Berlin is more than concrete, it is a revolving and evolving cut and pasted being. As we shift and shuffle along its many pathways we imprint upon it our own mark, but let it not be underestimated the extent to which it itself imprints upon our souls. These include spoken word dancers, comedians, dancers, photographers and visual artists.
Lyme Disease: The Ecology Of A Complex System
In their own unique language they collaborate to explore the importance and necessity of re-imagining Berlin. It seeks to underscore the importance of unpacking polarisations and cyclical patterns and radically re-think how we address, tackle and perceive these all-important challenges. The bar at the venue will only be serving non-alcoholic beverages. Tickets 7 Euros at the door before 7.
Hybrid Matter by Andreas Greiner. What is the meaning of nature in an age of digitalization and synthetic biology? The way in which we experience nature is defined by our prior knowledge and socialization, however what we experience in nature is changing rapidly. Human manipulation of evolutionary processes are posing ethically, socially, and ecologically critical questions which demand answers. On entering the exhibition space one is welcomed by insert title of artwork a nickel-silver sculpture depicting cell division—a reproductive act and conceptual starting point of the exhibition.
This science fiction audioplay reverberates within the main room of the gallery, composed of a luminicent aquarium and pulsating watertubes synchronised with the soundscape. Along the walls Greiner presents a new series of photographs showing miscroscopic images of algeas, titled Billions of Heart Beats Slowed Down into Synchronicity, as well as tumor cells, titled Hybrid Matter Studies and Panorama of a Landscape, realised with the scientist S. How sure are we of our fundamental convictions of life and death, right and wrong?
Greiner considers these pictures as portraits, like larger-than-life, celebratory depictions of individuals that have had an outsized impact on the public sphere. At work in these images, and troubled by them, are the moral and existential implications of portraiture. To represent an individual is to fix their likeness to a moment. From that point on, the individual carries out parallel lives: This April the Kunstverein Heilbronn presents a solo exhibition with new a soundpiece and photographic work.
Was verstehen wir heute im Zeitalter der Digitalisierung und synthetischer Biologie unter Natur? Die Treppe zum Ausstellungsraum herunterkommend steht eine in Neusilber gegossene Skulptur, die eine Zellteilung darstellt. Diller realisiert worden sind. Seine Arbeit wurde in zahlreichen Einzel- und Gruppenausstellungen in sowohl nationalen als auch internationalen Institutionen gezeigt.
Saturday 2 June Press Preview and Vernissage: A total of 99 artists including 10 collectives will be participating in the biennial. During the biennial works — including 49 new commissions — will be shown in nine different venues across Riga. There will also be 10 public sculptures and site-specific interventions in various locations around the city. Many of the participating artists will present more than one work, appearing in several of the venues, thus providing an opportunity for visitors to gain a more in-depth insight into their practice. The artists participating in the public program and making performances will be announced at later date.
The majority of these spaces are within 20 minutes walking distance of each other, creating a sustainable parcours and allowing visitors the time to experience the exhibition and the artists, as well as to discover the city. The spaces not only serve as an aesthetically captivating frame for the concept of the biennial and its artworks but are also an integral part of the broader cultural and historical narrative of the city of Riga and the wider Baltic region.
Dwell in Other Futures.
Louis, USA Dwell in Other Futures is a two-day festival of art and ideas exploring the collisions of race, urbanism, and futurism, providing a platform for alternate visions of the St. The earth is blue like an orange greenway Public performance: April 28, pm at the Pulitzer Foundation, PXSTL site field across from the Pulitzer Foundation The earth is blue like an orange greenway is 1 a social engagement design experiment 2 a communication process for citizen based co-design agency 3 a ceremony welcoming the coming of the St Louis Chouteau Greenway.
Landscape design is an art form that co-produces knowledge, memories and stories through performance, perception and participation. When the design of our public spaces is inclusive, it becomes democracy in action. Civic values are spatialized and can be negotiated as a material dialogue articulated through critically oriented play.
You are invited to co-materialize a spatial design ritual welcoming the St. Each platform will be provided with a bullhorn. Everyone is invited to make statements up to 3 minutes in length. This can be playful, political, philosophic or poetic. You are invited to make a statement. Please bring poems, songs, something to read, something prepared, something improvised.
Atlas, ; installation NOWs: What connects the works of these individual artists is the specific use of light, as subject and material. For the period of Berlin gallery weekend and the second time in its history, the square meter studio spaces of Lehderstrasse 34 will host an incredibly diverse exhibition of paintings, sculpture, multimedia, installation, film and photography. Immer noch der Lauf der Dinge by Julius von Bismarck.
Visitors are encouraged to experience the endless movement, albeit not alone, but collectively at the same pace. But in the performance Ecocentric System it was the artist himself who spent nearly a week sitting on a concrete wheel that turned so fast around his own axis, that for him the outside world was barely recognizable.
The artist, surrounded by people, could hardly perceive the world outside his system and inevitably everything began to revolve around himself. Now there is a change of perspective and von Bismarck takes the audience into view. It creates a whole new viewing situation that does not tolerate passivity. Diese Frau, ein Pfau im Schein der Baustrahler. Sie entwirft eine Erinnerung. Ein Wesen ihrer kollektiven Kunstproduktion ist das Prozesshafte zu zeigen, entsprechend dazu arbeitet sie mit verschiedenen Medien.
Andreas GreinerKunstverein Heilbronn Algae light up in blue when touched; high-yield-varieties of chicken from fattening farms are bred with short, absurdly thick legs to support their heavy bodies; a squid in Japan glows at a depth of meters to find a mate: The music for the video composed by Tyler Friedman is an acoustic reproduction of the visible movements on the surface of the skin. It is these wonderful, sometimes magical phenomena of nature in all their intriguing facets that Andreas Greiner first captures scientifically, and then translates into an artistic language to thus make them accessible to the viewer and, yes sometimes, to even celebrate them, as in the images of the squid.
Within the framework of scientific test arrangements, Andreas Greiner examines certain characteristics of living beings and transfers them into the context of art. Nature as the point of departure for his work and the scientific methodology as his artistic approach are combined in his works with a clear aesthetic position that does actually suggest the notion of a living sculpture.
As might be expected, there is in his work a concern for the living being itself, for the animal as part of our world. In this work, he portrays four chickens: Heinrich, who is photographed in traditional semi-profile; Karl, with an X-ray of the skeleton; Elisabeth, who is represented by a DNA analysis, and Margarete, where he presents a histological section of her breast tissue. In allowing the animals to leave the anonymized field of living beings by naming them and applying traditional portrait formats, Andreas Greiner also criticizes the anthropocentric view that the value of nature results from its usefulness for humans, while clearly refusing his consent.
It serves to preserve the memory of the tortured creature, optimized by continuous breeding for faster and larger meat growth and for the living conditions in factory farming. The transfer of the skeleton to a monumental scale using a 3D printer is an artistic act. To the viewer, its result might hardly be recognizable as a chicken, but rather be identified as a dinosaur such as in a Natural History Museum. In its November 18 issue, the FAZ newspaper interviews the American writer Jonathan Franzen about his penchant for birds, and he substantiates his love for these animals with the eternal wonder that they are among the oldest creatures on Earth.
It is, he says, as if I am looking at a flying dinosaur. From dinosaurs to high-performance chicken: Last but not least, it is also about the question of the creation of life — as an artist and also as a scientist. Andreas Greiner, born in Aachen, initially studied medicine and, after his Physikum, he switched to the field of art. He concluded his studies in as a master student of Olafur Eliasson.
Andreas Greiner has realized a new work for this exhibition. Monument for A Contemporary Dinosaurs Ross , High definition CT-scan of a dead-found broiler chicken, 3D print, Installation view. Im Rahmen wissenschaftlicher Versuchsanordnungen untersucht Andreas Greiner bestimmte Eigenschaften von Lebewesen und transferiert sie in den Kunstkontext. In ihrer Ausgabe vom Vom Dinosaurier bis zum Hochleistungshuhn: Werner — return with their most inventive album to date, Dimensional People.
The new album finds the Berlin-based duo reunited with Thrill Jockey, a powerful aesthetic partnership marked by such seminal albums as Radical Connector , Idiology , and Niun Niggung After a series of notorious dance floor releases, Dimensional People reveals them working deep within their own vernacular, digging into fertile terrain of their inexhaustible vault of digital and acoustic experimentation, and charismatically making elemental components new again.
This album makes clear how their craft is of discovery, of finding new contexts for places, sounds, memories, sensations, ambiences, technologies, relationships, and of course, people. A number of prolific guests joined the production: The cast of characters are as unique as they are vast, clearly a rich quarry for the prodigious duo. Dimensional People, initially titled new konstruktivist socialism, gives each participating guest a platform to imprint the album as whoever or whatever they want to be: Originally premiering as a spatial composition using object-based mixing technology playing with the possibilities of sonic design and collective musicianship, the recording expands upon these ideas.
Dimensional People expresses itself as a dynamic piece orchestra, telling a story in sound. Each player is a multifaceted character, the recording an imagined stage, and the production is direction, lighting, and setting changes. Mouse on Mars offer sound as a means to encourage open-minded societies, aided by cutting-edge technology including their own MoMinstruments music software or a spatial mixing technique called object based mixing, with which a spatial version of the work was created.
It is a conceptual puzzle composed around one harmonic spectrum within one rhythmic scheme, mostly in the tempo of bpm inspired by Chicago footwork, so the dance floor is not entirely absent. Looking ahead, Dimensional People will also be realized through installation, presenting the work as an immersive listening experience, as well as performance. CD version in mini-LP style gatefold package. People Festival, Funkhaus, Berlin. In it became clear just how appropriate and fateful the choice of name would prove to be, for that was when Tambora became active, triggering what was—and still is—the largest volcanic eruption in recorded human history.
But it produced other colours, too. The sunsets changed due to the countless aerosols in the atmosphere. The works created by J. Turner and Caspar David Friedrich during this period exhibit a remarkable spectrum of colours. It has been argued that both painters, as chroniclers of their time, consciously chose to depict the differences in sunlight. A warm, bright red, oscillating between an orangeyyellow and autumnal brown—this is the colour of palm oil.
It is extracted from the fruit of the oil palm, forming a raw material that is nowadays present in nearly half of all supermarket products. From margarine to chocolate, from lipstick to skin cream, from candles to washing powder, the fruit of the oil palm forms the basis of them all. Although the material has almost universal applications, far less is known about how and where it is extracted, or about the consequences associated with the harvesting process.
The growth in oil palm plantations has resulted in monocultural farming, ground poisoned by pesticides, and rainforests cleared to make more land available for agriculture. Entire swathes of land—primarily in Malaysia and Indonesia—are changing in appearance. Thanks to the fixed grid pattern used for planting palms, a completely unique visual rhythm is in the process of being created. What from the air looks like a seemingly infinite mesh of lines is actually the star-shaped crowns of domesticated palm trees, all thronging together. Paths cross and connect the land area.
Under the treetops extends a barren landscape, strewn with fallen palm fronds and partially covered with grasses and ground cover plants. In Das Hungerjahr, Heinrich Bechtolsheimer describes the appearance of the sky in the Rheinhessen region in October An infinite loop of hard, electronic rhythms cuts through the infinite peace and quiet of the field full of trees.
A palm oil plantation shudders, shaken by light and sound. The scenery fluctuates between tempting and threatening. The eponymous series of works extends over the three horizontal spaces of Kunsthalle Mainz, following a set choreography. Step for step, room for room, the visitors approach a rave. They follow the rhythms and sounds of electronic music, becoming ever more submerged in a setting veiled by wafting mist until they reach the heart of the exhibition: It is a film that persuasively presents the excessive, exploitative decimation of nature to visitors who are intoxicated by music.
The ubiquity of palm oil as a material is analogous to our total lack of interest in how it is produced; the physical absence of people changes abruptly into the omnipresence of their actions. At the same time, they conjure up collective trance-like states and experiencing the transcendence of time.
On the occasion of the exhibition a publication will be released. Aber er brachte auch andere Farben: Ganze Landstriche — vorrangig in Malaysia und Indonesien — wechseln ihr Erscheinungsbild: Durch das starre Raster, in dem die Palmen gepflanzt werden, entsteht eine ganz eigene visuelle Rhythmik. Farbige Blitze erhellen die dunkle Nacht in einem dicht bestellten Palmacker. Harte, elektronische Rhythmen in Endlosschleife durchschneiden die endlose Ruhe des Baumfeldes.
Juni, 19 h Vortrag von Prof. Retreat into Darkness by Ivana Franke. Retreat into DarknessTowards a Phenomenology of the Unknown Human perception and the exploration of the unknown have been the subject of artistic investigation for centuries. The artist Ivana Franke combines these two aspects in her project Retreat into Darkness: Towards a Phenomenology of the Unknown.
She examines our perceptual processes when we confront something phenomenologically unknown. Pont, and Anil K. Pont, Bilge Sayim, Anil K. German, English — Ivana Franke: Robel Temesgen at Modern Art Museum: Gebre Kristos Desta Center. Thursday 12 April 5: The exhibition runs in two consecutive sessions. Adbar is an Amharic term that refers to spiritual places where ritualistic performances take place and offerings are made. These spiritual places also serve as communal and public spaces, also for secular community gatherings.
The project investigates the embodiment of protective spirits within various elements of the natural landscape. Growing up in Dessie, northern Ethiopia, Robel Temesgen witnessed the fading of this long-established tradition and the subsequent development of new rituals, in tune with contemporary lifestyles. The Adbar series navigates through the physical and metaphysical elements of a landscape using recollections, lived experiences and fantasies of the space and people of sacred places. He currently lives and works in Addis Ababa, Ethiopia. Since its inception, photography has harnessed not only light but also the technical skills to capture one moment in time.
These are complemented by the work of the renowned photographer Erwin Olaf, whose series Waiting addresses the insufferableness of waiting. Olaf also addresses the tremendous upheaval in Chinese society in his current series, Shanghai, which is exhibited for the first time in Germany. Magic Feelings is an unusual series of black and white portraits by the German photographic artist Thomas Wrede, which catch the enraptured, almost indefinable facial expressions of people in the breathtaking moment of the steep descent of a rollercoaster ride. These works can be read as social commentary on our exceedingly digitised and efficient times, which leave less room for the useless, boring or unpredictable.
Seit ihrer Erfindung verbindet sich mit der Fotografie nicht nur das Licht, sondern auch die technische Fertigkeit, einen einzigartigen Moment des Lebens festzuhalten. Seven Exhibitions at Brandenburgischer Kunstverein. Was macht eigentlich eine Ausstellung aus? Muss sie um uns werben wie ein Schaufenster um ungeduldige Passanten?
Muss sie es uns leicht machen, darf sie schwierig sein? Marc Wellmann, Anette Ahme, Dr. How do we want our city to be viewed? Berlin is changing rapidly and we have to ask ourselves in which direction we are heading. On 24th and 25th of March their room interventions and conceptual works will create a space for discourse that is completed by a panel discussion on Sunday, 25th at 3: Thus, as soon as places are endowed with meaning and buildings are capitalised to embody certain visions of the future, decisions have to be taken.
Whether a ruin is left untouched or being demolished, whether reconstruction seems reasonable or rather the composition of an entire new building: Either way a new factuality is set up. So what kind of Berlin is developing there right before our eyes? But the aim is to rebuild the whole Bauakademie. Considering the massive critique that the adjacent Humboldtforum had to face, there are questions arising: If yes, would this mean to stick to a reconstruction true to the original or would this require a contemporary interpretation?
And what kind of events shall be installed there, which contents have to be conveyed? Commonly, those thoughts are being discussed in architectural offices, museums or in ministries, but not within the specific premises at the centre of discussion. We want a debate that is closely linked to the place where it belongs. Itinerance by Elise Eeraerts. Recursive Volumes by Elise Eeraerts.
Ziggy and the Starfish consists of a mechanical waste processing crab, a film exploring the diversity of sexuality in the ocean, scientific interviews and moving singing stones dating back millions of years. And to make an end is to make a beginning. Anne Duk Hee Jordan: Ziggy and the Starfish. Specific installation with stone and a fishing net between existing buoys NOWs: Glacial erratic stone are not native to our region.
During the last ice age, the Saale Ice Age, around , B. Later as well, foreign stones ended up in Bruges when the city was part of the Hanseatic route, a maritime trading route from Estonia to France. They were used in monuments, churches and cemeteries. The stone hangs between two buoys and it appears as if it were being held up by a net. These sorts of buoys are used to guide ships navigate to their destination.
It thus appears as if the stone, after endless roaming, has at last reached its destination. The illogical structure, contrasting the blackness of the stone and the lightness of the net, creates a tension between perception and reality. This also leads to the question of how the stone ended up in this spot.
Was it by means of natural migration or via recent transport by humans? As a result of its unusual position, the stone seems to have its own personality. The stone is an itinerant witness that observes human activity. It reminds us of the transience of human life, while the stone itself is immortal. It is a project, launched in , in which the sea often plays the main role. In Beaufort , the sea will be illuminated as a place that is both uncontrollable but at the same time links us to the rest of the world.
Every participating artist comes from a country that borders on the sea. An underlying theme of this edition is the role of permanent monuments. Solid Gold Workshop, Addis Ababa. These direct exchanges enabled the intensive discussion of stylistic contexts, cultural connotations, poetic traditions and compositional processes. In further processes texts are developed into resonant poems and thereby transmitted into other historical or geopolitical contexts and, through conversation, newly developed in another language as a response or reaction.
Rhythm, intonation, music performance and improvisation are interwoven through collaborative working processes. Musically, the experimentations manifest through traditional Ethiopian pentatonic music, jazz influences and modern electronic music elements. Credits Director, Camera, Edit: Clara Jo; Additional Camera, Edit: Adam Hermansen; Choreographed by Christina Werner.
Books ReBoostert Performance Lecture: Using basic equipment and partly self-built instruments, sounds were created — a conscious counter-concept to the contemporary mainstream. The extensive supporting programme consists of a series of concerts, film showings, panel discussions and an interdisciplinary symposium. Censorship and scarcity produced richly imaginative and frequently ironic types of work.
The exhibition presents a selection of contemporary testimonies, some for the first time, including musical instruments fashioned by the artists themselves, Super 8 films, Samizdat magazines and documentary recordings of performances. This exhibition and concert programme returns the story to its birthplace, forging new bonds with the contemporary music scene. Poetry Jazz — live in Addis Ababa. Based on this popular style of performance poetry, the evening fuses recitation in Amharic, English and German with musical elements that draw connections between traditional Ethiopian pentatonic music, jazz influences and electronic music.
art of painting the best of Lee Eggstein Retrospektive 1989 bis 2011 (German Edition)
The event is an experimental get-together of acclaimed poets and musicians, joining in an exercise of styles and improvisation. They engage in investigations of the geographical places that are based on a plethora of acoustic sources, ranging from traditional flute playing to the latest urban field recordings. Continual shifts in languages, reiteration, fragmentation, translations and re-translations, as well as changes in metres and rhythms, create awareness of the subtle divergences of meaning that can be attributed to social and cultural influences, while exploring the gains and losses of such unspoken and outspoken interactions.
Christina Werner Photo romagger Exerpt: Wax and Gold is a short film by Clara Jo, But by eating together with others, I situate my experience within a space that is very much collective — the meal, the act of eating together, the shared conversation. What we have in common is that we are different. The eating experiments are interior to the content of the teaching experiments. Content is seeded, not handed out like a preprocessed meal.
The experiments are designed so that as they grow, branches which are not predesigned can design themselves. The informal can emerge. Breaking bread together helps the institute think about what we are serving each other in terms of learning, health, feelings, ideas, critique, art. The Kitchen in Japanese. Along with over vegetarian recipes, the book provides insight into the daily life of the studio with the kitchen at its heart, and documents a wide range of workshops, food experiments, and selected exhibitions.
For availability check here. For information on the English version check here. Welcome to the Jungle. Office detail , NOWs: The Black Mamba feat. The multi-lingual performance comprises slam poetry, electronic music sampling, live beats and cascading vocals, celebrating inclusive expressions of gender. Named after the most poisonous snake on the planet, The Black Mamba transmutes poison into medicine through an urban contemporary sound. She bridges the worlds of jazz, soul, electronica, Indian classical, opera, cabaret, afrobeat and hip-hop.
Natasha Mendonca is an award-winning filmmaker and electronic musician from Mumbai, India. Habitat by Miriam Jonas und Andreas Greiner. Miriam Jonas, whose works often move between the poles of perfect surfaces and their immanent, covered uncanny effects, overlays the bear cages with a new layer of material.
Hybrid visual references form a scenario in which an anthropomorphisation is taken literally and the formal species-neutrality of the prison architecture becomes tangible. What is the effect of an optimisation of the conditions within the cages while maintaining functionality? Their glow in a dark room mentally leads us back to the origins of all life. In the outdoor enclosures, a biotope for algae is forming — a project with architect Ivy Lee Fiebig, who, living on-site, enters into a symbiosis with the algal bloom in the creation of a biological cycle.
While algae already provide new solutions within the fields of industry and research, Fiebig herself is working on modular designs for living architecture NOWs: Fabian Knecht at Kunsthalle Baden-Baden. The show brings together several hundred works, which show, for example, how objects used to be presented in early cabinets of curiosities, which forms of display emerged in the 20th century, and how art is presented today. A historical section in the main galleries of the Kunsthalle will form the prelude to the exhibition itself.
It includes two of the earliest known examples of photographs documenting an exhibition. Even earlier forms of exhibition will be illustrated by means of floor plans, hanging plans, images of galleries, and tools of display, such as historical showcases and pedestals from the 17th and 18th centuries.
Another focus, also shown at the Kunsthalle, will be the art of the exhibition in the 20th century: Some of these were so extreme as to have remained revolutionary to this day. This is presented as a digital reconstruction and re-interpreted by Polish artist Goshka Macuga. For example, museum carpets and benches have been playfully reworked into elaborate choreographic objects. In addition, the exhibition can be experienced outside the premises of the Kunsthalle itself.
Current works attest to the fact that almost any site can be transformed into a temporary exhibition space by the mere creation of a curatorial situation. It is in this sense that the exhibition will conquer the urban space of Baden-Baden: Amid all the changes in the centuries-long history of the exhibition, there has been one constant: Paradise Lost by Timea Oravecz. The Hungarian artist, raised in Budapest during the years of socialism, combines her own background with a wide variety of social and cultural aspects she has found in the several Western nations she has lived in over the last twenty years.
What emerges is poetics rooted in the dichotomy between culture of origin and need for integration. Each work is closely connected to the socio-cultural situation where it was created, so Paradise Lost is presented as a reflection on the reinterpretation of marxist-leninist ideology by Bolivarianism and communist guerrillas in South America, in a context that is different and far from what the artist knew first-hand during her childhood in Hungary. Colombia is a diverse country, recovering from fifty years of civil war. On paper, it is a rich nation both naturally and from a humane point of view: Actually, a less superficial analysis, which takes into account the games of power, war, the internal struggles between the government and the guerrillas, reveals all the violence and poverty that affect this territory and make is a real hell.
In Colombia, she collected direct testimony from people who wanted to share their stories with her. Specifically, the Hungarian artist takes inspiration from the second book, dedicated to the Inferno, where Milton describes conflicts between various military and political factions, combining them with the fifty-year war fought in the Latin American country and only formally concluded.
The interest in the socio-political mechanisms of the situations examined for her artistic research, as well as the active participation and attention to the cultural facets of the places experienced in person, intertwine with that need for nomadism so closely interconnected to daily life, which becomes, for her, raw material and inspiration, as well as a real way to approach life and what surrounds her. She has won several grants eg.: She has won several grants e.
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She has presented her works at solo shows in Berlin, Helsinki, and more than fifty group exhibitions: Thursday 22 February 6: In the fast changing character of Addis Ababa, the coffee spots have become an integral part of everyday life in areas ranging from the fancy multipurpose malls to the demolished as well as new construction sites in the city. The Performance Agency at Archivio Conz. The church was jokey, but not a joke. It had a deity, called Who, to answer the mysterious questions of the universe. What does the future hold? Focusing on artists whose practices explore methods of self-preservation, the featured work demonstrates how gestures of resistance can be choreographed through performance and communal action.
The program includes a performance by Analisa Teachworth, in collaboration with Jonas Wendelin; video screenings presented by Jacksonville-based artist Redeem Pettaway; an exploration of surveillance, control, and seduction by Julia Scher; and live concerts from Zsela and Deli Girls.
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The program is complemented by additional programming presented throughout the museum, including an ongoing performance by Michelle Young Lee examining the labor of care, a video installation by Sara Hornbacher, and a recital situated within an environment created by Sarah Zapata with poetry and readings from Zapata, Maya Martinez, Rin Johnson, Sophia Le Fraga, and Natasha Stagg.
The question is not whether to take part but rather how to do so and on what terms. Two original radio commentaries will accompany the match, returning football—this time as art—to the Olympic arena. This One is For You! PAM unfolds in time, each weekend presenting commissioned, time-based, performative projects along with an accompanying discursive program. PAM is less interested in art in public space as a physical location, but rather seeks to address broader concepts of publicity, public opinion, common good, or public speech.
PAM is interested in economizing attention on behalf of public interest rather than for monetary gain. PAM valorizes art that aspires to change the game by recontextualizing our points of view and, as a result, our actions. PAM Pre-events March 15, 11am: Press Conference, Munich March 16, 7: She is the head of CuratorLab at Konstfack University in Stockholm and has curated, among others, the Georgian pavilion at the 55th Venice Biennale and the public program of Manifesta 10 in St.
Recently she has edited: Performativity as Curatorial Strategy Joanna Warsza lives and works in Berlin. April 30 Munich Olympic Stadium PAM Public Art Munich will launch with a grand opening on April 30 at the Munich Olympic Stadium and presents twenty time-based, performative commissions staged every weekend in multiple locations around the city through the end of July. Julia Heunemann and Nadia Pilchowski During hibernation, the Berlin city bears were rarely seen in their outdoor enclosures. They mostly slept, were fed only inside the bear pit out of public view, and freed from their representative role.
Periods of rest in which physiological processes shut down, mental tension subsides and where consciousness shifts between vague perception and purposeless actions, are disharmonious with neoliberal performance orientation. In her previous works, Linda Kuhn has addressed the withdrawal from goal-orientated action. With protective cladding for sculptures, she creates retreats for the elements found within the enclosures, and in the process, ascribes to them new plastic qualities. By means of architectural interventions that circumvent habitual perceptual patterns, Alvaro Urbano deconstructs relations between inside and outside, dream and reality.
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Considering hibernation, he suspends the bear cages from their intended use and focuses on the imaginary potential of their immured and barred architecture. The question then of what bears dream about ultimately reflects hibernation itself as a space of the imaginary. Verde que te quiero verde.
Courtesy the artist Fotos: Matthias Sohr — Public Science. With Public Science, Matthias Sohr gives an account of things we encounter in our cities on an everyday basis without us paying attention to them, and yet they are in constant dialogue with our bodies. His sculptures — whether incorporating armrests, bathroom structures or floor markings — endorse shapes and reliefs that are as much a part of art history as they are of the street, thus integrating our everyday life at the price of an almost unconscious assimilation.
He lives and works in Lausanne. These serial results often remain arrested in the form of an infinite loop or seem to circle infinitely onward. Both artists share an interest in these issues: In this way, a bright, semi-transparent ring is created made of wax with a visible wick, where the candle is shifted as a light source and instrument for measuring time in the form of a loop. In a chain of wood over twelve meters long entitled Everything is not lost , Schuiki reorganizes found tables and chairs from the streets of Shanghai into a regular arrangement of points in space.
Here as well, beginning and end are linked to one another and the resulting endless loop recalls popular prayer beads. The new series Hand consists of abstract photographs that Schuiki prints directly onto glass: The portal of the touch screen, constructed for tactile permeability, is reversed to a blocked view and gains an unexpected power as a photograph. The window as a light source for the architectural interior is repeated in analog slide frames as a mediating window through which the light falls to produce an image. Amazon Drive Cloud storage from Amazon. Alexa Actionable Analytics for the Web.
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