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.’
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.
Credit: © NEW TENDENCY, Photos: Haw-lin Services
NEW TENDENCY, MARKUS MIESSEN
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
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
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
AKADEMIE DER KÜNSTE, VERTIGO OF REALITY
© Digital Bauhaus Summit
The original idea behind the Bauhaus, founded in Weimar in 1919, was not white boxes and tubular furniture, but collaboration: the collaboration of genres and disciplines as well as the interchange of arts, crafts and industries. Digital Bauhaus 2014 takes this idea into the 21st century and explores the formats and frameworks of creative group work, both online and on-site, that shape successful project organization. In the frame of an extensive program of hands-on workshops, keynote talks, panels and spaces for exchange, professional experts on collaboration invited to the summit will share lessons they’ve picked up, and delve into modes and models of working together both old and new.
DIGITAL BAUHAUS SUMMIT 2014
Moscow is one of the most relevant settings for discussions of urban development today. Recent changes in the city’s infrastructure, as well as new attitudes towards the planning of public spaces, have made Moscow an intriguing destination for architects and urban designers. Following 14th International Architecture Exhibition’s theme ‘Fundamentals’, the exhibition MOSKVA: urban space highlights elementary shifts in architecture throughout Moscow’s past, revealing new urban possibilities on the basis of the winning project for the creation of Zaryadye Park by Diller Scofidio + Renfro. Covering approximately 700 square meters MOSKVA: urban space will take place in the exhibition spaces of the Biennale as well as the inner courtyards of Santa Maria della Pietá. An accompanying conference, ‘Between Architecture. Public Space and the Urban Commons’, will debate how society and governance renegotiate the demands and expectations concerning the role of urban public space in modern societies.
Photos: Patricia Parinejad
MOSKVA: URBAN SPACE
Vor Ort (On site) has invited eight international artists to present their works in the public spaces of Sennestadt, a district of Bielefeld. Under the artistic direction of Thomas Thiel, director of the Bielefelder Kunstverein, the new commissions look to connect real, social and medial spaces, focusing on the specific history of the landscape as well as the current situation in Sennestadt. The architectural – and, in urban design – significant district, together with its inhabitants, become the subject-matter. In the 1950s and 60s, the major residential development of Sennestadt excited interest both nationally and internationally as an ‘Experiment amid Green Fields’. The ideas of its architect, Prof. Dr.-Ing. Hans-Bernhard Reichow (1899-1974), and his designs were based on what he advocated as an ‘organic urban architecture’, which strove for a spacious city suffused with greenery, offering living conditions as he believed they should be. It revolved around a synthesis of landscape, architecture and art, in the sense of an expansive culture of living. This original concept and its further development under the motto, ‘Reichow for the 21st century’ has played an important role in the context of the Sennestadt remodelling project since 2008. In this public space, the sculptures and the contributions of the Vor Ort exhibition will signal a provisional status-quo in the course of the remodelling.
Photos: Philipp Ottendörfer, Vor Ort Installation views | Katerina Seda, Drei Hügel, drei Bäume, zwei Rosen | Arne Schmitt, Die autogerechte Stadt (Rückführung) | Andreas Bunte, Formen legitimer Herrschaft
BIELEFELDER KUNSTVEREIN, VOR ORT
Established with design in Berlin since 1981, the exhibition Italian Eclectic marks the inaugural show of Hans-Peter Jochums new space on Mommsenstrasse, which is from now on operating under the new name JochumRodgers. Particularly interested in its mentality and playful spirit, Hans-Peter Jochum and Jett Rodgers’ works draw heavily on Italian design: exploring the development of design as an end in itself rather than a way to produce objects of utility.
Photo: © Jochum Rodgers
As a result, Italian Eclectic spans from Carlo Bugatti’s Art Nouveau furniture to the bold postmodern pieces of the Memphis Group and Ettore Sottsass, and provides an assemblage of unique objects and small editions designed by different artists: a mirror object by Gino Marotta, a black cabinet by the sculptor Giacomo Cometti, a chair by the painter and sculptor Thayaht, and the TOP mirror chair by the architect and artist Nanda Vigo.
Photos: © Jochum Rodgers
In the frame of the young curators’ program Jeunes Commissaires and in cooperation with the Deutsches Architektur Zentrum DAZ, the Bureau des arts plastiques / Institut français has developed the project In Extenso – Erweitert, posing the question ‘How to rethink space and matter?’ On this occasion, the French curators Agnès Violeau, Karima Boudou, Céline Poulin and Florence Ostende have been invited to delve into the themes of Performance, Social Context, Public Space and Storytelling in an experimental process based on a series of public discussions and workshops: an open and ongoing exchange between them, and with the invited artists, architects, thinkers from France and Germany shall be initiated. This will offer the curators the possibility of a context-shifting, extended interaction, oscillating between architecture and visual arts, performative and narrative expression, physical and social space. The outcome of In Extenso – Erweitert will be presented in a second phase of the project at the DAZ from September 2015 onwards. The evolution of the project and the research process will be documented and made available on www.jeunescommissaires.de.
Y-table at DAZ © Institut francais
BUREAU DES ARTS PLASTIQUES / INSTITUT FRANCAIS
Credit: Jill Magid, Homage to a Square, After Josef Albers, 2014, Photo: Paul McGeiver
In her exhibition Homage, Jill Magid considers the eschewal of intellectual property rights in favour of sharing. This concept is explored through the mutually respectful relationship between the Bauhaus modernist Joseph Albers and Mexico’s modernist architect Luis Barragán. Aided by the precise notes Albers left on the back of his paintings which tell of the colours, brands and condition of each of the paints he used, Magid makes her own ‘Homages’, forging Albers’ works according to his own instructions. Complementing these paintings, a series of ‘Butaque’ chairs will be on view, which Magid has made through a process of further replication, involving the work of Mexican-based designer Clara Porset. She worked with Barragán, and was friends with Albers, allowing the latter to trace the dimensions of her chair and reproduce it for every room in Black Mountain College — a version that is attributed to Albers. Furthering the logic of this appropriation, Magid presents her own Butaque chair, made by tracing the contours Albers’ own traced version. Homage is Jill Magid’s first solo exhibition with the Zurich based gallery RaebervonStenglin.
Credit: Barragan House living room, Photo: Alberto Moreno