The exhibition Collection Röthlisberger | Miroirs – Spiegel at Kunsthalle Fribourg marks the largest presentation dedicated to designers and architects, Trix and Robert Haussmann, in over a decade. Since 1967, the couple has built an idiosyncratic oeuvre that has continuously challenged architectural, design and aesthetic conventions, and has explored many creative perspectives, such as poetry composed by chance, drawings, collages and texts. The exhibition, composed entirely in collaboration with Trix and Robert Haussmann, examines every aspect of their research, and weaves together different bodies of work, including furniture objects belonging to the Röthlisberger Collection, as well as a series of unique mirror’s made in the 1980’s. In addition, they have conceptualized, designed and produced about 10 new mirror works from 2014 that will be installed in the space of the Kunsthalle to create different optical illusions.
How does a digitally oriented generation, for whom creativity, sustainability, and mobility are more important than status, live? This is the question explored in Freunde von Freunden’s and Vitra’s first apartment in Berlin. Building upon their common styles and experiences, the FvF Apartment by Vitra on Mulackstrasse offers a glimpse into the world of the Swiss furniture manufacturer’s collage and visualizes the interview magazine’s conceptualization of urban living. The 65sqm ‘Altbau’ apartment has been rebuilt and designed to be adaptable to the diverse scenarios of everyday life.
In November 2012, Studio Manuel Raeder began developing the three display structures and furniture that make up La letra E está por doquier (The Letter E is everywhere) with fellow studio designer Santiago da Silva for Centro de Diseño de Oaxaca. As the first public institution of its kind in Mexico, it understands design as a tool for social change and, coinciding with the ethos of Studio Manuel Raeder, follows the understanding that form relates to production and production to alternative economic relations based on dialogue and the exchange of ideas. As a result the furniture features seating made out of plastic, wooden stools and upturned buckets, as well as the ubiquitous white plastic Monobloc chairs, reconfigured and covered with woven palm leaf. The modular cake table was produced in collaboration with a furniture factory and local wood producers in Oaxaca. Additionally the cubic structures display a selection of catalogues and artists’ books produced by Studio Manuel Raeder over the past ten years, as well as collected and found objects such as art wares, which the designers collected from their stay in Mexico.
From ICC to ICCC – International Center for Contemporary Culture Berlin
The ICC, a 38-year-old architectural Gesamtkunstwerk, is one of the most important international buildings in Berlin. The unique icon of the 20th century is to be preserved and at the same time newly challenged. The ICC could become the ICCC, a center for contemporary culture in Berlin. The utilization concept is based on a synergy of conference facilities, a venue for performers and fine arts, a restaurant and cafés, a hotel, an art and media outlet as well as temporary co-working spaces, and studios. „What is needed is a catalyst for the meeting of worlds that represents and is part of our journey in to the future. The first phase of post-Wall Berlin, the art colonisation of the city, is almost complete. Now we need to look towards a new, technically orientated consciousness and what better hub for that endeavour than the ICCC? A mothership for the merging of two cultures in the third industrial age. The architecture of the ICC, the ship-like form that shouts “space” rather than “sea” are all perfect companions to this journey.“ Sophie Lovell (Author & Editor-in-Chief, uncube magazine). Scope of work of BUREAU N was the concept development for future use, together with Florian Heilmeyer and Something Fantastic.
What is needed is a catalyst for the meeting of worlds that represents and is part of our journey in to the future. The first phase of post-Wall Berlin, the art colonisation of the city, is almost complete. Now we need to look towards a new, technically orientated consciousness and what better hub for that endeavour than the ICCC? A mothership for the merging of two cultures in the third industrial age. The architecture of the ICC, the ship-like form that shouts “space” rather than “sea” are all perfect companions to this journey. Sophie Lovell (Author & Editor-in-Chief, uncube magazine)
89plus is a long term, multi-platform research project, co-founded and co-curated by Simon Castets and Hans Ulrich Obrist, mapping the generation of innovators born in and after 1989. The 89plus Resources Workshop and Panel at LUMA is the first event to be structured around a single theme, Resources, engaging the disciplines of art, architecture, literature, science, and technology in a focused conversation. Led by Simon Castets and Hans Ulrich Obrist a Workshop will bring together environmental activists and artists from the 89plus generation along with experts in resources and sustainable development. The panel discussion will address the potential of new technologies for positive environmental and social change in a world of declining natural resources.
Constantly shifting relationships between interior and exterior is one of Sou Fujimoto’s intellectual leitmotifs – which can be discovered in his first monographic exhibition in Europe Futurospective Architecture, presented in Lisbon at the architecture gallery Garagem Sul. Originally conceived by the Kunsthalle Bielefeld, the show displays texts, models and photographs documented and commented on by the architect himself, who seeks to offer more than a retrospective of his buildings and architectural work realized thus far, and to think the architecture of the future akin to a forest. In his words Architecture emerges where the flow is intensified.
JEUNES COMMISSAIRES establishes new forms of supporting young curators in France and Germany. The program focuses on aiding in their professional integration and accompanies their first steps into the international art world. Serving as a platform for discourse and experience, JEUNES COMMISSAIRES not only offers opportunities for practical intervention within professional structures but also links between young curators and experts for a direct and long-term exchange. Alongside get-togethers and conferences with different curators and directors from Berlin’s art institutions, the participants will also meet independent, progressive curators and will conduct studio visits. The website www.jeunescommissaires.de not only allows insight in the workshop via photo documentations, but portrays its participants in interviews on their curatorial activities and their expectations on the program.
Citizens across Europe are currently taking the initiative to re-appropriate urban space. A group of neighbours transforms wasteland into public space. Garden plot owners open their grounds to unemployed youths to test their small-scale business ideas. Communities are becoming patrons where they were once supplicants. Identified as “We-Traders” they redefine the relation between value, profit and public good and are able to motivate fellow citizens to follow suit. They respond to crisis in several arenas of urban life, be it economic, social or ecological and diffuse the boundaries between buyers and sellers: consumers become co-producers. Through interactive forums, workshops and exhibitions the project connects initiatives by artists, designers, architects and activists from Lisbon, Madrid, Toulouse, Turin and Berlin, where the current crisis manifests different facets from empty coffers and social polarisation to a lack of civic sense as a result of excessive growth.
WINTER, the Central Asian Pavilion, unfolds its concept through six artistic positions and discursive statements, staged in the Pavilion by artists from Kazakhstan, Uzbekistan, Tajikistan and Kyrgyzstan. The site-specific installation ‘Breathe Quietly’ by Vyacheslav Akhunov originates in a sketch from 1976 as an unrealised public monument, satirically reflecting the culture of intimidation and state propaganda at the time. By exhibiting this piece today, the artist invites viewers to see the present situation in Uzbekistan, through the lens of the Soviet period. Other works, such as Saodat Ismailova’s double projection video, Zukhra and Aza Shade’s film ‘The Disappearing City’ explores the role of women in contemporary Central Asia, where tradition still plays a major role.
Ikuru Kuwajima’s photographic series ‘Astana Winter Urbanscapes’ and Kamilla Kurmanbekova & Erlan Tuyakov’s site-specific installation ‘Zhol’, explore the field of architecture, as being subject to appropriation by ideology. Kuwajima documents the recent architectural developments in Astana, while Kurmanbekova & Tuyakov re-interpret the classic yurt into an architectural installation and transitory passage. Sergey Chutkov & Anton Rodin’s collaborative project ‘Letters from Tajikistan’ was made possible through an open call for letters across a broad strata of Tajik society, resulting in a semantic map of Tajik and Central Asian realities. The Pavilion opened to the art world during the preview of the Biennale di Venezia, with the discussion forum ‘Perspectives Beyond Stagnation’, organized in partnership with LIAF (Lofoten International Art Festival). Invited guest speakers, Gopal Balakrishnan and Aaron Schuster addressed issues relating to themes of exhibition, such as the convolutions of capitalism, transgression and constraint.
The exhibition Culture:City encourages everyone to think consistently about the future of our cities and takes a critical eye to the relationship between architecture and the social reality of the 21st century, showing the impact of art and culture on cities and architecture. The selection of international examples presented – ranging from spectacular architectural and art projects, via the creative reuse of empty buildings and city areas, through to citizens’ initiatives – opens up a panorama of constructed concretisation of culture thus allowing us not only to take stock of the surroundings but also to evaluate and assess each individual case.
Does the social, cultural and architectural rootedness in the city work and does this lead to new forms of cultural production? Or does the construction project merely represent a symbol strong on marketing, yet another island in a city’s public spaces characterised by increasing fragmentation?
The debate thus triggered in the exhibition, curated by Matthias Sauerbruch, is continued in the form of lectures, film screenings, concerts, sound installations and conferences a.o. with Jacques Herzog, Peter Cook, Patrick Bouchain, Peter Eisenman, Selgas Cano Arquitectos a.o. to Berlin.