Louise Bourgeois, Untitled, 2010. © The Easton Foundation/VG Bild-Kunst, Photo: Christopher Burke / Peaux de Lapins, Chiffons Ferrailles à Vendre, 2006. © The Easton Foundation/VG Bild-Kunst, Photo: Christopher Burke
Certain works of art are important historically but no longer offer us experiential quality. Louise Bourgeois, whose life spanned nearly the entire 20th century, used art as a way of understanding herself, inventing a distinctive visual world containing raw self-expression and emotion. Much like the maze-like structures of her famous Cells, which she invoked as visual expressions of memory, her mind was a complex puzzle. Schinkel Pavillon invites us to enter the last two decades of her life, through focussed selection of works in diverse media featuring the sack form. They first appeared in her writings and later sculptures, as empty and hollow structures, which she often confined with other personal objects inside the intensely psychological space of Cells. Spanning the entire octagonal room of Schinkel Pavillon the visitors encounter Peaux des lapins, chiffons ferrailles à vendre (2006), one of her largest Cells. Where surrealists focused on the more fantastic elements of the subconscious, Bourgeois played with more subtle ideas of the uncanny. Like other remarkable sculptures she created using fabrics, the sacks are made of delicate chiffon in various tones of pink, pushing the borders between seduction and repulsion. Inside her highly symbolic microcosm their incomplete anthropomorphic form suggests a dysfunctional architectural unit, an empty house, or an infertile woman’s body.
The Catastrophe Colours 2018. An Exhibition by Gonzalez Haase AAS and June 14 Meyer-Grohbrügge & Chermayeff, Photography: Dominik Gigler
A rejection of colour has come to characterise the aesthetic of modern architecture. White and monochromatic tones were often seen as the antithesis of purity, honesty and authenticity. Stemming from a time that defies any categorization, can contemporary architecture embody a more complex and shifting relationship to colour? Reaffirming the status of colour as primarily a sensory perception, architecture office Gonzalez Haase AAS has developed the book Catastrophe Colours, underlining a critical approach to colour theory in the present. By confronting media images of catastrophes with their inherent chromatic essence, the book establishes a new inventory of colour. One that is based on research, linkage and storytelling, echoing the basic components of our information society. For this exhibition at BNKR, Gonzalez Haase collaborated with June14 Meyer-Grohbrügge & Chermayeff, to arrange various catastrophe colours into new sets of colour like Middle East Conflict, Vietnam War, Cold War, Nuclear Disaster, Oil Spills and Terrorism. Such new samples are specifically adopted from a political context, transforming colour patterns into narratives. An event as part of the program „Stop making sense, it’s as good as it gets.“ curated by Ludwig Engel and Joanna Kamm.
Stepping Stairs, 2018, Courtesy Judith Hopf
As an homage to the American architect and theorist John Hejduk, one of KW’s courtyard façades has been repurposed to resemble his anthropomorphic structures attributing facial features to concrete buildings through structural masks. Judith Hopf, the artist behind this permanent architectural intervention, refers to the aesthetics of the Kreuzberg Tower and its adjacent wings in Berlin as a nod to Hejduk’s large-scale transformations. This artistic commission is an extension of Hopf’s upcoming solo show Stepping Stairs at KW, and it’s been made possible thanks to Outset Germany_Switzerland. Established in 2003, Outset is the only international, independent charity pooling donations from patron circles and partners to supports the creation of new art. Drawing on their network of experts, their aim is to identify what is most needed in the arts and respond with tailor-made funding solutions. Projects that challenge thinking and further the artistic discourse to reach new and wider audiences are at the forefront of the initiative’s activities. This spans education, professional development, the production of new work and exhibitions, institutional collecting, and initiatives that underpin the creative infrastructure for the long term.
3B-Produktion (Berlin) for Berlinische Galerie
Pin-up girls, comic book figures and supermarket products collide upon one another – a diverse mix rendered in brash colors that was soon to make history as Pop Art. Collage became Eduardo Paolozzi’s primary artistic strategy as he employed it in his search for a new visual language and iconography for mass culture and industrialized society. In his glued pictorial worlds, man and machine constantly intersect — an element that derives from the artist’s particular interest in science and technology. Essentially, Paolozzi’s aim was to eradicate the boundaries between high culture and popular art, merging them into one entity. This exhibition is based on Whitechapel Gallery’s 2017 Eduardo Paolozzi retrospective in London which showed the complete works ofthe artist. In contrast to the London show, the Berlinische Galerie focuses on his idiosyncratic and experimental work of the 1940s to the 1970s with which the artist attracted much international acclaim. Additionally, one of the key chapters of the exhibition centres around the artist’s productive year in Berlin (1975/75) and the work he developed inspired by the city, out of his Kreuzberg studio around Kottbusser Damm.
photos: Heji Shin
Journeying across deserts, cities and foreign lands, the 19th century explorer Heinrich Barth was on constant expeditions to experience the world’s diversity and cultures with sensitivity. As an homage to his restless spirit and adventures, an eponymous line of high-quality bodycare is dedicated to wanderlust and intimacy. Heinrich Barth products are born out of their founders’ urge to capture and cherish moments in the form of lavish mementos associated with places they have close to their heart. Eclectic ingredients from different regions of the world are the basis of all the products which are made by a traditional family business in Turin, Italy. The primary product line is without scent in order to make anyone feel comfortable in their skin and environment without leaving a trace. In contrast, the Destination Line is reminiscent of specific places: MYKONOS 07 brings on the olfactory experience of being on the island right in its prime in July. Fig leaves, olive trees and wild herbs tell stories of endless summers. DAKAR 04, with its hints of papaya, mango and vanilla, transports the wearer to the city’s bustling markets, where fruits are stacked up to the sky on wooden carts and their aromas mix with bright colors. Travel and discovery trace every step of Heinrich Barth. Wanderlust turns into liquid indulgence.
images: Instagram Heinrich Barth
© Vitra | bottom: design sketches by Panton, probably between 1957 and 1960, Vitra Design Museum Archives
After several years of joint development by Verner Panton and Vitra, the Panton Chair was finally ready for production in 1967 as the first all-plastic cantilever chair to be manufactured in one piece. Created with a revolutionary technique even for today’s standards, the chair’s unique sculptural design was presented to the public for the first time at the imm Furniture Fair in Cologne in 1968. It rapidly came to symbolize an entire era. Now, 50 years after its launch, Vitra is celebrating this timeless icon by issuing two limited editions that bring lustre and luminosity to those dynamic curves: Panton Chrome and Panton Glow. The inspiration for the first one derives from Verner Panton’s fascination with mirrored surfaces and his extensive experiments with diverse reflective effects. An old dream of the designer finally comes to fruition as a recent complex process prevents its previous sensitivity to scratching. On the other hand, Panton Glow accentuates luminosity and a certain “radiance from within” due to phosphorescent pigments that absorb daylight and emit a blue glow in the dark. The jubilee duo shines bright, paying homage to the design’s smooth twists and bends.
top Baas Maartens´ Smoke, bottom Dave Hakkens´ bloks. both © Frank Hülsbömer
Shiny, immaculate, new: these are the qualities we expect from the objects with which we surround ourselves. But one often forgets that aging is also part of life – and design. Transience, the theme taken on by the sixth Design Display exhibition, is much more than a philosophical question. Two designers who deal with the concept of impermanence in different ways take center stage: Maarten Baas destroys in order to create, while Dave Hakkens develops concepts of sustainability. Though both of them share the opinion that good design is more than good looks. For the Smoke series, Baas took iconic design pieces and torched them until they were left charred. In reworking design classics, Maarten Baas’ productive act of destruction not only shows the surface’s vulnerability, but the transience of the original design intentions. The torched versions call for the recognition that things must elapse to make room for the new. Facing Baas on the other side of the glass display, is Dutch designer Dave Hakkens with his Phonebloks – a concept for a smartphone made up entirely of individual modules. The idea is that different “bloks” can be assembled on the motherboard like Lego blocks. These blocks are autonomous functional units such as batteries, processors, speakers, cameras, or memory cards. Users can assemble or upgrade their device at will, as well as easily replace broken parts. The transience of a single module doesn’t spell the end for the whole device. The transience of a single module doesn’t spell the end for the whole device. In the On Display magazine accompanying the exhibition, the fascination with ephemerality and the allure of decay are further explored.
Photos: Elias Hassos
If an artwork is damaged, does it continue to be regarded as art? Apparently not. At least not within the gallery and museum system. All marred art inevitably falls into oblivion, but its lack of monetary worth doesn’t preclude its aesthetic and social values. Salvage art—a term borrowed from the art insurance lexicon—refers to work removed from art circulation due to accidental damage. Founded by artist Elka Krajewska, the Salvage Art Institute rescues said objects from the invisibility of perpetual storage by insurance companies, in order to highlight their survival past their total devaluation. The exhibition No Longer Art – which is part of the program Stop making sense, it’s as good as it gets – exposes a fragile contingency at the heart of art’s identity, beyond the capitalist world it was born into. Its castaway pieces are subject to a peculiar and transformative logic, as they are thrown into art’s nether world but are often still relatively intact. Their identity is discarded and, in theory, they emerge as something entirely different.
© Robert Rieger
Advocating for the integration and inclusion of people from migration and refugee backgrounds, and all kinds of minority groups, lies at the core of The Power of the Arts initiative. Through different expressions of culture — like music, art, theater, and dance — a deeper sense of understanding is fostered across the board. This year’s winning non-profit initiatives touch on numerous issues of discrimination and inequality. Label m invests in youth subcultures and the flourishing scene of young talents in Saarbrucken. Sprayers, skaters, rappers; they all herald the creativity emerging from this often underestimated city. Through Weissensee academy’s *foundationClass program, refugees who want to follow an artistic path are given an opportunity to prepare themselves for applying to art schools. In Saxony, Banda Internationale uses music to neutralize hate, tear down prejudices and connect different cultures. A further aim is to render integration successful and create a more open community where democratic exchange doesn’t merely exist as an idea. Meanwhile, Un-Label seeks to do exactly what its name implies: remove labels and fight against putting people into boxes. Discriminatory boundaries and biases are banished using the means of performing arts.
Images: Iwan Baan / rendering by Diller Scofidio + Renfro
In Moscow’s oldest district, a new public park is unfurling — the first to be built in the Russian capital in over 50 years. Zaryadye Park sits on a historically charged site in close proximity to the Kremlin and Red Square, as well as surrounding heritage buildings. Since the demolition of the colossal Rossiya Hotel that existed there until 2007, the most expensive real-estate in Moscow was left in ruin. After winning an international competition organized by Moscow Chief Architect Sergei Kuznetsov in collaboration with Strelka KB, NIIPI Genplana of Moscow and the Moscow Committee for Architecture, a design consortium led by Diller Scofidio + Renfro (DS+R) in partnership with Hagreaves Associates and Citymakers has applied their approach to fostering inclusivity, openness, access and porosity to the project. The defining part of the design’s basis is the idea of “Wild Urbanism” — an elemental confrontation between the natural and artificial, the local and global. Expanding on this overarching concept, the overall lack of paths and predefined routes allow people and plants to exist and move freely alongside each other. Unpredictable conditions give as little instructions as possible and therefore offer a more genuine sense of exploration. Visitors can meander between the different landscapes that blend into one another, and reconcile urban life with the desire to be in proximity to nature. Zaryadye Park’s concept is specific to Russia by including native flora in four artificial microclimates that mimic the landscape typologies dominating Russia: the tundra, the forest, the wetland and steppe. “Moscow lost and found” runs as an underlying thread throughout the project: Once inside the park, large swatches of forest and vegetation allow immersion in nature and escape from the city. Elsewhere, promontories offer singular outlooks from which the city is rediscovered and appreciated anew. Based on the principle of lamination, the park buries built structures underneath, which host different cultural programs, restaurants and a philharmonic hall. Thus, a multiplicity of experiences are embedded in the same space in an ostensibly organic manner that resists over-calculated design. Scheduled to be revealed in September 2017, the current transformation of the Zaryadye district into a public space, represents both a historic moment for the Russian capital, and a powerful opportunity to rethink the purpose, potential, and value of parks in the 21st century.