Economic and social restructuring in the former East Germany has rendered entire neighborhoods and cities superfluous. A whole way of life created in the sixties, seventies and eighties has been called into question and dismantled piece by piece. After several slab buildings in Hoyerswerda’s Wohnkomplex 8 (Residential Complex 8) had already disappeared, Stadt im Regal became involved in the demolition of one of the complex’s Type P2 buildings, located at Merzdorfer Str. 14–18, Hoyerswerda Neustadt.

A Federal Cultural Foundation project about the deconstruction of modernity, Hoyerswerda Neustadt.

www.stadtimregal.de/wk8p2abbau
www.stadtimregal.de/superumbau-review

Mahogany, in this context, refers neither to wood nor to color. Mahogany is a principle that transports lifestyles, identities, social ties or simple longings across surfaces. Makeover of Offspace gallery, Vienna, by Stadt im Regal.

www.stadtimregal.de/mahagoni
www.kunstforum.de/thomaswulffen

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

www.stadtimregal.de

www.kaprowinberlin.smb.museum
www.stadt-bild.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

Stadt im Regal put up a construction in front of the WK8P2 building at Merzdorfer Str. 14–18, Hoyerswerda Neustadt. It portrays the deconstruction as a construction project: “Green Space Coming Soon.”

Site clearance and closeout, topsoil preparation, seeding, designation of playing fields and lawn areas, irrigation.

Scarface – Surface Reconstruction and Anti-Aging Systems. An exhibition at the Altes Dampfbad in Baden-Baden on time, impermanence, the aging and maintenance of bodies and architecture, and the presentation of their surfaces.

Special Guest: Dorothy Iannone

www.gfjk.de
www.kunstaspekte.de/scarface

The deconstruction of the WK8P2 building was made public in the Lausitzer Rundschau newspaper. In an advertisement published daily, photos and text documented the gradual disappearance of the building and the creation of a green space.

Various pavement chunks used in wear tests conducted at the Brandenburg University of Technology in Cottbus. Prototype showing how construction materials left over from the demolition of WK8P2 might be reused as a base layer in road construction.

For the exhibition Freie Wahlen at the Kunsthalle Baden-Baden, Stadt im Regal presented a comprehensive overview of their past projects in the form of a shelf holding photos, photocopies, printouts, sketches and texts.

www.zkm.de/freiewahlen

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

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 multiple box, including twelve items from Stadt im Regal, edition of sixteen, 2000

Stadt im Regal: Bungalow, fold-out in catalog for “Z2000,” published by the Akademie der Künste and Die Gestalten Verlag, Berlin, 2000

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.

North facade of Bungalow with Match Striker

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

Yellowesk in the show Más y más, La Panadería, Mexico City, with Stadt im Regal

www.stadtimregal.de/masymas

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.

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

Map-fold guide with program booklet for the exhibition “Parkhaus – Stadt im Regal”

www.stadtimregal.de/shop

Lecture with Stadt im Regal at Künstlerbund Berlin.

www.kuenstlerbund.de