Since the 1960s the Dreischeibenhaus has defined Dusseldorf’s skyline with its height of 94 meters. It is among the most significant examples of post-war modernist International style and a symbol of the so-called Wirtschaftswunder in West-Germany. Located in Düsseldorf’s city center, the sleek steel and glass building forms an ensemble with the Schauspielhaus and the Kö-Bogen. It´s unusual silhouette is shaped by three slim construction blocks, featuring curtain wall façades made of aluminum and glass, and narrow sides cladded with stainless steel. The building has now been completely refurbished by HPP Hentrich-Petschnigg & Partner with the intention to preserve and highlight its original character from the 60s, which is particularly visible in the iconic lobby with a dark green marble floor, high steel walls, colorful risers, Barcelona-styled chair furniture and even a glass phone box. Beside measures to maintain the old charm, new features were also added to the building, including terraces on the rooftop and the new restaurant Phoenix on the ground floor, hosted by the building owner Patrick Schwarz-Schütte and designed by Etienne Descloux and Irina Kromayer.
What is design? A 3D-printed prosthetic hand, or a chair inspired by the structure of bone? A new exhibition format at the Autostadt in Wolfsburg investigates core questions of the multifaceted contemporary discourse on design with a radically formalized approach. The exhibition series DESIGN DISPLAY opens up spaces for discussion on political and social dimensions of design by posing provocative questions. A 20-meter long, 2.40 meters high, triangular glass display was produced to stage two arrangements of objects in comparison to each other. Each exhibition runs for four months and is accompanied by the magazine ON DISPLAY with essays and interviews, available both in print and online. The first exhibition deals with innovative production methods by juxtaposing a low-tech, 3D-printed prosthetic hand with the Bone Chair, an aluminum cast chair that was computer generated by adopting bionic principles. www.designondisplay.de
Tomás Saraceno’s artistic project Aerocene is a series of air-fueled sculptures that will float in the longest, most sustainable journey around the world without engines, becoming buoyant only by the heat of the Sun and infrared radiation from the surface of Earth. The material realization is surpassed by the message it bears: Its aesthetic form follows a both utopian and real idea of open source force of movement. Inflated by the air, lifted by the sun, carried by the wind, the project questions and seeks answers to our current and troublesome dependency on fossil and hydrocarbon fuels and pollution – the topics that places Aerocene at the core of the United Nations Climate Change Conference COP21 topical framework. Crossing the frontiers between art, science and education, it becomes a visionary and open platform of shared knowledge. Thus it seeks for the deep understanding of our planet and all its physical, natural and social entanglements in order to project new ways of how we can move, dwell and be-together here on Earth. www.aerocene.com
The globalized world seems at once transparent and opaque. While modern life is characterized by a desire for more transparency in communication, politics and business, limitless access to information has eroded personal privacy, creating an ever-present, now long-running social dilemma. Despite the generally positive promise of transparency, there have been growing doubts about its impact on the community and on our understanding of the public sphere. Transparencies examines the cultural facets and atmospheres of the notion of (non-)transparency. The two-part, joint exhibition project in Bielefeld and Nuremberg is dedicated to developments in »transparent society,« and asks how these are reflected in current work by contemporary artists. Participating artists deal with the paradigm of transparency and the ambivalence of the term in multiple, diverse ways. They examine the consequences of an algorithm- and data-collection-driven, life-world transparency and explore our changed relationship to privacy. Other key points of investigation include interpersonal exchange and its possible control. Curated by Simone Neuenschwander and Thomas Thiel, the exhibitions include contributions by Neïl Beloufa, Juliette Blightman, Ryan Gander, Calla Henkel, Max Pitegoff, David Horvitz, Metahaven, Katja Novitskova and Yuri Pattison.
Opening I: Friday, 6.11.2015, 7pm
Opening II: Friday, 20.11.2015, 7pm
Kunstverein Nürnberg – Albrecht Dürer Gesellschaft
Following the two major exhibitions “Return of Landscape” in 2010 and “Culture:City” in 2013, Berlin’s Akademie der Künste is now working on their next project coming up in spring 2016 titled, “Demo:Polis”. This exhibition is dedicated not only to the future of public space but the right to this real, physical space. While the Internet simulated a virtual public sphere, its promise was disappointed by Wikileaks and Edward Snowdon’s revelations. In contrast to this, people are again voicing their views with relative anonymity by demonstrating in real public spaces. Today, social media and real public space are the new framework for self-determination. Neo-liberalism has made the real public sphere a target for commercial interests: from advertising, sponsored events and the sale of publicly owned property, almost every public privilege and property have been sold. As cities grow denser, building projects encroach more and more on public space, an issue in which citizens demand to have a greater say in. As an ambitious endeavor on a highly complex issue, always close to failure – just like the constant fight over the right to setting the rules for the meaning and use of public space – “Demo:Polis” will include an exhibition, a catalogue and a series of conferences and parliaments, bringing together multiple approaches and working principles.
The 6th edition of the NORDWIND Festival, with its focus on exploring the North European and Baltic performing arts scene, will also throw a spotlight on Russia and other countries of the former Soviet Union this year. Under the title “BALAGAN!!! – Zones of Resistance” Artistic director Ricarda Ciontos presents performances, choreographies and installations by some of the most exciting artistic teams and directors from Northern and North-Eastern Europe such as Oskaras Koršunovas, Stina Nyberg, Verdensteatret, Mungo Park and Elina Pirinen. A special program concentrating on contemporary performance in Russia will show controversial, innovative and formally sophisticated productions by artists such as Dmitry Krymov, Mikhael Patlasov, Olga Jitlina and Petr Pavlensky. “BALAGAN!!! – Contemporary Art from the Former Soviet Union and Other Mythical Places”, an exhibition taking place in three venues across Berlin, will feature works by over 50 artists as well as the first retrospective outside Russia of Vladislav Mamyshev-Monroe (1969-2013), comprising his paintings, films, photography and performance.
Since its foundation the biennial NORDWIND Festival has been continuously expanding its interdisciplinary program in terms of output, structure and ambition. This year it will take place in Berlin, Hamburg, Dresden and – for the first time – in Bern. Performance and exhibition venues in Berlin include Volksbühne, Sophiensæle, Max Liebermann Haus and KühlHaus Berlin.
The autumn of 2015 marks the second collaborative project between four of Berlin’s leading art institutions: Berlinische Galerie, Deutsche Bank KunstHalle, KW Institute for Contemporary Art, and Nationalgalerie – Staatliche Museen zu Berlin will present a total of four thematically related and coinciding exhibitions. Titled STADT/BILD (Image of a City), the project approaches the notion of “the city” as thematic cluster from various perspectives. Architects Brandlhuber+ Hertweck, Mayfried will devise a spatial intervention in the Berlinische Galerie. The Dialogic City: Berlin wird Berlin sets out to question the museum as an institution, its acquisition policy, conditions of exhibiting, and different constraints. Xenopolis at Deutsche Bank KunstHalle will focus on the city as a living organism that does not belong to anyone in particular. Working under the hypothesis that there is no such thing as one coherent city, curator Simon Njami explores the multiplicity of cities. At the heart of the exhibition Welcome to the Jungle at KW Institute for Contemporary Art, a “jungle” serves as a desired imaginary space, symbolizing the subconscious, potentially dangerous counterpart of the controlled urban environment. The jungle marks a maximum distance from everyday life, as the name of the best-known discotheque in the history of West Berlin illustrates. With Fluids. A Happening by Allan Kaprow, 1967 / 2015 the Nationalgalerie presents a comprehensive reinvention of Allan Kaprow’s Happenings from 1967 in the public sphere. Originally constructed out of ice blocks, Fluids explored the questions of authorship, participation and communality, temporality, and choreography. Berlin-based artists are invited to react to this process-based work. Their versions of Fluids will appear in different locations around Berlin on successive days during the Berlin Art Week.
After their pastrami buvette Maxie Eisen, the three restaurateurs Oskar Melzer, James and David Ardinast took the next step, opening their first fine-dining restaurant Stanley Diamond, named after Maxie Eisen’s notorious Jewish- American mafioso associate from the 20th century and also located in Frankfurt’s Bahnhofsviertel. Culinary references to bygone times characterize the kitchen which is inspired by European classics. Traditional recipes that have steadily disappeared from restaurant menus are revived with a contemporary take to form a diverse and seasonal menu featuring classics such as Leipziger Allerlei, plaice ‘Finkenwerder style’, Osso Bucco, Bouillabaise, Baba au rhum or apricot dumplings. The interior, designed by Paul Bauer in collaboration with the architects Hollin+Radoske and the design company e15, plays with the combination of contrasting materials. A long stone wall made from green Indian marble, a rose-pink concrete flooring and a gleaming copper ceiling are set off against wooden elements and custom made seating. With strong ties to the city, Melzer and the Ardinast brothers combine fine-dining with the rough and vibrant atmosphere of the Bahnhofsviertel.
Root vegetables, Icelandic moss, Scandinavian mountain herbs and dried seaweed join Berlin’s culinary scene with the resturateurs of Grill Royal and Pauly Saal’s newest venture: restaurant and bar dóttir. Inspired by her Scandanavian roots, head chef Victoria Eliasdóttir combines her experience from kitchens in Sao Paulo and Berkeley with Icelandic, Danish and Swedish cuisines and preparation methods, creating dishes with fish from the Baltic Sea, regional vegetables, lamb and unique flavours. Located in the ground floor of a corner building that stood empty for many years in the business district surrounding Friedrichstrasse, dóttir is separated into a bar, dining area and open kitchen – marked by the original plaster walls, freshly installed old wooden floorboards, antique furniture, tailor-made sofas, and, of course, artworks from the owners’ collections – with access to an enchanting hidden courtyard in the summer.
Photos: Stefan Korte
Bringing the authentic dining experiences of Tokyo to Berlin, Zenkichi shies away from typical sushi and teriyaki dishes. Instead, the Japanese brasserie focuses on exquisite, traditional Japanese dishes with modern flair, their specialties ranging from homemade tofu with light dashi sauce and deep fried potato rice cake served with spicy mayonnaise, to black cod Kyoto miso marinade and Berkshire Kakuni, a simmered pork belly in traditional dashi broth with a soft boiled egg. The multi-dimensional experience combines the fresh, seasonal dishes with an equally special Tokyo-style interior. Hidden away in the lower ground floor of a Mitte building, Zenkichi opens with a lounge and sake bar, which leads to a dining area past the reception. Unlike the usual large seating area, the dining space is composed of 35 semi-private booths of varying sizes, equipped with bamboo blinds for extra privacy. The distinct seating concept reflects what owners Motoko Watanabe and Shaul Margulies point to as a Japanese desire to “concentrate on their food and their company.” Further establishing the intimate atmosphere, the dining experience is completed with subdued lighting and organic materials, composed of dark stained wood, bamboo sticks, granite paving and black pebbles.
Photos: © Zenkichi