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Architecture

· Bruges Triennial 2018: Liquid City · Nachrichten aus Berlin: Berlinische Galerie · Bauhaus Expositions in Germany · Gregor Schneider: End

Bruges Triennial 2018: Liquid City

From May 5 until September 16, 2018, Bruges will be the setting for the second edition of the Triennial, an art route in the heart of the historic city.

With the central theme ‘Liquid City’, the Triennial wants to investigate the role of a city like Bruges in a globalized and changing world. With the artistic and architectural installations, the participants of Triennale Brugge 2018 | Liquid City create welcoming public spaces in the city center. Those temporary interventions on little known and iconic places in Bruges offer great opportunities for encounter, wonder and dialogue.

Triennial Bruges 2018 will feature works by Jarosław Kozakiewicz (PL), Wesley Meuris (BE), Renato Nicolodi (BE), NLÉ – Kunlé Adeyemi (NG-NL), OBBA (KR), Roxy Paine (US), John Powers (USA), raumlabor (DE), Rotor (BE), Ruimteveldwerk (BE), Tomás Saraceno (AR), Jose Selgas & Lucia Cano (ES), Monir Shahroudy Farmanfarmaian (IR), StudioKCA (US), Peter Van Driessche – Atelier4 (BE).

The Bruges Triennial 2018, themed Liquid City reaches back to 2015 edition, which was a reflection on the city as a megapolis: “What if the 5 million visitors to the city decided to stay?”

This edition takes a step further: how flexible, liquid and resilient can a historic city like Bruges be in an age when nothing seems to be certain any longer? None other than Zygmunt Bauman, prophet of the permanent crisis in the West, devoted his final book to this phenomenon, a year before his death in January 2017.

In Retrotopia, Bauman invites the reader to question the dynamics of our society, as well as the metaphor “liquid” itself, the contemporary era as a time of transition, which today stands in stark contrast with the institutional framework that once formed a safe environment for our (grand)parents. Each institution in turn, whether the government, the church, political parties, insurance companies or banks, have lost the public’s trust. This renders society particularly vulnerable to fear-mongers.

This world is changing rapidly. Established ways of thinking and forms of life are under pressure. What does the future hold?

The Bruges Triennial 2018 co-curators Tilll-Holger Borchert and Michel Dewilde invited international artists and architects to think about these issues. Many of them sought inspiration in the city that is literally crisscrossed and surrounded by water.

The waterways that once earned Bruges its international renown, become a metaphor for Liquid City. Works of art, installations and meeting places have been put up in the city centre.

They form a free hospitable route that brings people together in unexpected spots. That is one of the main objectives of the Bruges Triennial 2018: generating encounters, challenging people not only to view the artworks but also to experience them and to become part of the creative process.

Participating internationally renowned architects include Kunlé Adeyemi, (Nigeria/Netherlands, NLÉ Architects), who designed the third version of MFS – Minne Floating School for Bruges, selgascano (Spain) who created the new swimming pavilion for Brugians and visitors alike on the city canal, and OBBA (Korea) who worked together with Bruges-based Architectuuratelier Dertien12 to construct The Floating Island, a meandering walkway on the water. Climate change and environmental issues are addressed through the installation of the Bruges Whale by StudioKCA (US), INFINITI designed by Peter Van Driessche of Aterlier4 (Belgium) suggests tiny housing situated on the water whereas the Aerocene project by Tomás Saraceno (Argentina) invites us to look to the sky. A very different approach is offered by Brussels-based collective Rotor who presents a museum dedicated to the Chinese Mitten Crab in the Poortersloge and an exotic eatery at the beach in Zeebrugge. raumlabor (Germany) has been working with local youths on their House of Time, a continuous project of building, experimenting and hands-on experience and the Belgian collective Ruimteveldwerk have persuaded the inhabitants of one of the historic almshouse complexes to help create their G.O.D. project. Further installations along the arts trail are created by artists such as Wesley Meuris (Belgium), Renato Nicolodi (Belgium), John Powers (US), Jarosław Kozakiewicz (Poland) and Monir Shahroudy Farmanfarmaian (Iran).

Additional art works, designs, models and documentary materials of all the participants are presented in the free Liquid City exhibition in the Poortersloge, the central information point of the Bruges Triennial 2018.

A further exhibition is located in the Church of the Great Seminary. Architectures Liquides, curated by Abdelkader Damani, is a selection of impressive visionary architectural models from the FRAC-Centre collection in Orléans (France).

The bilingual catalogue (Dutch/English) with contributions by Till-Holger Borchert, Michel Dewilde, Abdelkader Damani, Tom Trevor, Anna Lowenhaupt Tsing, Marc Van den Bossche ea. and photography by Iwan Baan is available at the Triennial information points, arts bookshops and online.

Triënnale Brugge 2018
Liquid City / Vloeibare Stad
Till-Holger Borchert, Michel Dewilde
Photogr.: Misc.
Format: 27 x 20
Pages 160
Hardcover
Dutch, English
ISBN 9789058565990
€ 29,95

# more information on website Bruges Triennial 2018

Bruges Triennial 2018: Liquid City – Contemporary art and architecture trail in the historic heart of Bruges – is open daily until September 16. Opening hours for the exhibitions and some installations: 12–6pm – Free of charge

Triënnale Brugge 2018
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Nachrichten aus Berlin: Berlinische Galerie

BERLINISCHE GALERIE

Landesmuseum für Kunst, Fotografie und Architektur

Berlin’s Museum of Modern Art, Photography, and Architecture, as one of the youngest museums in Berlin, has a passion for experimenting. Founded in 1975 as a private institution and for years housed in the Martin-Gropius-Bau, the Berlinische Galerie moved to its new home in Alte Jakobstraße in October, 2004. Combining elements of the national gallery, with its international focus, and the city museum, with its emphasis on cultural history, the Berlinische Galerie collects, researches, and exhibits works from 1870 until the present. Themes include the secessionists and the Jungen Wilden group, Fluxus and Dada, New Objectivity and expressionism, the Russians in Berlin, the avant-garde in architecture and photography, Berlin during the Nazi regime, the city in ruins, East- and West-Berlin, the formation of the metropolis. Creative contemporary scenes are also included. Along with the permanent collection, the spacious industrial hall has plenty to offer: temporary exhibitions, movies, music, lectures, archives, a library, a study center with a hall providing presentation facilities for works on paper. The museum also has a café and museum shop, and last but not least, the “Atelier Bunter Jakob,” an art school offering fun and creative activities for children, families, and adults.

Nachrichten aus Berlin: Berlinisch Galerie

Photos: Anton K.

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Bauhaus Expositions in Germany

Bauhaus Dessau Foundation

Programme of exhibitions and events April – September 2009

The Bauhaus has a greater presence in Dessau than anywhere else: In Dessau, the world famous Bauhaus buildings of Walter Gropius, Hannes Meyer, Carl Fieger, Georg Muche and Richard Paulick are sought out by over 100,000 visitors a year. Here, in this anniversary year, the Bauhaus Dessau Foundation and cooperation partners from Germany and abroad will hold over 20 events: workshops, exhibitions, symposiums, radio performances, theatre and dance projects, artistic installations, lectures, festivals, a Summer School and much more. Some of the events focus on mediating the Bauhaus legacy; others update the Bauhaus’s concepts in work on topical themes. With mixed experimental formats, the programme of events integrates all the Bauhaus buildings. Other events by the Bauhaus Dessau Foundation will take place in Berlin. The Stiftung Moritzburg in nearby Halle will dedicate a large exhibition to the late work of the Bauhaus Master Lyonel Feininger.

 

EXHIBITIONS

Bauhaus in action

 Film exhibition and reconstruction of

“Raum der Gegenwart”

Tue 9th June – Sun 4th October 2009

(“Raum der Gegenwart” until Wed 24th September),

exhibition area and Bauhaus Stage, Bauhaus Building

 Large-scale projections of original films breathe new life into the work of the historic Bauhaus, and show the work and working methods of Walter Gropius, László Moholy-Nagy, Wassily Kandinsky, Oskar Schlemmer, Kurt Schwertfeger, Kurt Kranz, Heinrich Brocksieper and Werner Graeff. The programmatic prologue shows three films – on architecture, sport and natural science – that reconstruct the film programme devised by Walter Gropius for the inauguration of the Bauhaus Building in Dessau. The epilogue features interviews with both teachers and students at the Bauhaus. The film exhibition is accompanied by a revival of Moholy-Nagys “Raum der Gegenwart” on the Bauhaus Stage. To mark this anniversary year, Kai-Uwe Hemken and Jakob Gebert realise this visionary project by the Hungarian Bauhaus Master, dating from 1930, for the first time. The Light-Space Modulator, kinetic walls, film projections, undulating glass walls and much more shape a spatial artwork that revolutionised the history of exhibition design, the art of the environment and the new media.

 

Modell Bauhaus. The exhibition

Wed 22nd July – 4th October 2009

Daily 10 am to 8 pm

Martin-Gropius-Bau Berlin

On the 90th anniversary of the foundation of the Staatliche Bauhaus, the Bauhaus-Archiv Berlin, the Bauhaus Dessau Foundation and the Klassik Stiftung Weimar are showing a first joint large exhibition on the history and impact of the Bauhaus. With over 1,000 exhibits, the largest Bauhaus exhibition to date paints a sophisticated picture of the school from 1919 to 1933. An installation by the American artist Christine Hill and a video interview project also provide an up to date look at the Bauhaus.

www.modell-bauhaus.de

 

Permanent exhibition

“Bauhaus Dessau – Workshop of Modernism”

The revised permanent exhibition in the basement of the Bauhaus Building, as a brief introduction to the history of the Bauhaus, gives insight into the work carried out in the historic Bauhaus workshops. It presents a selection of the products made in the workshops, in dialogue with a new medial panorama of the Bauhaus’ history.

  

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More in: Architecture, Bauhaus, Bauhaus, Constuctivisme, Design, Fashion, Illustrators, Illustration, Sculpture, Theo van Doesburg


Gregor Schneider: End

art z

Gregor Schneider: END

The second phase of construction at

Museum Abteiberg in Mönchengladbach

Gregor Schneider’s concept for the second phase of construction at Museum Abteiberg takes the form of an over-dimensioned walk-in sculpture to be implemented as a temporary building.
Schneider’s concept envisages the museum as a black hole leading into an unknown space. The visitor enters it through a black opening. Total blackness removes all sense of place and engenders an experience of complete isolation, compelling visitors to feel their way along the walls of a corridor into total darkness, before eventually discovering a new entrance to the museum. The exhibition rooms located beyond the entrance are also entirely dark, their architecture vanishing into a black and obscure nothingness. Sensitised in this manner, visitors then enter Gregor Schneider’s innovative presentation of the museum’s collection, which includes original rooms from Haus u r.

 

Gregor Schneider has designed a new entrance for the Abteiberg Museum that is as monumental as it is mysterious. The huge walk-in sculpture will be erected on the lawn in front of the museum where the second part of the museum building, designed by Hans Hollein, will eventually be built. The front of the black edifice faces the vision axis of Mönchengladbach’s main shopping street. It will have a 14 x 14 meter square entrance, black both in- and outside and visible from afar, which will lead into a 70-meter long, totally dark corridor. It will extend diagonally in the shape of a tapering funnel, ending in a small, 1 x 1 meter hole that breaks through the closed museum wall and eventually reaches one of the ‘clover-leaf’ rooms in the museum interior.

The dimensions of this project both as urban architecture and a critical statement are one of its key features. This work was made possible by generous funding from the state of North-Rhine Westphalia (NRW) and the NRW Art Foundation as well as companies and private sponsors. The result is a major landmark that draws attention to what was previously a rather inconspicuous inner-city museum and endows its currently hidden entrances with new prominence. The enormous entrance tunnel, located in front of the museum on land due to become available for development, catches the eye from several perspectives including the central axis of Hindenburgstraße and the driveway from Abteistraße, virtually drawing the viewer’s gaze into itself.

 Gregor Schneider and Museum Abteiberg are connected by both the locale and the concept, since Haus u r and the museum are both rooted in this city. Moreover, the ideas behind and history of Museum Abteiberg are closely associated with contemporary discourse on architectonic space. Not only Hans Hollein’s pioneering architecture, but also objects in the museum’s collection by his contemporary Gordon-Matta Clark, which were among its early acquisitions, testify to the museum’s special place in the discourse on the meaning of architecture.

It has therefore been one of the museum’s main wishes to acquire for the museum’s collection the central “Kaffee Zimmer” (Coffee Room) from Haus u r for its collection to join the “Abstellkammer” (Storeroom), which it purchased some time ago. It was equally important that the artist himself should design the installation for Museum Abteiberg. Here, Gregor Schneider further explores themes that have always been important to the museum: how to retrieve, present and communicate complex works of contemporary art that pose new challenges for museums (see also the artist’s extensive preliminary remarks: “Von der Zeit, da das immobile Haus mobil wurde” (About the time when the immobile house became mobile), interview in the June 2007 issue of Kunstforum International).

Starting from the museum’s acquisition of “Kaffeezimmer”, made possible by generous funding from the Kulturstiftung der Länder (KSL), the state of North-Rhine Westphalia and the Foundation for Culture and Science of Stadtsparkasse Mönchengladbach, Gregor Schneider designed a set of six rooms, which extend from the tunnel END inside the museum. The installation is staged in the completely darkened museum space, in which a number of rooms can be combined without having to refer to the surrounding architecture. The result is a stage-like presence, emphasising Gregor Schneider’s recent preoccupation with theatre and the importance of his film work. Alongside the illuminated original rooms, projections from Haus u r are presented together with unpublished film work that presents former villages in the nearby lignite mining fields as well as the house on Odenkirchener Straße in Rheydt (not far from Haus u r) where Joseph Goebbels was born. A further feature is the presentation of the geographical and historical origins of Schneider’s artistic discourse: the house in Rheydt and its regional vicinity, abandoned houses awaiting demolition and the landscapes of the Rhineland opencast mining industry, all traces of suppressed recent history. All these media will be used to create the “Smithsonesque” situation of a “non-site” in the museum (freely adapted from Robert Smithson’s dialectical thesis), which will be considerably enhanced by the special END entrance.

  Website Museum Abteiberg Mönchengladbach

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