Review, 21.07.2015

Catalogue Release
VOR ORT – KUNSTPROJEKT SENNESTADT

Sennestadt was an ambitious urban planning project of the 1950s and attracted worldwide attention. The plan by the architect, Prof. Bernhard Reichow, was based on ideas of an »organic art of urban planning«. According to Sennestadt’s urban development the exhibition project »Vor Ort« questions the cur­rent cor­relation between art, the city and the public sphere, using Sennestadt as a model. The freshly printed catalogue features the works by David Adamo, Awst & Walther, Michael Beutler, Andreas Bunte, Christian Falsnaes, Manfred Pernice, Arne Schmitt and Katerina Seda and their site-spe­cif­ic sculp­tures, in­stal­la­tions and ar­tis­tic inter­ven­tions, through which they the­mat­ically explore the char­ac­ter of the city and its in­hab­i­tants.

Vor Ort – Kunstprojekt Sennestadt
Thomas Thiel (Bielefelder Kunstverein), Sennestadtverein (Hg.)
Texts by: Peter Holst, Jutta Kirchhoff, Hans Bernhard Reichow, Horst Thermann, Thomas Thiel
Website

Feature, 16.06.2015

SWISS GRAND AWARD FOR ART
PRIX MERET OPPENHEIM 2015

With this year’s Prix Meret Oppenheim, the Federal Office of Culture (FOC) honors four outstanding Swiss culture practitioners: the artists Christoph Büchel and Oliver Mosset, curator Urs Stahel, and the architectural duo Staufer/Hasler.
For the first time, the Swiss Grand Award for Art / Prix Meret Oppenheim is presented in parallel to Art Basel and ahead of the opening of the Swiss Art Awards 2015 exhibition.
Film portraits of the Grand Award for Art / Prix Meret Oppenheim recipients will be presented in the exhibition alongside a comprehensive publication with essays and interviews.

PrixMeretOppenheim2015

Credits: Christoph Büchel, Sleeping Guard, 2014, Photo: Piero Cruciatti | Staufer / Hasler | Urs Stahel

FEDERAL OFFICE OF CULTURE

Feature, 28.05.2015

RADICALLY MODERN
Urban Planning and Architecture in 1960s Berlin
Berlinische Galerie
29.05. – 26.10.2015

Destroyed in the Second World War and divided by the Wall, Berlin experienced a veritable construction boom during the 1960s. Inspired by the spirit of a new beginning and technological euphoria, urban planners and architects designed radical new cityscapes for a modern society. Often unjustly criticized as inhumane or unsightly, important examples from this period of architecture have often already been torn down, disfigured by later alterations, or are threatened with demolition today.

BerlinischeCollage

Credit: Georg Kohlmaier, Barna von Sartory, Rollende Gehsteige am Kurfürstendamm, Repro Bildcollage, 1969, © Georg Kohlmaier/Elisabeth von Sartory/Berlinische Galerie, Repro: Markus Hawlik | Josef Kaiser, Großhügelhaus, Bildmontage: Dieter Urbach, 1971, © Dieter Urbach/Berlinische Galerie

The exhibition Radically Modern takes the first look at the context of this architecture’s emergence, examining formal aspects and underlying international influences on the architecture developed in both East and West Berlin. Presenting works and planning by Werner Düttmann, Fehling + Gogel, Walter Gropius, Georg Heinrichs, Josef Kaiser, Roland Korn, Ludwig Leo, Ludwig Mies van der Rohe, Klaus Müller-Rehm, Ulrich Müther, Hans Scharoun, Manfred Zumpe among others, besides interventions of contemporary artists like Evol, Beate Gütschow, Karsten Konrad, Hendrik Krawen, Friderike von Rauch, Bernd Trasberger, Stephen Willats and others.

BerlinischeGalerie_RadicallyModern

Image: Dieter Urbach, Marx-Engels-Platz, Blick von Südwesten auf Dom und Fernsehturm, Berlin-Mitte, Bildmontage, 1972 © Dieter Urbach/Berlinische Galerie, Repro: Kai-Annett Becker

BERLINISCHE GALERIE

Feature, 26.02.2015

GONZALEZ HAASE AAS – ASSEMBLING
Galerie Jacksons
28.02. – 18.04.2015

Credits, clockwise from left: "Time-Life" Stools, Charles & Ray Eames, 1960s and Light, Acne Studios, Gonzalez Haase AAS, Berlin 2005; "Hamletmachine Chair," Robert Wilson,1987; Luci Sistema Flu Design, Rodolfo Bonetto, 1980s, and Room, Galerie Nordenhake, Gonzalez Haase AAS with Rémy Zaugg, Berlin 2001. Photos: Thomas Meyer

Credits, clockwise from left: “Time-Life” Stools, Charles & Ray Eames, 1960s and Light, Acne Studios, Gonzalez Haase AAS, Berlin 2005; “Hamletmachine Chair,” Robert Wilson,1987; Luci Sistema Flu Design, Rodolfo Bonetto, 1980s, and Room, Galerie Nordenhake, Gonzalez Haase AAS with Rémy Zaugg, Berlin 2001. Photos: Thomas Meyer

Displayed in the form of a conceptual installation, Berlin-based architect duo Pierre Jorge Gonzalez and Judith Haase AAS presents Assembling, selected and assembled design objects from the Jacksons extensive collection of 20th-century designs. A natural extension of their spatial practice and influence within the ‘Galerienhause’, which AAS designed in 2007, the assemblage, created at the invitation of Paul and Carina Jackson, renegotiates and ultimately reassembles how we perceive and dissect objects and space. The collection of objects, ranging from traditional and minimal furniture to reconfigured objects, confronts the notion of ‘assemblage’ in relation to the history of modern furniture design, and explores the relationship between space and object from the perspective of an architect. Among the featured objects are Robert Wilson’s “Hamletmachine Chair” (1987), Rodolfo Bonetto’s Sistema Flu lamp (1980), and Stig Lindberg’s “Snurrand” reversible vase candlestick (1950). Accompanying the exhibition is a publication designed by Frederic Teschner, featuring an essay by Hehl Rainer, which will be launched on the occasion of the opening of Assembling.

GONZALEZ HAASE AAS, GALERIE JACKSONS

Feature, 17.01.2015

ANDROID PARANOID – International Performative Symposium
Alte Kongresshalle, Munich
24.02.2015

I am smart but my brain is run in California… Inspired by the hideouts of the ever-powerful Apple and Facebook in contrast to the new, overtly conspicuous offices of the Federal Intelligence Service in Berlin-Mitte, “Android Paranoid” hosts a journey through current scenarios of the future. Through lectures, performances and film screening, the event examines our vision of the days to come – sterile white rooms, the role of technology – in turn posing the questions: was the future always so quiet? What are the underlying structures, aesthetic parameters and control mechanisms of these scenarios? Do we need a new design, a new system of expression in architecture? Do we surrender ourselves to technology because that which we cannot see, we also cannot design?

AndroidParanoid_Collage

Credits: Andrey Yagubsky, Jan Willmann

Futurologists, architects, critics and curators from around the world will convene to address the ambiguous influence of digitalisation on architecture and our cities, the power of “Big Data,” and smart cities and their vulnerabilities. Among the participants of the discussion: Kristoffer Gansing director of Transmediale, Berlin; Daniel van der Velden of Metahaven Design and Research Studio, Amsterdam; Dr. Jan Willmann from Gramazio Kohler Architects, ETH Zurich; Liam Young, architect and speculative thinker, Princeton, AA from London; together with music by David Letellier and film screenings by the Russian artist Andrey Yagubsky from Moscow.

AndroidParanoid_LiamYoung

Credit: Liam Young

PLAN A, ANDROID PARANOID

Feature, 10.11.2014

ABRISS-ATLAS BERLIN

The Berlin “Brachflächenatlas” was once a playground and inspiration to many architects and builders. Today, it has lost its meaning: nearly all holes in the city’s landscape have been filled; the spaces that once characterised the city have disappeared. For the first edition of Abriss-Atlas Berlin, ten Berlin journalists and authors explore the capital’s mixed architecture and offer a solution for a new Berlin.

Abriss-Atlas-Siegessäule

Photo: Abriss Atlas, Berliner Siegessäule © designpress

With a playfully critical approach, the authors offer up their favourite pieces of the city’s architecture for demolition including such recognisable sites as the O2 Arena, Potsdamer Plats and the Siegessäule. With snappy commentary, Abriss-Atlas joins the ongoing discussion on what has become of Berlin, with the hopes of rediscovering and redefining the city’s wastelands.

Abriss-Atlas_cover

Photo: Abriss Atlas © designpress

DESIGNPRESS

Feature, 10.11.2014

DONALD CORPORATE
Designed by Markus Miessen for NEW TENDENCY

Philosophically similar to NEW TENDENCY, Donald Judd’s objects are continuously driven by an obsession for craftsmanship, coupling high quality materials and industrial production techniques, met by the ambition of handmade production processes. Donald Corporate takes Judd’s ambition as a starting point for a spatial conversation about the functionality of furniture-scale spatial objects – its core idea based on a two-fold approach, which unites our motivation to bastardize and hijack an existing family of objects, at the same time working around and implementing a process of ‘Maximizing Minimalism.’

NewTendency_DonaldCorporate_0

Credit: © NEW TENDENCY, Photos: Haw-lin Services

In the context of this collaboration Markus Miessen speculates on how to imagine and implement the maximum use value while maintaining the spatial properties of the so-called original. As in Judd’s original, the tabletops contain a second layer, which – in the case of the revamped version – acts as a functional retrofit that is also mimicked by the stands. These storage units can be used and explored in a variety of formal and informal ways and range from the super-functional to the partially absurd. Donald Corporate was previewed on this year’s Istanbul Design Biennale and will be officially released at the upcoming imm Cologne 2015.

NewTendency_DonaldCorporate_2

Credit: © NEW TENDENCY, Photos: Haw-lin Services

NEW TENDENCY, MARKUS MIESSEN

Feature, 01.11.2014

IN EXTENSO: ERWEITERT – PUBLIC SPACE
Céline Poulin in conversation with Jean-Pascal Flavien and Markus Miessen at DAZ Berlin
27.11.2014

InExtenso_Erweitert-PublicSpace

Y-table at DAZ, Photo: Gerhard Haug © Institut francais

How does the work of art or architecture interact with the multitude of voices that construct public space? How does this discursive context influence the relationship between artist, architect and participatory public? And what is its effect on the actors themselves? To explore these correlations between language and space curator Céline Poulin invites artist Jean-Pascal Flavien and architect Markus Miessen for the third In Extenso – Erweitert interdisciplinary panel discussion, continuing the project’s open and ongoing exchange between curators, invited artists, architects, and thinkers from France and Germany.

IN EXTENSO, DAZ BERLIN, STUDIO MIESSEN

Feature, 29.08.2014

2 0 1 4 B E R L I N 1 1 0 9
Jochum Rodgers
12.09. – 18.10.2014

Nine Berlin-based artists and architects have been invited by Jochum Rodgers to present contemporary statements in an autumn group show. Berta Fischer, Barkow Leibinger, Thilo Heinzmann, Thomas Kröger, Angela Mewes, Sven Temper, Clemens Tissi, Tina Roeder and Suse Weber – a group of friends among themselves, their practices are grounded in the fine arts, performance, architecture and sculpture, while their respective work is located between the disciplines. Their tendency towards design stems from different interests: experimentation with materials, boredom with the norm, questions of compositions or the joy of provocation. All works in the exhibition are either unique items or editions.

Credits: Clemens Tissi, STUHL STUHL 2, Photo: Thomas Heimann | Suse Weber, Garderobe?für?eine?Marionette, 2013 | Thilo Heinzmann

Credits: Clemens Tissi, STUHL STUHL 2, Photo: Thomas Heimann | Suse Weber, Garderobe für eine Marionette, 2013 | Thilo Heinzmann

JOCHUM RODGERS

Feature, 12.08.2014

VERTIGO OF REALITY
Akademie der Künste, Berlin
17.09. – 14.12.2014

How does today’s art alter reality? How do aesthetic production and political, social space interact with each other? The profound changes in artistic practice as a result of new media, in particular digitalisation, have resulted in a stream of new strategies tackling how to construct or deconstruct reality in and with art. The exhibition Vertigo of Reality – featuring works by Trevor Paglen, Harun Farocki, Julian Oliver, Bruce Nauman, Dan Graham, Marina Abramovi?, Hamish Fulton, Bjørn Melhus, Christian Falsnaes and Tino Sehgal a.o. – seeks answers to the question of the beholder’s repositioning between artwork and reality, highlights key concepts such as participation and interactivity, and fathoms changes to our self-determination which affect all areas of modern life. The Metabolic Office for the Repair of Reality, building on Joseph Beuys’ concepts of ‘social sculpture’, serves within the exhibition as a permanent opportunity for escapade, dialogue and contradiction with over 40 events, performances, conferences and workshops.

Credits: Thomas Demand: Kontrollraum / Control Room, 2011 © VG Bild-Kunst, Bonn 2014, courtesy Sprüth Magers Berlin London / Jeppe Hein: Rotating Mirror Circle, 2008, Courtesy: Johann König, Berlin, 303 Gallery, New York and Galleri Nicolai Wallner, Copenhagen, Foto: Anders Sune Berg, Kunsthalle Bremen – Der Kunstverein in Bremen / Thomas Wrede: Real Landscapes, Nach der Flut, 2012 © VG Bild-Kunst, Bonn 2014 / Courtesy Galerie WAGNER + PARTNER

Credits: Thomas Demand: Kontrollraum / Control Room, 2011 © VG Bild-Kunst, Bonn 2014, courtesy Sprüth Magers Berlin London | Jeppe Hein: Rotating Mirror Circle, 2008, Courtesy: Johann König, Berlin, 303 Gallery, New York and Galleri Nicolai Wallner, Copenhagen, Foto: Anders Sune Berg, Kunsthalle Bremen – Der Kunstverein in Bremen | Thomas Wrede: Real Landscapes, Nach der Flut, 2012 © VG Bild-Kunst, Bonn 2014 / Courtesy Galerie WAGNER + PARTNER

AKADEMIE DER KÜNSTE, VERTIGO OF REALITY