Feature, 28.05.2015

RADICALLY MODERN
Urban Planning and Architecture in 1960s Berlin
Berlinische Galerie
29.05. – 26.10.2015

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.

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Credit: Georg Kohlmaier, Barna von Sartory, Rollende Gehsteige am Kurfürstendamm, Repro Bildcollage, 1969, © Georg Kohlmaier/Elisabeth von Sartory/Berlinische Galerie, Repro: Markus Hawlik | Josef Kaiser, Großhügelhaus, Bildmontage: Dieter Urbach, 1971, © Dieter Urbach/Berlinische Galerie

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.

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Image: Dieter Urbach, Marx-Engels-Platz, Blick von Südwesten auf Dom und Fernsehturm, Berlin-Mitte, Bildmontage, 1972 © Dieter Urbach/Berlinische Galerie, Repro: Kai-Annett Becker

BERLINISCHE GALERIE

Feature, 26.02.2015

GONZALEZ HAASE AAS – ASSEMBLING
Galerie Jacksons
28.02. – 18.04.2015

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

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

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.

GONZALEZ HAASE AAS, GALERIE JACKSONS

Feature, 17.01.2015

ANDROID PARANOID – International Performative Symposium
Alte Kongresshalle, Munich
24.02.2015

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?

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Credits: Andrey Yagubsky, Jan Willmann

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.

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Credit: Liam Young

PLAN A, ANDROID PARANOID

Feature, 10.11.2014

ABRISS-ATLAS BERLIN

The Berlin “Brachflächenatlas” was once a playground and inspiration to many architects and builders. Today, it has lost its meaning: nearly all holes in the city’s landscape have been filled; the spaces that once characterised the city have disappeared. For the first edition of Abriss-Atlas Berlin, ten Berlin journalists and authors explore the capital’s mixed architecture and offer a solution for a new Berlin.

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Photo: Abriss Atlas, Berliner Siegessäule © designpress

With a playfully critical approach, the authors offer up their favourite pieces of the city’s architecture for demolition including such recognisable sites as the O2 Arena, Potsdamer Plats and the Siegessäule. With snappy commentary, Abriss-Atlas joins the ongoing discussion on what has become of Berlin, with the hopes of rediscovering and redefining the city’s wastelands.

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Photo: Abriss Atlas © designpress

DESIGNPRESS

Feature, 10.11.2014

DONALD CORPORATE
Designed by Markus Miessen for NEW TENDENCY

Philosophically similar to NEW TENDENCY, Donald Judd’s objects are continuously driven by an obsession for craftsmanship, coupling high quality materials and industrial production techniques, met by the ambition of handmade production processes. Donald Corporate takes Judd’s ambition as a starting point for a spatial conversation about the functionality of furniture-scale spatial objects – its core idea based on a two-fold approach, which unites our motivation to bastardize and hijack an existing family of objects, at the same time working around and implementing a process of ‘Maximizing Minimalism.’

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Credit: © NEW TENDENCY, Photos: Haw-lin Services

In the context of this collaboration Markus Miessen speculates on how to imagine and implement the maximum use value while maintaining the spatial properties of the so-called original. As in Judd’s original, the tabletops contain a second layer, which – in the case of the revamped version – acts as a functional retrofit that is also mimicked by the stands. These storage units can be used and explored in a variety of formal and informal ways and range from the super-functional to the partially absurd. Donald Corporate was previewed on this year’s Istanbul Design Biennale and will be officially released at the upcoming imm Cologne 2015.

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Credit: © NEW TENDENCY, Photos: Haw-lin Services

NEW TENDENCY, MARKUS MIESSEN

Feature, 01.11.2014

IN EXTENSO: ERWEITERT – PUBLIC SPACE
Céline Poulin in conversation with Jean-Pascal Flavien and Markus Miessen at DAZ Berlin
27.11.2014

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Y-table at DAZ, Photo: Gerhard Haug © Institut francais

How does the work of art or architecture interact with the multitude of voices that construct public space? How does this discursive context influence the relationship between artist, architect and participatory public? And what is its effect on the actors themselves? To explore these correlations between language and space curator Céline Poulin invites artist Jean-Pascal Flavien and architect Markus Miessen for the third In Extenso – Erweitert interdisciplinary panel discussion, continuing the project’s open and ongoing exchange between curators, invited artists, architects, and thinkers from France and Germany.

IN EXTENSO, DAZ BERLIN, STUDIO MIESSEN

Feature, 29.08.2014

2 0 1 4 B E R L I N 1 1 0 9
Jochum Rodgers
12.09. – 18.10.2014

Nine Berlin-based artists and architects have been invited by Jochum Rodgers to present contemporary statements in an autumn group show. Berta Fischer, Barkow Leibinger, Thilo Heinzmann, Thomas Kröger, Angela Mewes, Sven Temper, Clemens Tissi, Tina Roeder and Suse Weber – a group of friends among themselves, their practices are grounded in the fine arts, performance, architecture and sculpture, while their respective work is located between the disciplines. Their tendency towards design stems from different interests: experimentation with materials, boredom with the norm, questions of compositions or the joy of provocation. All works in the exhibition are either unique items or editions.

Credits: Clemens Tissi, STUHL STUHL 2, Photo: Thomas Heimann | Suse Weber, Garderobe?für?eine?Marionette, 2013 | Thilo Heinzmann

Credits: Clemens Tissi, STUHL STUHL 2, Photo: Thomas Heimann | Suse Weber, Garderobe für eine Marionette, 2013 | Thilo Heinzmann

JOCHUM RODGERS

Feature, 12.08.2014

VERTIGO OF REALITY
Akademie der Künste, Berlin
17.09. – 14.12.2014

How does today’s art alter reality? How do aesthetic production and political, social space interact with each other? The profound changes in artistic practice as a result of new media, in particular digitalisation, have resulted in a stream of new strategies tackling how to construct or deconstruct reality in and with art. The exhibition Vertigo of Reality – featuring works by Trevor Paglen, Harun Farocki, Julian Oliver, Bruce Nauman, Dan Graham, Marina Abramovi?, Hamish Fulton, Bjørn Melhus, Christian Falsnaes and Tino Sehgal a.o. – seeks answers to the question of the beholder’s repositioning between artwork and reality, highlights key concepts such as participation and interactivity, and fathoms changes to our self-determination which affect all areas of modern life. The Metabolic Office for the Repair of Reality, building on Joseph Beuys’ concepts of ‘social sculpture’, serves within the exhibition as a permanent opportunity for escapade, dialogue and contradiction with over 40 events, performances, conferences and workshops.

Credits: Thomas Demand: Kontrollraum / Control Room, 2011 © VG Bild-Kunst, Bonn 2014, courtesy Sprüth Magers Berlin London / Jeppe Hein: Rotating Mirror Circle, 2008, Courtesy: Johann König, Berlin, 303 Gallery, New York and Galleri Nicolai Wallner, Copenhagen, Foto: Anders Sune Berg, Kunsthalle Bremen – Der Kunstverein in Bremen / Thomas Wrede: Real Landscapes, Nach der Flut, 2012 © VG Bild-Kunst, Bonn 2014 / Courtesy Galerie WAGNER + PARTNER

Credits: Thomas Demand: Kontrollraum / Control Room, 2011 © VG Bild-Kunst, Bonn 2014, courtesy Sprüth Magers Berlin London | Jeppe Hein: Rotating Mirror Circle, 2008, Courtesy: Johann König, Berlin, 303 Gallery, New York and Galleri Nicolai Wallner, Copenhagen, Foto: Anders Sune Berg, Kunsthalle Bremen – Der Kunstverein in Bremen | Thomas Wrede: Real Landscapes, Nach der Flut, 2012 © VG Bild-Kunst, Bonn 2014 / Courtesy Galerie WAGNER + PARTNER

AKADEMIE DER KÜNSTE, VERTIGO OF REALITY

Feature, 27.06.2014

DIGITAL BAUHAUS SUMMIT 2014
Annual Summit for the creative economy, Weimar
29. – 30.06.2014

DigitalBauhausSummit

© Digital Bauhaus Summit

The original idea behind the Bauhaus, founded in Weimar in 1919, was not white boxes and tubular furniture, but collaboration: the collaboration of genres and disciplines as well as the interchange of arts, crafts and industries. Digital Bauhaus 2014 takes this idea into the 21st century and explores the formats and frameworks of creative group work, both online and on-site, that shape successful project organization. In the frame of an extensive program of hands-on workshops, keynote talks, panels and spaces for exchange, professional experts on collaboration invited to the summit will share lessons they’ve picked up, and delve into modes and models of working together both old and new.

DIGITAL BAUHAUS SUMMIT 2014

Feature, 01.06.2014

MOSKVA: URBAN SPACE
La Biennale di Venezia
07.06. – 23.11. 2014

Moscow is one of the most relevant settings for discussions of urban development today. Recent changes in the city’s infrastructure, as well as new attitudes towards the planning of public spaces, have made Moscow an intriguing destination for architects and urban designers. Following 14th International Architecture Exhibition’s theme ‘Fundamentals’, the exhibition MOSKVA: urban space highlights elementary shifts in architecture throughout Moscow’s past, revealing new urban possibilities on the basis of the winning project for the creation of Zaryadye Park by Diller Scofidio + Renfro. Covering approximately 700 square meters MOSKVA: urban space will take place in the exhibition spaces of the Biennale as well as the inner courtyards of Santa Maria della Pietá. An accompanying conference, ‘Between Architecture. Public Space and the Urban Commons’, will debate how society and governance renegotiate the demands and expectations concerning the role of urban public space in modern societies.

Photos: Patricia Parinejad

Photos: Patricia Parinejad

MOSKVA: URBAN SPACE