NOWs: GLÜCKs Autokino

11. - 13. Mai 2017 / Nows

GLÜCKs Autokino geht auf CH-Tour! Erster Halt: Hardturmbrache in Zürich – ehemals Fussballstadion, jetzt eine Brache mit wachsender Flora & Fauna. Bevor sich Fuchs und Hase gute Nacht sagen, zeigen wir in Zusammenarbeit mit dem Theater Gessnerallee unseren Dokumentarfilm >Jäger & Sammler< !

11./12./13. Mai 2017
Einlass ab 20:00 Uhr

Anfahrt:
Stadionbrache Hardturm
Hardturmstrasse 269, 8005 Zürich
Eingang über Förrlibuckstrasse

Tickets hier.

Für das absolute Glückserlebnis sollten Sie zwischen 20 Uhr und 20.30 Uhr mit dem eigenen Auto auf der Hardturmbrache vorfahren. Das Autokino findet draussen und bei jeder Witterung statt. Bei schönem Wetter gibt es auch Plätze für Fussgänger und Velofahrerinnen. Vergessen Sie nicht ihr eigenes UKW-fähiges Radio.

Weitere Info`s inkl. Trailer zum Film:
Autokino

«Ein bisschen unnötig Autofahren, ist ein bisschen Freiheit», sagte schon der Luzerner Strassenphilosoph Emil Manser. Bevor alles hybrid und elektrisch wird, bietet Glück all denjenigen eine Plattform, die ihr Herz an Benzin, Gummi und Pferdestärken verloren haben. Dafür verlässt die Gruppe Glück den Theaterraum und veranstaltet ein Autokino – das letzte Kino ohne Rauchverbot. Gezeigt wird der eigens produzierte Dokfilm «Jäger & Sammler»: Ganz in Roadmovie-Manier handelt der Film von Autos, ihren Besitzern, wahrer Liebe zu grossen Motoren und von solchen, die ihr Schicksal selber in die Hand nehmen wollen.

Glück möchte der eigenartigen Symbiose zwischen Mensch und Auto auf die Schliche kommen. Immer mit der Frage im Nacken: Wie weit gehen Menschen für Motoren?

Wie sehen die Roadmovies der Zukunft aus, wenn Roboter das Steuer übernehmen? Bevor Duracell Häschen in Google-Autos durch die Gegend piepsen und uns GPS Satelliten die Orientierung verlieren lassen, zeigen wir die letzten echten Autofreaks und geben ihnen unsere Bühne. Ganz in Roadmovie-Manier handelt der Film von Autos, ihren Besitzern, wahrer Liebe zu grossen Motoren und von solchen die ihr Schicksal selber in die Hand nehmen wollen. In kleinen Episoden tritt die flammende Leidenschaft hervor. Autoliebhaber und überzeugte Fahrradfahrer reichen sich die Klinke in die Hand und die ganz grossen Gefühle werden aufgefahren – ganz nach dem Motto: «Wer nicht spinnt ist nicht normal!» (Pesche, Protagonist «Jäger & Sammler»).

Glück – bestehend aus den Basler Künstlern, Musikern und Theaterschaffenden Gregor Brändli, Jeremias Holliger, Lukas Kubik, Benjamin Matthis und Victor Moser – entstand aus dem Bedürfnis, Arbeiten zu machen, die kollektiv entstehen und dem hierarchischen Theaterprinzip entsagen.

Vorheriger Eintrag

NOWs: The Antarctic Pavilion

12. Mai - 31. Juli 2017 / Nows ⟶

NOWs: The Antarctic Pavillion First Antarctic Biennale during the 57th Venice Biennale of Art 2017 Palazzo Molin a San Basegio Fondamenta Zattere Al Ponte Longo 1412, Venice, Italy Selected artworks created in Antarctica, along with photo and video documentation of the voyage, will debut at The Antarctic Pavilion during the 57th Venice Biennale of Art 2017. This group exhibition will include works by the expedition’s participants and projects from the finalists of the Antarctic Biennale Open Call for young artists. In March 2017 an international group of artists, scientists, architects and philosophers left the port of Ushuaia (Tierra del Fuego, Argentina) bound for the Antarctic Circle – onboard the scientific research vessel Akademik Sergei Vavilov. They would make landfall at numerous sites on the world’s southernmost continent throughout the next two weeks. At each location, artworks, exhibitions and performances were realized. Mobility, site-specificity and ecological compatibility were key touchstones. Nothing was left behind and no audience was present, except the participants themselves and – of course – Antarctica’s native species. Actions included a landscape photography exhibition for penguins (they didn’t seem to get much out of it) and an underwater installation for whales. In addition to onshore interventions, throughout the expedition, the vessel itself served as a floating studio, exhibition, installation and performance space; a photo lab, and conference facility. Onboard activities included symposia, debates, and a daily screening program featuring commissioned videos by international artists. Throughout, the focus was on the question ‘What potential does the Antarctic Imaginary hold?’– for exiting polarized identity politics, and ecological insensitivity in public culture. Also, on dialogues leading to future cross-disciplinary collaborations. For the project’s Commissioner, Alexander Ponomarev and the Organizing Committee, the enterprise was ventured in the belief that this remote region must be made more proximate; that the last continent is a fertile site for new beginnings. This year, The Antarctic Pavilion presents documentation of this 1st Antarctic Biennale – a paradigm-shifting phenomenon in biennale culture: A hot-house in a frozen realm, without mobile phones, internet, ready audience, or escape to another cocktail party, throughout this biennale everyone was in the same boat. While its expedition is complete, its collaborative outcomes are just beginning. In addition to documentation of the 1st Antarctic Biennale, this year’s Antarctic Pavilion debuts a series of newly commissioned works exploring the aesthetic, conceptual and mythic paramaters of the Antarctic Imaginary. In “Space Fish” (Raumfisch), Julius von Bismarck for instance realizes a site-specific performance by letting a tropical freshwater fish swim through the cold waters of the Antarctic Sea, facilitated by a custom swimsuit. The work’s thematic background revolves around human exploration. The swimsuit resembles a spacesuit, echoing man’s drive to explore and the romantic connotations of discovering new worlds. Referencing man’s first Antarctic expeditions, the fish reimagines the subject of the adventurer. The performance also emphasizes the role of tourism; travel for pleasure. It is also the theory and practice of touring, the business of attracting, accommodating, and entertaining tourists. Usually, the comfort of tourism is the preserve of humanity alone. In Space Fish, von Bismarck dives into the business of attracting the fish, offering a chance to experience the human luxury of movement to anywhere in world. ARTISTS-PARTICIPANTS (1ST ANTARCTIC BIENNALE): Abdullah Al Saadi (UAE). ‘Antarctic Alphabets’, Expedition Diaries Alexander Ponomarev (Russia). ‚Alchemy of Antarctic Albedo (Or Washing Pale Moons)‘. Underwater installations Alexis Anastasiou (Brazil). ‘It ́s Cold out There’. Large scale projection Andrey Kuzkin (Russia). ‚The Phenomenon of Nature or 99 Landscapes with a Tree‘. Series of performances Eulalia Valldosera (Spain). ‘Penelope’s voice: communicating with animals’. Audio intervention on the ship that travels to Antarctica Gustav Dusing (Germany). ‘The solid state of matter’. Tent made of frozen cotton Joaquin Fargas (Argentina). ‘Glaciator’. Robotic & Solar, mixed techniques Julian Charrière (France/Switzerland). ‘Silence’, Performance Juliana Cerqueira Leite (Brazil). ‘Vestibule’. Video Installation Julius von Bismarck (Germany). ‚Space Fish (Raumfisch)‘. Performance Lou Sheppard (Canada). ‚Requiem for the Antarctic Coast‘, Sound installation Paul Rosero Contreras (Ecuador). ‚Arriba!‘ site-specific intervention, film, photographs Shama Rahman (Bangladesh/UK). ‚Truth be told‘, Performance with sitar on ice Sho Hasegawa (Japan). ‚Winter Landscape (Antarctica Version)‘ Tomas Saraceno (Argentina/Germany). ‘Aerocene’ Performance Yasuaki Igarashi (Japan). ‚Bundling Time‘, Performance Yto Barrada (Morocco). ‘Abstract Geology’ Zhang Enli (China). ‚Egg’ NOWs: First Antarctic Biennale during the 57th Venice Biennale of Art 2017 Palazzo Molin a San Basegio Fondamenta Zattere Al Ponte Longo 1412, Venice, Italy Selected artworks created in Antarctica, along with photo and video documentation of the voyage, will debut at The Antarctic Pavilion during the 57th Venice Biennale of Art 2017. This group exhibition will include works by the expedition’s participants and projects from the finalists of the Antarctic Biennale Open Call for young artists. In March 2017 an international group of artists, scientists, architects and philosophers left the port of Ushuaia (Tierra del Fuego, Argentina) bound for the Antarctic Circle – onboard the scientific research vessel Akademik Sergei Vavilov. They would make landfall at numerous sites on the world’s southernmost continent throughout the next two weeks. At each location, artworks, exhibitions and performances were realized. Mobility, site-specificity and ecological compatibility were key touchstones. Nothing was left behind and no audience was present, except the participants themselves and – of course – Antarctica’s native species. Actions included a landscape photography exhibition for penguins (they didn’t seem to get much out of it) and an underwater installation for whales. In addition to onshore interventions, throughout the expedition, the vessel itself served as a floating studio, exhibition, installation and performance space; a photo lab, and conference facility. Onboard activities included symposia, debates, and a daily screening program featuring commissioned videos by international artists. Throughout, the focus was on the question ‘What potential does the Antarctic Imaginary hold?’– for exiting polarized identity politics, and ecological insensitivity in public culture. Also, on dialogues leading to future cross-disciplinary collaborations. For the project’s Commissioner, Alexander Ponomarev and the Organizing Committee, the enterprise was ventured in the belief that this remote region must be made more proximate; that the last continent is a fertile site for new beginnings. This year, The Antarctic Pavilion presents documentation of this 1st Antarctic Biennale – a paradigm-shifting phenomenon in biennale culture: A hot-house in a frozen realm, without mobile phones, internet, ready audience, or escape to another cocktail party, throughout this biennale everyone was in the same boat. While its expedition is complete, its collaborative outcomes are just beginning. In addition to documentation of the 1st Antarctic Biennale, this year’s Antarctic Pavilion debuts a series of newly commissioned works exploring the aesthetic, conceptual and mythic paramaters of the Antarctic Imaginary. In “Space Fish” (Raumfisch), Julius von Bismarck for instance realizes a site-specific performance by letting a tropical freshwater fish swim through the cold waters of the Antarctic Sea, facilitated by a custom swimsuit. The work’s thematic background revolves around human exploration. The swimsuit resembles a spacesuit, echoing man’s drive to explore and the romantic connotations of discovering new worlds. Referencing man’s first Antarctic expeditions, the fish reimagines the subject of the adventurer. The performance also emphasizes the role of tourism; travel for pleasure. It is also the theory and practice of touring, the business of attracting, accommodating, and entertaining tourists. Usually, the comfort of tourism is the preserve of humanity alone. In Space Fish, von Bismarck dives into the business of attracting the fish, offering a chance to experience the human luxury of movement to anywhere in world. ARTISTS-PARTICIPANTS (1ST ANTARCTIC BIENNALE): Abdullah Al Saadi (UAE). ‘Antarctic Alphabets’, Expedition Diaries Alexander Ponomarev (Russia). ‚Alchemy of Antarctic Albedo (Or Washing Pale Moons)‘. Underwater installations Alexis Anastasiou (Brazil). ‘It ́s Cold out There’. Large scale projection Andrey Kuzkin (Russia). ‚The Phenomenon of Nature or 99 Landscapes with a Tree‘. Series of performances Eulalia Valldosera (Spain). ‘Penelope’s voice: communicating with animals’. Audio intervention on the ship that travels to Antarctica Gustav Dusing (Germany). ‘The solid state of matter’. Tent made of frozen cotton Joaquin Fargas (Argentina). ‘Glaciator’. Robotic & Solar, mixed techniques Julian Charrière (France/Switzerland). ‘Silence’, Performance Juliana Cerqueira Leite (Brazil). ‘Vestibule’. Video Installation Julius von Bismarck (Germany). ‚Space Fish (Raumfisch)‘. Performance Lou Sheppard (Canada). ‚Requiem for the Antarctic Coast‘, Sound installation Paul Rosero Contreras (Ecuador). ‚Arriba!‘ site-specific intervention, film, photographs Shama Rahman (Bangladesh/UK). ‚Truth be told‘, Performance with sitar on ice Sho Hasegawa (Japan). ‚Winter Landscape (Antarctica Version)‘ Tomas Saraceno (Argentina/Germany). ‘Aerocene’ Performance Yasuaki Igarashi (Japan). ‚Bundling Time‘, Performance Yto Barrada (Morocco). ‘Abstract Geology’ Zhang Enli (China). ‚Egg’

Nächster Eintrag

NOWs: Monument for the 308 by Andreas Greiner

08. - 11. Mai 2017 / Nows ⟶

Andreas Greiner: Monument for the 308, 2016, Berlinische Galerie. Photo: Theo Bitzer NOWs: Andreas Greiner: Monument for the 308 Seeds & Chips, The Global Food Innovation Summit Milano, Italy – Fiera Milano, RH For the annual food innovation summit Seeds & Chips the foundation 999contemporary presents Andreas Greiner’s sculpture Monument for the 308: A reflection on industrialised meat production and breeding techniques, which are characteristic of our contemporary relationship to our environment. A 7,5m meter skeleton stands towering over the conference like an ancient dinosaur. The work carries the same name like a specific man-made breed of broiler chicken: Ross 308. Like its ancestor the Archeopteryx, this species of broiler will become extinct: Unable to pass on their hybrid DNA, they will die out as soon as humans stop artificially breeding them. The Berlin-based artist thus speculates upon a possible archeology of the future: If dinosaurs are a relict of the mesozoic era, genetically altered chicken would in future be a relict of the Anthropocene. The work was originally exhibited on occasion of Andreas Greiner’s 2016 solo exhibition „Agency of the Exponent” in the Berlinische Galerie, a contemporary and modern art museum in Berlin. It is a 7,5 m tall replica of a broiler chicken skeleton (found dead in an industrial fattened chicken farm in Brandenburg), which the artist then froze for stability and conservation. Afterwards its body was scanned at the Charité in Berlin using cone beam computed tomography (CBCT) to create a 3-dimensional digital reproduction of the bones. This rendering was enlarged 20 times (20:1) and the data transferred to a 3D printer to produce the single bones. Ross 308 has nourished billions of people with cheap and abundant protein. “Monument to the 308” honours this pillar of society and imagines a future in which we will grant nature the same ‘human’ rights, as we grant ourselves. The future of food is undoubtedly a political question. One which must be answered with a resounding ‘yes’ to a sustainable agriculture and radically reduced meat consumption – in order to safeguard the earth that shelters us and our children and express gratitude to the food it provides us with. Andreas Greiner: Monument for the 308, 2016, Milano (during installation). Photo: 999contemporary Andreas Greiner: Monument für die 308, 2016, Berlinische Galerie. Photo: Theo Bitzer NOWs: Andreas Greiner: Monument für die 308 Seeds & Chips, The Global Food Innovation Summit Milano, Italy – Fiera Milano, RH Für die diesjährige Lebensmitteltechnologie Messe Seeds & Chips hat die Stiftung 999contemporary den Berliner Künstler Andreas Greiner eingeladen seine Skulptur Monument für die 308 auszustellen. Das Werk thematisiert massenhafte Fleischproduktion und Tierzucht, die charakteristisch für das menschliche Verhältnis zur Umwelt sind. Das Werk trägt den Namen einer spezifischen Art hybrid gezüchteten Masthuhns: Ross 308. 7,5m hoch thront das Skelett des Tieres über dem Messeraum, wie ein Dinosaurier in einem Naturkundemuseum. Wie sein Vorfahre, der Archeopteryx, wird auch diese Spezies aussterben: Jede Generation muss neu gekreuzt werden, da Masthühner ihre hybride DNA nicht weitergeben können. Somit hängt das weitere Bestehen dieser Art von der immer neuen künstlichen Befruchtung der Nahrungsmittelindustrie ab. Der Künstler spekuliert über eine Archäologie der Zukunft: Wenn Dinosaurier ein Relikt längst vergangener Zeiten sind, so sind Masthühner ein Relikt der Jetztzeit.Bis Februar diesen Jahres stand das Monument in Andreas Greiner’s Einzelausstellung in der Berlinischen Galerie, einem Museum für zeitgenössische und moderne Kunst. Um eine genaue Nachbildung des Hühnerskeletts zu erstellen musste der totgefundene Körper erst gefroren werden und anschließend in der Berliner Charité mittels einer digitalen Volumentomographie (DVT) in eine 3-dimensionale Reproduktion der Hühnerknochen übersetzt werden. Das so gewonnene digitale Modell wurde 20-fach vergrößert (20:1) und die Daten mittels 3D Drucker als einzelne Knochen gedruckt. Die weltweit steigende Nachfrage nach günstigem Eiweiß wird durch das effiziente Muskelwachstum der Ross 308 Hühner bedient. “Monument für die 308” würdigt diese Säule der Gesellschaft und entwirft eine Zukunft in der wir der Natur mit Respekt begegnen und ihr dieselben Menschenrechte wie uns zugestehen. Denn die Zukunft unserer Ernährung ist zweifellos eine politische Frage, eine, die mit einem klaren ‘Ja’ zur nachhaltigen Landwirtschaft und zum ethisch vertretbaren Fleischkonsum beantwortet werden muss – um unsere natürliche Umwelt und die Nahrung, die sie bietet, zu schützen. Andreas Greiner: Monument für die 308, 2016, Mailand (während der Installation). Photo: 999contemporary

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NOWs: GLÜCKs Autokino

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