Tomás Saraceno’s artistic project Aerocene is a series of air-fueled sculptures that will float in the longest, most sustainable journey around the world without engines, becoming buoyant only by the heat of the Sun and infrared radiation from the surface of Earth. The material realization is surpassed by the message it bears: Its aesthetic form follows a both utopian and real idea of open source force of movement. Inflated by the air, lifted by the sun, carried by the wind, the project questions and seeks answers to our current and troublesome dependency on fossil and hydrocarbon fuels and pollution – the topics that places Aerocene at the core of the United Nations Climate Change Conference COP21 topical framework. Crossing the frontiers between art, science and education, it becomes a visionary and open platform of shared knowledge. Thus it seeks for the deep understanding of our planet and all its physical, natural and social entanglements in order to project new ways of how we can move, dwell and be-together here on Earth. www.aerocene.com
The Deutsches Architekturmuseum (DAM) has been chosen to curate the German Pavilion at the 15th Venice Architecture Biennale in 2016 presenting the exhibition “Making Heimat. Germany, Arrival Country”.
The current refugee situation is part of a massive worldwide flow of migrants. It leads people from the countryside into cities. What are the challenges facing cities with incoming refugees and migrants? Where in Germany are the preferred “arrival cities” located? How do newcomers become socially integrated citizens? And how can architecture and urban design contribute to this process? Taking as a starting point the hypotheses put forward by the Canadian journalist Doug Saunders in his best selling non-fiction book ‘Arrival City’, the DAM team – comprising Peter Cachola Schmal, general commissioner and director of the DAM, Oliver Elser, curator at DAM and the project coordinator Anna Scheuermann, with Saunders as advisor, examines these questions in the exhibition “Making Heimat” in the German Pavilion. How, in the future, can Germany’s “arrival cities”, such as Offenbach am Main respond and hypothetically shape the conditions that create a good ‘Arrival City’? The 15th International Architecture Exhibition – La Biennale di Venezia runs from May 28 – November 27, 2016.
With 100 issues and a quarter century of politically and theoretically driven art criticism to its name, Texte zur Kunst has made a mark on the German/English speaking art world. Both in the role it’s played in establishing many, now universally acclaimed artists and in the evolution of the primary art critical methods used in this field, Texte zur Kunst has, since the early 1990s, certainly shaped the common canon – and even produced a canon of its own. The gala-conference Canon Today presents twenty-five writers, artists, and theorists from different generations, via various forms of performances, dialogues, and short talks.
The globalized world seems at once transparent and opaque. While modern life is characterized by a desire for more transparency in communication, politics and business, limitless access to information has eroded personal privacy, creating an ever-present, now long-running social dilemma. Despite the generally positive promise of transparency, there have been growing doubts about its impact on the community and on our understanding of the public sphere. Transparencies examines the cultural facets and atmospheres of the notion of (non-)transparency. The two-part, joint exhibition project in Bielefeld and Nuremberg is dedicated to developments in »transparent society,« and asks how these are reflected in current work by contemporary artists. Participating artists deal with the paradigm of transparency and the ambivalence of the term in multiple, diverse ways. They examine the consequences of an algorithm- and data-collection-driven, life-world transparency and explore our changed relationship to privacy. Other key points of investigation include interpersonal exchange and its possible control. Curated by Simone Neuenschwander and Thomas Thiel, the exhibitions include contributions by Neïl Beloufa, Juliette Blightman, Ryan Gander, Calla Henkel, Max Pitegoff, David Horvitz, Metahaven, Katja Novitskova and Yuri Pattison.
Opening I: Friday, 6.11.2015, 7pm
Opening II: Friday, 20.11.2015, 7pm
Kunstverein Nürnberg – Albrecht Dürer Gesellschaft
Following the two major exhibitions “Return of Landscape” in 2010 and “Culture:City” in 2013, Berlin’s Akademie der Künste is now working on their next project coming up in spring 2016 titled, “Demo:Polis”. This exhibition is dedicated not only to the future of public space but the right to this real, physical space. While the Internet simulated a virtual public sphere, its promise was disappointed by Wikileaks and Edward Snowdon’s revelations. In contrast to this, people are again voicing their views with relative anonymity by demonstrating in real public spaces. Today, social media and real public space are the new framework for self-determination. Neo-liberalism has made the real public sphere a target for commercial interests: from advertising, sponsored events and the sale of publicly owned property, almost every public privilege and property have been sold. As cities grow denser, building projects encroach more and more on public space, an issue in which citizens demand to have a greater say in. As an ambitious endeavor on a highly complex issue, always close to failure – just like the constant fight over the right to setting the rules for the meaning and use of public space – “Demo:Polis” will include an exhibition, a catalogue and a series of conferences and parliaments, bringing together multiple approaches and working principles.
What started with an enthusiastic first encounter, turned out to be a much closer relationship. A few weeks back we met with BUREAU A – a Swiss architecture studio from Geneva that had recently transplanted their office to Lisbon – for an interview, finding out more about their migration and unusual practice. And here we are, about to leave our office at Largo da Madalena to move with BUREAU A to Rua dos Anjos No. 3. To jointly celebrate the new palace-like space, a huge old apartment, full of crumbling charm and layers of previous turbulent times in the heart of the Intendente neighborhood, we invite friends, colleagues and like-minded guests to the house warming “FORROBODÓ” party on October 28, from 6pm till late. Meet us in Lisbon: BUREAU N, Rua dos Anjos No. 3, 1º in 1150 – 018 Lisboa, Portugal.
Digital media has radically altered our understanding of art. In last year’s exhibition Vertigo of Reality, the Akademie der Künste showcased artistic strategies and practices reflecting on and engaging with the viewer’s perception. Current developments in game art where located within a tradition of artistic critique and debate going back to the 1960s, evident particularly in closed-circuit video installations, but equally as apparent in performance and participative projects. A recently published reader serves as a comprehensive follow-up documentation of the entire project not only covering the successful exhibition, but also the large number of collateral events like lectures, talks, concerts and performances. The reader includes texts by Horst Bredenkamp, Mark Butler, Michael Diers, Wulf Herzogenrath, Slavko Kacunko and many more. An accompanying video documentation (30 min.) provides additional insights. The bilingual reader can be ordered here.
To those with further interests in the topic, we recommend a closer look at the massive video archive with recordings of many collateral events. It is accessible for free through the project site.
Known for her avantgarde and constantly good taste, entrepreneur Nicole Hogerzeil has established herself as trustworthy style pioneer. Hogerzeil presents her favorite labels such as Dries von Noten, Marni, Isabel Marant, Common Projects and Perret Schaad in her new store SCHWARZHOGERZEIL on Torstrasse — taking the best and new designers from her two former stores. The layout of the 150 m2 space was conceived by the interior designer Sylvester Koziolek, who combines 1940s Parisian charm, inspired by Jean Prouvé, Le Corbusier and Charlotte Perriand, with modern elements such as neon lighting and unique objects. The dominating, dark blue tones are echoed in the walls and the furniture, complementing the 14 meter long collage and curved lamps inspired by Royére. Keeping the same sense of individuality that Hogerzeil has assembling her clothing, Koziolek has created an environment to match her elegant assortment.
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.
Gedi Sibony`s work is known for guiding viewers attention towards objects, and the processes that act upon them, especially those that seem unexceptional at first. Galerie Neu is showing new large-scale wall pieces that are cut from the sides of decommissioned semi-trailers. Their surface graphics and paint are the consequences of basic and necessary procedures in the world of commerce. Extracted and isolated, these found objects reveal themselves. Gedi Sibony work has been included in numerous international solo and group exhibitions, including most recently the Biennale di Venezia (2015), The Douglas Hyde Gallery, Dublin (2014), and Culturgest, Lisbon (2012). His work is included in institutional collections such as the MoMA, the Guggenheim and the Whitney Museum of American Art.
Opening: 16.09.2015, 6 p.m.