In a small village close to Ouagadougou, the capital city of Burkina Faso, arts and culture take center stage as contributors to the growth of a country and its younger generation. Initiated as an idea in 2009 by the German artist and theater director Christoph Schlingensief (1960-2010), the international art project Operndorf Afrika provides a platform for cultural encounters, workshops and collaborations. Schlingensief envisaged the initiative as a meeting place where people from different backgrounds are able to work as artists and exchange views. Over the last few years, that seed has grown from mere abstract plans into a full-fledged community that includes sustainable homes, education, health care as well as a bedrock for the area to evolve its singular artistic expression and set an example the world over. Operndorf is essentially a center where ideas can be cultivated as people from across the globe merge in one location. Here art paves the way to a thriving community, cross-cultural dialogue and much-needed postcolonial discourses building up a new image of Africa.
“The Operndorf is a project that arouses hope – hope that there can be a relationship between Europe and Africa, which is based on reciprocity and not on dominance. Hope that culture can contribute to the development of children and the development of a country.” — Horst Köhler, former Federal President of Germany
clockwise from top: Star Apartments, Los Angeles. Michael Maltzan Architecture, Los Angeles, 2014 © Gabor Ekecs // Le Corbusier, Unité d‘Habitation // Moriyama House, Tokyo. Office of Ryue Nishizawa, Tokyo, 2005 © Dean Kaufman // Swmming pool in the basement of Sargfabrik, Wien BKK-2, Vienna, 1992–96 © Hertha Hurnaus // Songpa Micro-Housing, Seoul, 2014 Jinhee Park/SsD, New York/Seoul. © SsD
Housing is scarce – that much has become evident in the last few years. As real estate prices in big cities continue to skyrocket, conventional ideas of housing development prove unable to meet demands. The reaction to these challenges has been a silent revolution in contemporary architecture towards collective building and living. Using models, films, and walk-in displays, Vitra Design Museum’s exhibition Together! The New Architecture of the Collective addresses this global phenomenon by presenting a broad array of collective projects from Europe, Asia, and the United States. An overview of historical precedents for the current wave of collectives demonstrates that the idea has been a recurring theme in the history of architecture, from the reformist ideas of the nineteenth century to the hippies and squatters of the twentieth, who touted the slogan “Make love, not lofts”.
Switzerland’s Federal Office of Culture soon presents the seventeenth Swiss Grand Award for Art / Prix Meret Oppenheim to three outstanding Swiss culture practitioners: conceptual artist Daniela Keiser works with the media of photography and language, which she translates into different exhibition and presentation formats. Peter Märkli’s architecture, teachings and drawings are widely recognised and particularly valued by the younger generation of architects. The author and curator Philip Ursprung is honored for his cross-disciplinary research in history, art and architecture. The Swiss Grand Award for Art / Prix Meret Oppenheim was founded in 2001 by the Federal Office of Culture in collaboration with the Federal Art Commission. It honors figures from the worlds of art and architecture as well as criticism, curation and research whose work is of particular relevance and importance for contemporary art and architecture in Switzerland and beyond. The laureates, and this year’s winners of the Swiss Art Awards, will receive their accolades on June 12th, 2017, in Basel. The exhibition SWISS ART AWARDS, which showcases the participants in the second round of the Swiss Art Competition, also includes film portraits of the Swiss Grand Award for Art / Prix Meret Oppenheim 2017 recipients.
left: Daniela Keiser, Out of the Blue (1998/2016) Installation Nr. 10. Installation view Kunsthalle Vebikus, Schaffhausen (2016). Courtesy of the artist and STAMPA Galerie, Basel © Daniela Keiser. Photo: Daniela Keiser // middle: Peter Märkli’s La Congiunta, Giornico 1992. Photo: Heinrich Helfenstein // right: Cover of the new book by Philip Ursprung ‘Der Wert der Oberfläche – Essays zu Architektur, Kunst und Ökonomie’. gta Verlag, 2017. // Portraits by Katalin Deér / BAK, 2017.
piece by Tomás Saracena (2017) and installation by Diana Sirianni
How do political and economic interests shape the urban environment? Which boundaries and power structures are encoded in it? In Between Spaces, 15 artists examine questions and contradictions found in urban life. The exhibition places work by Gordon Matta-Clark and perspectives on East Berlin into a dialogue with current artistic positions. The featured artists appropriate unused spaces and lend new forms to the inconspicuous spaces in-between. From 1970s New York to 1980s East Berlin and the global village of today, various frames of reference are brought together with the notion of urban space acting as the social, artistic and political hub of a society. Artistic positions on urbanism and public space, with Gordon Matta-Clark, Isa Melsheimer, Sabine Peuckert, Andrea Pichl, Diana Sirianni, Annemirl Bauer, Sibylle Bergemann, Simon Faithfull, Antje Fretwurst-Colberg, Brigitte Fugmann, Raumlabor, Marjetica Potrc, KUNSTrePUBLIK, Tomás Saraceno, and Ursula Strozynski.
Simon Faithfull, 0o00 Navigation Part2 – A Journey Across Europe and Africa, 2015. Courtesy the artist and Galerie Polaris, Paris / Andrea Pichl, “Bau auf, bau auf.” 2010-2017. Courtesy the artist and Krome Gallery / Gordon Matta Clark, Splitting, 1974 Courtesy of the Estate of Gordon Matta-Clark & Galerie Thomas Schulte
book cover and Marcel Broodthaers with camel in front of Palais des Beaux-Arts de Bruxelles © Maria Gilissen
“Museums should be invisible. With an imaginary museum you can do whatever you want.” –
What does the term anti-art encompass? It’s shaped by an array of concepts that reject prior definitions of art and question the art system and how it functions. “The Anti-Museum“, an extensive anthology by Mathieu Copeland and Balthazar Lovay, addresses the idea of anti-art through numerous contributions by renowned artists and writers. From interviews and historical reprints to manifestos and commissioned essays, the 794-page encyclopaedic tome presents the first comprehensive exploration of the radical and paradoxical concept that is the ‘anti-museum’ – a term so present in art history and yet one that has never been the object of detailed investigation. The museum has always been a target for criticism, whether it comes from artists, thinkers, curators, or even the public. Dedicated to all forms of “anti” such as Anti-Art, Anti-Technology, Anti-Design and Anti-Philosophy, the publication features numerous texts from the 60s until today – including newly commissioned as well as never-before-translated pieces – to define the idea of anti-art in a broad sense, evoking attempts to disrupt rules and customs in artistic disciplines.
Vestido Cobra. Photo: Edgar Aguirre © Carla Fernández / Border-City © FR-EE
With the aim to stimulate discussion on the social dimensions of design, the 4th edition of the Design Display series at Autostadt Wolfsburg (Konzernforum) takes Mexico as its main point of departure. Inside the exhibition’s characteristic 20-metre-long glass display, an intercultural bridge between Mexico and the US is figuratively built through two contemporary designer projects. On the one side is Vestido Cobra, a dress created by Mexican fashion designer Carla Fernández who explores how fashion can uphold traditions and still point the way to the future. By bringing Mexican styles and manufacturing techniques into contemporary fashion, she draws attention to the cultural heritage of her homeland within a modern context. The unisex “snake dress” questions gender roles and embraces craftsmanship. On the other side of the glass display is a multimedia installation dealing with the US-Mexican border by architect Fernando Romero. Conceived as an ideal metropolis with multiple urban centres, Romero’s Border City is a bi-national future city designed to straddle the controversial border, serving as a model for new cities around the world. Romero’s visionary project explores the potential to create organized growth and multiple urban centres in sprawling regions lacking infrastructure.
The exhibition’s accompanying magazine On Display continues the discussion through features on the work of the two participating designers, a detailed piece about the border area between Mexico and the United States, and an essay on the influence of traditional craftsmanship on modern Mexican design.
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.
Yonezawa, »Directional Robot«, 1957. Private collection. Photo: Andreas Sütterlin
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.
Shawn Maximo, »Going Green«, Vinylprint 2016 © Shawn Maximo / TRNDlabs, »SKEYE Nano 2 FPV Drone«, 2015 Fernsteuerung und Nano-Drohne © TRNDlabs
Exterior view Schaudepot, located at the Vitra Campus adjacent to the Firestation by Zaha Hadid © Vitra Design Museum, Julien Lanoo / Exhibition view of main hall © Vitra Design Museum, Mark Niedermann
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.