Switzerland’s Federal Office of Culture soon presents the seventeenth Swiss Grand Award for Art / Prix Meret Oppenheim to three outstanding Swiss culture practitioners: conceptual artist Daniela Keiser works with the media of photography and language, which she translates into different exhibition and presentation formats. Peter Märkli’s architecture, teachings and drawings are widely recognised and particularly valued by the younger generation of architects. The author and curator Philip Ursprung is honored for his cross-disciplinary research in history, art and architecture. The Swiss Grand Award for Art / Prix Meret Oppenheim was founded in 2001 by the Federal Office of Culture in collaboration with the Federal Art Commission. It honors figures from the worlds of art and architecture as well as criticism, curation and research whose work is of particular relevance and importance for contemporary art and architecture in Switzerland and beyond. The laureates, and this year’s winners of the Swiss Art Awards, will receive their accolades on June 12th, 2017, in Basel. The exhibition SWISS ART AWARDS, which showcases the participants in the second round of the Swiss Art Competition, also includes film portraits of the Swiss Grand Award for Art / Prix Meret Oppenheim 2017 recipients.
Gallery Weekend Berlin is a celebration of the galleries and serves as a culmination of their year-round activity. As they discover artists, maintain lasting relationships with them, and continually promote and disseminate their work worldwide, the galleries are a point of contact for curators, critics, and collectors. Sprawled across 47 spaces in the city, easy to find with the Gallery Weekend Map.
How do political and economic interests shape the urban environment? Which boundaries and power structures are encoded in it? In Between Spaces, 15 artists examine questions and contradictions found in urban life. The exhibition places work by Gordon Matta-Clark and perspectives on East Berlin into a dialogue with current artistic positions. The featured artists appropriate unused spaces and lend new forms to the inconspicuous spaces in-between. From 1970s New York to 1980s East Berlin and the global village of today, various frames of reference are brought together with the notion of urban space acting as the social, artistic and political hub of a society. Artistic positions on urbanism and public space, with Gordon Matta-Clark, Isa Melsheimer, Sabine Peuckert, Andrea Pichl, Diana Sirianni, Annemirl Bauer, Sibylle Bergemann, Simon Faithfull, Antje Fretwurst-Colberg, Brigitte Fugmann, Raumlabor, Marjetica Potrc, KUNSTrePUBLIK, Tomás Saraceno, and Ursula Strozynski.
From a period of political upheaval and rebellion against existing societal structures, a diverse set of stylistic trends emerged in the 60s and 70s. For the exhibition ‘Experiments’ Jochum Rodgers combines unusual design objects of the two decades in question selected by numerous architects, designers and artists. As the title implies, what acted as a driving force for the creation of the objects was not merely functional necessity but the actual pleasure derived from experimentation. Among the iconic exhibits, there are pieces by Joe Colombo, Pietro Cascella, Gianfranco Fini, Pier Giacomo & Achille Castiglioni, Frank O. Gehry, Piero Gilardi, Hans Gugelot, Gruppo Archizoom, Gruppo A.R.D.I.T.I., Ennio Lucini, Hans von Klier, Angelo Mangiarotti, Gino Marotta, Casati Ponzio, Gino Sarfatti, Ettore Sottsass, Studio Tetrarch and Superstudio.
Since 2007, in addition to the Swiss Design Awards, the Federal Office of Culture has presented the Swiss Grand Award for Design to individual designers or established firms that contribute to the renown of Swiss design nationally and internationally. Having originated as a means of encouraging, supporting and ultimately honouring the Swiss design scene, the prize communicates and indicates the traditions of Swiss design. This year the disciplines of the three laureates range from graphic design to jewellery and illustration; all of which have played a key role in the cultural fabric of Switzerland. David Bielander translates simple, everyday objects into items straddling the line between jewellery and artwork. His contemporary pieces open up unexpected lines of communication and discreetly narrate underlying stories for both the wearer and the perceiver. Another mode of storytelling is found in the work of Thomas Ott whose dark, meticulous comics don’t contain words yet manage to be universally comprehensible. As Ott’s work becomes more layered and complex, it gives rise to kaleidoscopic narratives and painstaking detail. This marked the first time that the award goes to a comic artist. Similarly following a precise optical language and consistent set of tools, Jean Widmer, one of the first Swiss graphic designers in Paris, produces clear designs ahead of their time. Among others, he’s created the visual identity for such institutions as Musée?d’Orsay and Centre Georges Pompidou – where his emblematic logo still remains.
“Museums should be invisible. With an imaginary museum you can do whatever you want.” –
What does the term anti-art encompass? It’s shaped by an array of concepts that reject prior definitions of art and question the art system and how it functions. “The Anti-Museum“, an extensive anthology by Mathieu Copeland and Balthazar Lovay, addresses the idea of anti-art through numerous contributions by renowned artists and writers. From interviews and historical reprints to manifestos and commissioned essays, the 794-page encyclopaedic tome presents the first comprehensive exploration of the radical and paradoxical concept that is the ‘anti-museum’ – a term so present in art history and yet one that has never been the object of detailed investigation. The museum has always been a target for criticism, whether it comes from artists, thinkers, curators, or even the public. Dedicated to all forms of “anti” such as Anti-Art, Anti-Technology, Anti-Design and Anti-Philosophy, the publication features numerous texts from the 60s until today – including newly commissioned as well as never-before-translated pieces – to define the idea of anti-art in a broad sense, evoking attempts to disrupt rules and customs in artistic disciplines.
After leaving its home in Kassel for a few months, documenta has moved to Athens for the first part of its 14th iteration, and we were there to experience its multifarious program sprawling across museums, cinemas, residential spaces, pavements and even radio stations and kiosks, to name a few of the locations. Four years in the making, under the working title “Learning from Athens”, one of the topics addressed in documenta 14 is the meaning of education and its reconstitution through the works of more than 160 international artists. Following the press conference opening featuring a cacophony of all participating artists and members of the team onstage, the artistic director Adam Szymczyk encapsulated this year’s approach: “Unlearning what we believe we know is the beginning. There are no masters that can tell us how to live or what to do. We are in need to mobilize energies and act through unlearning. As we abandon preconceptions, and some of our hopes too, we immerse in the darkness of now knowing. And only from that state can we then make small steps towards something different.” More than a couple of times we were urged to “get lost” in the city, fully experience the public realm and embrace the peripatetic manners of ancient Greek philosophers. Among numerous spaces and places, the program took us from the impressive building of the Athens Conservatoire built in the ‘50s as a vision of central European rationalism, to the former brewery housing the National Contemporary Art Museum, to the Polytechnion – an emblem of historical resistance, to a pavement inscribed with Samuel Beckett’s poetry, and a kiosk turned into an electronic music station on a picturesque plateia. Sound has indeed a prominent role in the program and is an essential part of its impact. Sonic elements are dispersed throughout, whether as protagonists or as discreet additions permeating the visual spectrum; appearing announced or other times fully conquering your headspace. It often felt like this year’s documenta should be heard more than seen.
As April 9th marked the first day of the 1,850-mile journey on horseback to Kassel starting from the side of the Acropolis, we also anticipate the second part of documenta and the evolution of this ‘continuum’.
With the aim to stimulate discussion on the social dimensions of design, the 4th edition of the Design Display series at Autostadt Wolfsburg (Konzernforum) takes Mexico as its main point of departure. Inside the exhibition’s characteristic 20-metre-long glass display, an intercultural bridge between Mexico and the US is figuratively built through two contemporary designer projects. On the one side is Vestido Cobra, a dress created by Mexican fashion designer Carla Fernández who explores how fashion can uphold traditions and still point the way to the future. By bringing Mexican styles and manufacturing techniques into contemporary fashion, she draws attention to the cultural heritage of her homeland within a modern context. The unisex “snake dress” questions gender roles and embraces craftsmanship. On the other side of the glass display is a multimedia installation dealing with the US-Mexican border by architect Fernando Romero. Conceived as an ideal metropolis with multiple urban centres, Romero’s Border City is a bi-national future city designed to straddle the controversial border, serving as a model for new cities around the world. Romero’s visionary project explores the potential to create organized growth and multiple urban centres in sprawling regions lacking infrastructure.
The exhibition’s accompanying magazine On Display continues the discussion through features on the work of the two participating designers, a detailed piece about the border area between Mexico and the United States, and an essay on the influence of traditional craftsmanship on modern Mexican design.
As an active response to the social challenges of our times, a new creative initiative advocates for the seamless integration and inclusion of people with a refugee and migration background in Germany through the arts, music, theater, and dance. One in five people in Germany have a migratory history, two-thirds of which belong to the first generation. We don’t always celebrate the same festivities. We don’t always speak the same language. We don’t always believe in the same deity. But it’s undeniable that the world of the arts can act as an equalizing and unifying resource, and that’s the direction we should be moving towards to. With The Power of the Arts initiative, launched by the Philip Morris GmbH, each year an independent jury selects four winning projects, awarded with 50,000 euros each, put forward by non-profit institutions and creative artists. All participants use numerous artistic disciplines to endorse social and cultural equality as well as deeper understanding among individuals. What serves as the main purpose of the initiative is to encourage an open, interculturally shaped society that leaves no room for discrimination and marginalization. Creativity and people’s abilities are invested in coexistence and collaborative progress.
Project submissions and information on the call for applications from 27 March until 9 June 2017.