With Number Eight: Sturtevant the Julia Stoschek Collection is showing a solo exhibition of the work of Paris-based American artist, Sturtevant. Ever since her first show, she questioned the purpose, autonomy and authorship of art, by repeating other artists’ works and concepts. Contrary to popular belief, this method did not center on the pure imitation of an artwork, rather Sturtevant was more interested in the imaginary space that opens up behind it and thus creating a critical debate on the surface, the product and the autonomy of a work of art. Even though she repeated works shortly after they were produced, sometimes in the same year, they were later considered renowned masterpieces. From 2000 onwards, the inclusion of mass-media images and Sturtevant’s own filmed material led her to produce works in the medium of video. Now against the background of the World Wide Web, the transgressions, the boundlessness, the borders and its decay, she analyses the origins of knowledge, art and culture, and addresses the question as to how they can be produced and shared.
Sturtevant Finite/Infinite, 2010
JULIA STOSCHEK COLLECTION
© the artist, Courtesy of David Zwirner Gallery, New York
Under the title, High Performance. Time-based Media Art since 1996, Julia Stoschek Collection presents key works of time-based media art at the ZKM | Center for Art and Media Karlsruhe. With large-format video works and films, as well as multichannel spatial installations, the exhibition demonstrates that as an artistic medium, video art, which first began fifty years ago, has lost nothing of its force. The 50 works on the subjects of ‘body and soul’, ‘public space’, ‘environment’ as well as ‘virtual reality’ offer an in-depth insight into the most recent developmental history of the collection since 1996. In addition, a comprehensive compilation documents the most important performances to have been on show at the Düsseldorf collection building.
JULIA STOSCHEK COLLECTION
How does a digitally oriented generation, for whom creativity, sustainability, and mobility are more important than status, live? This is the question explored in Freunde von Freunden’s and Vitra’s first apartment in Berlin. Building upon their common styles and experiences, the FvF Apartment by Vitra on Mulackstrasse offers a glimpse into the world of the Swiss furniture manufacturer’s collage and visualizes the interview magazine’s conceptualization of urban living. The 65sqm ‘Altbau’ apartment has been rebuilt and designed to be adaptable to the diverse scenarios of everyday life.
Photos: Steve Herud
FREUNDE VON FREUNDEN, VITRA
The fifth edition of the Marrakech Biennale poses the question Where are we now? through a dialogue between four disciplines: visual arts, cinema / video, literature and performing arts, the latter a new discipline of the Marrakech Biennale as of 2014. This question can be raised in different fields of the geographical, philosophical and socio-political discourse. Marrakech developed hundreds of years ago into one of the main cultural and religious centres for the Maghreb and sub-Saharan Africa. Today the city still finds itself within Morocco, the Maghreb, Africa and with a close connection to the Middle-East; but also in the middle of a transition phase of our global society. Founded as a reaction to the international political situation in the beginning of the 21st century and the consequent negative perception of the Arab world, the aim is to gather local, regional and international audiences in order to stimulate dialogues, and to invite emerging and established artists from all over the world to create new pieces of site-specific nature.
Credits: Hicham Benohoud, Bienvenue à Marrakech; Can & Asli Altay An Archipelago from the Mediterranean; Mounira Al Solh In brown, longtime thresholds and substrates without catalogue (Courtesy the artist and Sfeir-Semler gallery); Gabriel Lester MurMurMure Photo 1,2,4: Pierre Antoine
Credit: Dorothy Iannone, My Caravan, 1990 © Dorothy Iannone, © Foto: Ilona Ripke
This Sweetness Outside of Time. Objects, Books and Films from 1959 to 2014 is the first solo exhibition addressing all aspects of Dorothy Iannone’s opus rich in splendour, humour and the erotic, shifting the focus again to one of the most unusual women artists of the 20th/21st century. For this purpose this comprehensive retrospective is bringing together loans from museums and private collections elsewhere in Germany and Europe, with the aim to illustrate the intermediality and radical subjectivity of this unique artistic ouvre and to make the innovative energy in the art of Dorothy Iannone known to a wider audience. As a pioneering spirit against censorship, for free love and autonomous femal sexuality, the major topic of Dorothy Iannone’s paintings, texts and books is the ecstatic love, which draw uncompromisingly on her own life. Although her depictions of the sexual union between man and woman have an unmistakably mystical dimension rooted in the spiritual and physical union of opposites, her art frequently fell foul of the censors because of allegedly pornographic content.
Credits: Dorothy Iannone, The Statue Of Liberty, 1977, Photo: All rights reserved | Dorothy Iannone, Singing Box, 1972 © Dorothy Iannone, © Foto: Jochen Littkemann
Run by cultural producers, the Berlin Art Prize is a non-institutional award with the aim to encourage Berlin-based-artists in their autonomous work and to validate their creative work processes. Three artists are honored by a jury composed of local art professionals, with a group exhibition, an accompanying catalog, a residency, prize money and a trophy, and an additional 30 nominated artists will be included in the group exhibition and the catalog. Unlike other awards the artists are evaluated anonymously, with the jury only taking artistic ability into consideration. In June 2014 the next Berlin Art Prize will be awarded, followed by the exhibition, concerts, talks, and events.
Graphic Till Wiedeck
BERLIN ART PRIZE
Photo: Stefan Korte
In November 2012, Studio Manuel Raeder began developing the three display structures and furniture that make up La letra E está por doquier (The Letter E is everywhere) with fellow studio designer Santiago da Silva for Centro de Diseño de Oaxaca. As the first public institution of its kind in Mexico, it understands design as a tool for social change and, coinciding with the ethos of Studio Manuel Raeder, follows the understanding that form relates to production and production to alternative economic relations based on dialogue and the exchange of ideas. As a result the furniture features seating made out of plastic, wooden stools and upturned buckets, as well as the ubiquitous white plastic Monobloc chairs, reconfigured and covered with woven palm leaf. The modular cake table was produced in collaboration with a furniture factory and local wood producers in Oaxaca. Additionally the cubic structures display a selection of catalogues and artists’ books produced by Studio Manuel Raeder over the past ten years, as well as collected and found objects such as art wares, which the designers collected from their stay in Mexico.
Photos: Stefan Korte
GALERIE NEU, STUDIO MANUEL RAEDER
Something Fantastic © ICC Berlin
Das ICC ist ein Gesamtkunstwerk, von der riesigen Aluminiumhülle bis zum Leitsystem im Inneren, den Türgriffen und Garderobenhaken. Es ist eines der erfolgreichsten, architektonisch mutigsten, und international bedeutendsten Gebäude Berlins. Vor 35 Jahren, am 2. April 1979 wurde der von Ralf Schüler und Ursulina Schüler-Witte geplante Bau eröffnet.
Das im Auftrag einer international operierenden Investorengruppe erstellte Konzept würde dafür sorgen, dass dies so bleibt und dass diese einmalige Ikone des 20. Jahrhunderts bewahrt, in ihrer Kompetenz bestätigt, und zugleich neu herausgefordert wird. Das ICC könnte zum ICCC werden, einem Zentrum für zeitgenössische Kultur in Berlin – für die Berliner und die internationale Öffentlichkeit: Dialog, Diskurs und Praxis werden hier verdichtet und sichtbar gemacht. Eine konzeptionelle sowie organisatorische Neuausrichtung schöpft die vorhandenen räumlichen und wirtschaftlichen Potenziale endlich voll aus. Das Nutzungskonzept basiert auf einer Synergie aus Konferenz- und Kongressbetrieb, Veranstaltungsort für Darstellende und Bildende Künste, Restaurant und Cafés, Hotel, Kunstschaulager, Black- und White Cubes, Fachhandel für Kunst und Medien sowie temporären Co-Working Spaces, Ateliers und Tagungsräumen.
What is needed is a catalyst for the meeting of worlds that represents and is part of our journey in to the future. The first phase of post-Wall Berlin, the art colonisation of the city, is almost complete. Now we need to look towards a new, technically orientated consciousness and what better hub for that endeavour than the ICCC? A mothership for the merging of two cultures in the third industrial age. The architecture of the ICC, the ship-like form that shouts “space” rather than “sea” are all perfect companions to this journey. Sophie Lovell (Author & Editor-in-Chief, uncube magazine)
Photos: © ICC Berlin
Credit: Content is Relative
Expanding on the emergent poetics of online distribution systems and the prominence of poetry in 89plus projects to date, the exhibition Poetry will be made by all! will bring together works from renowned and upcoming international poets and writers, born after 1989. Inspired by the seminal exhibition ‘Transform the world! Poetry must be made by all!’ at the Moderna Museet, the exhibition of 89plus will highlight how the written word, far from being diminished, finds a renewed importance within today’s digital information networks. During the opening days of Poetry will be made by all! readings and performances by poets, artists and writers such as Harry Burke, Andrew Durbin, Mashinka Firunts, Sophia Le Fraga, Rui An Ho, Sang-Woo Lee, Trisha Low, Steve Roggenbuck and Dena Yago, as well as Etel Adnan, Caroline Bergvall, Christian Bök, Anton Bruhin, Tao Lin, Tracie Morris, Mendi + Keith Obadike, Eugenie Paultre and many others, will be held, including a performance by concrete poet Eugen Gomringer. For its inaugural exhibition, 89plus is partnered in association with UbuWeb. This platform has expanded to include a remarkable collection of film and video art, critical documents and essays, sound poetry and art recordings, among many other unclassifiable strands of the avant-garde.
The products of the Berlin based design company NEW TENDENCY are characterized by conceptual design, clear aesthetics and functional form, as well as the fact that they’re manufactured locally. Whether it is a glass, a coat rack or a jewelry collection, the design company’s credo is continually reflected in its new, interdisciplinary creations – expanding its portfolio of original products and collaborations with select designers. Corresponding to this approach, their newest innovation, the shelf rack CLICK is the result of a collaboration with Danish architect Sigurd Larsen. Furthermore, the latest NEW TENDENCY product range includes the MASA table base, the DECEMBER floor lamp, the HASH coat rack, the META side table and the X CHAIR, the RIEN glass as well as the SID & CHAD vases, next to a new oak version of the SHIFT, which received the Interior Innovation Award 2014.
Photos: Haw-lin | Matthias Schmitt & Michael Ott