AES+F, Still from 3-channel HD video installation Inverso Mundus (The World Upside Down), 2015
The 6th edition of the NORDWIND Festival, with its focus on exploring the North European and Baltic performing arts scene, will also throw a spotlight on Russia and other countries of the former Soviet Union this year. Under the title “BALAGAN!!! – Zones of Resistance” Artistic director Ricarda Ciontos presents performances, choreographies and installations by some of the most exciting artistic teams and directors from Northern and North-Eastern Europe such as Oskaras Koršunovas, Stina Nyberg, Verdensteatret, Mungo Park and Elina Pirinen. A special program concentrating on contemporary performance in Russia will show controversial, innovative and formally sophisticated productions by artists such as Dmitry Krymov, Mikhael Patlasov, Olga Jitlina and Petr Pavlensky. “BALAGAN!!! – Contemporary Art from the Former Soviet Union and Other Mythical Places”, an exhibition taking place in three venues across Berlin, will feature works by over 50 artists as well as the first retrospective outside Russia of Vladislav Mamyshev-Monroe (1969-2013), comprising his paintings, films, photography and performance.
Since its foundation the biennial NORDWIND Festival has been continuously expanding its interdisciplinary program in terms of output, structure and ambition. This year it will take place in Berlin, Hamburg, Dresden and – for the first time – in Bern. Performance and exhibition venues in Berlin include Volksbühne, Sophiensæle, Max Liebermann Haus and KühlHaus Berlin.
Dense City / Photo: © Joanne Pouzenc
How to rethink space and matter? – a question posed by the Bureau des arts plastiques et de l’architecture and the Deutsches Architektur Zentrum DAZ in the context of their collaborative project “In Extenso – Erweitert”. Three invited French curators – Karima Boudou, Céline Poulin and Agnès Violeau – teamed up within the program “Jeunes Commissaires” to approach the answer within a performative and narrative exhibition titled A SPACE IS A SPACE IS A SPACE in Berlin. To probe notions of social context, public space and performance as possible discursive platforms, the curators worked with artists, architects and writers – including Kader Attia, Rosa Barba, Jason Dodge, Jean-Pascal Flavien, Jimmie Durham, Markus Miessen, Joanne Pouzenc, Michael Riedel, Vanessa Safavi, Rosemarie Trockel and Clémence de la Tour du Pin. The exhibition, accompanied by a lecture and performance programme, includes the launch of a special edition of the art and literature magazine JBCQVF addressing concepts such as participatory democracy, anthropological space and “idleness” as described by Giorgo Agamben.
Rosemarie Trockel, “German Issue”, 2014 © Rosemarie Trockel, VG Bild-Kunst, Bonn 2015 Courtesy Sprüth Magers; Clémence de la Tour du Pin. butyougotolooklikedevilhorns, Printed document, magnet on fridge (w. Antoine Renard) 2015; Kader Attia, “The Modern Genealogy” 2012- 2015, Courtesy the artist, private collection and Galerie Krinzinger
A SPACE IS A SPACE IS A SPACE
Opening: 10. September 2015, 7 pm
Deutsches Architekturzentrum DAZ
Köpenicker Str. 48/49, Berlin
Isa Genzken, Weltempfänger, 2013, courtesy the artist and Galerie Buchholz, Cologne and Berlin // Robert Longo, Untitled (Tiger Head 3), 2011, Courtesy the artist
The Schinkel Pavillon – which opened in 2007 – is one of Berlin’s most important exhibition spaces for contemporary art. It is currently in urgent need of support for its preservation, expansion, and long-term planning. To this end, 54 internationally renowned artists have donated artworks for the benefit auction, ‘By Artists for Artists’, among them are John Baldessari, Paul McCarthy, George Condo, Fischli/Weiss, Isa Genzken, Andreas Gursky, Philippe Parreno, Cindy Sherman, and Rosemarie Trockel. The auction and preview will take place at Villa Grisebach, followed by a second round in October at Christie’s in London. The funds raised by the auction will generate the financial basis for Schinkel Pavillon that will allow it to maintain the high quality of its programme and carry out its exhibition calendar for the upcoming years. In addition, the exhibition space will expand to include another floor. Through extensive and much needed restoration, the Schinkel-Klause, made famous under Erich Honecker, will be returned to life as a meeting place and an interface for performance, installation, artist’s talks, lectures, and art education. Information about the auction, including a complete list of works, is available at www.schinkelpavillon.de
Villa Grisebach, Berlin
Auction 19 September 2015, 5 p.m. / Preview 7–18 September
Auction 17 October 2015, 1 p.m.
I am smart but my brain is run in California… Inspired by the hideouts of the ever-powerful Apple and Facebook in contrast to the new, overtly conspicuous offices of the Federal Intelligence Service in Berlin-Mitte, “Android Paranoid” hosts a journey through current scenarios of the future. Through lectures, performances and film screening, the event examines our vision of the days to come – sterile white rooms, the role of technology – in turn posing the questions: was the future always so quiet? What are the underlying structures, aesthetic parameters and control mechanisms of these scenarios? Do we need a new design, a new system of expression in architecture? Do we surrender ourselves to technology because that which we cannot see, we also cannot design?
Credits: Andrey Yagubsky, Jan Willmann
Futurologists, architects, critics and curators from around the world will convene to address the ambiguous influence of digitalisation on architecture and our cities, the power of “Big Data,” and smart cities and their vulnerabilities. Among the participants of the discussion: Kristoffer Gansing director of Transmediale, Berlin; Daniel van der Velden of Metahaven Design and Research Studio, Amsterdam; Dr. Jan Willmann from Gramazio Kohler Architects, ETH Zurich; Liam Young, architect and speculative thinker, Princeton, AA from London; together with music by David Letellier and film screenings by the Russian artist Andrey Yagubsky from Moscow.
Credit: Liam Young
PLAN A, ANDROID PARANOID
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.
Photo courtesy Akademie der Künste
AKADEMIE DER KÜNSTE, FLOROS FLORIDIS
How Can We Tell the Dancers from the Dance presents the visitor with a haunting sensory experience: a white dance floor occupies the space of the Schinkel Pavilion, from which the ghostly sounds of invisible dancers echo – footsteps and footfalls taken from movements choreographed by the late Merce Cunningham, and performed by dancers of the Merce Cunningham Dance Company. Around the dance floor, a wall is continuously turning. Throughout his practice, French artist Philippe Parreno has fundamentally redefined the exhibition experience by exploring its possibilities as a coherent ‘object’ and a medium in its own right, rather than as a collection of individual works. To this end, he conceives his shows as a scripted space where a series of events unfold. His exhibition at Schinkel Pavillon resonates with the concentric architectural structure of the glass pavilion and delineates the space’s expanses and proportions by performing a choreography of its own. Recorded in New York in 2012, the dance movements that appear as aural revenants of the dancers’ bodies were selected from five different choreographies by Cunningham. As like Cunningham Parreno is fascinated by the potential to create structure via the incorporation of random phenomena. In his work, the method of chance allows the boundaries of the artwork to evolve and change over time, permitting it to almost take on a life of its own. Simultaneous with How Can We Tell the Dancers from the Dance, gallery Esther Schipper will present Philippe Parreno’s solo exhibition quasi-objects.
Credit: Philippe Parreno, How Can We Tell the Dancers from the Dance, 2013, Courtesy: The artist and Esther Schipper, Berlin, Photo: © Andrea Rossetti
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
AKADEMIE DER KÜNSTE, VERTIGO OF REALITY
Credit: Not how people move, but what moves them, Collage, 2013
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.
Credit: Eva Kotátková | Stages of Sleep 57, Collage, 2014
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
The fifth edition of the Marrakech Biennale poses the question Where are we now? through a dialogue between four disciplines: visual arts, cinema / video, literature and performing arts, the latter a new discipline of the Marrakech Biennale as of 2014. This question can be raised in different fields of the geographical, philosophical and socio-political discourse. Marrakech developed hundreds of years ago into one of the main cultural and religious centres for the Maghreb and sub-Saharan Africa. Today the city still finds itself within Morocco, the Maghreb, Africa and with a close connection to the Middle-East; but also in the middle of a transition phase of our global society. Founded as a reaction to the international political situation in the beginning of the 21st century and the consequent negative perception of the Arab world, the aim is to gather local, regional and international audiences in order to stimulate dialogues, and to invite emerging and established artists from all over the world to create new pieces of site-specific nature.
Credits: Hicham Benohoud, Bienvenue à Marrakech; Can & Asli Altay An Archipelago from the Mediterranean; Mounira Al Solh In brown, longtime thresholds and substrates without catalogue (Courtesy the artist and Sfeir-Semler gallery); Gabriel Lester MurMurMure Photo 1,2,4: Pierre Antoine