NOWs: PAM 2018 | PUBLIC ART MUNICH

30. April - 27. Juli 2018 / Nows

Munich Olympic Stadium. Photo: Anders Eiebakke

PUBLIC ART MUNICH 2018: Game Changers

Opening: April 30
Munich Olympic Stadium

PAM 2018 (Public Art Munich)will launch with a grand opening on April 30 at the Munich Olympic Stadium and presents twenty time-based, performative commissions staged every weekend in multiple locations around the city through the end of July.

PAM 2018 is curated by Joanna Warsza and commissioned by the City of Munich.

Commissioned artists
Lawrence Abu HamdanCana Bilir-Meier, Anders Eiebakke, Leon Eixenberger, Massimo Furlan, Mariam Ghani, Flaka Haliti & Markus Miessen, Rudolf Herz & Julia Wahren, Alexander Kluge, Michaela Melián, Ari Benjamin Meyers, Dan Perjovschi, Alexandra Pirici & Jonas Lund, Olaf Nicolai, The 9th Futurological Congress/Julieta Aranda & Mareike Dittmer, Franz Wanner, Aleksandra Wasilkowska

Game changers
PAM 2018 addresses the mechanisms of change and the fundamental shifts taking place today from the vantage point of Munich—a city that has experienced tremendous ideological, sociopolitical, and symbolic turns of events. The commissioned art projects span this complex history, from the Bavarian Soviet Republic, postwar denazification, Radio Free Europe, May 1968, the optimism and tolerance of the Olympic Stadium, 1989, to the welcoming of refugees at Munich’s central station in 2015, to the impacts of digitalization, artificial intelligence, and the #MeToo movement. The question is not whether to take part but rather how to do so and on what terms. What should change and what shouldn’t?

PAM 2018 – An introduction by the curator Joanna Warsza

Opening week
On April 30, PAM 2018 commences at the Munich Olympic Stadium with Swiss performance artist Massimo Furlan’s re-enactment of the legendary 1974 football match between East and West Germany that ended with a score 1:0. The game will be performed by only two participants, one as Sepp Maier and one as Jürgen Sparwasser. Two original radio commentaries will accompany the match, returning football—this time as art—to the Olympic arena.

The opening day also features Warsaw-based architect Aleksandra Wasilkowska’s installation of a levitating ceiling entitled Gold for Natascha, Silver for Timofei. The exiled Russian hermit Timofei and his wife Natascha—both refugees in Munich after WWII—illegally constructed a joint Eastern Orthodox/Catholic church on the grounds of the future Olympic park. According to legend, it inspired the construction of the stadium’s floating roof and changed its top-down planning.

On May 1, the program continues with live drawing sessions by Dan Perjovschi at the MaximiliansForum; the presentations of Jonas Lund’s Facebook piece Hi Munich: This One is For You! with personalized messages that reach every city inhabitant and problematize the use of social media as a presumed public sphere; as well as the inauguration of the PAM Pavilion designed by Flaka Haliti and Markus Miessen and the discursive program curated by Gürsoy Doğtaş.

On May4–5, the opening week concludes with the 24h concert-installation Music from a Frontier Townby Michaela Melián at Munich Amerikahaus—the first such institution in postwar Germany.

PAM 2018 unfolds in time, each weekend presenting commissioned, time-based, performative projects along with an accompanying discursive program. PAM 2018 is less interested in art in public space as a physical location, but rather seeks to address broader concepts of publicity, public opinion, common good, or public speech. PAM 2018 is interested in economizing attention on behalf of public interest rather than for monetary gain. PAM 2018 valorizes art that aspires to change the game by recontextualizing our points of view and, as a result, our actions.

PAM 2018 Pre-events
March 15, 11am: Press Conference, Munich
March 16, 7:30pm: Talk with Jonas Lund, Joanna Warsza and other guests at Spike Berlin
March 20, 8pm: Kasper König in conversation with Joanna Warsza, Münchner Kammerspiele

Please subscribe to our newsletter at pam2018.de

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Joanna Warsza, born in 1976 in Warsaw is a curator working in the public realm, rather than museums. She is the head of CuratorLab at Konstfack University in Stockholm and has curated, among others, the Georgian pavilion at the 55th Venice Biennale and the public program of Manifesta 10 in St. Petersburg. Recently she has edited: I Can’t Work Like This: A Reader on Recent Boycotts and Contemporary Art (2017) and Empty Stages, Crowded Flats: Performativity as Curatorial Strategy (2017). Joanna Warsza lives and works in Berlin.

PAM, commissioned by the City of Munich, is Munich’s biggest public art program. It was launched in 2013 with A Space Called Public / Hoffentlich Öffentlich, curated by Elmgreen & Dragset

Vorheriger Eintrag

NOWs: It matters what moves by Ally Bisshop

02. - 05. Mai 2018 / Nows ⟶

Image: Ally Bisshop, {~}, 2017, inkjet print on fibre rag, tete Berlin NOWs: Ally Bisshop: It matters what movesAD Space at UNSW Art & Design, Paddington, Australia Finissage Party, Friday 04 May 2018, 6PM – 8PM This exhibition by Ally Bisshop explores art’s potential to reinfect matter with memory, and to create openings to the ‘more-than-human’ movements active within an ecology of experience. It engages process philosopher Henri Bergson’s ideas about duration, matter, perception, intuition and fabulation as propositions for an artistic experimentation with matter’s movements. Active within and through the works are a suite of artistic ‘thresholding techniques’ for creating affective intervals of relation to more-than-human material intensities. The Finissage Party will feature a performance by Jasmine Guffond, who will perform a new work that responds and plays with the exhibition. Carefully working with the resonant frequencies inherent to the architecture and objects within the space, Jasmine will explore the properties of sound as a vibrational force and consequently remind us that every object and every being, contains resonant frequencies that can be activated through sound. – Ally Bisshop’s research and practice seeks to activate the porous thresholds between matter, movement and temporality, where a certain kind of material sensitivity might be articulated. Working across the fields of expanded sculpture and experimental writing, her interest is less in crafting finished art forms than in staging encounters with open processes, threshold events, and zones of material indeterminacy. Born in Australia, Ally has lived and worked across Sydney and in Berlin since 2010. She studied at the Institut für Räumexperimente, UDK Berlin under Olafur Eliasson from 2010-2011, and will finalise her PhD in visual arts at UNSW Art & Design in 2018. Image: Ally Bisshop, {~}, 2017, inkjet print on fibre rag, tete Berlin NOWs: Ally Bisshop: It matters what movesAD Space at UNSW Art & Design, Paddington, Australia Finissage Party, Friday 04 May 2018, 6PM – 8PM This exhibition by Ally Bisshop explores art’s potential to reinfect matter with memory, and to create openings to the ‘more-than-human’ movements active within an ecology of experience. It engages process philosopher Henri Bergson’s ideas about duration, matter, perception, intuition and fabulation as propositions for an artistic experimentation with matter’s movements. Active within and through the works are a suite of artistic ‘thresholding techniques’ for creating affective intervals of relation to more-than-human material intensities. The Finissage Party will feature a performance by Jasmine Guffond, who will perform a new work that responds and plays with the exhibition. Carefully working with the resonant frequencies inherent to the architecture and objects within the space, Jasmine will explore the properties of sound as a vibrational force and consequently remind us that every object and every being, contains resonant frequencies that can be activated through sound. – Ally Bisshop’s research and practice seeks to activate the porous thresholds between matter, movement and temporality, where a certain kind of material sensitivity might be articulated. Working across the fields of expanded sculpture and experimental writing, her interest is less in crafting finished art forms than in staging encounters with open processes, threshold events, and zones of material indeterminacy. Born in Australia, Ally has lived and worked across Sydney and in Berlin since 2010. She studied at the Institut für Räumexperimente, UDK Berlin under Olafur Eliasson from 2010-2011, and will finalise her PhD in visual arts at UNSW Art & Design in 2018.

Nächster Eintrag

NOWs: Hybrid Matter by Andreas Greiner

28. April - 23. Juni 2018 / Nows ⟶

NOWs: Andreas Greiner: Hybrid Matterat DITTRICH & SCHLECHTRIEM OPENING: FRIDAY, 27 APR, 6–9PM For Gallery Weekend Berlin, Andreas Greiner has produced new works that reflect on how humans manipulate and redesign nature through genetic engineering, speculating on the future of mankind’s own genetic code. Characterizing Andreas Greiner’s work is his in-depth examination of the dissolving boarders between nature and technology. What is the meaning of nature in an age of digitalization and synthetic biology? The way in which we experience nature is defined by our prior knowledge and socialization, however what we experience in nature is changing rapidly. Human manipulation of evolutionary processes are posing ethically, socially, and ecologically critical questions which demand answers. On entering the exhibition space one is welcomed by (insert title of artwork) a nickel-silver sculpture depicting cell division—a reproductive act and conceptual starting point of the exhibition. Sharing the same space, the work Edit Yourself KIT, a DIY Crisper Genome Engineering KIT which will allow one to manipulate their own genetics. The centrepiece of Greiner‘s exhibition is the sound installation The Molecular Ordering of Computational Plants, produced in collaboration with Tyler Friedman who authored the piece’s text and music. This science fiction audioplay reverberates within the main room of the gallery, composed of a luminicent aquarium and pulsating watertubes synchronised with the soundscape. Along the walls Greiner presents a new series of photographs showing miscroscopic images of algeas, titled Billions of Heart Beats Slowed Down into Synchronicity, as well as tumor cells, titled Hybrid Matter Studies and Panorama of a Landscape, realised with the scientist S. Diller. “The works at the center of Andreas Greiner’s solo exhibition ‘Hybrid Matter’ constitute an epistemological conundrum. How sure are we of our fundamental convictions of life and death, right and wrong? Hanging in the dimmed exhibition space of Dittrich & Schlechtriem gallery are images of microscopic cellular clusters, magnified between a thousand and ten thousand times: clumps of human intestinal cancer tumor cells and spherical aggregates of Mycoplasma mycoides, the JCVI-syn3.0 strain of a synthetic bacteria created in the J. Craig Venter Institute. Greiner considers these pictures as portraits, like larger-than-life, celebratory depictions of individuals that have had an outsized impact on the public sphere. At work in these images, and troubled by them, are the moral and existential implications of portraiture. To represent an individual is to fix their likeness to a moment. From that point on, the individual carries out parallel lives: one propelled into continuous change, the other frozen; one guided by subjectivity, the other by the narrative interpretation of others.” The excerpt above by Carson Chan will be featured in the exhibition catalogue that will be available in the gallery. Andreas Greiner (b. Aachen, DE / 1979) currently lives and works in Berlin. Greiner studied medicine and later art at Universität der Bildenden Künste Dresden, then attended Universität der Künste Berlin in the class of Rebecca Horn and completed in 2013 with the class of Olafur Eliasson. Greiner studied with Eliasson at the Institut für Raumexperimente Berlin (2009). The artist’s works have been presented in numerous solo and group exhibitions in national and international institutions. In 2016 he was awarded with the GASAG Art Prize of the Berlinische Galerie, Berlin (Agency of the Exponent), and is thus included in the musuem‘s collection. This April 2018 the Kunstverein Heilbronn presents a solo exhibition with new a soundpiece and photographic work. Greiner‘s third monograph will be published later this year. NOWs: Andreas Greiner: Hybrid Matterat DITTRICH & SCHLECHTRIEM ERÖFFNUNG: FREITAG, 27. APRIL, 18–21 UHR Zum Gallery Weekend Berlin realisiert der in Berlin lebende Künstler Andreas Greiner neue Arbeiten, die Manipulation und Gestaltung von Natur durch gezielte Genveränderung thematisieren und einen spekulativen Blick in die Zukunft erlauben. Charakteristisch für Andreas Greiner ist die Auseinandersetzung mit der zunehmenden Auflösung der Grenzen zwischen Natur – Kultur/Technik. Was verstehen wir heute im Zeitalter der Digitalisierung und synthetischer Biologie unter Natur? Wie wir Natur erleben, hängt von unserem Vorwissen, unserer Kultivierung und Sozialisierung ab, aber auch was wir als Natur erleben, befindet sich in einem rasanten Umbruch. Menschliche Eingriffe in evolutionäre Zusammenhänge werfen ethische, sozialgesellschaftliche und ökologiekritische Fragen auf. Die Treppe zum Ausstellungsraum herunterkommend steht eine in Neusilber gegossene Skulptur, die eine Zellteilung darstellt. Dieses Denkmal für den Reproduktionsakt bildet den Ausgangspunkt der Ausstellung. Im selben Raum hängt die Arbeit Edit Yourself KIT, ein DIY Crisper Genome Engineering KIT, mit dem man in der Lage sein soll, seine eigene Genetik zu manipulieren. Das Hauptwerk der Ausstellung ist die in Zusammenarbeit mit dem Komponisten Tyler Friedman (Text und Musik) entstandene Soundinstallation The Molecular Ordering of Computational Plants, welche den sich verdunkelnden Hauptausstellungsraum der Galerie zum Resonanzkörper eines Sience-Fiction-Hörspiels macht, in dessen Einklang ein luminizierndes Aquarium und Wasserröhren pulsieren. Neue Serien von Fotografien an den Wänden zeigen Mikroskopaufnahmen von Algen (Billions of Heart Beats Slowed Down into Synchronicity) und Tumorzellen (Hybrid Matter Studies und Panorama of a Landscape), die mit Hilfe des Wissenschaftlers S. Diller realisiert worden sind. „Die Arbeiten im Mittelpunkt von Andreas Greiners Einzelausstellung „Hybrid Matter“ geben ein Rätsel auf. Wie überzeugt sind wir von unseren grundlegenden Vorstellungen von Leben und Tod, von Richtig und Falsch? In der abgedunkelten Galerie hängen Bilder von mikroskopischen Zellen in 1.000 bis 10.000-facher Vergrößerung: Klumpen menschlicher Darmtumorzellen und kugelförmiger Ansammlungen von Mycoplasma mycoides, dem Stamm eines synthetischen Bakteriums aus dem J. Craig Venter Institute mit dem Namen JCVI-syn3.0. Greiner versteht diese Bilder als Porträts. Für ihn besteht kein grundlegender Unterschied zwischen ihnen und den überlebensgroßen Bildnissen, mit denen herausragende Individuen des öffentlichen Lebens gewürdigt werden. Diese Werke nutzen und problematisieren die ethischen und existenziellen Implikationen des Porträts als Gattung. Eine Person zu porträtieren heißt immer, ihr Abbild in einem Moment zu fixieren. Von nun an führt sie parallele Leben: Eines ist in unaufhaltsamem Wandel begriffen, das andere wie erstarrt; das eine durch Subjektivität bestimmt, das andere durch die Erzählungen, mit denen Dritte es deuten.“ Der oben stehende Textauszug stammt aus dem Essay von Carson Chan, welcher in dem begleitenden Katalog veröffentlicht wird. Andeas Greiner (geb. Aachen, DE / 1979) lebt und arbeitet in Berlin. Nach anfänglichem Studium der Medizin studierte er an der Hochschule für Bildende Künste in Dresden und schließlich an der Universität der Künste Berlin bei Rebecca Horn und von 2012 -2013 als Meisterschüler im Institut für Raumexperimente bei Olafur Eliasson. Seine Arbeit wurde in zahlreichen Einzel- und Gruppenausstellungen in sowohl nationalen als auch internationalen Institutionen gezeigt. 2016 wurde Greiner mit dem GASAG Kunstpreis der Berlinischen Galerie ausgezeichnet, in deren Sammlung er ebenfalls vertreten ist. Diesen April eröffnete der Kunstverein Heilbronn eine Einzelausstellung mit Andreas Greiner, die eine neue Soundinstallation und Fotoarbeiten präsentiert. Ende des Jahres wird die dritte Künstlermonografie zu Greiners Werk publiziert.

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NOWs: PAM 2018 | PUBLIC ART MUNICH

PUBLIC ART MUNICH 2018: Game Changers

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