Internationally renowned industrial designers Ronan and Erwan Bouroullec elucidate their thoughts on urban development and public spaces by presenting a diverse body of work and the results of their ongoing research at the Vitra Fire Station. What can be seen as a wide-ranging study of possible development solutions for cities, the exhibition Rêveries Urbaines seeks to list new forms and concepts that may be imagined in various urban settings. Like glimpsing inside the brothers’ notebooks, the proposed solutions are revealed to visitors as they wander through models and animations, immersing themselves in different scenarios and urban fictions. Unlike the duo’s usual domestic approach to design and focus on the individual, the exhibited proposals solely concentrate on public spaces and the relationship between inhabitant and city. The metamorphosis of spaces through lines, harmony and transparency aims to give a new sense of magic to the places in our cities where we walk, meet and talk. The designers’ “dreamscapes” take into consideration pre-established urban functions and remind us of a new direction in the connection between buildings, the quality of a pavement, where a fountain is situated, the planting of a jungle; all the elements that city dwellers should care about in order to add more charm to the city.
“The exhibition presents our open and abundant research, a ‘pragmatic reverie’ that is designed to exist in public spaces.” – Ronan
“In our work, no project is dedicated to a particular person or place. The exhibition brings together propositions for developing public spaces that have an element of abstraction. They reply to a question that is not completely clear. It is in this vacuum that? our propositions could be potentially re-imagined on site.” – Erwan
Supporting pioneering ideas is at the core of Forecast, an international platform that calls on creative minds from diverse fields to submit their proposals and collaborate with six highly esteemed mentors. Now in its second edition, Forecast encourages public discussions on the ideas of the future and offers fertile ground for the growth of outstanding projects. Thus, a shared space to come together and exchange views is created, within which synergetic efforts bring forth innovation. The platform and its accompanying festival transcend the boundaries of disciplines to provide insight into creative production processes, and make room for the questions that are on the minds of the next generation of trailblazers. Until 30 November, creative minds from anywhere in the world working in various disciplines are urged to submit their proposals for consideration. Thirty finalists will discuss their ideas and present them to the public at the Haus der Kulturen der Welt (HKW) during the Forecast Forum in March 2017. At the end of the forum, the six mentors will each select one concept, which they will accompany to fruition. Finally, the outcome of these collaborations will be presented during October 2017, at the Forecast Festival at the HKW.
BNKR München, Hochbunker. photo: hiepler brunier.
After the Second World War, military edifices constructed for protective purposes were left abandoned and consumed by dismal emptiness. Germany, in particular, is replete with bunkers that in recent years have assumed a variety of new roles, from residential spaces to cultural institutions. One such concrete behemoth built in 1943 in Munich’s Ungererstrasse, houses BNKR, a multifaceted art space offering room for present-day visions without ignoring the past. The main focus of BNKR’s programme is to instigate reflection on our present reality in the realms of art, design and architecture. In the contemporary transformation of the bunker, with its new use and orientation as an art space, an unavoidable tension is created that oscillates between remembering and forgetting, past and future. The project was founded in 2014 , in order to give a format to art and architecture, to promote exchange and dialogue. BKNR collaborates with external curators over the course of one year to develop a programme that uses exhibitions, performances, lectures, discussions, film screenings, concerts and more to raise questions situated in the notion of the ‘in-between’, whether that’s referring to time, space or mental states. Currently on show, the solo exhibition Urban Shelter by Annett Zinsmeister examines the specific history, meaning and transience of shelters.
CREDITS Christopher Roth – I Am In Paris, 2015, Courtesy: the artist and Esther Schipper, Berlin Photo: © Andrea Rossetti / Andreas Schulze – Untitled (Vacanze/Son) , 2016, Copyright Andreas Schulze / VG Bild-Kunst, Bonn Courtesy the artist and Sprüth Magers / SIMON MULLAN – Franz, 2016, Photo: Jens Ziehe, Copyright Simon Mullan, Courtesy DITTRICH & SCHLECHTRIEM, Berlin) / Saâdane Afif – Installation view from the series L’Eternité, Courtesy the artist and Mehdi Couakri / Sean Snyder – Mnemonic Equation (Level 3), 2015 – 2016, Courtesy: the artist and Galerie Neu, Berlin
The maxim remains the same: one gallery, one artist. This September, the 9th edition of abc art berlin contemporary will return to Station Berlin, continuing its commitment to a format that places the artist and their presentation of work at the center. Founded by a group of Berlin galleries, abc invites around 60 national and international galleries to showcase solo presentations of artists within their program. abc’s continual development and transformation reflects characteristic features of the city—a passion for experimentation and openness to evolution and change. On Friday night—which is the Gallery Night (16 September)—all participating Berlin-based galleries will open their doors to invite collectors, curators and art enthusiasts into their spaces and exhibitions. While on the following Saturday and Sunday afternoon, a series of talks and performances involving artists, curators and galleries will allow the public to gain a deeper insight into specific topics and works. Find the entire program of events here. A complete list of this year’s participating galleries and artists can be found here.
Photos: Ingo Mittelstaedt
Two objects facing each other in a glass display case like two protagonists in a state of momentary inertia right before delivering their lines on stage. The objects’ potential functions, and aesthetic qualities encourage the viewer to further dissect their characteristics and initiate a dialogue. And that’s precisely Design Display’s objective: the exhibition series at the Autostadt in Wolfsburg seeks to demonstrate the role design plays in our daily lives and to proliferate discussions about its social and political dimensions. Every four months, Design Display presents a new exhibition featuring two design projects, and releases an accompanying magazine that mimics the duality of the setting while delving deeper into the chosen subject through essays and opinion pieces. Starting in July 2016, the new exhibition’s pervading theme is “simplicity”—an underlying design principle that for many is the key to happiness in objects, embodied through abstinence, reduction and focusing on the essentials. For this iteration, the glass case is inhabited by Jasper Morrison’s cutlery for Muji and Rafael Horzon’s Modern shelf. A constant conceptual thread in Morrison’s work, the act of simplifying is evident in his designs for the Japanese company. Cutlery should first and foremost feel good in the hand—the simple and simultaneously elegant form is not an end in itself but instead derives from its use. On the opposing end of the glass rectangle, we find a shelving unit that suggests a different kind of simplicity, one that’s based on the notion of quick, easy and inexpensive design. Horzon’s Modern shelf stands as an ode to material reduction with hints of humour and irony. Albeit ordinary and unremarkable, Horzon’s storage unit puts emphasis on the importance of the basic and the narrative behind its creation. For more information on the exhibition series visit Design Display’s website.
Heinrich-Heine-Allee; netzwerkarchitekten and the artist Ralf Brög. Photo Jörg Hempel
Following its opening to the public in February 2016, Dusseldorf’s Wehrhahn line is now in full use and worth revisiting to dissect its singular aspects in more detail. Fifteen years in the making, the recently acquired U-bahn expansion is a refreshing approach to inner-city mobility and a nod to the future possibilities of public transport aesthetics. Collectively designed by artists, architects and engineers from the very outset, the ambitious project offers an unparalleled art and architecture experience to commuters who are invited to immerse themselves in soundscapes, geometric animations and sculptural installations. Here art is not merely showcased on the walls but it has deeply infiltrated the entire structure—each of the line’s six stations have become pieces of art complete with their own thematic character but also seamlessly incorporated in an all-encompassing system. And that’s certainly not the norm when it comes to public transport—the line’s overarching concept initiates a dialogue between disciplines that’s visually perceptible throughout. From acoustic impulses, sound bites and interactive installations to a planetary underworld dedicated to outer space and poetic texts transformed into sculptures, the line’s stops highly elevate the long-neglected notion of the subway. At the Heinrich-Heine-Allee station, artist Ralf Brög designed the three entrances as visual and acoustic venues for the performance of changing sound compositions—an “Auditorium”, a “Theater” and a “Laboratory”. Each of the three model spaces boasts a high-quality sound system, enabling the most wide-ranging acoustic interventions possible.
Space is the place at Benrather Strasse where sculptor Thomas Stricker embedded the vastness of the universe with its tranquility and weightlessness into the confined space of a subway station. To achieve the impression of flying in outer space, stainless steel panels cover the walls and lend the station a futuristic dull, metallic sheen. Like droplets, the dots stamped in the panels fall from the walls, forming a matrix or a kind of Braille that can be identified as encrypted letters while media walls act as windows to the universe.
Benrather Straße, netzwerkarchitekten and the artist Thomas Stricker. Photo Jörg Hempel
At Schadowstrasse, Ursula Damm has created an interactive installation featuring a large screen displaying the real-time movements of passersby on the city surface transformed through a computer program into visualised data. The constantly shifting dynamic of the ‘outside world’ is presented to those waiting for the next train below. Small virtual creatures build a temporary, fluctuating architecture from the kinetic energy that emerges and vanishes with the city’s daily rhythms.
Schadowstraße; netzwerkarchitekten and the artist Ursula Damm. Photos Ursula Damm and Jörg Hempel
Another crucial element of this feat is the complete absence of advertisements and any sort of commercial placement. Thus, the individual stations become calm public spaces that alleviate commuting stress, render urban movement more pleasurable, and slow down the frenetic pace. Admittedly, exemplary underground stops are nothing new in the map of so-called “art stations”—in Naples the Toledo stop covered in blue-hued mosaics pays tribute to the aquatic world; Stockholm’s Solna station emits the ambience of a villain’s lair complete with a cavernous interior; while in Moscow the Komsomolskaya stop competes with the theatrical flair of opulent palaces. What’s unprecedented about Dusseldorf’s Wehrhan line is that these “art stations” are not merely stand-alone architectural projects but are part of a holistic network that seamlessly connects all six stops under one conceptual direction, creating a multifarious experience.
In a special edition published by Kerber Verlag, the impressive undertaking in public transport is thoroughly presented through photos and text elaborating on the project and the visions of the people involved. The Wehrhahn line is also accompanied by a newly launched website that delves into the line’s concept, process and distinctive characteristics—have a look here.
The Museum of Architecture and Design (MAO, Ljubljana) has launched an open call for participation in FARAWAY, SO CLOSE – 25th Biennial of Design, curated by editor and curator Angela Rui and MAO curator Maja Vardjan. The open call is dedicated to designers, architects, filmmakers, graphic designers, interaction designers, illustrators, writers, animators, photographers, researchers and other interdisciplinary agents who see the biennial as an experimental, collaborative platform for testing, developing and sharing their own approaches and expertise around the issues and structure of the new biennial format. From 25 May to 29 October 2017, FARAWAY, SO CLOSE will present seven local interventions under the main exhibition umbrella. For this, seven creative figures from Slovenia have been selected for their projects outside the field of design and paired with international designers to form a team. Selected participants will work within these teams and together they will use design and architecture as tools for investigating contemporary issues.
Read more in an interview with the two curators on Domus.
Application deadline: 10 July 2016
Kick-off event: 15 September 2016, Ljubljana
More information and application: www.bio.si/en
In reference to this year’s graphic and thematic superstructure focusing on migration, we asked the Swiss Art Awards participants to express how their trajectory has altered their perception and how they define the notions of “Heimat” and “identity”. Constantly evolving, the term “home” can be seen as an abstract entity that has procured a number of meanings and is undoubtedly embedded in human consciousness. Even though our introduction to the idea of home is usually situated within a specific topographic context, down the line, it’s denuded of geographical connotations and acquires a much more social and emotional basis. Home ceases to be synonymous to habitat as it assumes a more existential character that demands to be redefined incessantly. In a way, seeking something that you can identify as home is seeking your own identity, something you can genuinely identify with. Much like Homer’s Odysseus who, upon losing track of what he considers home, begins to lose track of himself too. Is home a notion that defines our existence and the extension of our inner selves?
“Both notions are too unstable and dynamic to allow for a clear answer. I can just say that ‘Heimat’, and therefore any understanding of the ‘I’, are in constant mutation, much like our social milieu is. In other words, the constitution of an ‘identity’ is closer to a permanent migration than to any abused values of safety and stability.” —Pascal Schwaighofer is an artist who sees metaphors as a conceptual tool to unfold specific subjects, and ultimately to enquire the interconnections between aesthetic concepts and economic regulatory cycles.
“Migration as a fever. A symptom of the state of the world.” —Chri Frautschi is a curator and the founder of Lokal-int, a space for contemporary art and experimental happenings in Biel.
“The earth belongs to everyone. Everyone is welcome home. Fuck the concept of homeland and all populist parties stirring up hatred between peoples, just for their little personal benefit. My art is a cry of rage against conformism.” —Hayane Kam Nakache is a painter who favours recycling and the concept of DIY. According to Hayane, the quality of the finish is not important, the important thing is to do it yourself.
“In contrast to ‘fatherland’, which is linked to a geographically defined place, the word ‘home’ is more abstract idea and, to a certain extent, is related to impermanence. The possibility of change and migration has altered its meaning—now several locations or communities may constitute a ‘home’ at the same time.” — In her sculptures, video installations and performances, Dominique Koch deals with the communicative and referential limits of language and uses the voice as a communication tool.
“The word ‘Heimat’ doesn’t really mean anything to me anymore – it’s a ceaselessly moving place. Home is an institution without walls, whose architecture is not still or limited.” —Jeanne Graff, an independent curator and writer, is constantly trying to develop new contexts to show art in a way that’s engaging for both the artists and the audience.
“We are not just because we think, we are because of our human and physical context. Migration abandons pre-consolidated ideas of affection and home—that’s why I consider it particularly painful and moving.” —Martino Pedrozzi develops architectural, urban and landscape concepts and works as a consultant for infrastructural projects.
“After several generations of relative safety and stability, we often tend to lose our sense of history, and then we come to see the current crisis as a somehow distant phenomenon. Therefore, we fail to perceive that these events are at the core of our very existence. We have to take into account that identity is a process and not a fixed principle, otherwise it can be a dangerous notion.” —Aurelien Gamboni develops a practice of critical investigation by means of art, often involving field research and collaborations, and leading to multiple forms of installations, texts and lectures-performances.
Credits: House of Mixed Emotions by Jeanne Graff / Sceru, 2015, Photo: Pino BrioschiAurélien / Gamboni, Les corps attrapés par le discours, étagère encastrée, livres et autres objets (detail), 2015. Courtesy the artist