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.
In 1994, Galerie NEU opened its first location in Auguststraße, in the central district of Berlin. In the frame of it’s 20th anniversary, the gallery is now moving back to Berlin-Mitte with the opening of a new space at Linienstraße, showing the exhibition 20 Years Galerie NEU, with works by all the gallery artists.
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.
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.
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.
Snake Grass is the first institutional solo exhibition in Germany of the French artist Camille Henrot, which also includes new works of Henrot’s ikebana sculpture series Is it possible to be a revolutionary and like flowers? Since 2011 Camille Henrot translates various books of her private library into delicate flower arrangements, referring to quotes of the selected books. Each one of those deals with the subject and the other, with exoticism and authenticity but also tries to give an answer to basic questions of anthropology. For this exhibition, Camille Henrot expands the series on new ikebana sculptures referring to works by Alexander von Humboldt, Novalis and Hannah Arendt. In addition, the Schinkel Pavillon will open the former Schinkel Bar in its souterrain for the first time to screen the artist’s The Strife of Love in a Dream. The film was shot in India; pictures of a pilgrimage appear again and again, an Indian pharmaceutic production facility producing medicine against anxiety states and the taking of snake venom.
With Number Eight: Sturtevant the Julia Stoschek Collection is showing a solo exhibition of the work of Paris-based American artist, Sturtevant. Ever since her first show, she questioned the purpose, autonomy and authorship of art, by repeating other artists’ works and concepts. Contrary to popular belief, this method did not center on the pure imitation of an artwork, rather Sturtevant was more interested in the imaginary space that opens up behind it and thus creating a critical debate on the surface, the product and the autonomy of a work of art. Even though she repeated works shortly after they were produced, sometimes in the same year, they were later considered renowned masterpieces. From 2000 onwards, the inclusion of mass-media images and Sturtevant’s own filmed material led her to produce works in the medium of video. Now against the background of the World Wide Web, the transgressions, the boundlessness, the borders and its decay, she analyses the origins of knowledge, art and culture, and addresses the question as to how they can be produced and shared.
Sturtevant Finite/Infinite, 2010
Under the title, High Performance. Time-based Media Art since 1996, Julia Stoschek Collection presents key works of time-based media art at the ZKM | Center for Art and Media Karlsruhe. With large-format video works and films, as well as multichannel spatial installations, the exhibition demonstrates that as an artistic medium, video art, which first began fifty years ago, has lost nothing of its force. The 50 works on the subjects of ‘body and soul’, ‘public space’, ‘environment’ as well as ‘virtual reality’ offer an in-depth insight into the most recent developmental history of the collection since 1996. In addition, a comprehensive compilation documents the most important performances to have been on show at the Düsseldorf collection building.
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.