winterbreak until April…
winterbreak until April…
Im Wintersemester 2015/2016 darf ich erneut eine interdisziplinäre, studentische Gruppe anleiten. Am 10.12. performen wir die Ergebnisse des Projektes #überkurzmitteloderlang – Team Visuelle Feldforschung im Neuen Museum Berlin!
Hell yeah! Reality sucks! I will hold a lecture about immersive VR and VR as tool at the symposium “Reality Sucks” @ gamelab Berlin. My contribution starts at 2:40 the 28th! Please join us!
Ya – Realität nervt manchmal. Über ästhetische, performative und soziale Effekte, die durch das immersive Erleben in VR ermöglicht werden, spreche ich bei der Tagung Reality sucks des gamelab Berlin. 28.11., 14.40!
Artist Yvon Chabrowski works with symbolic media images and re-enacts them in a reduced form. She asks: “How much context needs a picture? How far can you deliberate it out of its context? Will you still recognize its origin?” Her re-produced images appear somehow alien but still familiar. We shared an evening around the topic of collective memories and had dinner together.
Gemeinsam mit Tina Sauerländer von peer to space habe ich die dritte Ausgabe der PECHA KUCHA ART NIGHT organisiert, die am Sonntag Nachmittag, 6. November 2016 im Martin-Gropius-Bau im Rahmen der Ausstellung „+ultra. gestaltung schafft wissen“ des Exzellenzclusters „Bild Wissen Gestaltung. Ein Interdisziplinäres Labor“ der Humboldt-Universität zu Berlin stattfand.
Art in the Age of Earthquakes
Die Euphorie über die Möglichkeiten des Internet und der Share Economy hat sich in eine allgemeine Skepsis verwandelt. Haben Erschütterungen wie die Enthüllungen Edward Snowdens auch der Aufbruchstimmung in der Kunstwelt zugesetzt? Oder haben deren Akteure das Potential des Internets noch gar nicht erkannt? Wie gehen sie mit der analog-digitalen Hybridität um? Wie kreieren und kommunizieren sie Kunst im virtuellen Zeitalter? Was sind Chancen und Risiken für Künstler, Galeristen oder Museen? Welche Bilder sind heute wichtig und wie funktionieren sie?
Was bedeutet der digitale Wandel für die Kunst – und im Besonderen für das Bild?
Katharina Lee Chichester, kuratorische Assistentin, +ultra. gestaltung schafft wissen
A.R. practice / Agnieszka Roguski und Ann Richter, Ausstellungskollektiv
Michael Haas, Sonice Development
Thomas Heidtmann, Künstler und Kurator, Lacuna Lab
Paul Wiersbinski, Künstler
Anja Henckel, Kuratorin, Import Project
Ute Marxreiter, Wissenschaftliche Mitarbeiterin für Bildung und Vermittlung im Ethnologischen Museum und Museum für Asiatische Kunst
Sophia Gräfe, Medien- und Kulturwissenschaftlerin
Aram Bartholl, Künstler
Oliver Zauzig, Hermann von Helmholtz-Zentrum für Kulturtechnik, Koordinierungsstelle für Universitätssammlungen in Deutschland
Philip Hausmeier, VR-Künstler
Sarah Hermanutz, Künstlerin und Entwicklerin
“Standardisation” and “control” are starting points for the interface between machines and the human being. I invited Ralf Baecker, Sebastian Schmieg and Jennifer Lyn Morone to create an evening around these fields of tension.
Jennifer and Ralf held inspiring and mind-blowing lectures while Sebastian was showing his works Segmentation. Network and How to Appear Offline Forever.
Jeni Fulton, editor-in-chief at Sleek magazine moderated the discussion. It was a beautiful and intense evening.
Screenshot of Segmentation. Network, Sebastian Schmieg, 2016
The project “Über kurz, mittel oder lang” of SMB (Staatliche Museen zu Berlin) asked: How can students participate in the activities of a museum? Which kinds of strategies motivate the students to exchange ideas among themselves? What is the use of a museum for students today?
I served as an artistic advisor for a group of students from different universities, which developed a critical game for the exhibition Carl Andre – Sculpture as Place at Hamburger Bahnhof, Berlin. With an interdisciplinary attitude and in dialogue with education, the students took a critical stand to the museum, its displays and its contents.
(for more information please visit my homepage)
There is so much ART. But why is ART so important for our society? Can ART take over social responsibility? How will ART develop in the (near) future? Who will buy ART and why? How can public institutions afford big shows, now that so much money went private in the past decade?! Who pays for socially relevant ART?
Fantastic speakers from different fields of Berlin’s art scene took over the micro at the 2nd PECHA KUCHA ART NIGHT in Berlin and talked about their sustainable values in ART and about their perspectives for the future.
Pecha Kucha talks by:
Anna Bromley, artist and curator
Lisa Glauer, artist and curator
Dr. Laura Hirvi, director Finland Institute
Kristian Jarmuschek, Gallery Jarmuschek & Partner, founder POSITIONS BERLIN
Johann König, gallerist, König Galerie
Ornella Fieres, artist
Dr. Eva Meyer-Hermann, freelancing exhibition organisator, cakesmeyer
Dr. An Paenhuysen, Bloggerin, art critic and curator
Ece Pazarbaşı, curator and doctor at Berlin Art Grant Clinic
Anne Schwanz, director, Eigen und Art Lab
Melina Volkmann, co-founder www.stusu.com
Lena Winter, auction house Villa Grisebach
This salon by Birte Bosse installed an experimental supper club at Haus am Lützowplatz.
The evening addressed the various aspects of the diverse relationship between two workspaces: kitchens and artists-studios.
Both are scenes of mysterious activity, workrooms of inspiration and alchemical formulations, places of creative chaos and classificatory thought.
As I propose “dialogue” as space for criticism together with artists, and/or other critics, activists and interested subjects, I like the blurring, hybrid liminal spaces that arise from the collaboration practice “working with”.
This concept tries to avoid the top-down hierarchies in art, be it experts’ authority or symbolic capital accumulation. It means to favor the critical dialogue and to foster the argument, but to reject the existing codes of communication, such as exclusiveness, arrogance and careerism. It means to get rid of strategic sociality (the selective socializing only as part of professional interest and benefit). In this spirit, I’ve invited the artist collective YKON to create a dinner-as-game, that plays with social conventions at the dinner table.
It was a nice trip to Breslau and I was so happy to see, how my “baby”, the YKON DINNER, has evolved since its premiere at Haus am Lützowplatz in April 2016. We had inspiring discussions about Breslau/Wrocław and urban planning, bicycle activism, plant consciousness and art in general. I had the feeling, that we were “working with” each others and created a public sphere of debate. It was joy-and delightful!
Thank you, Pekko and Tomas from YKON and Thanks for inviting us, Goetheinstitut Krakau!
Die Tagung Das Immaterielle ausstellen widmet sich der Frage, inwiefern materielle Dinge als Überbleibsel, Reste oder Relikte Erinnerungsstücke und Zeugen für eine kulturhistorische Entwicklung sind oder vielmehr ein ästhetisches Erlebnis ermöglichen. Diskutiert werden Differenzen zwischen kulturtheoretischen Ansätzen, wissenschaftlichen Ansprüchen und praktizierter Kulturvermittlung, die sich etwa im Umgang mit Konzepten wie der Aura, der Authentizität und der Originalität herauskristallisieren.
Mein Beitrag “Digitale Strategien von Museen” beleuchtete die Möglichkeiten digitaler Kunstvermittlung und einige Strategien, Konzepte und Vorgehensweisen.
In a playful setting we mapped, analyzed and discussed the various movements, ideas and activities that are falling under the OPEN label. This referred to transformative, societal movements such as: Open Source, Open Money, Open Democracy, Open Knowledge, Open GLAM, Open Farming, Open Space, Open Data, Open Culture and Open University. By playing the Open Bingo, designed by Helsinki based artist and utopian activist group YKON, we found out, how those ideas may affect our society, our daily lives, and the way we produce and distribute art and culture.
Performing Encounters invited the Finnish/German art collective YKON (Tellervo Kalleinen, Oliver Kochta-Kalleinen, Pekko Koskinen, Tomas Traeksman and Christina Kral) to Haus am Lützowplatz, to design and organize a performative salon.
The YKON DINNER is an open source game that alters interactions at the dinner table. By using a dinner structure of multiple courses, YKON facilitates the interaction between guests. Rules, scripts and designed hardware encourages the conversations to go into new directions.
You could imagine the YKON DINNER as a combination of a dinner party with friends whom you haven’t met but always wanted to meet, a candy box of tools that you can take home with you and a series of close encounters with your possible futures.
TAFAA (Toward A Fully Automated Appearance) is a combination of several installations, that Chloé prefers to call “environments”. These environments are elements of the recomposition of a more or less abstract body. Once these elements overlap, they create a sort of spectrum, a material and immaterial flow of informations that Chloé then links with “the Ghost”.
“The Ghost” in computer sciences means cloning via fragmentation, partition. Therefore a “Ghost” copy is never a real copy but a more substantial one – one that seeks to save the very substance of an information.
This process of “Ghosting” interests Chloé in relation to her research about the so-called ” Capgras Delusion”. The Capgras Delusion, a “delusional misidentification syndrome” is a human desease. People with Capgras Delusion believe, that someone or something close to him has been replaced by his double, a copy.
During her residence at ABA AIR Berlin Alexanderplatz Chloé got curious about this analogy, this “flow shape” between us and the tools we use.
Our gathering focussed on the above described topics in relation to the works displayed in the exhibition space.
NOTE: We asked the participants to use some disposable cameras for documentation purposes.
Mapping the Commons_2 – zur Lage der nGbK
Der Workshop war der zweite von insgesamt 3 Workshops und Teil des von Yvonne Reiners entwickelten Kunstvermittlungsprogramms für die nGbK 2016. Er fand unter der Leitung von turbo pascal statt.
Es ging darum, Szenarien zu denken und zu schreiben – und um Szenariotechniken als Methode für die kollektive Entwicklung von Plots und Handlungsabläufen. Es wurden kleine Plots für „Mapping the Commons – zur Lage der nGbK“ entwickelt.
“Identity of a resident stranger”
Nina Haab (*1985, Bellinzona, lives in Geneva) is a photographer and video artist. Her practice explores the memories of others through their life stories, personal archives and meaningful places. These elements constitute the main inspiration and source material for her work, and her installations and films reimagine and represent her collaborators’ stories.
During her residency at ABA AiR Alexanderplatz in Berlin, Haab has been holding Salons as part of her research and process of memory collection and exchange. The Salon at KW Institute for Contemporary Art took place at the KW- Studiolo on January 12th and offered the participants the opportunity to encounter the topic of memory trough different perspectives:
Is memory selective? Can we trust our memories?
This Salon was a collaborative project, together with the KunstWerke Institute for Contemporary Art, Berlin ABA AiR Alexanderplatz and Performing Encounters and was supported by The Swiss Arts Council Pro Helvetia.
Mapping the Commons – zur Lage der nGbK ist ein basisdemokratisch entwickeltes Multiplayer-Online-Spiel, dass im Rahmen des Stipendiums Kunstvermittlung 2015/2016 von Yvonne Reiners entwickelt wird.
Der erste Workshop der Reihe fand am 11.12.2015 im Veranstaltungsraum der nGbK Berlin statt.
Inhalt des Workshop war ein basaler Einstieg ins Gamedesign mit theatralen Mitteln. In Zusammenarbeit mit der Künstlergruppe Machina eX wurde an den Figuren und der Performanz von Mapping the Commons – zur Lage der nGbK gearbeitet.
gif by Ben Pearce
1. PECHA KUCHA ART NIGHT: WHAT’S HOT ?!
Yvonne Reiners und Tina Sauerländer
Volker Diehl, Galerist, DIEHL und Diehl Cube
Thea Dymke, Marketing & Kommunikation, Bundesverband Deutscher Galerien
Marcus Johst, Gründer Artparasites.com
Jan Kage, RadioArty, Schau Fenster
Stephan Koehler, Kurator und Künstler, frontviews
Nina Haab, Künstlerin, Stipendiatin der Residency ABA AiR Berlin
Angela Lammert, Privatdozentin, Akademie der Künste
Uta Grosenick, Verlegerin, DISTANZ Verlag
Ralf Hanselle, freier Publizist
Kirstin zu Hohenlohe, SOS Edition, SOS-Kinderdörfer
Gudrun Wurlitzer, Architektin, Sammlerin und Gründerin von artitious
What’s hot ?! Was ist gerade los in der Kunst? Was ist wichtig? Über was sollte gesprochen werden? Pecha Kucha ist ein Vortragsformat aus Japan. Jede Rede dauert 6 Minuten und 40 Sekunden. Jeder Referent zeigt genau 20 Bilder, die alle 20 Sekunden automatisch wechseln. Das in vielen Branchen übliche Format wird nun mit der ersten PECHA KUCHA ART NIGHT in Berlin auf die Kunstszene der Hauptstadt übertragen. Verschiedene Arbeitsbereiche und Netzwerke im Kunstgeschehen Berlins wurden bei einem spannenden, ideenreichen und unterhaltsamen Abend vorgestellt!
Nina Haab is currently a resident of ABA (AiR Berlin Alexanderplatz).
ABA AiR Alexanderplatz is an artist-run research based artist residency at Berlin Alexanderplatz.
Performing Encounters and ABA collaborate since summer 2015.
Everyone must win—Buckminster Fuller’s World Game
A lecture performance by Yvonne Reiners and Christina Kral
at Hamburger Bahnhof, Museum für Gegenwart, Berlin
“Make the world work, for 100% of humanity, in the shortest possible time, through spontaneous cooperation, without ecological offense or the disadvantage of anyone.“—R. Buckminster Fuller
Practical utopian thinker, maker, and architect Buckminster Fuller created in his extensive oeuvre a game (the “World Game“) that set out to deal with all the problems of the planet earth and with it proposed an alternate system of education. The platform he created provided tools of access and action and allowed everyone to take part in the collaborative effort to change the future.
Departing from Fuller’s World Game, curator Yvonne Reiners (DE) in dialogue with artist Christina Kral/YKON (DE/FI) investigated past, presence and future trends in experimental education and artistic practice. As part of the symposium of the Black Mountain research initiative the presenters – both deeply immersed in the research and development of alternative forms of knowledge production – unpacked a number of historical and contemporary examples to highlight emerging literacies. Like a discursive commentary the presenters juxtaposed approaches that resonate with Fuller’s vision and acknowledge his relevancy today.
Reg Carremans is a former resident of ABA (AiR Berlin Alexanderplatz).
ABA AiR Alexanderplatz is an artist-run research based artist residency at Berlin Alexanderplatz. Founded by artists Susanne Kriemann and Aleksander Komarov in 2009, ABA offers residences to researchers from Switzerland (through Pro Helvetica), The Netherlands (Mondriaansfonds) and Belgium (Kunstenenerfgoed) and serves as a living space, production studio and meeting point for residents and their extended communities.
Performing Encounters and ABA collaborate during the summer and autumn 2015.
The current resident at ABA AiR Alexanderplatz is recently announced Swiss Art Award awardee Jessica Pooch from Switzerland. Jessica Poochs work is about the regulation of humans through objects and urban interventions.
The ABA Berlin is a research-based artist residency, that is intrigued with interdisciplinary discourse. Founded by artists Susanne Kriemann and Aleksander Komarov, ABA encourages their residents to present their projects in the form of a salon.
Performing Encounters and ABA collaborate during the summer and autumn 2015.
Details for the salon: we visited the most famous toilets of Berlin.
The salon was a combination of activities of which the drawing part was one. The other activities could be seen as the ‘interventions’ aspect of the workshop. They were a Malerweg performance (Reg Carremans was wearing a “Malerweg- shop”), a guided tour of the building followed by a talk by Hanna Hennenkemper on the planned skills colloquium at the college. We finished with a discussion on the topic of art education and skills.
When first discussing this event we talked about using stuffed animals from KH Weißensee’s depot. When this wasn’t going to happen, we happily kept the original envelope content, as it created the sought after discrepancy between the course content and the context.
Sketchbooks and pencils were kindly provided by ABA.
ABA AiR Alexanderplatz is an artist-run research based artist residency at Berlin Alexanderplatz. Founded by artists Susanne Kriemann and Aleksander Komarov in 2009, ABA offers residences to researchers from Switzerland (through Pro Helvetica), The Netherlands (Mondriaansfonds) and Belgium (Kunstenenerfgoed) and serves as a living space, production studio and meeting point for residents and their extended communities. Performing Encounters and ABA collaborate since 2015.
Nikolaus Baumgarten und Sophia Schomberg launched their web-based zoom-painting “Arkadia”.
Filipe Pirl held a multi-media-presentation on plant consciousness
& Max Siebenhaar provided the acoustic setting for this plant-induced journey.
An evening with Achim Wagner and friends.
Achim read his Istanbul-related texts and poems.
Furthermore artists Berenice Güttler and Sebastian Körbs showed their newest works. We had an evening full of love, desires and friendship. We served veg mulligan and wine.
NOTE: I recorded some readings of the poems.
More about Kreuzberg Pavillon
An evening with hands on texts by: Anton Vidokle,
Christopher Williams, Okwui Enwezor, Jan Verwoert, Marina Abramović, Ólafur Eliasson, Liam Gillick, Miranda July and others
NOTE: We worked with the 2015 published book “Akademie X- Lessons for Art and Life” (Phaidon Press). I had prepared some quotes, keywords and excerpts on plastic sheets, that seemed to highlight the individual statements of the “teachers”. We discussed these mini-festos and made mani-festos out of it – with hands on texts- and scissors.
More about Kreuzberg Pavillon
Both working on the topics of weaving, artists Berenice Güttler and Nikolaus Baumgarten share an interest in video-games.
Nikolaus developed websites like the zoomquilt and programmed browser to create Girih patterns. He is a painter and a sceptic. Berenice was working the last month at monastery St. Marienberg on old weaving technics. She uses textiles, sewing, weaving in similar ways, Nikolaus uses algorithms and color.
We encountered their works at Kreuzberg Pavillon and discussed the woven structures of web and net during a “white dinner”.
NOTE: I asked every participant of the “white dinner salon” to bring a text/material related to “networks”. We discussed some of these texts during the evening and had inspiring conversations about the net as structure, textile and rhizome.
talk with Ben Vickers and Kei Kreutler, moderated by Jeni Fulton, SLEEK magazine
An evening on the occasion “State of Conservation” by Tobias Sjöberg at Grimmuseum.
Tobias work deals with repetition and rhythm. One can read the rhythms as reference to accelerated tempo in times of accelerated growth : Contemporary time is jam-packed with appointments, is growing faster and faster. Everyone is striving for more – and our world keeps evolving.
We encountered a ̶r̶̶e̶̶l̶̶a̶̶t̶̶e̶̶d̶̶ ̶̶(̶̶?̶̶)̶ modern movement: the Futurists.
Filippo Tommaso Marinetti published the “Manifesto of Futurist Cooking” in 1930.
Enrico Centonze cooked original recipes taken out of the book:
(formula by Signora Colombo-Fillia)
(formula by the Futurist Aeropainter Fillia)
Futurist Risotto (Roars of Ascent)
(formula by the Futurist Word-in-Liberty poet Mazza)
Like a Cloud (Italian Breasts in the Sunshine)
(formula by the Futurist Poet of National Record Farfa)
NOTE: Sophia Schomberg was drawing us during the evening.
An evening about DIY Bio, Biohacker and art practice.
Rüdiger Trojok held a lecture performance about a DNA BIOM Hack (and hacked himself afterwards!!!)
It was a playful evening about girih tales, artificial hells and the beauty of ornamental games.
NOTE: This time the intended concept of documentation failed, as the strip ripped in the camera and broke it. So, instead of an artistic approach to the topic and the conservation of conversation, enjoy the “classic” way of documentation with images by Heiko Pfreundt (curator of Kreuzberg Pavillon).
An evening about how-to-get-lost-and-found? On the occasion of Birte Bosses installation at Kreuzberg Pavillon, we talked about usability, functionality, reverse moments and minimalistic, archaic forms.
Ein Tisch, Essen ̶f̶̶ü̶̶r̶̶ ̶̶A̶̶l̶̶l̶̶e̶̶ bis es alle ist, Streitgespräche.
NOTE: As we wanted to see in every direction, I asked the guests of the salon to use one-way-cameras for documentation.
Performing Encounters invited to an exhibition in a Neukölln-living room. >>Friendship is beautiful<< showed works of the artists Birte Bosse, Berenice Güttler, Sophia Schomberg, Sebastian Körbs and Nikolaus Baumgarten.
Pictures by Ines Kotarac
A salon about things, , including a screening of l’objet”, a video by Belgian
multimedia artist Jacques-Louis Nyst (1974).
NOTE: I asked the artists to bring a “thing” from home or thats important to their work. The photographer Jonas Holthaus made images of those things in front of a green screen.
Pictures by Jonas Holthaus
A salon about memories.
Took place on the occasion of the exhibition Reto Pulfer: “Erinnerungshäuser”
NOTE: As I am aware that the documentation of conversation is a sensitive topic, I decided to ask an artist friend of mine, Nikolaus Baumgarten, to attend the salon in his function as court sketch artist. His drawings are as objective as documentation is always.
Sketches by Nikolaus Baumgarten