Swiss Design Awards will be offered their choice of either a money prize of CHF 25,000, an internship in a renowned office or a studio residence abroad.
With this year’s Prix Meret Oppenheim, the Federal Office of Culture (FOC) honors four outstanding Swiss culture practitioners: the artists Christoph Büchel and Oliver Mosset, curator Urs Stahel, and the architectural duo Staufer/Hasler.
For the first time, the Swiss Grand Award for Art / Prix Meret Oppenheim is presented in parallel to Art Basel and ahead of the opening of the Swiss Art Awards 2015 exhibition.
Film portraits of the Grand Award for Art / Prix Meret Oppenheim recipients will be presented in the exhibition alongside a comprehensive publication with essays and interviews.
Destroyed in the Second World War and divided by the Wall, Berlin experienced a veritable construction boom during the 1960s. Inspired by the spirit of a new beginning and technological euphoria, urban planners and architects designed radical new cityscapes for a modern society. Often unjustly criticized as inhumane or unsightly, important examples from this period of architecture have often already been torn down, disfigured by later alterations, or are threatened with demolition today.
The exhibition Radically Modern takes the first look at the context of this architecture’s emergence, examining formal aspects and underlying international influences on the architecture developed in both East and West Berlin. Presenting works and planning by Werner Düttmann, Fehling + Gogel, Walter Gropius, Georg Heinrichs, Josef Kaiser, Roland Korn, Ludwig Leo, Ludwig Mies van der Rohe, Klaus Müller-Rehm, Ulrich Müther, Hans Scharoun, Manfred Zumpe among others, besides interventions of contemporary artists like Evol, Beate Gütschow, Karsten Konrad, Hendrik Krawen, Friderike von Rauch, Bernd Trasberger, Stephen Willats and others.
For Do Not Bench, twelve benches and twelve lamps, materials from an urban surrounding, transform the exhibition site into a space encompassing installation. The works play with the difference between aesthetic and functional pieces, exploring the ways in which these quotidian objects, hand-made by the artist, can be recontextualised as works of art. By extension, the exhibition becomes an investigation in dualities: double meanings, simultaneous absence and presence, reality and fantasy, revealing and concealing. The objects within the exhibition appear to be plain, ordinary, but conceal behind their façades many things to think about.
Meyer Riegger presents Inside a Magnified Picture, a retrospective into the life of Italian-German artist Rosa Barba. Based on radical experimentation with the medium of film, proposing a new language, Barbra’s pieces not only dissect cinema itself (celluloid, light, colour, sound, image, movement, time) but also fragment narration into different layers, implying a level of abstraction in which imagination and a conceptual approach play a decisive role.
The exhibition results from the desire to radically empty the gallery and transform it into an engine room. Time as Perspective (2012) is shot in the desert landscape of Texas, revealing continuous scenery of rhythmically pumping oil derricks in which Barba explores the idea of a geological time. For the artist, time is as ‘a layered slab, with periods stacked on top of each other, more than as a single stretched line.’ The oil pumps are in an infinite looping movement which draws a parallel to the loop of the film itself: a double loop of sorts. They are also reminiscent of clocks or sewing machines. These mechanic devices that transform the landscape into a drawing field remind us of Rosa Barba’s own filmic sculptures, which transform themselves into drawing machines.