Coney Island in 1904; Joan Littlewood and Cedric Price’s designs for the Fun Palace from the 1960s; Denise Scott Brown and Robert Venturi’s analysis of 1970s Las Vegas — these are just a few examples that assert the relevance of utopian ideas in the conception of amusement parks in the last century. What they all have in common is the integration and interplay of diverse forms of art — be it visual arts, film, music, literature, design, or architecture — while throughout concerned with inventiveness, a display of the latest technologies, and reanimations of the past via visions of the future.
The development of an art- and culture-focused concept for the Spreepark, a former amusement park, builds on this legacy, raising the interesting question of what entertainment can be today. The potential for further expansion and reinterpretation of the term “amusement park” or “amusement” via cultural development lies in the establishment of a structure that transfers the link between the nostalgic and the present-day onto a forward-looking culture and topography of amusement. Taking the nostalgic aura of the Spreepark and building upon it with integrations of art, architecture, design, and technology, a simultaneous interweaving takes place between that which has been left behind and the sights, activities, and experience now available. Following the principle of collage, the idea was to superimpose over the preexisting structure a linking system creating fluid transitions between the extant and the new. This new structure creates a unified narrative space accommodating the spatial and the temporal, the dormant and the interactive. Realised in collaboration with Hager Partner, Holzer Kobler Architekturen, Tourismus Plan B and Runze & Casper Werbeagentur.
All collages by Holzer Kobler
AGBAS WELCOME WELCOME WELCOME by Adam Gibbons & boyleANDshaw, 2016 / South Iceland Chamber Choir
Cycle Music and Art Festival serves as an international and local platform for contemporary music and visual arts as well as the coalition of the two fields. Now in its second year, the festival promulgates unconventional works and collaborations, with the goal of deeply engaging the audience and making them reconsider their preconceptions about disciplines and their role as spectators. Acclaimed artists are invited to produce and exhibit work that transcends the boundaries between art and music, classical and popular modes, and audience and performer. That Time, the title of this year’s performance programme and exhibition, will initiate yet another interdisciplinary experiment that will delve into the questions of ‘deep time’ and ‘peak futures’ (the title takes its cue from Samuel Beckett’s eponymous play, parroting the protagonist C: “Never the same after that never quite the same but that was nothing new.”). With an exhibition at Gerðarsafn Kópavogur Art Museum and other venues in Kópavogur, and a rich programme of performances, workshops and concerts, Cycle will promote experimentation, on-site synergies, and will seek to redefine the nature of a traditional art festival. That Time will run until 18 December.
Berglind Tómasdóttir, photo by Anna María Bogadóttir / Rachel de Joode, Surface Units, 2016
On the occasion of the 15th International Architecture exhibition in Venice, the Goethe-Institut organised the program Performing Architecture comprising five projects that are closely connected to this year’s exhibition in the German Pavilion. Merging architecture, choreography and the performing arts, the series of events seeks to address a set of pressing questions. How does a multicultural society change a city? How do people with diverse cultural, religious, social and political backgrounds encounter one another, and how can they all make an adopted city their shared home? The focal point of this year’s programme is the project “The Veddel Embassy: Representing Germany”. The temporary embassy will bring the migratory, multicultural reality of the Hamburg district of Veddel to Venice to offer a space for discourse and cultural exchange. What used to be the departure point for German emigrants in the past, is now an arrival quarter. All migration movements of the last 70 years have passed through the area of Veddel; immigrants from over sixty different countries have been living here for generations in peaceful coexistence, forming a new society. Around 60 inhabitants of the small island in the river Elbe will come to Venice for a week and invite everyone to become part of an enriching process. The Veddel Embassy will turn into a place of enlightening encounters. Delving into the reality of life on Veddel conveys an idea of what the future holds for Germany as an immigration country. In Venice, the residents present their projects, ideas, ideals, and their home in order to form a substantial discussion with both the international guests of the Biennale as well as with the multicultural citizens of Venice.
Entwerfen ist das Gegenteil von Unterwerfen. Entwerfen. Unterwerfen. Alles, was gestaltet ist, unterwirft uns unter seine Bedingungen. Gleichzeitig befreit uns das Gestaltete aus dem Zustand der Unterwerfung, der Unterworfenheit. Design schafft Freiheit, Design ermöglicht Handlungen, die zuvor nicht möglich oder nicht denkbar waren. Indem es dies tut, begrenzt es aber auch den Möglichkeitsraum, weil es neue Bedingungen schafft. Alles, was gestaltet ist, entwirft und unterwirft. Design ist von dieser sich bedingenden und ausschließenden Gegensätzlichkeit grundlegend geprägt. Diese dem Design inhärente Dichotomie ist nicht nur eine gestalterische, sondern eine politische. Sie bedingt Freiheit und Unfreiheit, Macht und Ohnmacht, Unterdrückung und Widerstand. Sie ist das politische Wesen von Design.
Das Buch erscheint am 29.10.2016 bei edition suhrkamp.
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.