Stadt im Regal – Fluids
Nationalgalerie Staatliche Museen zu Berlin
STADT IM REGAL erfindet FLUIDS neu.
Das Happening FLUIDS von Alan Kaprow entstand zum ersten Mal 1967 in Kalifornien. Nach verschiedenen Neuerfindungen (Reinventing), unter anderem durch Kaprow selbst, lädt 2015 die Nationalgalerie der Staatlichen Museen zu Berlin STADT IM REGAL ein, dieses Happening in Berlin stattfinden zu lassen. Kaprow selbst hat für solch ein Reinventing keine Anleitung vorgesehen und sich gegen das Nachahmen vorheriger Versionen (z.B. auf Basis von Dokumentationen) ausgesprochen. Als Ausgangspunkt für die Realisierung gibt es nur ein Plakat, auf dem das Happening 1967 angekündigt und beschrieben worden ist.
STADT IM REGAL stellt an vier Standorten im Stadtraum Berlins Bauschilder auf: Auf einer temporären Brache am Schiffbauerdamm, an der Potsdamer Straße vor der Neuen Nationalgalerie, auf dem Leipziger Platz und auf einem Parkdeck am Bahnhof Südkreuz. Parallel dazu werden Kühlschrankmagneten in Serie produziert, die zum Selbstkostenpreis in der Nationalgalerie im Hamburger Bahnhof erhältlich sind. Auf diesen Bauschildern und Kühlschrankmagneten sind Worte/Wortkombinationen des Kaprow-Plakates zu FLUIDS zu lesen. Aus dem beschreibenden Zusammenhang befreit, bilden die einzelnen Begriffe eine Partitur für den jeweiligen Ort im öffentlichen oder privaten Raum.
Wie Musiker Musik lesen und damit im Geiste aufführen, wird das Lesen der Bauschilder und Kühlschrankmagneten in Verbindung mit ihrer Umgebung zum Happening. Indem die Lesenden/ Betrachtenden einen Sinnzusam-menhang zwischen den Wahrnehmungen des jeweiligen Ortes und dem Begriff auf dem Bauschild oder Kühlschrankmagnet herstellen, passiert FLUIDS. Während die Aufführung durch die Bauschilder dabei zeitlich auf die Aufstel-lungsdauer begrenzt ist, gilt für die Kühlschrank-magneten, was sich Kaprow generell für FLUIDS wünschte:
While there was an initial version of FLUIDS, there isnt an original or permanent work. Rather, there is an idea to do something and a physical trace of that idea. FLUIDS continues and its reinventions further multiply its meanings.
Weitere Informationen zu den Eröffnungen von FLUIDS, zu den Standorten von FLUIDS und zum Projekt FLUIDS der Nationalgalerie Staatliche Museen zu Berlin finden Sie hier:
www.kaprowinberlin.smb.museum
Weitere Informationen zur Ausstellung STADT/BILD und zur Publikation STADT/BILD ein Lesebuch der Berlinischen Galerie Landesmuseum für Moderne Kunst, Fotografie und Architektur, Deutschen Bank KunstHalle, KW Institute for Contemporary Art, Nationalgalerie Staatliche Museen zu Berlin finden Sie hier:
www.stadt-bild.berlin
Weitere Informationen zu STADT IM REGAL:
www.stadtimregal.de
Das Happening FLUIDS von Alan Kaprow entstand zum ersten Mal 1967 in Kalifornien. Nach verschiedenen Neuerfindungen (Reinventing), unter anderem durch Kaprow selbst, lädt 2015 die Nationalgalerie der Staatlichen Museen zu Berlin STADT IM REGAL ein, dieses Happening in Berlin stattfinden zu lassen. Kaprow selbst hat für solch ein Reinventing keine Anleitung vorgesehen und sich gegen das Nachahmen vorheriger Versionen (z.B. auf Basis von Dokumentationen) ausgesprochen. Als Ausgangspunkt für die Realisierung gibt es nur ein Plakat, auf dem das Happening 1967 angekündigt und beschrieben worden ist.
STADT IM REGAL stellt an vier Standorten im Stadtraum Berlins Bauschilder auf: Auf einer temporären Brache am Schiffbauerdamm, an der Potsdamer Straße vor der Neuen Nationalgalerie, auf dem Leipziger Platz und auf einem Parkdeck am Bahnhof Südkreuz. Parallel dazu werden Kühlschrankmagneten in Serie produziert, die zum Selbstkostenpreis in der Nationalgalerie im Hamburger Bahnhof erhältlich sind. Auf diesen Bauschildern und Kühlschrankmagneten sind Worte/Wortkombinationen des Kaprow-Plakates zu FLUIDS zu lesen. Aus dem beschreibenden Zusammenhang befreit, bilden die einzelnen Begriffe eine Partitur für den jeweiligen Ort im öffentlichen oder privaten Raum.
Wie Musiker Musik lesen und damit im Geiste aufführen, wird das Lesen der Bauschilder und Kühlschrankmagneten in Verbindung mit ihrer Umgebung zum Happening. Indem die Lesenden/ Betrachtenden einen Sinnzusam-menhang zwischen den Wahrnehmungen des jeweiligen Ortes und dem Begriff auf dem Bauschild oder Kühlschrankmagnet herstellen, passiert FLUIDS. Während die Aufführung durch die Bauschilder dabei zeitlich auf die Aufstel-lungsdauer begrenzt ist, gilt für die Kühlschrank-magneten, was sich Kaprow generell für FLUIDS wünschte:
While there was an initial version of FLUIDS, there isnt an original or permanent work. Rather, there is an idea to do something and a physical trace of that idea. FLUIDS continues and its reinventions further multiply its meanings.
Weitere Informationen zu den Eröffnungen von FLUIDS, zu den Standorten von FLUIDS und zum Projekt FLUIDS der Nationalgalerie Staatliche Museen zu Berlin finden Sie hier:
www.kaprowinberlin.smb.museum
Weitere Informationen zur Ausstellung STADT/BILD und zur Publikation STADT/BILD ein Lesebuch der Berlinischen Galerie Landesmuseum für Moderne Kunst, Fotografie und Architektur, Deutschen Bank KunstHalle, KW Institute for Contemporary Art, Nationalgalerie Staatliche Museen zu Berlin finden Sie hier:
www.stadt-bild.berlin
Weitere Informationen zu STADT IM REGAL:
www.stadtimregal.de
Stadt im Regal – Fluids
A Happening by Allan Kaprow 1967/2015
Stadt im Regal – Fluids
A Happening by Allan Kaprow 1967/2015
STADT IM REGAL - FLUIDS
The collective STADT IM REGAL consists of nine artists from Berlin: Tina Born, Ursula Döbereiner, Antje Dorn, Kerstin Drechsel, Friederike Feldmann, Heike Klussmann, Birgit Schlieps, Katharina Schmidt, and Markus Strieder. Founded in 1996, they create exhibitions and projects together in which they focus on urban renewal, architecture, and habitation.
Because the original happening did not result in an object (the ice melted), but only survived in participants’ memory, STADT IM REGAL’s reinvention of Allan Kaprow’s Fluids explores the role of the imagination.
For their interpretation of Fluids, STADT IM REGAL chose an object found everywhere in Berlin: the construction sign. Starting on September 17, 2015, the signs designed by the collective will inspire a moment of imagination at four locations in the city, based on each site and its history. The artists are following Lawrence Weiner’s conceptual Declaration of Intent (1968) and his statement of “the piece need not be built.”
The design for the construction signs is based on the original poster for Allan Kaprow’s Fluids. The text from the poster has been divided into segments and reproduced on the signs. The text and image (also taken from the original poster) thus increase the ways we imagine each site, much like how Kaprow once said that reinventions of his happening multiply its meanings. The sites selected for the construction signs are places of change, art historical contextualization, transition, and disappearance.
www.stadtimregal.de
www.kaprowinberlin.smb.museum
www.stadt-bild.berlin
The collective STADT IM REGAL consists of nine artists from Berlin: Tina Born, Ursula Döbereiner, Antje Dorn, Kerstin Drechsel, Friederike Feldmann, Heike Klussmann, Birgit Schlieps, Katharina Schmidt, and Markus Strieder. Founded in 1996, they create exhibitions and projects together in which they focus on urban renewal, architecture, and habitation.
Because the original happening did not result in an object (the ice melted), but only survived in participants’ memory, STADT IM REGAL’s reinvention of Allan Kaprow’s Fluids explores the role of the imagination.
For their interpretation of Fluids, STADT IM REGAL chose an object found everywhere in Berlin: the construction sign. Starting on September 17, 2015, the signs designed by the collective will inspire a moment of imagination at four locations in the city, based on each site and its history. The artists are following Lawrence Weiner’s conceptual Declaration of Intent (1968) and his statement of “the piece need not be built.”
The design for the construction signs is based on the original poster for Allan Kaprow’s Fluids. The text from the poster has been divided into segments and reproduced on the signs. The text and image (also taken from the original poster) thus increase the ways we imagine each site, much like how Kaprow once said that reinventions of his happening multiply its meanings. The sites selected for the construction signs are places of change, art historical contextualization, transition, and disappearance.
www.stadtimregal.de
www.kaprowinberlin.smb.museum
www.stadt-bild.berlin
Burrow
Antje Wachs Gallery
Heike Klussmann – BAU
24.September - 29.Oktober
Antje Wachs Gallery
Gipsstr. 5
10119 Berlin
24.September - 29.Oktober
Antje Wachs Gallery
Gipsstr. 5
10119 Berlin
Underground Bunker Alexanderplatz Berlin
5.975-frame animation, 3:59 min., loop
Heike Klussmann glides beneath the Alexanderplatz into one of Berlin’s biggest underground bunkers, built in 1941 out of a foundation block from the twenties. This subterranean structure beneath the Alexanderplatz is no longer accessible, serving now as a foundation for the Saturn building that stands above it on the Alexanderplatz. The film is, on one hand, a document of the subterranean structure, on the other a fiction of appropriation: Like an animal or the “Princess of Persia” from the video game, Heike Klussmann glides through a warren of rooms, coming increasingly to inhabit this underground parallel world, in which gravity seems to be suspended.
BURROW, underground bunker, Alexanderplatz Berlin, 5.975-frame animation, 3:59 min., loop
BURROW, underground bunker, Alexanderplatz Berlin, 5.975-frame animation, 3:59 min., loop
Underground Bunker Alexanderplatz Berlin
photographs from the 94-part Burrow series
Beneath the Alexanderplatz lies one of Berlin’s biggest underground bunkers, built in 1941 out of a foundation block from the twenties. Heike Klussmann shows this subterranean structure beneath the Alexanderplatz in the Burrow series. It is no longer accessible because it is now serving as a foundation for the Saturn building that stands above it on the Alexanderplatz.
Photographs from the 94-part Burrow series, Underground Bunker, Alexanderplatz Berlin
Photographs from the 94-part Burrow series, Underground Bunker, Alexanderplatz Berlin
Underground Bunker Alexanderplatz Berlin
Isometries
Isometries from the “Burrow” series, Underground bunker, Alexanderplatz Berlin
Underground Bunker Alexanderplatz Berlin
Views
Views from the “Burrow” series, Underground bunker, Alexanderplatz Berlin
Underground Bunker Alexanderplatz Berlin
Listening
Le pays ou l on n arrive jamais
Antje Wachs Gallery
Heike Klussmann visits Constantin Brâncuşi’s Coloana Infinitului in Târgu Jiu, Romania.
heikeklussmann.jpg)
Berlin Alexanderplatz Kaufhof Reverse
Photographic and film montage consisting of 4084 photographs
In Berlin Alexanderplatz Kaufhof Reverse, I reconstruct the view surrounding the Kaufhof department store (formerly the Centrum Warenhaus). Four facade panels, each 160 x 560 cm, have been assembled from 4,084 individual images, photographed from the inside looking out through the holes in the building’s “honeycomb” facade. The view of the building takes on a double meaning. Assembling the individual perspectives creates a view of the building, with its unmistakable honeycomb structure, as a negative form of the view from within. The viewer is presented with a perspective that seems to suggest that the architecture itself is looking out at its surroundings like a living thing.
In the film of the same name, Berlin Alexanderplatz Kaufhof Reverse, the views from this multifaceted architectural eye become a film sequence, set in motion at a rate of 24 frames per second. The result is a fictive tracking shot through the interstices of the facade, simulating a mechanical scan of the four views.
Photographic and film montage consisting of 4,084 small-format photographs, each taken through one of the holes in the “honeycomb” facade of the former Centrum Warenhaus, from the inside looking out. Reassembled into four facade panels, each 160 x 560 cm, and a 16-mm film, 2:43 min. + 7 frames, loop.
In the film of the same name, Berlin Alexanderplatz Kaufhof Reverse, the views from this multifaceted architectural eye become a film sequence, set in motion at a rate of 24 frames per second. The result is a fictive tracking shot through the interstices of the facade, simulating a mechanical scan of the four views.
Photographic and film montage consisting of 4,084 small-format photographs, each taken through one of the holes in the “honeycomb” facade of the former Centrum Warenhaus, from the inside looking out. Reassembled into four facade panels, each 160 x 560 cm, and a 16-mm film, 2:43 min. + 7 frames, loop.
Centrum Warenhaus/ Kaufhof I-IV
Alexanderplatz Berlin
Thats the way i like it
On April 30, 2005, the Kaufhof department store (formerly the Centrum Warenhaus) auctioned off part of its own facade on Berlin’s Alexanderplatz. The individual facade sections were presented in a stall on the square and sold by a professional auctioneer. Passersby showed little interest. Heike Klussmann joined the crowd and bid on the sections, thereby staging the actually occurring event.
2005 , thatsthewayilikeit , Kaufhof , Centrum Warenhaus , Alexanderplatz , Berlin , film , public auction
Masterplan
Sketch showing how one thing relates to another on Berlin’s Alexanderplatz.
Antje Wachs Gallery
Berlin
Heike Klussmann
KAUFHOF
September 24 - October 29
KAUFHOF
September 24 - October 29
Digistrip
Alexanderplatz Berlin, Animation, 1:12 min
The former Centrum Warenhaus department store on Berlin’s Alexanderplatz, today the Galeria Kaufhof, was renovated in 2004–05, and in the process its distinctive aluminum “honeycomb” facade was removed. However, it was never possible to see the building naked: For one thing, the facade was covered in building wrap during disassembly, but more importantly, the construction process dictated that the old building be progressively replaced by the new one, piece by piece. As a result, the interface between old and new was never visible.
With the animation Digistrip, Heike Klussmann fulfilled her desire to see the Centrum Warenhaus naked, replacing the aluminum facade pixel by pixel. Each click becomes a still in the film. The facade is digitally dismantled, in a process determined by the capacities of digital tools. Animation created from 1,815 individual frames, 1:12 min. + 15 frames.
Digistrip is the animated complement to Realstrip.
With the animation Digistrip, Heike Klussmann fulfilled her desire to see the Centrum Warenhaus naked, replacing the aluminum facade pixel by pixel. Each click becomes a still in the film. The facade is digitally dismantled, in a process determined by the capacities of digital tools. Animation created from 1,815 individual frames, 1:12 min. + 15 frames.
Digistrip is the animated complement to Realstrip.
Berlin Alexanderplatz Kaufhof Reverse
Still
Photographic and film montage consisting of 4,084 small-format photographs, each taken through one of the holes in the “honeycomb” facade of the former Centrum Warenhaus, from the inside looking out. Reassembled into four facade panels, each 160 x 560 cm, and a 16-mm film, 2:43 min. + 7 frames, loop.
Realstrip
Alexanderplatz Berlin, Film, 11 hours 12 min
The former Centrum Warenhaus department store on Berlin’s Alexanderplatz, today the Galeria Kaufhof, was renovated in 2004–05, and in the process its distinctive aluminum “honeycomb” facade was removed. In the film Realstrip, we see one section of the facade being disassembled piece by piece. The film begins with the removal of the first piece of the facade from the upper left corner of the frame and ends with the last piece being carried out of the bottom right corner. DV, 11 hours 12 min.
Realstrip is the documentary complement to Digistrip.
Realstrip is the documentary complement to Digistrip.
2005 , Realstrip , Kaufhof , Alexanderplatz , Berlin , deconstruction , film , Digistrip , 11 h 12 min
Ingots
Sections of the aluminum facade of the Kaufhof department store (formerly the Centrum Warenhaus) on Berlin’s Alexanderplatz, which the artist had melted down into raw aluminum ingots after the facade was auctioned off on April 30, 2005.
www.berlinischegalerie.de/berlin8909
www.berlinischegalerie.de/berlin8909
spoils
Centrum Warenhaus/ Kaufhof Alexanderplatz Berlin
The facade of the Centrum Warenhaus (später Kaufhof) consisted of a total of 3,927 modules. Material: coated sheet aluminum. Each module consists of two halves screwed together. Shape and dimensions of all modules are the same (W 67.5 cm x H 205 cm x D 42.2 cm). Each module was offset from its neighbors and connected to them by a total of eight screws. Module dimensions: gross surface area (top) 0.29 m2, gross surface area (front) 1.38 m2, mounted surface area (including gaps) 1.96 m2, flattened surface area 2.03 m2, sheet thickness 0.002 m, material volume 0.00406 m3, average weight 11 kg (10.8–11.4 kg). Total weight of all modules: approximately 43.2 t. Calculated dimensions: facade height = n (modules) * 1.45 m + 0.6 m; facade width = n (modules) * 1.35 m; stack height (tolerance ±0) = n (modules) * 0.18 m + 0.253 m, e.g. for a stack of ten modules, height = 10 * 0.18 m + 0.253 m = 2.053 m
Kaufhof off the Reel
Alexanderplatz Berlin Super 8 animation
The Super 8 animation Kaufhof off the Reel shows me in my studio, apparently building a structure with a watering can. This appearance, however, is revealed to be a process of deconstruction shown in reverse.
Spoils
Haus des Lehrers Berlin Alexanderplatz
In 2003 Heike Klussmann dismantled and stored the facade of the Haus des Lehrers on the Alexanderplatz (built 1962–64. It will be reused, in the tradition of architectural spoils, in a new structure, together with the facades of the Forum Hotel, the Kaufhof and the Palast der Republik.
spoils 1:100
Cardboard box containing cardboard facades from Berlin Alexanderplatz, 1:100 scale, dismantled and stored by Heike Klussmann
Reflection
Galerie Goethe Institut Budapest
Window from the Haus des Lehrers, Alexanderplatz, Berlin, 156 x 176 cm,
Photography of the Window reflecting the demolition, 156 x 176 cm
Photography of the Window reflecting the demolition, 156 x 176 cm
Pipeline
daadgalerie Berlin
A pipe runs like an axis through three of the gallery’s rooms, its two ends resting on the railings of balconies overlooking the street and courtyard. The pipe also functions as a camera obscura: On each end is a pinhole that focuses the light and carries a reflection of the exterior space through the gallery’s interior, using the pipe as a medium.
pipeline Photographs
daadgalerie Berlin
Photographs from inside the pipe: direct exposures on black-and-white baryta paper, each 30 cm in diameter
DAADGallery Berlin
Pipeline
Match Striker
KW Institute for Contemporary Art Berlin
Match Striker, Silkscreen, dimensions variable
Forum Hotel
Monochrome City Alexanderplatz Berlin
8-day direct exposure on black-and-white photographic paper, from the series Monochrom City, shot from the 12th story of the Haus des Lehrers, Alexanderplatz, Berlin, 130 x 320 cm.
Kaufhof
Monochrome City
Eight-day direct exposure on black-and-white photographic paper, from the series Monochrom City, shot from the 12th story of the Haus des Lehrers, Alexanderplatz, Berlin, 130 x 320 cm.
Prospect South Precipice South
Monochrome City Alexanderplatz Berlin
Two-day direct exposure on black-and-white photographic paper, from the series Monochrome City, shot from the 12t story of the Haus des Lehrers, Alexanderplatz, Berlin, 130 x 220 cm
Prospect East Precipice East
Monochrome City Alexanderplatz Berlin
Two-day direct exposure on black-and-white photographic paper, from the series Monochrome City, shot from the 12t story of the Haus des Lehrers, Alexanderplatz, Berlin, 130 x 220 cm
Prospect West Precipice West
Monochrome City Alexanderplatz Berlin
Two-day direct exposure on black-and-white photographic paper, from the series Monochrome City, shot from the 12t story of the Haus des Lehrers, Alexanderplatz, Berlin, 130 x 220 cm
View into the Studio East Ceiling/ View into the Studio East
Monochrome City Alexanderplatz Berlin
Two-day direct exposure on black-and-white photographic paper, from the series Monochrome City, shot from the 12t story of the Haus des Lehrers, Alexanderplatz, Berlin, 130 x 220 cm
Prospect North Precipice North
Monochrome City Alexanderplatz Berlin
Two-day direct exposure on black-and-white photographic paper, from the series Monochrome City, shot from the 12t story of the Haus des Lehrers, Alexanderplatz, Berlin, 130 x 220 cm
View into the Studio Ceiling North/ View into the Studio North
Monochrome City Alexanderplatz Berlin
Two-day direct exposure on black-and-white photographic paper, from the series Monochrome City, shot from the 12t story of the Haus des Lehrers, Alexanderplatz, Berlin, 130 x 220 cm
televisiontower
Monochrome City Alexanderplatz Berlin
Nine-day direct exposure on black-and-white photographic paper, from the series Monochrome City, shot from the 12th story of the Haus des Lehrers, Alexanderplatz, Berlin, 130 x 340 cm.
Camera Obscura
in Camera Obscura Alexanderplatz Berlin
The camera obscura for the Descent photographs (North, South, East and West) in Monochrome City was mounted on the top floor of the Haus des Lehrers. The studio space itself formed the camera obscura for the other photographs in the series.
Camera Obscura
Monochrome City Alexanderplatz Berlin
Here, in the southwest corner of the top floor of the Haus des Lehrers, the Monochrome City series was created in 2000–01: fourteen large-format direct exposures of Berlin’s Alexanderplatz.
Therefore Heike Klussmann converted her studio in the Haus des Lehrers into a photographic apparatus, the whole studio became a camera obscura, format 550 x 500 x 320 cm.
Therefore Heike Klussmann converted her studio in the Haus des Lehrers into a photographic apparatus, the whole studio became a camera obscura, format 550 x 500 x 320 cm.
Monochrome City
Alexanderplatz Berlin
Monochrome City consists of fourteen large-format direct exposures that I made from the top floor of the Haus des Lehrers (Teacher’s House) on Berlin’s Alexanderplatz. The photographs were made over the course of 2001, when my studio was located there. They depict either the view down onto Alexanderplatz or the view in the opposite direction, looking back into the building. ‹Monochrome City› employs the principle of the camera obscura—that is, all of the images are exposed directly onto the paper, and thus they appear as negatives and mirror reversed. The exposure time of each photograph ranges from a few hours to several days. To take the photographs I first built a box based on the proportions of the building and the dimensions of the window openings, then I converted the whole studio space into a camera. The work consists of several perspectives: four horizontal views outward (north, south, west, east), four vertical views down the facade of the building toward the street (north, south, west, east), and four views into the house (wall, ceiling). The view into my studio is also the view into the camera, since for two architectural details the whole studio functioned as a pinhole camera. They show Kaufhof and the Forum Hotel, two buildings that stand on Alexanderplatz, boxlike and solitary, much as the Haus des Lehrers does. The sightlines touch the building, but they leave it like a vacant space in the center of the work.
Norwich Gallery
Monochrome City
Monochrome City at Norwich Gallery, UK.
Kunst Zürich
Zürich
Monochrom City in the show
Berlin Getting Real at the Kunst Zürich.
Berlin Getting Real at the Kunst Zürich.
Haus des Lehrers and Kongress Halle Berlin
Monochrome City shown at Haus des Lehrers and Kongresshalle Berlin.
Academy of the Arts Berlin
Bungalow
For the exhibition “Z2000,” Stadt im Regal designed and built a full-scale model of a bungalow by architect Eduard Ludwig (Type A No. 39) in the forecourt of the Akademie der Künste in Berlin. The model functions as both a sculpture and a temporary exhibition pavilion. The original bungalow was built for an international architecture exhibition in 1957 and still stands in the nearby Hansaviertel neighborhood.
www.stadtimregal.de/bungalow
www.stadtimregal.de/bungalow
Henry Moore
im Bungalow
Henry Moore’s 1956 sculpture Reclining Figure, which was installed in front of the Academy of the Arts in the Hansaviertel neighborhood in 1961, is integrated into the courtyard of Bungalow Type A No. 39. “Z2000” exhibition, Akademie der Künste, Berlin.
Bungalow
fold-out
Stadt im Regal: Bungalow, fold-out in catalog for “Z2000,” published by the Akademie der Künste and Die Gestalten Verlag, Berlin, 2000
Bungalow
Type A Nr. 39
The design of the Type A No. 39 bungalow in the Hansaviertel neighborhood is unusual both for the rigid separation of the one-story building from its environment and for the thorough rationalization and minimal tolerances of its functional processes. A simple arrangement of living area, garage and garden within two overlapping rectangles results in a horizontal box meant to provide its inhabitants with an exceptional amount of exterior isolation and interior freedom. In the full-scale model, the bungalow is transformed through the use of low-tech materials, addressing contemporary ideas of shelter, seclusion, permeability and connection to the outside world. As a freestanding implant in public space, 1957’s model house becomes a working model once more.
Bungalow in the Sesselclub
Akademie der Künste Berlin
Bungalow in the Sesselclub: Stadt im Regal – Models of Retrospection, presented in conjunction with “The City of Tomorrow: Contributions to an Archaeology of Berlin’s Hansaviertel,” a symposium at the Akademie der Künste, Berlin
A place called Big Nothing
loop raum für aktuelle kunst
The centre emerges out of the favelas, its height determined by its structure. A blue expanse stretches across the floor like a model of a city. The city as a village of huts, downtown frayed at the edges? Scraps of material suggesting urbanity? Their arrangement confirms the idea entrenched in one’s mind: areas of order and confusion in a confines space. The gaps between the tiles represent the traffic ravines, Frankfurt for amoebas: the wish for height plus the curse of the surroundings. It is even more reminiscent of the cities of the future featured in the opening sequences of digital games. Glowing colours before pink horizons, light without sources, enclaves of high-tec barbarism in the post-nuclear sand. As everyone lives in tents, the buildings in the centre are functionless, used at most as ritual places for blasphemous cults. Mad Max, the last moralist, amidst an infrastructure of war-torn scrap. Yet the blue denim, the material of dreams and trappers, doesn’t fit the picture. A field of budding flowers scenery for a Western, Dodge City? The Rocky Mountains in the attire of their conquerors, a battle formation at Little Bighorn, freedom, pack-ice, rock’n’roll? Ort he utopia of a cotton field which picks and spins itself, abolishing part of the alienating work and invalidating the blues? A place called Big Nothing? – Sweet dreams are made of jeans.
André Kubiczek In: Heike Klussmann, Hrg. Klaus Gallwitz, Schloss Balmoral, 1998
André Kubiczek In: Heike Klussmann, Hrg. Klaus Gallwitz, Schloss Balmoral, 1998
Martin Gropius Bau
Berlin
A place called Big Nothing was shown
at Transatlantische Impulse Martin Gropius Bau, Berlin.
www.kunstaspekte.de
at Transatlantische Impulse Martin Gropius Bau, Berlin.
www.kunstaspekte.de
loop – Raum für aktuelle Kunst Berlin
Walkway
Multi-Storey Car Park – Stadt im Regal
Drive-through exhibition in the Parkhaus Behrenstraße in Berlin. A sheet of retroreflective pavement marking material cuts across the flow of traffic, extending completely across two levels of the parking structure. Flush with the pavement on the fourteenth level, on the thirteenth level it becomes a catwalk that continues beyond the facade to end in thin air.
1997 , walkway , multistorey car park , Berlin , Stadt im Regal , installation , sculpture , reflecting , Drive In
drive-in
Stadt im Regal
In the exhibition “Parkhaus – Stadt im Regal,” the singular situation of the parking garage, as a multistory stack of public spaces, becomes a model for urban space. In exploring the ways Berlin has changed since 1990, images and visions of the city are elaborated and juxtaposed in the subdivided space of a parking garage. The exhibition can be viewed by car.
www.stadtimregal.de/parkhaus
www.stadtimregal.de/parkhaus
pills `n thrills
Staatliche Museen zu Berlin Collection Kupferstichkabinett
Pills ’n Thrills, from a series of fifty watercolors
Internal Waves
Haus Huth Berlin
Haus Huth Berlin shows Internal Waves
Ceterum Censeo
Marstall Berlin
Pills `n Thrills in the show Ceterum Censeo at Marstall Berlin
Temporäre Kunsthalle
Zeigen: An Audio Tour through Berlin
For Zeigen: An Audio Tour through Berlin Karin Sander invited her fellow Berlin-based artists to translate their work into audio pieces.
Heike Klussmann
Underground bunker, Alexanderplatz Berlin
12.04.2007 14:00 - 15:00 Uhr
www.kunsthalle-berlin.com
Heike Klussmann
Underground bunker, Alexanderplatz Berlin
12.04.2007 14:00 - 15:00 Uhr
www.kunsthalle-berlin.com