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.
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.
Heinrich-Heine-Allee; netzwerkarchitekten and the artist Ralf Brög. Photo Jörg Hempel
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.
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 Straße, netzwerkarchitekten and the artist Thomas Stricker. Photo Jörg Hempel
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.
Schadowstraße; netzwerkarchitekten and the artist Ursula Damm. Photos Ursula Damm and Jörg Hempel
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.
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
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.
Anne Collier’s Woman Crying #1 and Woman Crying #2; courtesy of the artist and Galerie Neu (ACo/F 7)
Galerie Neu presents its first solo exhibition of the Los Angeles-born, New York-based photographic artist Anne Collier, which will trace her career from the early 2000’s up until present day. As one of the most exciting artists’ emerging in the field of photography, her imagery is romantic, sentimental and clichéd. She addresses these themes using a manual 4-by-5-inch camera and chemical processing and printing, a technique overly present in recent works such as Tripod (2016) and 35 MM / 2 ¼” (2016), both which feature in the exhibition. In these works Collier mixes stock advertising photography of camera equipment with materials depicting ostentatious sexism, shot in the neutral space of her studio. In doing this, the artist undertakes an autopsy of the photographic material and subsequently creates paradox between the original intentions of the investigated objects and the absolute control of a studio photography context.
‘American Gothic’ by Rachel Harrison, 2015 courtesy of the artist; Greene Naftali, New York; and Kraupa-Tuskany Zeidler, Berlin; photo: Brian Forrest . ‘Reveal Yourself’ by Ed Fornieles, 2016, courtesy of Arratia Beer. ‘Untitled’, 2014 by Tomi Ungerer courtesy of Michael Fuchs Galerie.
Over the past decade the traditional idea of the exhibition space has shifted and developed. Existing architectural structures, which served alternate public or private functions and purposes, have taken a central role in the viewing and perception of contemporary art. This idea of the new, dynamic gallery setting, which adapts and moves with the times, has taken a central role for Gallery Weekend Berlin – where highly diverse gallery spaces serve to present works of art but also act as places for interaction and exchange between artists, gallerists, collectors and enthusiasts alike. A global plethora of contemporary works by established artists as well as promising newcomers will feature in the Twelfth edition of Gallery Weekend Berlin, with the full line-up comprising: Arratia Beer: Ed Fornieles / Galerie Guido W. Baudach: Andy Hope 1930 / Blain Southern: Harland Miller / Galerie Isabella Bortolozzi: Oscar Murillo; Stephen G. Rhodes / BQ: Jochen Lempert / Galerie Buchholz: Wolfgang Tillmans / Buchmann Galerie: Bettina Pousttchi; Daniel Buren / Capitain Petzel: Christopher Williams / Carlier Gebauer: Mark Wallinger; Iman Issa / Contemporary Fine Arts: Gert & Uwe Tobias; Christian Rosa / Mehdi Chouakri: Philippe Decrauzat / Crone: Hanne Darboven / Croy Nielsen: Sebastian Black; Megan Rooney / Delmes & Zander: Horst Ademeit / Galerie Eigen + Art: Carsten Nicolai / Konrad Fischer Galerie: Alice Channer / Michael Fuchs Galerie: Tomi Ungerer / Gerhardsen Gerner: Jim Lambie / Galerie Michael Haas: Paula Modersohn-Becker; Leiko Ikemura / Galerie Max Hetzler: Edmund de Waal / Johnen Galerie: Martin Honert / Kewenig: Ghada Amer / Kicken Berlin: Sibylle Bergemann, Rudi Meisel, Gabriele und Helmut Nothhelfer, Helga Paris, Petra Wunderlich, Ulrich Wüst / Klemm’s: Bernard Piffaretti / Helga Maria Klosterfelde Edition: Rirkrit Tiravanija / König Galerie: Annette Kelm; K.H. Hödicke; Katharina Grosse, Jeppe Hein, Camille Henrot, Alicija Kwade, Michael Sailstorfer, Tatiana Trouvé, David Zink Yi / KOW: Tobias Zielony; Hiwa K / Kraupa-Tuskany Zeidler: Rachel Harrison / Tanya Leighton: Aleksandra Domanovic / Daniel Marzona: Olaf Holzapfel / Mathew Gallery: Richard Phillips / Meyer Riegger: Miriam Cahn / Galerie Nagel Draxler: Egan Frantz; Günther Förg, Hans-Jörg Mayer, Martin Kippenberger, Heimo Zobernig / Galerie Neu: Anne Collier; Victor Man / neugerriemschneider: Tobias Rehberger / Galerie Nordenhake: Michael Schmidt / Peres Projects: Mike Bouchet / Galeria Plan B: Victor Man / Galerija Gregor Podnar: Julije Knifer / PSM: Eduardo Basualdo / Aurel Scheibler: Ernst Wilhelm Nay / Esther Schipper: Tomás Saraceno / Galerie Micky Schubert: Ketuta Alexi-Meskhishvili / Galerie Thomas Schulte: Idris Khan; Daniel Buren / Société: Petra Cortright / Sprüth Magers: Thea Djordjadze; Craig Kauffman; Alexandre Singh / Supportico Lopez: Adriano Costa / Galerie Barbara Thumm: Diango Hernández / VW (Veneklasen Werner): Pat O’Neill / Galerie Barbara Weiss: Maria Eichhorn / Wentrup: Peles Empire / Kunsthandel Wolfgang Werner: Per Kirkeby / Barbara Wien: Michael Rakowitz / Zak Branicka: KwieKulik.
Victor Man’s ‘Connaissez-vous des Esseintes’, 2015 and ‘Lermontov Dansant Come Saint Sebastien’, 2014; courtesy of the artist and Galerie Neu
Evoking literary and cultural references, historical moments, and personal history, Victor Man is an artist and painter who proposes new connections between seemingly unrelated images, objects, and events, in order to create works that break with the traditional linear nature of composition. Drawing on notions of myth, legend, and imagination, he explores the impact of the passage of time on our personal histories and narratives and thus creates new aesthetic modes of encountering and understanding the present. Galerie Neu‘s Mehringdamm 72 is presenting an exhibition of work by the prolific Romanian painter – where along with new paintings focussing on portraiture, and a display case of handmade knives, the artist fully utilises the gallery setting as a medium intrinsic to his practice through the installation of 17th century graffiti on a Piero della Francesca fresco, which serves as a springboard for a murky set of possible narratives about artistic paternity, failure and flight.
Schinkel Pavillon present artists’ Shahryar Nashat and Adam Linder, who work collaboratively to stage two parallel projects, where they place their respective practices – sculpture and dance within an interactive dialogue. For the time-based intervention Some Strands of Support, Nashat will exhibit sculpture work paired with video, whilst Linder activates these works by responsive choreography entitled Hard Up for Support. These sculptural, filmic and performative elements are presented in a sequence and accompanied by a specially conceived sound-track. Through the collaboration and different disciplines employed, a tension is created between the ethereal presence of the performative body, film and of sculpture. The Pavilion’s Schinkel Klause is a site for artist Hannah Weinberger’s PERFORMANCE PERFORMANCE – a participatory performative work, which involves an invited group of musicians who create a social space through music. Weinberg leads the musicians on atmospheric directive but keeps the door open for interpretation of individual style, and in turn creates unique performances within diverse and arbitrary concert hall environment. This concert evolves into a social experiment for the artist, where she questions the relationships between the audience and performer and creates a sensibility for our everyday aesthetic, societal and cultural relations.
Shahryar Nashat’s ‘Hard up Support’, 2016, courtesy of Schinkel Pavillon, Silberkuppe, Berlin and Rodeo, London. Hannah Weinberger’s ‘Art and Life’ at Klanginstallation, 2014.