installation view, photo: Michael Jungblut
According to theorist William Myers, a designer should also be a kind of translator, shaping material and visual elements into something that makes sense as part of our daily lives. Designers transfer research into everyday use; they work on objects and systems. So what is our understanding of design research? How can it be practised as an experiment and in turn produce knowledge pointing to the future? For the third edition of the exhibition series Design Display at the Autostadt in Wolfsburg, Julia Lohmann and Petra Blaisse transfer scientific examination into the world of design. Delving into the subject of material research, the two designers present their in-depth investigation and distinct outcomes inside the exhibition’s characteristic glass display. On one side we find Julia Lohmann’s work which primarily addresses the question of how design can deal more sensitively with natural resources. In her mobile research station, the “Department of Seaweed”, she develops new methods for how seaweed can replace fossil fuels, as well as how it can be be pressed, cut, sewn, and applied to objects. The other side of the display is occupied by Petra Blaisse’s “Solar Curtain”, an aesthetic, ecological product that shows how previously unused surfaces can be discovered as a resource and then utilized. The 3D curtain, equipped with solar cells capable of producing electricity, is the interim result of a long-term research project that the designer has initiated after collaborating with textile experts and engineers.
To order a copy of the magazine On Display that accompanies each exhibition and delves deeper into the chosen subject, head over to form.
Petra Blaisse, Solar Curtain & Julia Lohmann, Department of Seaweed
© Design Display. photo: Noortje Knulst
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
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.
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.
nothing at the moment by Humboldtbooks, Milan
What started as a platform for experimental publishing and singular editions straddling the line between art object and reading material, has now become an integral part of the annual Art Week Basel. The art book fair I Never Read, Art Book Fair Basel now in its fifth edition, invites more than a hundred publishers, authors and artists from numerous countries to display their printed matter spanning the fields of art, photography, graphic design and architecture. An ever-growing selection of exhibitors introduces visitors to artists’ books, monographs, periodicals and zines, as well as out-of-print editions and collector’s items. Showing how the print world can evolve and thrive instead of dissolving into the shadow cast by the digital world (as many pseudo-evangelists were too quick to proclaim), the fair is an ode to the book as a democratic art form and an approachable medium for creative expression. What’s thoroughly explored here is the role of contemporary publishing in an increasingly on-screen era and how the art book provides a haven for artistic practice and how it builds a less market-driven community.
For the 15th International Architecture Exhibition – La Biennale di Venezia, Goethe-Institut has created Performing Architecture, a programme which brings the interfaces between architecture, choreography and the performing arts into focus. Picking up cues from the exhibition at the German Pavilion Making Heimat. Germany, Arrival Country and the Biennale’s motto Reporting from the Front, the programme transforms the urban space of Venice into a stage for artistic encounters, visions and explorations: How do we sink into the experienced and built reality of our cities? How do we encounter other people in this reality? Which values do they negotiate, which living spaces, which experiential spaces? What ideas of Heimat do they carry? Five events were created for the time of the exhibition: In Act and Tought – A Score for Six Performers, ARCH+ features #50, Culinary Lessons, The Veddel Embassy: Representing Germany and Conviviumepulum / Culinary Lessons.
The Museum of Architecture and Design (MAO) presents the project Home at Arsenale – a curated library, in the Pavilion of Slovenia at the 15th International Architecture Exhibition. Matevž Celik, director of MAO, appointed as curators for the presentation in Arsenale the internationally acclaimed architects and educators Aljoša Dekleva and Tina Gregori? as curators. They conceived a 1:1 spatial structure, an abstract home performing as a curated library that operates as a platform for exploring the concepts of home and dwelling during the Biennale Architettura 2016 and beyond. The project Home at Arsenale proposes the concept of home as a public curated library that opens up a platform for multiple responses on the topics of home and dwelling within the current spatial and social conditions. Challenging the private/public dichotomy within the dwelling domain the project suggests a transformation of private home into possible temporary-public home environment.
To develop a more concrete understanding of approaches to the complex expectations placed on public space, the Akademie der Künste and the Goethe-Institut teamed up to stage the 36-hour Factory of Thought Public Space: Fights and Fictions. The conference, with the curatorial advisory by BUREAU N is held as part of the exhibition DEMO:POLIS – The Right to Public Space. Given the crisis of representative democracies, participation, and civil society burnout: How can we use public space for the perspective of an enlightenment in the 21st century? Public space is intrinsically linked to the parameters of each particular culture and society and its historical changes. With worldwide migration, social conflicts, and global economic and financial interests or the emancipation from authoritarian structures, public space has been facing massive challenges over the last decades. Across the globe, it has become the scene of violent changes and fundamental paradigm shifts. Between security and surveillance, participation and commercialisation, artistic and social freedom and the demonstration of power, public space is where the future of democracy is being decided.The Kooperative für Darstellungspolitik’s spatial design facilitates concentrated thought in parallel structures for kick-off speeches and think tanks, discussions, interviews and artistic interventions, and provides room for informal exchanges in open platforms. NIGHT SHIFT, a party hosted by Making Spaces c/o NICHE Berlin and Creamcake is part of the night program.