Project, 21.09.2018

Julian Charrière
An Invitation to Disappear

Julian Charrière - An Invitation to Disappear - Tenggarong, 2018 (copyright the artist; VG Bild-Kunst, Bonn, Germany)
Julian Charrière, An Invitation to Disappear – Tenggarong  © The artist; VG Bild-Kunst, Bonn

“The bright sun was extinguished, morning came and went and came, and brought no day,” noted the Romantic poet Lord Byron in his diary, amidst the general atmosphere of mysterious darkness and cataclysmic desolation that hit the world in 1815. The year when the warm-bright and flaming red pyroclastic flows of hot volcanic debris rolled down the volcano atop the paradise landscape of Indonesian island of Sobwoa, catalyzing one of the world’s biggest natural climate crises. The volcano’s name Tambora, which translates as “an invitation to disappear” ominously signified the dystopian scenario that in its monumental and global impact on landscape, reconciled the sublime beauty and pervasive atrocity. The ensuing “year without summer” aggregated global floods and famines but it also produced unexpected beauty that rose from the ruinous decay. The sunsets changed due to the countless aerosols in the atmosphere, diversifying the spectrum of colours, that would later resurface in the luminous surfaces of J.M.W. Turner and Caspar David Friedrich during this period. Some 200 years later the invitation to disappear confronts the contemporary hyper-industrialized society with anthropogenic dimensions, leaving strange new synthetic forms in the environment that loom with a premonition of “a year without winter.” Through a trans-disciplinary and multifaceted field of research that inventively links geology, biology, physics, history and archaeology, the artist Julian Charrière delves into post-romantic constructions of nature, where deep geological timescales are brought into tension with those of the mankind. Hosted at Berghain, his audio visual performance Invitation to Disappear projects adistant burning image of a synthetic jungle, emerging through a mullti-sensory journey between flickering light and spectral techno, soundtracked by Inland. Julian Charrière will also present a new spatial installation As We Used to Float at Berlinische Galerie.

Project, 12.09.2018

RED BULL MUSIC ACADEMY BRINGS ART AND DESIGN TO FUNKHAUS BERLIN
SEP 8–OCT 12, 2018

Web_Funkhaus_1© Thomas Meyer

Berlin is a fascinating yet chaotic whirlwind of clashing architectural sites, with some of its most monumental and distinctive landmarks inherited from the German Democratic Republic era. Distinctively embodying the GDR’s engineering ambitions, Funkhaus is a colossal broadcasting centre and studio complex designed during the 1950s by the distinguished Bauhaus architect Franz Ehrlich. His job was to create the world’s largest and most sophisticated recording facility that promised to be an ideal marriage of German functionality and Eastern decadence. It was constructed to symbolize the virtues of equality, collectivity and openness by bringing a wide array of musical genres under one roof. Red Bull Music Academy is celebrating their 20th anniversary at the historic complex, which has been converted into a creative microcosm. 61 international musicians have been selected to participate in the Academy, they will have the opportunity to exchange ideas, learn new things and expand their musical vocabulary. Design studio New Tendency has created a bespoke furniture collection for the Academy, combining lounge modules, tables and sofas that bring back the essence of Bauhaus design principles and through a poetic and playful tone rejuvenate the functional and rational aesthetic of the interiors. Part of the transformation is an exhibition showcasing Berlin’s established and most promising emerging artists. Hailing from different generations, the artists have been carefully selected by Johann König. The exhibition takes central stage at the Lecture Hall with large-scale paintings by Karl Horst Hödicke, a pioneer of German neo-expressionism and a representative of the New Figuration, depicting Berlin in the decades before and after the fall of the wall.

Feature, 07.07.2017

Operndorf Afrika
Art as purveyor of cultural exchange and postcolonial discourse

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

Operndorf webpage

Feature, 18.05.2017

Tieranatomisches Theater
SYNTH by Jan-Peter E.R. Sonntag
May 19 – Jul 8, 2017

Folie1

Jan-Peter E.R. Sonntags SYNTH im Tieranatomischen Theater

Built in 1790, the Tieranatomisches Theater (Veterinary Anatomy Theatre) is the oldest still-existing academic building in Berlin. Since 2013, the Hermann von Helmholtz-Zentrum für Kulturtechnik has used the venue as an experimental exhibition space. Based on research and teaching at the Humboldt-Universität, the programming is dedicated to an interdisciplinary investigation of material cultures of knowledge, and to new practices in displaying them.

SYNTH, an installation on the phantasm of sound and music synthesis by the artist, composer and researcher Jan-Peter E.R. Sonntag, is one such investigation. Shown and heard throughout the Theater’s seven rooms, technical and aesthetic objects connect the 19th century’s physiology to Neue Musik, media theory of the 20th century, and contemporary experimental music. For Sonntag, sound art is spacial art, a form that addresses the percipient’s whole body. Space itself becomes corporeal as well: turning the classical anatomy theater into a Rausch-Körper (“body of noise”), the artist composed the three-act chamber opera SINUS especially for the venue’s unique architecture. There will be held a number of discussions, workshops and events regarding the exhibited objects and instruments. All the while, Sonntag’s radio opera RUNDFUNK AETERNA – a work commissioned by Documenta 14 – will be broadcasted worldwide. Sonntag developed his own special circuits for RUNDFUNK AETERNA, and, in the tradition of Marinetti, Arnheim and Brecht, investigates the radio and (radio wave) as a form.

Feature, 25.10.2016

Iceland’s Cycle Music and Art Festival
Explores Our Notion of Time

Festival Oct 27 – 30, 2016
Exhibition Oct 27 – Dec 18, 2016

AGBAS WELCOME WELCOME WELCOME by Adam Gibbons & boyleANDshaw, 2016 / South Iceland Chamber Choir

AGBAS WELCOME WELCOME WELCOME by Adam Gibbons & boyleANDshaw, 2016 / South Iceland Chamber Choir

Cycle Music and Art Festival serves as an international and local platform for contemporary music and visual arts as well as the coalition of the two fields. Now in its second year, the festival promulgates unconventional works and collaborations, with the goal of deeply engaging the audience and making them reconsider their preconceptions about disciplines and their role as spectators. Acclaimed artists are invited to produce and exhibit work that transcends the boundaries between art and music, classical and popular modes, and audience and performer. That Time, the title of this year’s performance programme and exhibition, will initiate yet another interdisciplinary experiment that will delve into the questions of ‘deep time’ and ‘peak futures’ (the title takes its cue from Samuel Beckett’s eponymous play, parroting the protagonist C: “Never the same after that never quite the same but that was nothing new.”). With an exhibition at Gerðarsafn Kópavogur Art Museum and other venues in Kópavogur, and a rich programme of performances, workshops and concerts, Cycle will promote experimentation, on-site synergies, and will seek to redefine the nature of a traditional art festival. That Time will run until 18 December. 

Berglind Tómasdóttir, photo by Anna María Bogadóttir / Rachel de Joode, Surface Units, 2016

Berglind Tómasdóttir, photo by Anna María Bogadóttir / Rachel de Joode, Surface Units, 2016

Feature, 12.01.2015

CONFUSION/DIFFUSION
Akademie der Künste
29.01.2015

confusion-diffusion-

Photo courtesy Akademie der Künste

Stemming from misunderstanding in the European Union between Greece and Germany, Confusion/Diffusion evolved into a depiction of the confusion under which the modern world operates. Combining images, electronic sounds, texts and live music, the performance piece, presented by Akademie der Künste, morphed into a new art-form all together. The performance, created by Greek composer and musician Floros Floridis and German film director Jeanine Meerapfel, consists of fragments of reality montaged into a 60 minute film, combined with live improvised music and selected texts performed on stage. The images on screen act as a visual framework, mixing with the live elements to create a mosaic of contrasts: enigmatic, humorous and provocative images and sounds of the everyday from both countries.

ConfusionDiffusion_01

Photo courtesy Akademie der Künste

AKADEMIE DER KÜNSTE, FLOROS FLORIDIS

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

Feature, 27.10.2013

VERTIGO OF REALITY
Preparation Lab | Wednesdays, 5 pm
Akademie der Künste, Berlin
November 2013 – November 2014

For one year the Akademie der Künste is devoting itself to the topic Vertigo of Reality | Schwindel der Wirklichkeit. There is hardly a single issue in the arts that has been addressed as systematically as the construction and deconstruction of reality. Above all, new media and the interactive possibilities of the digital world have fundamentally altered the arts and their own reflective understanding. The threshold between digital information and the analogue user, between man and machine, between virtuality and body has long since been a dialectical core theme of contemporary art. The focus kicks off this November with a working station – a mobile architecture installed in the Akademie der Künste at Haseatenweg hosting a series of talks, debates and performances every Wednesday at 5:00 pm leading up to the Metabolic Office for the Repair of Reality and a large exhibition in the autumn of 2014.

VertigoOfReality_0

Credit: Klaus Staeck, Im Mittelpunkt steht immer der Mensch, 1981 © Edition Staeck, Heidelberg/VG Bild-Kunst, Bonn 2013

AKADEMIE DER KÜNSTE, SCHWINDEL DER WIRKLICHKEIT

Feature, 12.03.2013

CULTURE:CITY
Akademie der Künste, Berlin
15.03. – 26.05.2013

CultureCity_05

Credit: Inner-City Arts, Los Angeles, 2008 – Community centre / art school – Architect: Michael Maltzan Architecture – Photo: Iwan Baan; Centre Georges Pompidou, Paris, 1977

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.

CultureCity_Coll

Credit (from left to right): Architects: Studio Piano & Rogers, architects (Renzo Piano and Richard Rogers) – Courtesy: RPBW, Renzo Piano Building Workshop  |  Detroit SOUP – A monthly dinner funding micro-grants for creative projects in Detroit. – Photo: David Lewinski

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.

CultureCity_0

Credit: Filmstill: Modern Times – Director: Cyril Amon Schäublin – Building: SANAA-Gebäude, Standort der Folkwang Universität der Künste – © Cyril Amon Schäublin

CultureCity_01

Credit: Filmstill: After hours – Director: Steffen Köhn – Building: Berghain – © Phillip Kaminiak

CULTURE: CITY, AKADEMIE DER KÜNSTE

Feature, 15.08.2012

SOUND DEVELOPMENT CITY
Summer Expeditions 2012
Berlin-London-Zurich

In the course of summer expeditions, selected artists from the areas of music, performance and other cultural fields experience and revive urban spaces. The dernier cri is the focus of this year’s Sound Development City expeditions – it allows for an independent exploration of themes and modes of expression in the perception of the three cities. The work resulting from this exploration will in part be shown in public. With: Jana Burbach (Zürich, Theater, Performance); Ariel Bustamente (Chile, Public Acoustic Experiments); André Castro (Lissabon/ Amsterdam, Networked Media Design); Donald Deadalus (New York, Art, Sound); D-Fuse (Michael Faulkner/Matthias Kispert – London Sound and Video Art); Maria Guggenbichler (München/ Amsterdam, Art, Ideas, Music, Books); Israel Martinez (Mexiko, Multidisciplinary Art, Electronic Music); Katharina Rohde (Berlin, Architecture, Art, Activism); Steve Rosenthal (London, Visual Art); Evelynn Trouble (Zürich, Music).

SoundDevelopmentCity

Photos © Julian Röder/ OSTKREUZ

SOUND DEVELOPMENT CITY