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
JEUNES COMMISSAIRES establishes new forms of supporting young curators in France and Germany. The program focuses on aiding in their professional integration and accompanies their first steps into the international art world. Serving as a platform for discourse and experience, JEUNES COMMISSAIRES not only offers opportunities for practical intervention within professional structures but also links between young curators and experts for a direct and long-term exchange. Alongside get-togethers and conferences with different curators and directors from Berlin’s art institutions, the participants will also meet independent, progressive curators and will conduct studio visits. The website www.jeunescommissaires.de not only allows insight in the workshop via photo documentations, but portrays its participants in interviews on their curatorial activities and their expectations on the program.
Credit: Albert Oehlen, / 5, Courtesy: Albert Oehlen & Galerie Max Hetzler, Berlin, Photo: Stefan Rohner
When in 2008 Albert Oehlen was asked why he had recourse to fragments of advertising posters in his new paintings, he answered: “I wanted emotions! At some points, I had to admit to myself that my approach to art was a bit sober. […] At the same time, I’d always wanted to do Pop Art, big, colourful things with immediate appeal.” (Interview by Max Dax, in: Albert Oehlen 1991-2008 Galerie Max Hetzler and Holzwarth Publications, Berlin, 2008). The ‘trashiness’ of the advertisements is now all over the picture. Simultaneously, the compositions are all evocations of interieurs (interiors), playing with shapes and textures of furniture elements, but also with architecture and perspective, as well as with characters’ silhouettes. There is an obvious ambiguity between figuration and abstraction, produced by the contrast between the imagery of the advertisements and the new picture created. These new large-scale works by Albert Oehlen will be presented in the exhibition Interieurs at the gallery’s new space in Bleibtreustraße 45, Berlin-Charlottenburg.
Credit: Abert Oehlen, / 36, Courtesy: Albert Oehlen & Galerie Max Hetzler, Berlin, Photo: Lothar Schnepf
Citizens across Europe are currently taking the initiative to re-appropriate urban space. A group of neighbours transforms wasteland into public space. Garden plot owners open their grounds to unemployed youths to test their small-scale business ideas. Communities are becoming patrons where they were once supplicants. Identified as “We-Traders” they redefine the relation between value, profit and public good and are able to motivate fellow citizens to follow suit. They respond to crisis in several arenas of urban life, be it economic, social or ecological and diffuse the boundaries between buyers and sellers: consumers become co-producers. Through interactive forums, workshops and exhibitions the project connects initiatives by artists, designers, architects and activists from Lisbon, Madrid, Toulouse, Turin and Berlin, where the current crisis manifests different facets from empty coffers and social polarisation to a lack of civic sense as a result of excessive growth.