In order to create the newest item on their menu, the team of Grill Royal has become the first restaurant in Germany to acquire access to speciality Kobe Beef from Japan. Kobe is a subset of meat from genuine Wagyu cattle, whose production is extremely limited and subjected to strict regulations and government supervision. In order to bear the name ‘Kobe beef,’ cattle must be certified, pedigreed Tajima cattle (Tajima-gyu), as well as bred, raised, slaughtered and assessed by the Japanese Meat Grading Association in the Hy?go Prefecture around its capital city, Kobe. The degree of marbling must amount to a minimum BMS (Beef Marbling Score) of 6, following the Japanese grading system. Only when all of these criteria are fulfilled does the beef receive the Kobe beef stamp, shaped like a Japanese chrysanthemum blossom, which is a symbol of the Japanese imperial court. At Grill Royal, chef Michael Böhnke will prepare the meat in different and seasonally varying styles, with a main focus on the classic steak grilled on a lava stone for one or more people, known as the Teppanyaki plate. But also pure and marinated versions of carpaccio, or Japanese-inspired dishes such as Shabu Shabu (thin slices) will be on the menu.
Invited to accompany the exhibition Otto Piene. More Sky, the bar at Pauly Saal has moved to Neue Nationalgalerie, where Pienes slide installation “The Proliferation of the Sun” (Die Sonne kommt näher) is being performed. Conceived in 1967, the performance on the upper floor of the Mies van der Rohe building consists of projecting colourful shimmering shapes, hand-painted onto more than 1000 glass slides, to create what Piene calls a “poetic journey through space.” Inspired by this spectral colour experience, Head Bartender of the bar at Pauly Saal Bobbi Kay has created four cocktails that take from Piene’s colour compositions and use of contrary colours to create large surfaces that stand in opposition to one another. The museum’s reception counter serves as the bar, and is also integrated in the show with an identical, mirroring counter. “Otto Piene. More Sky” is a joint exhibition of the Neue Natioganalgalerie and Deutsche Bank KunstHalle.
With LEBEN, the TBA21 in collaboration with the Belvedere, Vienna continues to expand Carsten Höller’s investigations into paradox, doubling, animal life, the everyday assumptions of reality and the seams where they can begin to crumble. From the most basic ideas of scale, like oversized cages housing bullfinches in the exhibition space or giant mushroom sculptures in the Augarten Park, to the alien concepts of sleeping overnight or getting naked in a museum setting, Höller’s works prompt the visitor to unlearn and experiment playfully. Some of the works in LEBEN have been specially commissioned and conceived, others come from TBA21’s collection, like the Y installation. Y’s hypnotic tunnel of flashing white light bulbs stands in the Marble Hall of the Upper Belvedere; the disparate contexts and materials of the installation against its setting are yet another example of the artists’s invitations to question the customs and appearances of life.
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.
The exhibition Swiss Art Awards accompanying the Swiss Art Competition offers insight into current art and architecture production in Switzerland while showing the vibrancy and diversity of the contemporary art scene. For this year’s iteration of the competition, which was initiated in 1899, the Confederate Art Committee selected 46 Swiss artists and artists who reside in Switzerland, as well as 4 architects and 18 critics and curators from a total of 460 entries. From within this field, the Jury selects ten prize winners, who will be announced on the exhibition’s opening day and receive a monetary prize. This edition of the Swiss Art Awards will also see, for the first time, collaboration between the architects Vécsey Schmidt and Victoria Easton on a unique exhibition design: walls will be installed diagonally in an imposing manner to reference as well as counteract the hall’s rigid grid of support columns. Profiles and interviews with participating artists, notices for their exhibitions, and announcements about the Swiss Art Award are featured in the specifically built Online Journal. Furthermore, an upcoming catalogue, presenting the winners and their work, will be published by the Swiss Office for Culture, and designed by Ludovic Balland Typography Cabinet (Basel).
Organized annually by the Federal Office of Culture since 1918, the Swiss Design Awards creates platforms that help the competition winners advance in their careers and present their work to a wider audience. This year’s Swiss Design Awards exhibition, designed by Holzer Kobler Architekturen, will feature the works by 49 selected designers from a number of disciplines: products and objects, fashion and textile design, graphic design, photography, scenography and intermediation. All of them are featured in detail with an interview and profile on the specifically built Swiss Design Awards Blog. The winners of the Awards can choose between prize money, a six-month internship at a well-known firm, or free studio residences in London and New York. Furthermore, the Swiss Grand Prix Design is annually awarded on the occasion of the SDA to outstanding individual designers that contribute to the renown of the country’s innovation – this year’s Grand Prix winners are Alfredo Häberli, Wolfgang Weingart and Erich Biehle.
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.
With Anatomical Orchestra, the artist’s first institutional solo exhibition in Berlin, Eva Kotátková concentrates on the interface between the body and the environment. The exhibition space of Schinkel Pavillon is transformed into a surreal stage, where artifacts – oversized instruments, peculiar prostheses and alike objects – await their activation by the human body. Each of these artifacts fulfill a certain function, similar to the various functions of the organs. Kotátková refuses the concept of the body as entity, and in her Anatomical Orchestra attempts to demonstrate the determination of the body by its surroundings, in the form of other bodies, objects, architecture, sounds or movements. A surrounding that not only sets boundaries for itself, but which also stimulates the body as sensory impressions. On the other hand those man-made artifacts only exist when activated and utilized by the human body. A present performer will activate these objects from time to time, apply the body parts, try them on, produce noise or crawl through the space. Additionally, there will be two concerts of the soloist ensemble Kaleidoskop as part of the exhibition.
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.
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.
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.