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
Maxie Eisen, a Chicago gangster with German roots, was the organizer of 3 Hebrew associations of food dealers in the 1920s – the Hebrew Master Butchers’ Association, the Master Bakers’ and the Retail Fish Dealers’ Association. He made a name for himself as a mafioso in the food business and was respected in the mob scene due to his cunning, but above all, also due to his close association to Al Capone. Maxie and the rest of the gang would meet for diplomatic treaties late at night at the Hotel Sherman, presumably over charcuterie, fish, magnums of stolen red wine and strong drinks. Building on a mix of Jewish food, the history of Frankfurt’s red-light district and the French sensibility of a buvette, Maxie Eisen, located in the middle of the Bahnhofsviertel, will revive and reinterpret the spirit of those bygone times. Pastrami takes center stage; delicious American beef brisket, traditionally cured using mustard, crushed peppercorns, coriander seeds and garlic. Roast chicken and select charcuterie such as duck rillettes are also on the menu. Matzo ball soup, following a traditional recipe, herring with horseradish and raw onions, home-cooked rosemary french fries and fresh salads act as accompaniments.
Photos: Steve Herud
Oskar Schlemmer, 1927, Foto: Erich Consemüller © Stiftung Bauhaus Dessau
The exhibition Human-Space-Machine. Stage Experiments at the Bauhaus presents for the first time concepts and experiments of the legendary Bauhaus stage, where the relationship between man and technology in particular was investigated and explored. In 1921, Walter Gropius founded a theater workshop at the Bauhaus. It conducted new research and experiments on the relationship between humans and technology.
Credits: Xanti Schawinsky, 1926 © Xanti Schawinsky Estate | Ludwig Hirschfeld-Mack, 1925, Privatarchiv © Kaj Delugan
The aim was to find a new place for the human being in a technological everyday living environment, to explore his new possibilities of movement and perception, and not least to find new symbols and images for that ambivalent ‘essence’ of the ‘new human being’, defined equally by nature and technology. Accompanying the exhibition, a festival spotlights stage experiments at the Bauhaus. It addresses the influences they exercised on dance, theatre, performance and visual arts, and discusses their current relevance and applicability. For concepts and symbols of a question that is still acute today took shape on the Bauhaus Stage: How much machine can man internalise, and how human can machines become?
Xanti Schawinsky, 1925 © Xanti Schawinsky Estate
Christoph Schlingensief, Das deutsche Kettensägenmassaker, 451Photo: Eckhard Kuchenbecker 1990 © Filmgalerie
The exhibition Christoph Schlingensief at KW Institute for Contemporary Art in Berlin is the first comprehensive show dedicated to the exciting and versatile body of work of Christoph Schlingensief. Transgressing artistic, medial and institutional boundaries the full effect of his work unfolds through continuous fragmentation, synchronicity, dissolution of boundaries and its inter- and trans-medial character. In his oeuvre, which spans films, theater pieces, operas, happenings, performances and installations, Christoph Schlingensief serves comments on and reactions to their respective moments of development and the social contexts they’ve emerged from, touching on topics such as media representations of current events, politics, German history, fascism, Christianity and the institution of family. His radical demand for reaction, his uniquely inventive imagery, his almost obsessive overexertion and challenging demand for similar dedication from anyone involved in his projects secure Schlingensief’s exceptional position in the contemporaneous art discourse.
Christoph Schlingensief, The African Twintowers, 2005 – 2009 © Filmgalerie 451, Photo: Aino Laberenz | Christoph Schlingensief, Die 120 Tage von Bottrop, 1997 © Filmgalerie 451
KW INSTITUTE FOR CONTEMPORARY ART
For one year the Akademie der Künste is devoting itself to the topic Vertigo of Reality | Schwindel der Wirklichkeit. There is hardly a single issue in the arts that has been addressed as systematically as the construction and deconstruction of reality. Above all, new media and the interactive possibilities of the digital world have fundamentally altered the arts and their own reflective understanding. The threshold between digital information and the analogue user, between man and machine, between virtuality and body has long since been a dialectical core theme of contemporary art. The focus kicks off this November with a working station – a mobile architecture installed in the Akademie der Künste at Haseatenweg hosting a series of talks, debates and performances every Wednesday at 5:00 pm leading up to the Metabolic Office for the Repair of Reality and a large exhibition in the autumn of 2014.
Credit: Klaus Staeck, Im Mittelpunkt steht immer der Mensch, 1981 © Edition Staeck, Heidelberg/VG Bild-Kunst, Bonn 2013
AKADEMIE DER KÜNSTE, SCHWINDEL DER WIRKLICHKEIT
Credits: Alessandro Bava, Zine cover Issue 3 | Alessandro Bava, bahrain collage2lumia
89plus is a long term, multi-platform research project, co-founded and co-curated by Simon Castets and Hans Ulrich Obrist, mapping the generation of innovators born in and after 1989. The 89plus Resources Workshop and Panel at LUMA is the first event to be structured around a single theme, Resources, engaging the disciplines of art, architecture, literature, science, and technology in a focused conversation. Led by Simon Castets and Hans Ulrich Obrist a Workshop will bring together environmental activists and artists from the 89plus generation along with experts in resources and sustainable development. The panel discussion will address the potential of new technologies for positive environmental and social change in a world of declining natural resources.
Credit: Takeshi Shiomitsu, cleanroom study (i keep on falling falling)
Photo: Marco Funke
With its innovative, artist-centred format, abc is consciously focused on artistic practice. Each invited gallery is specifically asked to realize a single position of contemporary art. Rather than presenting their particular programs, the galleries present themselves in their capacities as the producers of selected artists. This year abc will also be reinforced by an expanded program of events including a project called “Upcoming Exhibitions” curated by Shanaynay (Paris).
Around 130 emerging and established galleries from across the Globe will take part this year. The modular, architectural concept responds to the spatial conditions of each individual work and provides a structure which is both clear and open, and particularly well suited to the presentation of installations, sound pieces, performances and video screenings. Info can be found here.
ABC ART BERLIN CONTEMPORARY
Credits: House N by Sou Fujimoto Architects, Photo: © Iwan Baan |
Constantly shifting relationships between interior and exterior is one of Sou Fujimoto’s intellectual leitmotifs – which can be discovered in his first monographic exhibition in Europe Futurospective Architecture, presented in Lisbon at the architecture gallery Garagem Sul. Originally conceived by the Kunsthalle Bielefeld, the show displays texts, models and photographs documented and commented on by the architect himself, who seeks to offer more than a retrospective of his buildings and architectural work realized thus far, and to think the architecture of the future akin to a forest. In his words Architecture emerges where the flow is intensified.
SOU FUJIMOTO, KUNSTHALLE BIELEFELD, GARAGEM SUL