The Grill Royal family has teamed up with artist Rirkrit Tiravanija and chef Dalad Kambhu for their latest restaurant, Kin Dee. Here, contemporary Thai cuisine is served family style – dishes such as whole fried fish or beef stew are plated to share among several people. Lemongrass, kaffir lime, wild ginger, galangal, curcuma, coriander or red chili are essential ingredients. However, whenever possible, the chef and her international team substitute imported products with regional ones from her network of local suppliers. This leads to a modern interpretation of Thai food without sacrificing flavor: sweet apple in place of mango, yellow turnip in place of Asian sweet potato, or pickled kohlrabi in place of papaya. Located in Schöneberg, Kin Dee inherits the former space of the restaurant Edd’s. Out of respect for its history, only small changes and refurbishments have been made to the space. One new addition, though, is the artwork that hangs in the dining room: some of these pieces were created by co-owner Tiravanija, and other were made by artist friends.
Placed on a high pedestal at the heart of Frankfurt Alt-Sachsenhausen’s new bar Bonechina is a night-blue, porcelain elephant. Coincidentally, it is also your bartender: tonic water splashes from its mouth. Guests are invited to mix their own drinks, gathering around the sculpture to fill their cups, choose between a sandalwood or Vetiver aromatic ice cube, possibly exchange some names and stories. Developed by the Lindenberg Group, Bonechina is less of a bar than what a bar may dream of. Absent are the bartenders (though two hosts are present to prepare drinks if desired), and gone are the counter, the stools. With a visual concept designed by Studio Aberja, the whole interior glimmers across ceramic tiles called Frankfurter Fliese, diamond-cut and painted in the same shade of blue as the elephant-fountain. The blue continues onto the curtains and upholstery, and above the light limbs of pear-wood furniture, aromatic diffusers let out puffs of yuzu and bergamot throughout the evening. With all of this housed inside a baroque building from the wooden-shingled 18th century, the 20 lucky guests for a night at Bonechina may start to think they’re dreaming too.
Galerie Berinson newly housed in an apartment of a historic Gründerzeit building in Charlottenburg. Gonzalez Haase AAS, which designed the interior of the former gallery in Kreuzberg, has travelled west with them. With its parquet floors, stucco-work molding around the ceilings, and a pre-modern floorplan, the new venue is a radically different space than Berinson’s open loft-format from before. To contrast the old-fashioned feel, the architects have remodeled the space with a sense of rigor, simplicity, and clarity. All the built-in walls that weren’t a part of the building’s load-bearing structure were removed, creating an even circulation through the gallery. At the head of its main hallway is an office space with an exposed storage area; along the hall’s other side are entrances to the three exhibition spaces. In line with the architectural concept, the original connections between these exhibition rooms – double doors in the middle of the walls – have been closed up and replaced by neutral openings. Finally, a system of cool lighting from bold, metallic track fixtures is installed in strict parallel to the main axis of the apartment, two in the hallway and two running through the exhibition rooms. These additions are of a characteristic style for Gonzalez and Haase, and serve to unify Galerie Berinson’s new home: the fixtures become a part of the architecture itself, separating and organizing space through their form, size and design.
Adam Pendleton‘s multi-disciplinary practice engages with language and the reframing of history, and he follows Hanne Lippard as the second of three artists to present exhibitions reflecting on the work of Ian Wilson. Beginning his practice as a painter, Wilson increasingly took on communication, abstraction, and the nature of knowledge as subjects, and used dialogue as a form. As a response, Pendleton stages an intervention to the entire third floor of KW. Cutting across the exhibition space is a diagonal wall, across which is printed the first sentence of Ron Sillman’s poem “Albany” – “If the function of writing is to ‘express the world.’” This statement, or question, is met with an arrangement of posters, collages, and other archival materials from Pendleton’s practice, pasted in successive layers and constrained to a black-and-white palette. And Wilson’s voice is present in the midst: shot him in the face includes one of his monochromatic paintings, with which the artist aimed for producing an object devoid of referential content and touching true abstraction. As part of KW’s The Weekends agenda, three of Pendleton’s film works will also be showing at the Babylon cinema. All showcase Pendleton’s focus on the themes of portraiture, artistic exchange, and methods of representation – filmic and otherwise.
When science fiction scenarios are applied to reality: How is robotics changing our lives and what is design’s role within that spectrum? As these technological advancements have found their way into our everyday environs, design has a central responsibility in this process, for it is designers who shape the interfaces between humans and machines. The exhibition Hello, Robot at the Vitra Design Museum examines the current robotics boom from the scope of various disciplines in extensive detail for the first time. Comprising more than 200 exhibits, the exhibition includes robots used in the home, in nursing care, and in industry as well as computer games, media installations, and relevant examples in films and literature. Through this sweeping analysis, the show broadens our awareness of the associated ethical, social, and political issues that arise. As our environment is becoming ever smarter and more autonomous, Hello Robot initiates a necessary discussion on how design cultivates the relationship between human and machine. Accompanying the exhibition, an extensive programme of talks, films, performances, and workshops further illuminates the topic in question from a number of different perspectives.
The reopening of the KW Institute for Contemporary Art is marked by a series of exhibitions reflecting on the work of South African artist Ian Wilson, who explores spoken language as an art form and places great emphasis on dialogue. In Wilson’s non-tangible practice, language morphs into the quintessential vehicle for communication and knowledge. To highlight the importance of his objective in relation to the role of language, three selected artists have been invited to concentrate on different aspects of his artistic output and use them as inspiration for the production of new work. First in line to delve into the topic is Norwegian artist Hanne Lippard with the immersive installation Flesh that takes Wilson’s Statements and Circle Works as its point of departure. Lippard’s physical piece—a spiral staircase leading to a platform—incorporates the artist’s voice which completely encompasses the audience and opens up a world in which ourexperience of language as pure voice is further investigated. Maintaining Wilson’s oeuvre as a guiding framework, Lippard’s exhibition will be followed by artists Adam Pendleton and Paul Elliman.
After relocating to a more spacious venue right behind the Volksbühne, the Dittrich & Schlechtriem gallery inaugurates its new home with an installation by the Berlin-based artist collective Das Numen, made up of artists Julian Charrière, Andreas Greiner, Markus Hoffmann, and Felix Kiessling. The collective’s practice is premised on the methodological primacy of experimentation and the significance of engaging with their surroundings and the present moment. Entitled Das Numen Meatus, the exhibition focuses on sonic compositions and the importance of atmosphere for their existence. Something intangible and ephemeral fills the gallery’s rooms: sounds emerge, produced by an array of pipes suspended in the space. Das Numen feed readings—wind velocities and directions—from twenty weather stations into a computer program that converts the data into impulses. The latter in turn control valves that allow compressed air to pass through the pipes, which begin to sound. Scientific data that, due to its enormous quantity, often goes unused is transformed into sensual sounds and a curious aesthetic experience.
Founded in the early ’90s, in a derelict margarine factory, shortly after the fall of the Berlin Wall, the KW Institute for Contemporary Art has come to be seen as a symbol of Berlin’s artistic development. After 25 years, it continues operating as a lively platform for progressive art practices, and a meeting place specialised in experimental discursive programming. As part of a larger institutional restructuring process under the new directorship of Krist Gruijthuijsen, every part of KW’s 2017 program of exhibitions and events is filtered through the lens of artistic vision. The new program emphasizes dialogue and experimental uses of language, fostering visible exchange between artists and audiences in Berlin, and beyond. Ongoing investigations into singular art practices or thematics form the basis for corresponding commissions and exhibitions. The open-endedness and collaborative nature that lies at the core of the establishment’s mission creates a profoundly inclusionary place that invites numerous voices, and narratives to unfold through its program and the conversations it inspires in its audience. Thus, KW continues to push beyond the confines of the physical building through artistic commissions and events. Inviting artists to interfere with its physical space is an inextricable element of the institute’s approach. One of the most recent site-specific artworks, Philippe Van Snick’s intervention on the entrance gate, complements already existing pieces like Dan Graham’s glass pavilion housing Café Bravo, Renata Lucas’ pavement restructuring outside the main building, as well as the iconic garden by atelier le balto that has returned to the courtyard.
With the opening of Schaudepot in June 2016, the Vitra Design Museum more than doubled its exhibition space. Designed by Basel-based architects Herzog & de Meuron, the new addition functions as a venue for presenting key objects from the museum’s extensive collection to the public. Holding the first permanent exhibition of the institution’s sprawling collection, the brick building includes over 7.000 pieces covering all significant epochs and protagonists of design from 1800 to the present, and the estates of designers such as Verner Panton and Charles & Ray Eames. The central focus is a selection of more than 400 key objects of furniture design, including rare works by such designers as Gerrit Rietveld, Alvar Aalto, Charles & Ray Eames, or Ettore Sottsass, but also lesser-known or anonymous objects. What the collection aims to achieve is to document the past and present of interior design, and foster research in a broader context. Schaudepot combines the simple appearance of an industrial warehouse with the complex requirements of a walk-in museum repository. To the outside, the structure presents itself as a monolithic volume constructed from hand-broken bricks, characterised by a completely windowless facade and a simple gable roof. With its understated and dignified appearance, the edifice’s architecture reflects the cultural value of the objects stored within. Through this new expansion, the Vitra Design Museum is addressing the characteristic development in the sphere of design and museums today, as well as communicating the significance of design through discussions, the demonstration of social correlations and the presentation of references to other fields. Now in operation, Schaudepot is one of the world’s largest permanent exhibitions and research facilities on modern interior design.