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
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.
Credits: Trix und Robert Haussmann, Möbel als Architektuzitat, 1977 | Opus Focus Pocus (La casa della falsità), 1982 | Chair-fun: Trio”, 1967 | Neon Chair, Reconstruction, 2011
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.
Photos: Steve Herud
FREUNDE VON FREUNDEN, VITRA
Photo: Stefan Korte
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.
Photos: Stefan Korte
GALERIE NEU, STUDIO MANUEL RAEDER
Something Fantastic © ICC Berlin
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)
Photos: © Nuno Cera
Credits: Alessandro Bava, Zine cover Issue 3 | Alessandro Bava, bahrain collage2lumia
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.
Credit: Takeshi Shiomitsu, cleanroom study (i keep on falling falling)
Credits: House N by Sou Fujimoto Architects, Photo: © Iwan Baan |
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.
SOU FUJIMOTO, KUNSTHALLE BIELEFELD, GARAGEM SUL
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.